On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson
Every weekend in the month of March, "In Real Life" took over Capricious Space in Brooklyn, NY with four-hour residencies by various art-related web sites. We felt the project stirred up some compelling ideas surrounding the presentation of online artistic activities within a gallery setting, and we attended as many residencies as we could. Finding a format to review everything that went on last month wasn’t easy. We eventually decided to crib the form of curator Laurel Ptak's statement, a conversation between herself and art historian Leigh Claire LaBerge over Skype, and exchanged our impressions of "IRL" over email.
Ceci: The first "IRL" residency I attended was the performance for Club Internet. Some have grumbled that this "performance" was boring -- just a bunch of people around laptops. But I stayed at the gallery for almost two hours, talking to Laurel about the use of (and resistance to) digital manipulation in commercial photography during the 1980s, the subject of her academic research that preceded her blog iheartphotogaph. I also had an interesting talk with Club Internet founder Harm van den Dorpel. I don't know if we really needed the gallery setting or even the production of Club Internet in the background to have that kind of dialogue.
November 7, 2008 at Artissima Volume @ Lingotto Fiere, Turin
With the economy undergoing a dramatic shift, and predictions for the art world ranging from bad to catastrophic, questions abound regarding the future of contemporary art production and exhibition. Over the next year, a new non-profit arts organization, X, intends to take stock of this extraordinary moment through a series of exhibitions and programming. X will open the first of four phases tomorrow in the Dia Art Foundation's building on West 22nd street, an enormous space which has remained empty for years. Mika Tajima's multimedia installation The Extras will take over the ground floor of the building, while an expansive survey of Derek Jarman's films will be on view on the 2nd, 3rd and 4th floors, and, on the roof, Christian Holstad will show Light Chamber (Part Two).
I've been a big fan of Mika Tajima's work, as well as her noise band New Humans, for years, and this week I had the opportunity to speak with her about The Extras as well as some of her other pieces. A visual artist and musician, her practice often navigates between installation, video, sculpture, performance, and sound. Her work attempts to illuminate the repressive echoes of modernism within the present through destruction and disassembly. In this sense, Tajima's work puts forth an interesting counterpoint to the financial crisis, by illuminating the increasingly rapid, and unsustainable, cycles of production and consumption. This interview is one of a number of upcoming interviews and articles dealing with the current economic situation. - Ceci Moss
Courtesy the artist, Elizabeth Dee, New York, and X Initiative
Explain the project at ...
Beginning this weekend, a world wide web of art bloggers, internet artists, online curators and critics will descend upon Capricious Space in Williamsburg for "In Real Life," an exhibition which will showcase some of artwebland's leading lights through revolving 4-hour residencies at the gallery. Laurel Ptak of iheartphotograph curated the show, which she hopes will "explore how the distribution, production, analysis, and consumption of culture are rapidly evolving in an online context. In particular the exhibition aims to render the labor of these online practices transparent, providing 'real life' access to these cultural producers, and overall inspiring public dialogue around their practices." Rhizome will be there "in real life" as well, and we will cover the diverse, funny, and odd performances/hang out sessions/tours proposed by the likes of Art Fag City, ASDF, Club Internet, Ffffound, The Highlights, Humble Arts Foundation, I Heart Photograph, Loshadka, Netmares/Netdreams, Platform For Pedagogy, Private Circulation, UbuWeb, VVORK, and Why + Wherefore in a post later this month. Next week, we will also publish a discussion between Rhizome's Curatorial Fellow Brian Droitcour and Netmares/Netdreams' Kari Altmann, in which she touches on their project for the show. Stay tuned.
Claudia Valdes refers to her work as "a rehearsal for the end of the world." The New Mexico-based artist employs photography, performance, video, interactive installations, and painting to address the subject of nuclear weapons. In her first solo exhibition, up now at Seattle's Lawrimore Project, she dials-in on the specific period of our nuclear history that followed 2001 (i.e. 9/11 and the ongoing war in Iraq), to trace the evolution of the bomb in the popular imagination and the rhetoric of holocaust and apocalypse in the present. Entitled "Ten Million Degrees," the exhibition includes many formal variations in different media, all of which initiate a tension between documentary, archive, and performance. By recreating nuclear test blasts in Turner-like watercolors and processing snapshots and video clips to channel radiation and frenzied vibrations, the artist stands between past and present in gauging the temperature of viewers' historical understanding. In fact, in her video installation, Revelation 2213 (2009), Valdes inserts viewers into public domain footage of nuclear tests through real-time chroma keying of gallery-goers' images. The artist performs her own escape fantasy in Minutes to Midnight, a ten-minute video that distends Super 8 footage of her public performances at New Mexico's Trinity Test Site. In the spirit of the science fiction genre her work recalls, Valdes traces the fears and dreams associated with technological evolution in the performance, which was repeated over a two-year period, thus sliding between historical event and historiography. These and other works are on view through March 14. Readers with a special interest in nuclear themes might also visit Joy Garnett's Bomb Project, which includes digitized historical records, images, and documentation of other artists' projects, including Michael Light's re-photographing project, 100 Suns ...
The Art of the Overhead is a small arts festival devoted to the overhead projector which will take place from May 15 to June 5th at Stapelbäddsparken, in a former Shipbuilding slipway featuring 3000m2 of largely underground areas in Malmö, Sweden. This year's theme is "OHpen Surface", which is elaborated by the festival's organizers Linda Hilfling and Kristoffer Gansing here:
With this call for contributions for The Art of the Overhead 2009 - we encourage artists and other media practitioners to depart from the Overhead projector as a standardized technology which has the potential for re-activation by way of its near outdated character. This entails reflection-as-projection, deploying the Overhead projector in the double sense of projection described by Siegfried Zielinski: as both casting out images representing the world and as a shaping movement, a production or rather a visionary projecting of reality as delimited by how we see it through the image. To work in one media, criticizing another, or reflecting across a whole domain of media culture through a particular and well-known technological institution is a kind of non-digitalisable cultural practice that The Art of the Overhead is all about, and through the OHPen Surface we call for works that engage in this dynamic.
They are currently seeking submissions in three categories: Transparencies, Installation, and Performance. Deadline for submissions is March 30, 2009. For more, visit the link below. </p.