Top 5 - 10

(2)

Usman Haque, Primal Source, 2009

Jo-Anne Green is Co-Director of New Radio and Performing Arts, Inc., a small, not-for-profit experimental arts organization whose current projects include Turbulence.org, Networked_Performance, Networked_Music_Review, Networked: a (networked_book) about (networked_art) and Upgrade! Boston. She is also an artist, writer, curator, and Adjunct Faculty at Emerson College.

Helen Thorington is Founder and Co-Director of New Radio and Performing Arts, Inc. She is a sound artist and radio producer whose works have been aired internationally and received numerous prestigious awards. Helen has also created compositions for film and dance, including the Bill T. Jones and Arnie Zane Dance Company. She has exhibited, performed, published and lectured world-wide.



► "Natural Fuse" by Haque Design + Research

► "Tantalum Memorial" by Graham Harwood, Richard Wright and Matsuko Yokokoji on Network Research

► "Video Vortex" Institute for Network Cultures

► V_2 Test_Lab: Intimate Interfaces

► fibreculture #14: Web 2.0: Before, during and after the event

► NomadicMilk: Nigeria 2009

► Public Sphere_s by Steve Dietz on Medien Kunst Netz

► "Primal Source" by Usman Haque on Interactive Architecture.org

► "Ergenekon.tc" by Burak Arikan

► Vague Terrain 15: microsound

MORE »


Image Effects

(3)

In Harun Farocki’s latest work, Immersion (2009), at London’s Raven Row in its current show ‘Harun Farocki. Against What? Against Whom?’, a US soldier from the Iraq war, coaxed on by a therapist and aided by virtual simulation, relives the experience of a reconnaissance mission in which a mistake he committed led to his partner’s death. The film, as does much of Farocki’s astoundingly relevant and astute catalogue of film and media installation work, investigates overlaps between military and industrial production - here, the use of technology pioneered in the video game/entertainment industry to treat post-traumatic stress disorder - and, most importantly, the role of the image in this negotiation.

Farocki has been making films since the late 1960s and can be labelled a critical film-essayist - a broad category drawn to include other European filmmakers such as Straub-Huillet, Chris Marker, Alexander Kluge and Jean-Luc Godard, and, latterly, younger filmmakers such as Hito Steyerl, who were or are invested in film as a mode of political and economic critique, and whose films operate mainly through the montage of footage of different provenance and the collision of word and image. Farocki is perhaps unique among these peers for his insistent focus on the image in its historical and real-world relevance - that is, in aesthetic but also ethical terms - and as a changing site of technology. The intensity of his interest and the breadth of conclusions he draws became all the more clear throughout the course of London’s two concurrent retrospectives devoted to his work this past November. While Raven Row’s program, organised by the foundation’s director, Alex Sainsbury, focused on the multi-screen and installation work that Farocki began making in the mid-1990s, when he began showing in an art world context, Tate Modern hosted a program of his films from 1968 to 2009, curated by Stuart Comer, Antje Ehmann and the Otolith Group, which took an explicitly retrospective stance towards his work. (The majority of the films from this program are available on DVD at Raven Row.)

READ ON »


Push / Pull (my luck is your misfortune) (2006) - Pascual Sisto

(0)

puhpull2.gif

puhpull.gif

MORE »


The Space-Time Tunnel (2006) - Wang Du

(0)

WD_3374.jpg


Chinese artist Wang Du’s first UK solo exhibition will introduce The Space-Time Tunnel, a large-scale sculptural installation which submerges the visitor into a giddying media flow. Exhibition visitors are invited to journey through a mass of newspapers and magazines combined with more than 66 TV-screens, incessantly broadcasting programmes from global television networks.

-- FROM THE DESCRIPTION FOR EXHIBITION OF "THE SPACE-TIME TUNNEL" AT BALTIC

MORE »


Death Row (2006) - Ivan Navarro

(1)

ch2.jpg

ch3.jpg
Ivan Navarro, Death Row, 2006 (Source: Designboom)

Death Row (2006), consists of thirteen aluminum doors containing neon light, arranged in such a way that each door creates an optical illusion, giving the effect of multiple corridors through the wall.

-- DESCRIPTION FOR THE CHILEAN PAVILION AT THE 53RD VENICE BIENNALE SITE

MORE »


Multiverse (2008) - Leo Villareal

(0)

MORE »


Interview with Christiane Paul

(0)

The Third Quadrilateral Biennial opened last week at the MMSU in Rijeka, Croatia, and it will remain on view until January 13, 2010. The Biennial emerged out of a cultural partnership between four participating countries - Croatia, Slovenia, Hungary and Italy. Artists from these countries are selected for exhibition in the Biennial. The focus for this year is new media art, and the organizers fittingly selected acclaimed new media art scholar and curator Christiane Paul as the Artistic Director for the Biennial. Paul took a moment to answer a few questions about the exhibition over email.

READ ON »


microfônico vidros (2009) - Chelpa Ferro

(0)

MORE »


Report From Cyberfest 2009

(1)

The stage at St. Petersburg's Sergey Kuryokhin Modern Art Center was set for a blast of live electronic music, with seating for ten performers, each station equipped with samplers, laptops, and electric guitars. As the audience arrived the musicians tinkered with the controls; one stood near a huge glass jug, adjusting wires submerged in its murky liquid. But when the appointed time for the concert's start arrived, the performers retreated to the wings, and recorded music came up and continued for the next twenty minutes. It seemed almost like a wry comment on the detachment of the physical presence of the performer from the source of sound in electronic music. But in fact it was an unannounced presentation of past issues of Tellus, the 1980s journal of experimental sound produced by Harvestworks, selected by director Carol Parkinson. As it faded, the musicians took their places, at last, to perform Third Eye Orchestra, a piece written and conducted by Hans Tammen. It was a controlled improvisation, where Tammen lifted numbered cards indicating which of the score's instructions should be read at that moment. The musicians, all local recruits, visibly relished both the spontaneity and the monstrously loud sound that only an ensemble of many amplified electronic instruments can produce.

The Harvestworks evening was part of the program of the third edition of Cyberfest, an annual festival conceived and organized by Anna Frants, a New York-based artist and gallerist, Marina Koldobskaya, director of the St. Petersburg branch of Russia's National Center for Contemporary Art.

READ ON »


ФОМУШКА (2009) - Micol Assaёl

(0)

assael_04.jpg

assael_03.jpg
Images of ФОМУШКА courtesy of SECESSION

Based on a passionate fascination with scientific theories and physical principles such as electrostatics, gravitation and wind power, Micol Assaёl amplifies natural or physical phenomena in many of her installations. Her minimal arrangements play with the spectrum of sensory perceptions and allow unusual experiences, that in some cases involve unpleasant and disconcerting aspects.

The industrial fans confront visitors in a cyclical rhythm with a powerful current of air and motor noise, while the centrally positioned work ФОМУШКА charges nearby human bodies with static electricity. The form and function of the machine, developed by Assaёl in close cooperation with Moscow's Elektroenergeticevsky Institute, go back to a Russian test facility for simulating lightning discharges. One of the tangible effects of ФОМУШКА is that it literally causes your hair to stand on end and that you get small electric shocks when you touch other people or objects.

Her installation provokes the psychological tension of an unspecified threat, created by the interplay of invisible elementary forces and effects acting directly on the body. In this way Assaёl refers to the potential horrors of technologies; at the same time she forges an aesthetic link to industrial apparatuses and the mysterious power of immaterial energy.

-- FROM THE DESCRIPTION FOR MICOL ASSAEL'S ФОМУШКА AT SECESSION

MORE »