The Baltic Art Center is currently seeking applicants for their 2010 residency cycle, which occurs for periods of 4-8 weeks during the period April - June or September - December. Professional working artists, curators, or contemporary art writers from one of the Baltic or Nordic countries (Lithuania, Latvia, Estonia, Denmark, Norway, Finland, Iceland, Greenland or the Faroe Islands), or based professionally in one of these countries are invited to apply, and they will not accept applications from Sweden this year. Residents will receive a monthly stipend of 14 000 SEK, an allocated apartment, and desk space. Travel expenses to and from Visby will also be covered. Deadline is January 15, 2010. For more information about the residency and application instructions, visit the Baltic Art Center site.
One the works on display in the exhibition “Dimensions of Constructive Art in Brazil - The Adolpho Leirner Collection” at Haus Konstruktiv in Zürich, Switzerland, is Abraham Palatnik’s Aparelho Cinecromático.
Abraham Palatnik is a pioneer of technological art. He was born in natal, Rio Grande do Norte, in 1928, to a family of Russian Jews that had settled there in 1919. When he was four years old, Abraham Palatnik went to Palestine, now Israel, with his family, where he went to school. He went on to take courses in mechanics and physics. Since his early childhood he had been drawing and he spent four years at an atelier studying drawing, painting, and aesthetics. Palatnik returned to Brazil in early 1948 and settled in Rio de Janeiro.
Abraham Palatnik dropped painting to adopt a different technique. He felt sure that using the latest technology, he could bring to “pictorial art the potential of light and motion in time and space”. He built his first two kinechromatic devices as experiments in 1949 and 1950.
In the catalog to the Abraham Palatnik retrospective exhibition at Itau Cultural Sao Paulo in the year 1999, Frederico Morais explains how Palatnik’s kinechromatic devices work: “On a plastic screen covering the front of his devices, he projected colors and forms driven by electric motors, creating a luminous effect with its own timing. Using motors and light bulbs, he replaced paint-as a material dimension-with refracted light. The timing of the lighting was controlled from a console with switches for each lamp. The viewer sees only the colored shapes projected onto the front of the kinechromatic device. Inside there were about 600 meters of electric wires in different colors, linking 101 lamps of varying voltages, rotating several cylinders at varying speeds. Light is projected through a set of ...
John Michael Boling is Rhizome's Associate Editor and Special Projects Manager
Ceci Moss is Rhizome's Senior Editor.
For my top 5-10, I've decided to pull together my favorite online exhibitions of internet-based art from the past 12 months.
Each week or so, Computers Club introduce a new work by an artist. Many of the Computer Clubbers have helped to define the current crop of internet-based art influenced by Larry Cuba and Tron-style computer graphics, such as Laura Brothers, Nicholas Sassoon, and Elna Frederick.
Internet Archaeology is a site devoted to the recovery of graphic artifacts found within earlier internet culture. (Think Olia Lialina's A Vernacular Web.) Their Guest Galleries section features original work using images culled from the collection by Tabor Robak, Krist Wood, Jacob Broms Engblom, Daniel Leyva, Emma Balkind, and Nasdaq 5000. My favorite piece so far is Robak's Heaven, which I posted to Rhizome not too long ago.
Run by Bay Area-based artists Caitlin Denny and Parker Ito, JstChillin's "Serial Chillers in Paradise" series is quite ambitious -- for a full year, they're knocking out a new work, in the form of a solo site, by an artist every two weeks, with an accompanying essay by Denny and Ito.
Like software, the curatorial project NETMARES & NETDREAMS signal the progression of their exhibitions through versioning. The exhibition "2.2" went live last summer, and it is loosely based on beach iconography, with a gloss of dark surrealism. A sense of the ominous pervades throughout, from Harm van den Dorpel's dizzying montage of palm trees to Michael Guidetti's loop of a rippling, virtual ocean.
Now closed, Club Internet's fall exhibition "Dissociation" was ...
Zhang Wei earned a MA Creative Curating course at Goldsmiths, London. She is Founding Member and Director of Vitamin Creative Space in Guangzhou, and the shop in Beijing. She has realized a number of long-term projects and exhibitions in close collaborations with artists, as part of the research of Vitamin Creative Space. Her daily practice focuses on the shaping of different spaces - Vitamin Creative Space, the shop, Vitamin Blog, and the communities that form around Vitamin and the shop. Curating each of these different spaces, which each require different approaches and can generate different energies, challenges and opens new possibilities of making space in contemporary art and culture. Through the negotiations of independence in the Chinese context in particular, Zhang Wei's practice involves a continuous re-examination of the meaning of public space.
The links below are from our blog. I found them interesting in that they survey practices involving the daily living environment. I found that these individuals open up the complexity of our reality, while also providing some clue as to how to encounter that reality.