Whispering Pines 10 at the New Museum, Jan 8-9

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Shana Moulton and Nick Hallett's epic multimedia one-act opera Whispering Pines 10 will run at the New Museum on Saturday and Sunday, January 8 and 9, 2011. If you missed the performance of this piece at the Kitchen last Spring, now is your second chance to see the show! Read more about Whispering Pines 10 below, and be sure to pick up your tickets early through the New Museum site.

Note: We ran a short essay in Rhizome News by Brian Droitcour on Moulton's series Whispering Pines when the opera debuted, check it out.



Whispering Pines 10 is a one-act opera by artist Shana Moulton in collaboration with composer Nick Hallett, and featuring vocalist Daisy Press. It features a live performance by Moulton as her alter ego Cynthia, a hypochondriac agoraphobe prone to colorful hallucinations and absurd fantasies. While Cynthia seeks health and total happiness within her virtual environment—an interactive video set that utilizes real-time multimedia techniques its creators call “live animation”—she usually settles for fad cures and new-age kitsch, creating situations in turn comic, contemplative, and surreal.

Whispering Pines is the celebrated video serial created by Moulton in 2002 that has previously spawned nine episodes, along with related performances, videos, and gallery installations. Whispering Pines 10—the latest installment—is an innovative performance hybrid that incorporates elements of traditional opera into contemporary video and performance art. Its premise—a woman alone in her private environment, aided by technology—enables a flexible sensibility wherein popular and experimental forms can mingle. The original music and libretto composed by Hallett takes advantage of the narrative’s dream logic to weave what is essentially a pop music vocabulary into an experimental idiom, enabling a virtuosic exploration of the human voice. As the protagonist does not effectively speak, the sounds ...

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Required Reading

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This PDF is to serve as an extended statement of artistic purpose and critique of our contemporary relation to objects and images in Post-Internet culture. More than anything, it poses a survey of contemplations and open questions on contemporary art and culture after the Internet.

“Post-Internet Art” is a term coined by artist Marisa Olson and developed further by writer Gene McHugh in the critical blog “Post Internet” during its activity between December 2009 and September 2010. Under McHugh's definition it concerns “art responding to [a condition] described as 'Post Internet'-when the Internet is less a novelty and more a banality. Perhaps ... closer to what Guthrie Lonergan described as 'Internet Aware'-or when the photo of the art object is more widely dispersed [&] viewed than the object itself.” There are also several references to the idea of “post-net culture” in the writings of Lev Manovich as early as 2001.

Specifically within the context of this PDF, Post-Internet is defined as a result of the contemporary moment: inherently informed by ubiquitous authorship, the development of attention as currency, the collapse of physical space in networked culture, and the infinite reproducibility and mutability of digital materials.

Post-Internet also serves as an important semantic distinction from the two historical artistic modes with which it is most often associated: New Media Art and Conceptualism.

New Media is here denounced as a mode too narrowly focused on the specific workings of novel technologies, rather than a sincere exploration of cultural shifts in which that technology plays only a small role. It can therefore be seen as relying too heavily on the specific materiality of its media. Conceptualism (in theory if not practice) presumes a lack of attention to the physical substrate in favor of the methods of disseminating the artwork as idea, image ...

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Videos from Gatekeeper's Giza by Thunder Horse Video and lenox-lenox

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These six music videos by the band Gatekeeper debuted last week on the blog 20jazzfunkgreats. The videos are a dark, hallucinogenic romp, featuring slick computer graphics and repurposed scenes from horror and anime films. The videos are directed and edited by Thunder Horse Video, with the exception of "Mirage" which features original computer animation by the team lenox-lenox. All the songs are off their new EP Giza on Merok Records.






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oops (2010) - Chris Beckman

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"oops" || appropriated digital video || 2009 || concept by Billy Rennekamp

Somewhere between a home-video mixtape and a postmodern travelogue, "oops"—a ten-minute art video composed entirely of appropriated YouTube videos, seamlessly stitched together via a motif of camera drops—serves both as transportative adventure and metaphorical elucidation of YouTube itself (i.e. endless related videos), exemplifying the Internet's infinite repository of "throwaway" social documentation. From suburbia to subterranea, the radically shuffling environs induce a vertiginous yet aesthetically contextual thread—a transcendent, reincarnating POV; our omnipresent Camera—by which, the nature of the ultra-verité videos, eschewing any filmic grounding, plunges the viewer into a relationship of fleeting immediacy w/ its many videographers: a self-portrait at arms length, the digital blur of an obscuring thumb, a disembodied narrating voice.

-- FROM THE ARTIST'S STATEMENT

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Dark Green (2010) - Jacob Ciocci

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Music by Extreme Animals

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Videos from the Documentary Real Symposium

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I came across these videos via WMMNA. These talks were taped during the symposium The Documentary Real which occurred on October 21, 2010 at Domzaal, Art Centre Vooruit. The event invited artists and theorists to "interrogate the ambiguous relation between documentary film and reality." I've only had a chance to review the two Gregos and Bruzzi clips posted below, which both emphasize the changing notion of the "real" within a heterogeneous media landscape, especially with the advent of the internet. All the talks are available on the site, here.



Katerina Gregos "The Elastic Documentary"


It has been a number of years that the so-called ‘documentary turn’ has become a frequent phenomenon in many artists’ films. The talk will be a comparative look into recent documentary practices that diverge from the orthodoxy of documentary as ‘factual’ film’, a notion which contemporary artists have repeatedly challenged of late. These artists working from a documentary point of departure use multiple strategies to reveal known or hidden ‘truths’, sometimes weaving fictional elements into their stories. Many of them demonstrate that ‘truth value’ does not lie in mere representation but may emerge even more forceful through artistic abstraction, translation, filtering and interpretation and that nowadays the borderline between documentary and fiction, or reality and fantasy is often becoming hard to distinguish. The talk aims to illustrate that the notion of the ‘documentary real’ is continuously evolving and cannot now be pinned down to a single definition or delineated through specific boundaries. Indeed it aims to show that some of the most interesting documentary practices are those which I call documentary ‘with a twist’, i.e. films that interweave the political with the poetic, and navigate between different filmic categories to arrive at highly individualistic hybrid documentary forms where the notion of realism is in ...

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Blingee (Kazimir Malevich) (2010) - Jaakko Pallasvuo

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Originally via PAINTED,ETC.

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GLACIER (2010) - Mark Beasley

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You can submit new youtube videos by supplying the video id via a ?watch= querystring.

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rude dude (2007) - Justin Kemp

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Danny Tanner (2010) - Derek Larson

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Part III of Closed System Media, an ongoing series of videos addressing sculptural space in video and online media with the intention of closing the work in a culturally specific feedback-loop.

Originally via DIS Magazine

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