Takeshi Murata – Untitled (Pink Dot) (2007)
Here at Rhizome HQ we have been quietly working away from within the depths of the ArtBase. I'm pleased to announce that we have recently archived six works by Takeshi Murata, spanning from his early hand drawn animations, through his pioneering datamosh works, the 3D animation that was included in Free, to his recent body of work that debuted at Ratio 3 gallery last April. The excerpts of his work now available in the ArtBase are in most cases the only high quality (read: not bootlegged) examples available freely online.
Here are some more recently archived works we are particularly excited about:
Christian Oldham – Selected works 2010-2012
Brenna Murphy – facingface~terrestrialtrancetree
Nicolas Sassoon – Mansion Studies
John Transue, Micah Schippa, Tabor Robak, Parker Ito, Jon Rafman – PaintFX
Adam Cruces – Desktop Views
Justin Kemp – Proclaiming My Love
Kim Asendorf – ExtraFile • GIF MARKET • Solo show in Sim City
Jonas Lund – Collection Enlargement • I'm Here and There • Over and Over Again
Jon Rafman – Woods of Arcady
Sarah Weis & Emilie Gervais – blinkingsite.com
What are we missing? The ArtBase is a constantly growing and evolving archive – if we are lacking to represent a particular facet of net.art history or contemporary practices, by all means let us know. As well, we are always accepting submissions. Stay tuned for an update soon on a few big projects that are in the works!
Your works bring together many strands of visual culture. Your paintings, for example, interpose art history, design, the natural world, and gaming. What does your image research look like? In a recent piece for Rhizome, Karen Archey wrote that your sensitivity is emblematic of the internet age, where all images are created equal. Do you think your work is affected by this characteristic of the internet? Does it mirror it?
Yes, I think my work mirrors this characteristic of the internet age, which also is reflected in and conditions my research process.
This conditioning applies not only to images but to information in general, I treat the two as the same. This flattening of values allows me to make art historical and sociological connections that scholars wouldn't necessarily consider making. However, I don't view my research process as a new thing relevant only to the internet age.
I'm also interested in comparing the idea of wandering through images and informations on the web to Walter Benjamin's idea of the flâneur and his experience of modernity. The term describes the experience of leisurely walking through urban space while observing various aesthetic and sociological patterns in the XIXth century Paris.
Recently I came across an article by Evgeny Morozov called "The Death of the Cyberflâneur," adressing this same parallel with Benjamin's flâneur and explaining how the cyberflâneur would disappear for similar reasons as those of the XIXth century flâneur—the internet becoming more and more enclosed in the world of social media, shopping activities, or separated apps. Benjamin also explains how the flânerie got caught in being conditioned by the economy and the market when the recently born commercial strategies of that time started using the flâneur and his casual attitude as a marketing tool. Benjamin notices ...
I thought we could either gchat, then edit later, or meet in person and transcribe whatever happens w/o editing (including things like ["long pause"] and "[nervously laughs]." I think I kind of prefer the 2nd.
So began my interaction with author Tao Lin, a young author known as much for his self-promotional antics as for his several published novels. I wanted to interview Lin about his experiences with a popular image board called 4chan, known for being a playground for internet trolls and the birthplace of the "hacktivist" collective known as Anonymous. 4chan is a place where thousands of people gather for cheap thrills: porn, gore, and spontaneous collaborative pranks that range from harmlessly goofy to insidiously dangerous. 4chan trolls go after religious cults, white supremacists, scam artists, pedophiles, and animal abusers. They also seem to hate Tao Lin. I wanted to know why.
4chan is a collection of image boards that allows users to anonymously post messages that disappear quickly unless they contain content that inspires others to respond. It is marked by the presence of a geeky, insular cultural currency of internet-borne ephemera which we've now decided to collectively call "memes." For the most part, 4chan's users just want to kill time shooting the shit with other geeks. They talk about anime, mecha, papercraft and other mostly-geeky topics. I've been hanging out on 4chan pretty regularly since 2007—it's a fascinating Darwinian "meme-pool," from which much of internet culture derives. I wrote a book about 4chan last fall.
Two years ago, 4chan's administrator added a literature board, or, /lit/, to the fifty or so extant forums. It was an immediate personal thrill to see the often puerile tone of 4chan's boards used to describe Dostoyevsky, for instance. The content on the ...
Early Bird tickets to Rhizome Seven on Seven Conference are available now for just $75 - 30% off the VIP Conference ticket price! This limited time offer last until April 2nd. Get yours today!
Technologists participating in this year's conference represent some of the most influential technologists working today; they are: Jeremy Ashkenas, Blaine Cook, Michael Herf, Marissa Mayer, Aaron Swartz, Khoi Vinh and Anthony Volodkin. The artists participating in Seven on Seven are similarly impactful and working in a range of mediums from dance, to film, to installation to web-based projects; they are: Aram Bartholl, Xavier Cha, LaToya Ruby Frazier, Naeem Mohaiemen Jon Rafman, Taryn Simon and Stephanie Syjuco.
Seven on Seven will take place Saturday, April 14th from noon-6pm at the New Museum.
Anima, Animal, Beheaded, Candle, Chocolate, Cloak, Carnal, Darkness, Deity, Dreamlike, Gradient, Headless, Heparin, Ignite, Ignat, Lament, Occult, Partial, Pink, Smoke, Smokey, Smother (Kate Steciw, 2012)
Your photography and sculptural installations use image manipulation, often resulting in disconcerting perspectives. What is it that draws you toward "making the photograph 'other'" as you write in your artist statement?
I guess this impulse comes from a drive to reevaluate the predominant media via which so much of our culture is produced and disseminated. The conceptual drive in the work both online and off, two dimensional and three, has a lot to do with the ways in which photography creates appetites for physical objects that are then fulfilled to varying degrees of success or failure by the objects themselves — in particular, commercially manufactured objects. In a way, I see the objects and materials I use in the sculptural work function as images themselves. Similar to the tools used in Photoshop or other editing software, many of the objects we interface with on a daily basis come with prescribed uses. I believe that hidden in these prescribed uses are assumed ideologies that through misuse, omission or recombination can be revealed, reconsidered, or at the very least, interrupted.
Popular Options (Yellow Diamonds in the Night) at klausgallery.net shows a Flash animation of the most searched Google items in 2011. Those searches offer a glimpse of zeitgeist. What in particular are you approaching with this montage?
In Popular Options, my aim was to access a kind of snapshot of a culture via its preferences — a time capsule generated by the desires of a population rather than it's aspirations. I wanted to let what we were searching for coalesce into a singular audio/visual experience. While aesthetic decisions were made for the purposes of continuity or ...
Motherboard TV has debuted a short documentary on mesh networks and Occupy Wall Street, with a special focus on the Free Network Foundation. Douglas Rushkoff and Rhizome contributor Melissa Gira Grant are also interviewed.
If the argument for mesh networking, a sort of pirate radio Internet scheme that allows people to talk to one another online through no middle man, is that a centralized ‘Net lends itself to the sort of surveillance and censorship that, however futile, strokes the Internet kill switch of science fiction, is there a way to circumvent that system altogether? Is there a way to build a new network from the bottom up? To occupy a fresh Internet outside the existing confines of the Web? Or is that all just the stuff of ideological fantasy?
To check the pulse of the Internet – and to get a feel for what life’s like in the digital nerve center of what’s arguably the first fully Web-fueled social movement in America – Motherboard has been following Wilder and Tyrone Greenfield, communications director for the Free Network Foundation, for the past half year. Through the thick of Occupy marches, in squats and test-lab offices, on rooftops and all places in between, we saw Wilder, Greenfield and the FNF building and perfecting their Towers and their humble, cooperatively owned, physical Internet...
Recently added to the Artbase: Proclaiming My Love
Documentation of a performance which took place on 4/20/2010, atop Mount Tom in Holyoke, MA.
- Street Digital: Recent Works by JODI, Sat Mar 31, 2012 10:30 - Sun May 20, 2012, Astoria, New York
- New Institutions, 5th Annual Visual Art Graduate Student Conference, April 7, 2012, 10:00am-6:30pm, UC San Diego, Visual Arts Facility
- Sensing Site: A Series of Research Seminars with Central Saint Martins and CUCR, Goldsmiths, University of London, Wednesdays 4 April, 2-5 pm and 25 April, 2–5 pm, Central Saint Martins and Goldsmiths College, University of London
- Me and Everyone That Is With Me: Dan Herschlein, Graham Hamilton, and Alex Casso, In collaboration with: The Whitney Museum of American Art and the Regent Family Residence, March 22 - April 11, 2012, Reception: March 30th, 6-8pm
- Blip Festival New York, The Gramercy Theater, May 25-27
- Speed Show : Exra Credit, Thursday, April 5, from 3-5 pm, in 115 of the Misciagna Family Center for Performing Arts at Penn State Altoona
- Digital Director, University of North Carolina at Greensboro
- Curator of Contemporary Art, BOCA Raton Museum of Art
- Artist: Post MFA Fellow, The Ohio State University’s Department of Art
- ELECTROFRINGE Artistic Co-producer, Electrofringe Ltd
- Editorial Fellow, Rhizome seeks an Editorial Fellow from June through September 2012, Deadline May 4, 2012
Call for Submissions:
- FEAST #13 Call for Proposals,FEAST will hold its 13th event on April 14th, 2012 at the Church of the Messiah in Greenpoint, Brooklyn. The deadline for applications is March 29th at 11:59pm.
- CFP: “In Memory of :Death and Technological Afterlife", Southeastern College Art Conference (SECAC), October 17-20, 2012, Durham, NC
- Hidden Cities | Istanbul (Turkey), Call for Artists, Hidden Cities, Istanbul (Turkey), May 10-12, 2012, Deadline: April 13, 2012
- Call ...
Extended Bliss, 2010. Digital C-print
In many of your works (Blank is the New Blank, Replaced, Extensions, Auto-CAD Freestyle) you utilize chance operations to simultaneously demonstrate the creative successes and failures of software and technology. The calculated spontaneity of generative systems such as the Content Aware Fill or the Roomba, become exposed through their capacity to adequately finish or begin an artwork. Your works highlight the novelty of these systems and how they algorithmically output formal expression. Could you speak more about this automative process and the motives behind working this way?
I am interested in automated improvisation. I design situations in which an artwork can take place. Often time what I am asking from the technology is something it is not intended to do. So there is a collaborative process between the automated tools I employ and myself. I am interested in co-authoring works--arriving at traditional media such as drawing, painting, prints and sculpture0--with various consumer forms of artificial intelligence...
Diacritics are accent marks used to indicate the type of pronunciation a certain word infers. Diacritics are used in Latin script, but are also specific to other alphabetic systems such as the vowel pointing scripts of the Arabic harakat. In Laimonas Zakas’ project, Glitchr, a facebook page is dedicated to glitchily deforming the posting interfaces of Facebook. Diacritical marks are emptied from their primary communicative signifiers and repurposed as formalized, aestheticized objects; accomplices in the jailbreaking of Facebook page hegemony.
Rather then its users shaping and determining its network, Facebook is known—amongst other things—for creating quite the opposite for users: a loss of control, of malleability and the continued reiteration of a standardized user conduct. Glitchr then, in such a world, becomes a refreshing, if not odd spectacle: gifs become enabled, symbols and text float around up and down the page never adhering to the coded structure within.
Though Glitchr to some degree interrupts the normativity of the Facebook structure revealing what one can safetly get away with, its subversive aesthetics survive only as mirage in the desert of the Zuckerberg empire.