Sibling Topics (section a) (2009) and K-CoreaINC.K (section a) (2009) - Ryan Trecartin


Sibling Topics (section a) from Ryan Trecartin on Vimeo.

K-CoreaINC.K (section a) from Ryan Trecartin on Vimeo.

Videos by Ryan Trecartin, recently featured in The Generational: Younger Than Jesus.


Basic Structures



Image: Michael Joaquin Grey, Perpetual ZOOZ (Madonna and Child), 2005-2009 (Stills)

In the twenty years that Michael Joaquin Grey has been exhibiting, critics have often employed phrases like “back to basics” and “building blocks” to describe his interest in the conventions dictating the representation of concepts that form the foundation of human knowledge. An exhibition of Grey’s new and old work currently on view at P.S.1 includes a drawing that distills his approach: an outline of an infant playing with two red blocks is the image of a nascent mind grappling with the concept of one plus one. A larger drawing on an adjacent wall reuses the red squares to demonstrate the meaning of prepositions—above, under, behind, etc.—like a diagram in a grammar textbook. Object as preposition (1988-2007), also uses orange circles, a colored form that appears several times in the gallery. The fruit suggested by an orange round is a favorite symbol for Grey (his web site is Perhaps it’s because the tautology of the object’s name and the color that describes it produces a conundrum: a schematic picture of an orange is both an abstraction and a concrete representation. The repetition of the orange (or just orange, with no definite article) forces viewers to struggle with the same problem that Grey does: even at the most fundamental level, our descriptions of the world are frustratingly paradoxical and slippery.

Lean, instructional-pamphlet drawings dominate the first of the show’s two galleries; Perpetual ZOOZ (Madonna and Child) (2005-2009), a video projected in the second, darkened room, looks Baroque by comparison. In Grey’s “computational cinema,” The Wizard of Oz plays on both sides of a square that spins against a yellow field. The characters and scenery of the family classic ...


Homes (2009) - Nicolas Sassoon




Multiple Views


Artist Dan Graham (born 1942) has embraced a wide range of media and genres including film, video, performance, installation, architecture (he collaborated with Jeff Wall in 1989 to build Children’s Pavilion), women’s magazines (Figurative—made in 1965 and reproduced in Harper’s Bazaar in 1968), and rock music (where he has collaborated with musicians such as Glenn Branca and Sonic Youth). Graham is well known for his documentary Rock My Religion (1982-84), a fifty-two minute video that explores the religious and spiritual tendencies underlying the American obsession with rock music. In the exhibition catalog for Don’t Trust Anyone Over Thirty, Diedrich Diederichsen claims that this video is “one of the most important texts on the theory of rock music.” Rock My Religion, as well as many other of these interdisciplinary projects are included in Graham’s current solo show, Dan Graham: Beyond, at the Whitney Museum of American Art in New York City.


Interview with Erik Adigard


Erik Adigard is a communication designer whose work stretches into domains as broad as identity systems, web sites, videos, visual essays, and book design, as well as documentary films and installations in art museums and exhibitions. With distillations of trends and ideas into visually arresting spreads and iconography, Adigard and his M.A.D. company partner Patricia McShane's work was a key element establishing Wired magazine's visual storytelling from its start in 1993. This last decade has seen Adigard nearly as involved in installations and art venues as he is with his admittedly broad design practice.

Adigard’s most recent public work was AirXY, for the 2008 Architecture Biennale in Venice, created with M.A.D. and Chris Salter. A multimedia installation with interactive animation, sensors, haze, light, and sound, AirXY explored space, architecture, media, and the human presence, extended by sensors and transformed by interfaces and networks. Its manifesto described the “de facto landscape of screens” and disembodied living and called for “re-materialization” that would unite “data and bodies.” It followed Dualterm, in which Adigard and Salter used a Toronto Airport Terminal as a mixed point of departure into a SecondLife 3D world, along with other, less virtual destinations.

Friends and sometime collaborators, we sat down in a San Francisco Mexican restaurant--in the midst of a blaring and lengthy Michael Jackson tribute--to talk about how his approach changes when working in the different modes of art and design. -John Alderman


Take Care of Yourself (2007) - Sophie Calle


In this “tour de force of feminine responses…executed in a wild range of media,” Sophie Calle orchestrates a virtual chorus of women’s interpretations and assessments of a breakup letter she received in an email. In photographic portraits, textual analysis, and filmed performances, the show presents a seemingly exhaustive compendium with contributions ranging from a clairvoyant’s response to a scientific study, a children’s fairytale to a Talmudic exegesis, among many others. Examining the conditions and possibilities of human emotions, Take Care of Yourself opens up ideas about love and heartache, gender and intimacy, labor and identity. 107 women (including a parrot) from the realms of anthropology, criminology, philosophy, psychiatry, theater, opera, soap opera and beyond each take on this letter, reading and re-reading it, performing it, transforming it, and pursuing the emotions it contains and elicits.


For an interview with Sophie Calle, where she discusses the exhibition of Take Care of Yourself at the French Pavilion in the 2007 Venice Biennale, go here.


Sixteen Candles (2007) - Aaron Miller and Nick Bruscia


Sixteen Candles is an experiment in physical computing. As a candle is burning, it is being captured and processed live by a computer. The computer copies the live image onto a 4x4 grid and projects it onto 16 mirrors. The mirrors, rapidly tilted up and down by custom solenoid apparatuses, throw the images of the candle across the room.



Dispatches from No Soul For Sale


No Soul For Sale closed yesterday, ending a mad week of performances, exhibitions, lectures, and more. See below for the last of our mini-reports from the festival.

Light Industry
Light Industry put together a packed program this past week, and I would expect no less from this smart and savvy Brooklyn-based cinematheque.

Image: Daily program listing in the Light Industry space

Image: "A Combination of Works" by Oliver Laric and Wojciech Kosma


Images: People playing Mark Essen's new game "The Thrill of Combat" during opening night and a screenshot of "The Thrill of Combat"

Latitudes, a curatorial office in Barcelona run by Max Andrews and Mariana Cánepa, reconstructed the interior of a Burger King restaurant in their space. The plastic booths ended up as an impromptu rest area for visitors, who could sit and chat or read through the publications and posters documenting Latitudes previous projects.



Images: Shots of the faux Burger King built by Latitudes

K48 is a fun and chaotic local fanzine that has showcased many emerging artists and musicians over the past few years. For their project, they built the below inflatable room out of stitched together trash bags. Once inside, there was a sound installation and strobe light.


Images: Outside and Inside shot of K48's inflatable room

Participant, Inc.
Lower East Side non-profit arts space Participant, Inc. showed two films by Luther Price on television monitors in their space.

Image: Film by Luther Price

Filipa Oliveira + Miguel Amado
This Lisbon-based curatorial team put together the group exhibition, "If you don't know what the South is it's simply because you are from the North", named after the piece below by Runo Lagomarsino. The show proposed to "respond, comment, and speculate on globalization, displacement and identity on the current international art scene ...


On Tour


Image: Sign for Mama internet center

This month I’m traveling through southeastern Europe from Venice to Athens, where I’m looking at art and blogging. Part two of the travelogue is about Zagreb, Croatia. Part one is here.

Zagreb’s center has more street names than streets; the names change every few blocks so meters can be allotted to every worthy Croatian hero. And many names differ from the ones streets bore twenty years ago, since a different history needed to be inscribed in Zagreb’s map after Yugoslavia dissolved and Croatia became independent. “The Renaming Machine,” an exhibition currently on view at Zagreb’s Galerija Miroslav Kraljevic, addresses the obsession with names. Sanja Ivekovic’s contribution is inspired by Zagreb’s Street of the Unknown Heroine—a name that is both unsettling and appropriate when virtually all other streets are named for men—which takes the form of a poster with maps, e-mails, and other supporting documents describing the artist’s attempt to give the same name to a street in Utrecht during her retrospective at Van Abbemuseum.

Image: Installation at Touch Me festival in Zagreb, December 2008

Just as street names reflect political values, so do the uses of buildings on them. After arriving in Zagreb and settling in the Angelina Jolie room at The Movie Hotel, I met with Tomislav Medak, director of Mama, an organization that was founded in 1999 as a center for internet activists and artists, but in recent years has shifted its attention to urban development, specifically the use of former industrial sites that abound in Zagreb (as they do in many other large, formerly socialist cities). Mama lobbies the municipal government to reserve abandoned factories for public use—whether cultural activities or low-cost housing—rather than handing them to private investors ...


Ancient Pixels (2009) - Jose A. Olivares


Ancient Pixels ITP Spring Show 2009 from Jose Olivares on Vimeo.

Ancient Pixels is my current work in progress where lo-resolution video game graphics, Andean textile art and psychedelic poster art are merged produce the visual aesthetic and the grammar blocks (via Andean symbol interpretation) of a multi-channel interactive video installation depicting scenes of an imaginary Inca temple. The installation is made up of several components such as "animated rugs", immersive video walls and sculptural pieces.