Posts for October 2007

OTO - Oct 12 (8PM to 11pm)


kingdom M. River:

Over The Opening

60 North 6th Street, 2nd floor Brooklyn, NY, 11211 L train to Bedford Avenue 3 Blocks west on North 6th - just shy of Kent

On the second Friday of each month, from 8PM to 11PM, the artist collective MTAA convert their N6th St. Brooklyn studio into a venue for the presentation of time-based art.

The OTO project begins on October 12 with “Again Transporter,” new works by Michael Sarff.

Sarff’s “Again Transporter” features three video loops, each generated by machine transportation. Parade floats, cars, roller coasters, and auto washes send us forever forward, then back in time. Vehicles dance with us in vacant yet compelling style. Seduction, within these automated ballets, is heightened by Sarff´s choices in editing, cropping and pairing of images.

Along with the videos, Sarff recreates “Some Group Assemble Required (SGAR),” a participatory sculpture first shown at the Good Bad Art Collective, Brooklyn in 2001 and again at the Cranbrook Art Museum in 2002. The work involves plastic models (originally multiple Dodge Chargers but now, possibly, B52 Bombers or Space Shuttles), hot glue, grey paint, a plywood table, beer and your company.

Michael Sarff, under the pseudonym Mark River, is half of the ongoing artist collaboration MTAA.

Upcoming shows at Over The Opening

November 09 - Marisa Olson
December 14 - Mikey Koller
February 08 - RSG


Originally posted on Raw by M. River

Political Timing



Condensation, distillation, and repetition are just some of temporal strategies that the 11 artists in the small but striking show of video work Digital Political Time Lapse at the Brooklyn campus of Long Island University employ to represent the last few years in global media history. Understandably, the United States' war in Iraq as well as the paranoid catastrophe of recent homefront politics looms large for many of them. Inside the fishtank-like gallery in the lobby of the university's Kumble Theater, William Stone's 2004 work 'Plural Nounsss' edits one of George Bush's State of the Union address down to a series of elemental words, such as "benefits," "terrorism," and "firefighters," while Adam Simon presents a 'Video Portrait' from 2002 of photographer Moyra Davey softly decrying the post-September 11th directive to go shopping in the name of safety, and Aunrico Gatson presents a single-channel video slpit into a three-monitor, machine gun-paced slideshow of war images culled from the Internet. But in addition to time-based ruminations on war and security, several works, such as Jillian Mcdonald's animation derived from Webcam footage of the 2006 bloom of a "corpse flower" at Brooklyn's own botanic gardens, veer into the many different Web-enabled images that have found their way into the political melange. Among them are several that insert the personal into the news-driven mix. Marcin Ramocki, for example, creates pixilated portraits, using the composition tool of an ancient Macintosh sound-editing application, that create a spazz-core cacophony when played. The exhibition comes full circle when, on a table opposite the entrance, a surveillance camera and attached monitor capture video of visitors, who can then rewind from their own real-time moment all the way back to the exhibition opening to watch others encounter themselves on screen.


Spotlight: International Animation


During the month of October the Pacific Film Archive in Berkeley, California, will be spotlighting slices of the history and practice of animation from around the world. The first program, part of their ongoing Alternative Visions series, highlights the work of New Zealand-born artist Len Lye (1901-1980). Lye's early experimental films have many similarities to the 'visual music' style of animation championed by artists like Oskar Fischinger and Hans Richter, but the color and handmade treatment of the film stock itself also foreshadows the work of Stan Brakhage. 'Swinging the Lambeth Walk,' set to music by Django Reinhardt, is a charming example of Lye's direct interventions on to the filmstrip, and his more figurative 'Rainbow Dance' illustrates his interest in dance and motion. The rest of the 'Spotlight: International Animation' month includes a special series on the Czech animator Jan Svankmajer, another on Japanese animator Naoyuki Tsuji, and a series of popular Chinese animation. Though hardly a complete picture of the wide field of 'International Animation,' the program does comprise a few entertaining chapters in the history and international reach of the animated moving image. - Caitlin Jones


Commercial Enterprise


Lumen Eclipse, a media art organization based out of Cambridge, Massachusetts, champions the exhibition of the moving image in the public sphere--both on the street and online. Large outdoor video displays in Cambridge's bustling Harvard Square and on their website present a monthly series of original single channel works by artists, designers, and filmmakers. Drawing from the world of visual art, advertising, graphic art, cinema, and music, Lumen Eclipse offers viewers a wider picture of moving image culture than the art world often does. Their inclusion of work from the commercial sector reflects their own institutional make up. Not a 'non-profit' enterprise, Lumen Eclipse draws advertising revenues from their street installations and web sites and illustrates an interesting model for public art projects. And although their first year's roster included works by heavy weights Francis Alys, Michel Gondry, Brian Eno, and David Byrne (for the month of October they're profiling the work of animator/director Grant Orchard), their open submission policy and residency program promises to showcase a broad range of talents and genres. - Caitlin Jones


Stealing Audio in San Diego


Recognizing the influence of DJ-derived techniques of appropriation on artistic practices, for the past ten years, curators at the San Diego Museum of Contemporary Art have had an initiative in place to acquire work that demonstrates strategies of recycling, recombining, and otherwise recontextualizing material. Thanks to this push, the institution has built an impressive collection of contemporary sound-based work that embraces a spirit of appropriation, and it forms the backbone of the exhibition Soundwaves: The Art of Sampling at the museum's La Jolla location through December 30. The show features recent work by 16 artists, including Dave Muller, Dario Robleto, Alyce Santoro, and Diana Thater, that range in media from audio installations to painting. Some literally create sound by adapting material not typically used for that purpose, as in Celeste Boursier-Mougenot's 'Untitled (series #3),' from 2001. Channeling John Cage and 1950s concrete music, the installation floats a collection of china inside inflatable wading pools to produce noise through the chance rippling of the water. Others take from audio material to compose visual work. Tim Bavington, for example, presents well known pop songs as blocks of bright color in painted abstractions


Daydream Believer



Jillian McDonald has garnered much attention over the past few years from her web project Me and Billy Bob, in which she imposes herself both physically and emotionally into the film and life of Angelina's pre-Brad paramour, Billy Bob Thorton. If you don't relate to her attraction to Mr. Thorton then perhaps her hilarious and thought-provoking video, Screen Kiss, which has her making out with numerous other celebrities who may be more to your taste. (Another video, To Vincent with Love, has her in the bathtub with Vincent Gallo--she seems to have a type!) Using the web, installation, video, and photography, McDonald illustrates a clear fascination with the Hollywood cinema. However, her work is distinct from many other artists also concerned with the cinematic. Not simply interested in issues of narrative, time, space, or the like, McDonald looks specifically at the genres romance and horror and how these constructions become a part of our own experiences. And by placing herself directly in the frame she successfully taps into our collective pop cultural daydreams and anxieties. Jillian McDonald's solo show at New York's Moti Hasson Gallery opens on October 11th.



Leo Villareal - Cellular light communication


Origin & Here comes the sun - Leo Villareal

The inherent need to decode and make meaning from patterns in systems is utilised to the max in Leo Villareal's light works which most recently have be controlled by computational systems. Pattern recognition heads, myself one, will have a field day perusing the work and ideas of this Albuquerque based light sculptor. Using Cellular Automata systems, including our favorite, Conway's Game of Life, to control LEDs he produces massive, visually complex works such as Origin. Origin is a large matrix of lights programmed to produce patterns that mimic ones that are more familiar to us in the real world, swarming and flocking behavior, for example. [....]


Originally posted on by Rhizome



This is going to be an amazing show. Check out all the details on the different series within this exhibition at Black and White.

What We've Just Seen Is Not Real
October 18 - November 24, 2007
Taking its cue from Mr. Spock's pronouncement on Star Trek as he, an alien, encounters mankind, 'What we've just seen is not real,' this exhibition offers a disturbing insight into the essential ambiguity of the visual mass culture that has increasingly come to shape our collective psyche.

Opening Reception: Thursday, October 18, 6-8pm

BLACK AND WHITE GALLERY, 36 West 28th Street, Ground Floor // New York, NY 10001 // t: 212 244 3007

Image: Michael Van den Besselaar, The Time Machine Mirror #2, o/c, 47 x 63


Originally posted on Heather's Blog by Rhizome

Before the Art of New Media


Lidija Merenik

The restaging of Tendencies 4, the 1968 Zagreb based exhibition series and colloquium, in the recent show bit international -- [New] Tendencies -- Computers and Visual Research does more than deepen and internationalise our understanding of computer art's early history. It also presents an opportunity to revisit the cultural landscape of Tito's Yugoslavia. Here Lidija Merenik considers the show in Graz and [New] Tendencies' unique engagement with international avant-gardist concerns, technology's utopian potential and the socialist cultural landscape of ex-Yugoslavia. [More....]


Ubermatic webcam performances


Ubermatic have been using networked video (webcams, surveillance cameras etc.) as part of performance and installation work for many years and while in many ways it seems directly descended from the Surveillance Camera Players, the works go further than just raising awareness of surveillance in the public domain. What follows is a look at two of their works which employ webcams.


AFK (image above) is a series of onsite / online performances created by Michelle Teran of Ubermatic in collaboration with Isabelle Jenniches.

AFK stands for ‘Away from Keyboard’. These and many other abbreviations are commonly used in online chatrooms and on mobile phones to send SMS/ text messages. In the series AFK each performance involves sending a message coded in this way in front of public webcams monitoring urban and non-urban landscapes. The short messages capture moments of mobility and presence.

Getting Ready

Getting Ready (images above) created by Michelle Teran:

is a time-based web-cam performance and installation for internet broadcast. It takes anticipation as its subject and therefore the process of preparing the environment is the focus of the event. The event is presented in real-time and is received by both viewers at ART Firm gallery in Toronto via a computer monitor installed in the gallery, and by viewers in the virtual community.

The performance begins in my studio. A video camera points at an empty white space. During the course of the presentation, a three dimensional recreation of Edgar Degas’ painting “La Famille Bellelli” is constructed and I enter the finished environment in character.

A video camera in my studio captures images every minute and sends them to a server. Images will therefore be refreshed every 1-2 minutes on the website, illustrating the developmental stage of the room installation. When the room is complete and I am in costume the ...


Originally posted on Network Research by Rhizome