Dear Rhizome Community,
As you may have noticed, Rhizome.org re-launched this week and I’m truly thrilled to share the new website with you firsthand.
We didn’t just re-design the website; we re-built it entirely from the ground up and reverse-engineered fifteen years of content—a massive task that unfolded just under two full years. Our goal for the new website was three-fold: First, we felt it was a priority to upgrade Rhizome’s archive of art—the ArtBase—and make it a better platform for participating artists, as well as curators, students, and everyone who wants to learn about this field. Second, we wanted to improve the overall website, by making it more rich, dynamic and browseable, especially our community-centered sections such as “Announce” and “Discuss”. Finally, we wanted to adjust our membership policy, shifting it away from granting access (now, all art works in the ArtBase are free to view) and onto advanced features. Developing the site was a major undertaking, and involved late nights and weekends on the part of a small team for nearly a year.
I’d like to highlight a few significant new features to you:
§ The ArtBase now allows artists to represent their work in much greater detail, thanks to a more elaborate metadata schema, greater storage possibilities, and the ability to upload bigger and better images.
§ We created more and better ways for our community to interact with ArtBase works, like leaving comments, "favorite-ing" works, curating them into exhibitions, and sharing them online via other platforms like Twitter and Facebook.
§ Last, we upgraded all sections of the site, from portfolios, to discussion, to announcement. We took in feedback we got from you, and tried to make each better.
We did it for you, Rhizome’s community, and we really hope ...
about the sound. we wanted this: cacophony club idea - but with a lot of power. engagement and interruptions of engagement. 11 specific dj's and/or dj ideas to juggle control, more or less simultaneously.
power, cacophony, engagement and interruptions thereof were on high success: featuring Bon Louthan's voiced eternal countdown to midnight, Ryder Ripps on tripp pushing volume levels to breaking points, vocal artists on wireless mics free roaming the map.
getting all 11 DJs secured in the walls of #hi11 was on minor/major fail as Brian Degraw, Iceberg, & $hayne did not make it - but banging away despite the loss was the duo NGUZUNGZU, KINGDOM, FATIMA AL QADIRI & AZIZAMAN, DEE, COP-A-FEEL, and me TOTAL FREEDOM.
this clip is an audio tour idea of the idea... kind of. compiled by YUNG BUKKAKE and TOTAL FREEDOM
The new year's event that Ryan Trecartin and Lizzie Fitch hosted for 2011 circled through info-glut and privacy issues. When guests first arrived, they were greeted by a large LCD screen showing live color surveillance video from nearly every room in the house including the bathrooms.
Upstairs: A green wall. A green couch. A webcam. A surveillance camera. People could sit and see themselves dissociatively watching themselves sitting on the couch, all enshrouded in a celebratory Google search page while projected large in the adjoining Orphanage. Lauren Devine assembled a NIN Fuck Closet closet under the staircase in the club room, complete with bed, matching lover's headphones with top-mounted spotlights playing Nine Inch Nails remixes on loop.
If people tweeted text or photos using #hi11, they would see them projected over live surveillance video of the DIS B6 refresh_forum or the Courtyard respectively. The projections covered the ceilings of the Poop Room (B5), just above towering Ikea-collaged furniture. Above the fireplace mantle, a large LCD monitor displayed the #hi11 website as it scrolled up and down autonomously.A countdown of every number from 11,000 to 1 moved in and out of the DJ feeds throughout the night, along with the sound of two singers wandering through the party with wireless headset microphones.
#hi11-tech Room List :
Y2: (viewed) : Target-lite : Ambient invite audio track extended mix : Live Vocal Separation
Y1: The Stands
Y??: Outdoor Fastrooms
B1, B2: (viewed) : A Power Sound Situation : Light Design Plus : Bon 11,000 Countdown : Plasma Screen Push : LED Display Retardation : Green Screen Dance Watch : Dual Live Vocalist Auditions : Real Time Announcement Design : NIN Hook-Up Closet (LED sex head-set)
B3: Bath Mic : Rumor Allocation
B4: Map Spot CCTV : Locator View, Open Live Feed Room-shares (Transaction & Exchange) : Dump.fm : riverofthe.net
3d #hi11 txt by Rhet LaRue
Filling up the black light bubble machine
Pole Dancer, Breezelle, in the DIS Room
Elizabeth Dee J-ing
Asma Maroof, of NGUZUNGUZU, on the decks
Crocs and Locks.. set up by myself and Jonny Mandabach
Ryan and I testing out the green screen, behind us, a feed from the dance floor downstairs.
Head chef, Ryan Riehle, happy about completing over 2011 empanadas.
Ashland (TOTAL FREEDOM) rolling his eyes after a long day on the hi11.
#hi11: we assembled an armature within and around the house to allow the molding and reflowing of movement, its telepresentation, turning far corners into broken windows, hyperlinking plaster and flesh, the house a hashtag, a sort of realtime collaborative memory palace people could inhabit use and shape for instantly distorted recall.
Projecting information over houseformation, surfaces become the house talking to its selves in recursive loops. @hi11. Click-through the stairwell, preview the adjoining room's thumbnail, preview yourself onscreen, sitting on Google's fireworks.
Hash tag, price tag, luggage tag, name tag, license and registration tag. The house turned into it, now it's the tag that becomes like a house: #hi11
Today we'll be turning the blog over to the many people involved with #hi11, a New Year's Eve happening produced by Ryan Trecartin and Lizzie Fitch. For the event, the organizers took over three floors of a house in Los Angeles, transforming it into an interactive, multimedia environment. (The full list of names of everyone behind #hi11 is available here on the 2240hill site.) The house was equipped with video capture throughout, which allowed live video feeds between the rooms and a broadcast online. One of the rooms was covered over entirely in green screen fabric, so video captured therein could be augmented. Inspired by the organizational design of IKEA, the rooms in the house were assigned a letter and a number, for example, B2, C4, etc. The rooms themselves operated much like sets, and in many cases, IKEA furniture was used, mostly beds and couches for lounging. The house was illuminated by black lights, red lights, projections (some of the dump.fm chat room), and videos from the other rooms, giving the space an overwhelming feeling akin to Trecartin's delirious videos. An impressive amount of work went into #hi11. To name a few of my personal favorite details: the chandelier constructed out of Brita water filters, the herbal sexual enhancement pills freely distributed at the bar, the professional Diva wearing a headset connected to the PA on the dance floor, who would break out into song while walking around the party, the one water cooler (out of 4) in DIS Magazine's "refresh_forum" room which contained solely vodka (quite a surprise!), a small room off the dance floor which was intended as a secret Nine Inch Nails sex chamber, where participants could wear headphones (with flashlights attached to the top) blasting the band on repeat while ...
Founded by curator Michael Connor in 2009, Marian Spore was a limited-duration art space that closed on December 18, 2010. Rather than organizing group or solo shows per se, the gallery was a perpetual work in progress; Connor added pieces irregularly, leaving them on display so that repeat visitors would find an accumulation of works. Connor has put the acquisitions into storage and will continue looking for buyers, considering the works on loan until they find a permanent home. Situated in a 16,000 ft loft on the fourth floor of a building in the gargantuan Sunset Park industrial complex Industry City and named after an artist who believed she was in communication with spirits of dead artists (and who was the third wife of Industry City’s founder), I visited Marian Spore for the first time only a week before the closing. Connor looked surprised when I referred to the “current exhibition” of all thirteen works he had gathered over the past months; after all, as the collection grew, each object had been on view continuously.