In Street With A View, artists Robin Hewlett and Ben Kinsley take a fresh approach to the age-old practice of street theater. Working in tandem with the Google Street View team and the surrounding community of Sampsonia Way in Pittsburgh, Pennsylvania, they staged a number of playfully silly scenes, ranging from the laboratory of a mad scientist to a seventeenth century sword fight, which now appear in Google Street View. These acts introduce a vibrancy normally omitted from the utilitarian Google Street View feature, while also opening up the possibility of collaboration between artists and the company.
An exhibition at Philadelphia's Basekamp, entitled "What's Mine Is Yours" speculates loosely about the origin of the eponymous phrase, asking if it a Jewish proverb or a socialist ideal, while also working to answer the bigger question of why on earth artists would want to collaborate -- with each other or their audiences. While the art market encourages single authors, hierarchy, and conceptual or physical territorialism, in "What's Mine Is Yours" curator Sara Reisman has encouraged artists to share their feelings about.... sharing. The results are intriguingly as politically charged as they are mystical. Take, for example, Star Systems, a video work in which Bjorn Kjelltoft and Shana Moulton merged their identities. While Rey Akdogan's list of the pros and cons of collaborating could be read as a manifesto, tongue-in-cheek, or fair warning, the Mercury Twins' nebulous Cloud City invites the public to cluster like instant cloud formations. The show opens today and also includes radio-performance work by Kabir Carter and a real-time public networking project by vydavy sindikat. - Marisa Olson
Image: Bjorn Kjelltoft and Shana Moulton, Broken Meatballs with Infinity, 2007 (Video Still)
Debate over Ekow Eshun's Termination of the ICA Live and Media Arts Department Continues on CRUMB Mailing List
Check the CRUMB mailing list for an unfolding thread in respond to ICA Director's Ekow Eshun's explanatory comment for the closure of ICA's Live and Media Arts Department, stating that, "New media based arts practice continues to have its place within the arts sector. However it's my consideration that, in the main, the art form lacks the depth and cultural urgency to justify the ICA's continued and significant investment in a Live & Media Arts department." On the list, initial discussion surrounding Eshun's position on new media and live arts practice has launched a larger conversation about the placement of new media art in mainstream art institutions and the problematic encroachment of market and commercial interests within these spaces.
The Guardian reports that the live and media arts department of the ICA, which was known to show important works in the past but has slowed in recent years, will be closed. According to the ICA's director Ekow Eshun "it's my consideration that, in the main, the art form lacks depth and cultural urgency". Read the full article here.
Tino Sehgal, the artist known for scripting scenarios, performed by actors following a set of instructions, brings the arena of news media into the gallery with This is new. For this piece, museum guards quote headlines from the day's newspapers to visitors, encouraging response or feedback on the part of the visitor.
Cory Arcangel made a trailer (above) for his upcoming solo exhibition at Team Gallery in Manhattan, called "Adult Contemporary," as well as his performance "Continuous Partial Awareness" on November 14th at the New Museum as part of Rhizome's ongoing New Silent Series. For the exhibition, Arcangel will explore the limits of technology from the perspective of a "non-expert" -- instead of seeking out tactics which subvert the intended use of technology, the works in the show will use technology exactly as it was designed, albeit "poorly" and "in an uneducated manner." The performance will touch on the experience of "continuous partial awareness" which the artist describes as an "eroded degenerate modern version of multitasking" explaining, "...you know, like, when you have 3 IM windows open, 2 email inboxs dinging away, are txting 5 different people, and also have 5 tabs open on your browser, each with updated content."
Tonight, Creative Time will sponsor a ritual performed by artists AA Bronson and Peter Hobbs in an undisclosed location in New Orleans, beginning at dusk. Bronson and Hobbs' Invocation of the Queer Spirits will draw on New Orleans' unique cultural history as an enclave for marginalized populations as well as the mysterious, spiritual nature of the city. The hope is that this ceremony will conjure this energy and "christen" New Orleans as a site, once again, for creativity and cultural production. In an adjoining interview, Creative Time's President and Artistic Director Anne Pasternak speaks with AA Bronson about spirituality and healing in his practice, which spans almost 40 years.
DECAMPMENT from ADULT. on Vimeo
In 1998, artist-musicians Adam Lee Miller and Nicola Kuperus began to apply a blatant pop sensibility and dystopic social commentary to the techno music typical of their native Detroit under the monikers PLASMA Co. and Le Car, before settling most enduringly on ADULT. With songs like "Skinlike" and "Hand to Phone," they set the stage for the short-lived Electroclash movement earlier in this decade, and maintained a safe distance when it suddenly imploded. Most recently, the band has developed an interdisciplinary project titled Decampment which includes original video, editioned recordings and photography, as well as live performance. Last week at New York's Anthology Film Archives, the duo screened what was essentially a 40-minute music video for the latest release, a limited editioned trilogy of seven-inch vinyl singles with original artwork, on their record label Ersatz. Miller and Kuperus appeared alongside the projection, flanked by banks of synthesizers, to play their original electronic score. The video was a genre exercise in Horror, involving a squadron of Vanessa Beecroft femme-bots who engage in obtuse, seemingly Masonic rituals, only to sacrifice one of their own. As accompaniment, the band alternated shrill tones with throbbing basslines and crisp percussion. The final sequence was a frenzy of blood, fire, and black leather handbags with Kuperus chanting in her signature monotone, "We are the ones!" ADULT. perform with their film once again in Los Angeles on November 18 at the Silent Movie Theater. - Nick Hallett