In 1931, Sergei Eisenstein described montage as "an idea that arises from the collision of independent shots" wherein "each sequential element is perceived not next to the other, but on top of the other." This layering of images allows them to combine, producing a third meaning that was not present before their combination. "Ouroboros" - a video exhibition currently on display at the ISE Cultural Foundation - takes the aesthetics of early montage and hits fast-forward in 3D. By modifying a version of chromadepth into a process they call COLORSPACE, art collective SWEATSHOPPE achieves a layered 3D effect in which red, green, and blue (RGB) are each visible at a different depth from the surface on which they are projected. The effect is a complex sequence of images projected simultaneously and layered on top of one another to create an almost literal manifestation of Eisenstein's montage aesthetic.
The sequence combines over 30,000 images selected by artist Ali Hossani, and is meant to tell the story of cosmic evolution, "from the Big Bang to Lady Gaga." The images read more like the infamous montage sequence in A Parallax View (1974) than a statement on the rejoinder of art and science where "knowledge, desire, and energy meets the limits of human freedom," as the artist's statement suggests. Still, the effect is mesmerizing, and showcases one of several new possibilities for 3D technologies in the creation of a new digital aesthetic.
In this short clip, Vernissage TV covers a new exhibition curated by Raffael Dörig, "Surfing Club," now on view at plug.in in Basel, Switzerland. The show features work by the artists involved in the surfing clubs Nasty Nets, Spirit Surfers, Loshadka, Club Internet and VVORK -- many of them regulars right here on the Rhizome blog. Check it out!
Live video installation constructed out of altered found objects, lazer prints from ebay and blogs, mirrors, wood, and foamcore. This piece includes a video camera that broadcasts live images to a monitor at its base. A viewer observing the sculpture is captured by the video camera, and then is able to see an altered version of themselves (via a video mixer) on the monitor.
Eilis McDonald's Rapture Heap is a multi-phased project that centres around the occupation of one of Dublin's many empty retail spaces. The first installment of the project saw McDonald curate an exhibition that highlighted the artists that influence her and brought to Ireland some of today's most prominent internet based artists (http://www.raptureheap.com/v1). "Back to Reality" is the second installment of the series. Here McDonald delivers a body of work that is a result of her 6 month residency in the retail space. Commissioned under the Per Cent for Art Scheme for Dublin City Council’s Liberty Corner, the residency period afforded the artist time and space to explore the wealth of diverse activity in the surrounding area - from the various cultural institutions, such as the LAB and DanceHouse, to the Buddhist Centre, €2 shops, financial institutions, beauty salons and 24-hour internet cafés. With this particular urban spectrum serving as her backdrop, McDonald searches for the sublime and ethereal by seeking out the spiritual and subliminal. McDonald recontextualises the discarded artefacts of the local domesticity found in charity shops and fuses them with video assemblages that include a transient public contacted through advertising and classifieds in the CityAds Weekly newspaper. "Back to Reality"; the research phase of the Rapture Heap project brings together a number of varied strands of interests and motivations. The projects future online presence provides access to a broad national and international public and an opportunity to relate to a wider demographic, while the installation provides a visceral, immersive physical environment. "Back to Reality" presents a story-thus-far in preparation for the 3rd installment of the Rapture Heap Project.
An Immaterial Survey of Our Peers is a group show currently on display at the School of the Art Institute of Chicago. Curated by Web collective JOGGING, the exhibit brings together the work of a group of artists whose art is primarily displayed and distributed via the Web. Given the immaterial quality of much of the work, the show does not physically take place within the gallery space itself. Instead, the artwork has been collected and arranged over photos of the empty gallery space using digital compositing techniques. These photos are then displayed as documentation of the exhibit on the show website, and projected onto the walls of the gallery space for the show's duration. Artists on display include AIDS-3D, Kari Altmann, Jon Rafman, Travess Smalley, Ben Schumacher, and Hermonie Only, among many others. The show is currently on display both online and at the Sullivan Galleries at the School of the Art Institute of Chicago.
Revolving Realities (2010) - Carsten Goertz, Martin Hesselmeier, Andreas Muxel and Marcus Schmickler.
Revolving Realities is an autoreactive installation, one that plays with our sense of reality by continually causing us to perceive and experience a place and an object in new ways. Its surfaces projected with different images, textures and animations, the object becomes a mirror of changing realities. As a result, a kind of real virtuality arises to confront virtual reality.