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"Due to the fact that i didn't have to write a proposal and to enumerate advanced technologies i would be using to make this piece I was completely free to make what i think is meaningful and beautiful. The pressure to be up to date with technology appears insane to me. It doesn't bring any more beauty or pleasure. Instead it creates things that are hard to understand and impossible to handle. So nobody can actually experience them beyond reading the artist's concept."
-Excerpt from must read interview about GRAVITY.
The current exhibition at Seoul's Total Museum of Contemporary Art is a challenging one, not so much because the art is complex (though it's certainly dynamic) but because curator Byeong Sam Jeon's explicit goal is to change people's minds. "thisAbility vs. Disability" is a group show of ten projects by Korean and international artists that explore questions of human functioning and capability by addressing the senses. The show is motivated by a desire to "invite a reappraisal of disability" and assert that what many often call "'disability' is but a difference, not a defect." Invited artists Mika Fukumori; Haru Ji & Graham Wakefield; Jae Min Lee; Mian Sheng Lim (Leon); Haemin Kim; Kichul Kim; Pauline Oliveros, Leaf Miller, Zevin Polzin, & Zane Van Dusen; David Parker; Jin Wan Park & Jae Joong Lee; David Parker and Dmitry Strakovsky have created interactive works that reprogram the typical experience of an artwork, with hands seeing paintings, Braille emitting sound, one's touch generating light, and a harmonic bell that musically interprets the listener's heartbeat. Many Korean artists have been early adopters of new media and have actively pursued a relationship to science and technology in their work, but Jeon worries that many of the major exhibitions devoted to this work "have focused only on aesthetic aspects, or the novelty of the genre itself," rather than addressing bigger social and political issues. His hope, with this exhibition, is that "These artworks can spark revelations that break social prejudice and affirm difference." - Marisa Olson
Image: Haemin Kim, dot . a scene = sin? at the sea _ tactuaL [si:gak] series #2, 2008
Australian artist Lynette Wallworth is bringing a high tech touch to this year's Mostly Mozart festival at New York's venerable Lincoln Center. At first glance, the pairing of a new media installation artist with a celebration of an old dead white guy's music may seem formulaically nouveau, but Wallworth's interactive works bring a nice visual meditation on this year's festival theme: mortality and transcendence. If anyone could speak from the grave about this topic, it's Mozart, the legend of whose death surrounds the mythologizing of his oeuvre and who has been the subject of remixes (or variations, as the ancients call them) by a number of significant classical composers. Wallworth's video installations Hold Vessel 1 and 2 and Invisible by Night create a truly immersive space, one which relies on the viewer to proactively enter and activate these areas. In Hold Vessel 1 and 2, viewers carry a bowl-shaped screen into the room, to capture "projected images of microscopic marine life and telescopic astronomical imagery." The physical analogy here seems equal parts panning for gold and holding the whole world in your hands, with the artist's expressed intention being that of revealing "the hidden intricacies of human immersion in the wide, complex world." Invisible by Night uniquely engages the context of the Lincoln Center complex, which is not only a family of concert halls but also a shopping center, luxury apartment building, and corporate headquarters. Wallworth encourages visitors to slow down, ponder the emotional history of the site, and practice empathy in engaging with video footage of a grieving woman whose gestures will mirror those of viewers who elect to touch the projection surface. The piece is meant to speak to "the transient nature of compassion," and the interactive installation format's ...
Brand new work by artist Rafael Rozendaal. Be sure to also check out Rozendaal's JELLOTIME.COM, which was a Rhizome Commission in 2008.
Cover yourself in post-it notes and become a digital puppet. Sit under the soothing sounds of wii wind chimes. Watch yourself travel back in time on video. Interact with a hotter, fitter 3D version of yourself. These are the prompts offered by the artists in "Double Take," an exhibition opening this weekend at Eyebeam with a promise to "challenge viewers to reconsider what we take for granted as reality in our technologically-mediated lives." A total of nine projects will be presented in the show which results from the Interactivos workshop organized by Madrid-based Medialab-Prado and hosted in New York by Eyebeam. All of the works were created collaboratively by an international group of artists, hackers, and tinkerers brought together under the premise of exploring "the blurry line between the real and the fake." But the interactive prototypes need your participation to bring them alive, so check out these "technologically-enabled illusions" between July 12-August 9. - Marisa Olson
Image: Tine Papendick, Digital Puppetry
We are pleased to announce the international group of artists who will receive grants through the Rhizome Commissions Program, this year.
Their projects will culminate in a variety of forms, from performance, to sound, to interactive websites and installation, to works that manifest across multiple disciplines. Each one pushes forward the field of contemporary art engaged with technology. All works will be completed by Summer 2009 or earlier, with information available on Rhizome.
The next call for commissions will take place in January 2009. Commissioned artists receive a grant and are invited to present their work at Rhizome's affiliate, the New Museum of Contemporary Art.
Marfa Webring, Jona Bechtolt, Claire Evans, Aaron "Flint" Jamison
In Marfa Webring, the artists Claire Evans, Jona Bechtolt and Aaron "Flint" Jamison will attempt to alter the Google search results for the town of Marfa, TX by creating a Webring and, then, (with the cooperation of the town's permanent residents) investigating the results of this action on the daily life of the town.
Case, Brody Condon
Brody Condon will re-create William Gibson's cyberpunk classic Neuromancer at a red barn theatre in rural Missouri with a local, former political activist in the role of the protagonist.
Untitled (Plate Tectonics), Andy Graydon
Andy Graydon explores sound as a building material. The project begins with field recordings taken at New York City arts institutions and manifests as phonograph records and a website where visitors are encouraged to add their own ambient recordings of installation and performance spaces.
Versionhood, Kristin Lucas
The artist Kristin Lucas recently changed her legal name from Kristin Sue Lucas to Kristin Sue Lucas and, thus, in her words, created "the most current version of Kristin Sue Lucas." In Versionhood, Lucas will consult ...
A number of artists have started using textiles and needlework to explore the relationship between computer culture and craft. Here on Rhizome, we've recently covered Ben Fino-Radin, Sabrina Gschwandtner, Cat Mazza, and Cody Trepte, among others employing "traditional media" in the service of a technological critique. Not to be left out of this group is Christy Matson, a Chicago-based artist who takes this investigation to even more self-reflexive heights. Matson's work may not look high tech, but it responds directly to media culture and is often made using a Jacquard Loom, a mechanical device that is important in the proto-history of computing. Many of the artist's projects involve building feedback loops between the sonic experiences of making and viewing her work. Recordings of the weaving process are algorithmically translated into binary yes/no, on/off, or true/false patterns and translated into images in the form of thread color choice, needle behavior, and other factors. The artist includes copper wires in these weavings to act as amplifiers or antennae for further sonic transmissions. See, for example, Movements, in which the viewer's hand is meant to rove as a sort of playhead on what is posited as a 4-channel audio installation. The same questions are raised in her work, Digital Synesthesia, which looks at similarities in the abilities (one might even say tendencies) of both the human brain and the computer to conflate sound and image. To her credit as a dedicated artist, these are issues Matson works to flesh out again and again, even exploiting the repetition of the line-by-line weaving process as an ironic take on the re-spinning of these narratives. When she explored synaesthesia in Soundw(e)ave (a piece whose title conveys her obvious love of word play), she wrote that "This transmutability ...
In Mexican-Canadian artist Rafael Lozano-Hemmer's practice, technologies all but synonymous with top-down monitoring and control (surveillance cameras, tracking systems, pattern-recognition software) transform into the base-units of interactive installations. "RECORDERS," the artist's current solo exhibition at The Edith Russ Site for Media Art, in Germany, emphasizes the individual and collective aspects of spectatorship, building an art-going public, in part, through archives of the visual and physical traces of past viewers. Close-up, for example, comprises a monitor divided into 800 small videos, which together respond to the physical presence of a spectator by mimicking the form of his or her shadow. These small videos are but fragments of a constantly updating reserve of 10,000 recordings, all of spectators who have previously viewed the work. For Pulse Room, Lozano-Hemmer has wired an array of 100 suspended lightbulbs to a metal handle. When a visitor grasps the handle, his or her pulse causes the first bulb in the array to flicker in unison; the introduction of another visitor's pulse causes the first flicker to move to the next bulb, and so on. Eventually, all of the lightbulbs hold a record of a given visitor - a fact all the more poetic considering that Lozano-Hemmer's inspiration came from listening to the heartbeats of his twins during his wife's pregnancy. Pulse Room is but one of many variations of this project: Pulse Front graced Toronto's Harbourfront last June, and Madison Square Park, in New York City, will host Pulse Park this coming fall. As with the best of Lozano-Hemmer's work, this evocative and technologically sophisticated installation finds its unique footing at the intersection of art, location and community. - Tyler Coburn
Image: Rafael Lozano-Hemmer, Close-up, 2006
The connections between science and technology are always evolving, and their vocabularies continue to merge as networks further permeate our lives. Much has been written about the coincident emergence of the AIDS virus and computer viruses (and the resultant panic surrounding both) and we've subsequently seen communicative transmissions signify the transmission of communicative diseases as much as any form of broadcast. In the 1990s, a group of scientists, technologists, and humanists interested in collaborating and learning from each others' research formed the Spanish group Art-Science-Technology-Society (which they abbreviate ACTS). Among other activities, these scholars organize an annual exhibition entitled "Banquete_Nodos y Redes" and this year's installation will be at the LABoral Centre for Art and Creative Industries from June 6th-November 3rd. The show includes "thirty digital and interactive art projects which posit a series of critical reflections and participative experiences while also exploring the new shared matrix of the net." The primary interest, here, is in using Santiago Ramón y Cajal's research on neuronal networks to cross-examine Manuel Castells's research on social and telecommunicational networks--and vice-versa. A very diverse range of projects by mostly Spanish artists is suggested as outlining "a path through these neuronal micro-worlds and the global dynamics of contemporary societies." - Marisa Olson