Videos by Ryan Trecartin, recently featured in The Generational: Younger Than Jesus.
SUPERFLEX's artwork for One Day Sculpture involves the employees of Auckland's Karangahape Road branch of the ANZ bank. For a single day, Wednesday 27 May 2009, 09.00 - 16.30 all employees of the bank cannot say or use the word 'DOLLARS.' The staff must use other words of their own choice to explain themselves to customers and co-workers. If they break this pact they must pay a fine of $1 into a staff social fund.
"Beam Me Up" is the ultimate call for oblivion.
From Star Trek's transporter room to the tractor beams of our most fervent UFO nightmares, the very notion of "beaming"—of dematerializing only to reappear somewhere else, somewhere potentially unknown—represents a complete relinquishment of control, as well as a pure acknowledgment of the subjective, relativistic nature of human reality. After all, if you can spontaneously "beam out" of danger, or "beam in" to the frightful recesses of an alien craft, what is there to be said about the here and now? Or the me? To beam is to temporarily cease to exist in space and time, to blink into suspension, and, invariably, to invert the accepted order.
Besides being its namesake, "Beam Me Up" is a very apt starting point for Xcult.org's ongoing global exhibition about space, recently curated by Sarah Cook of CRUMB, the Curatorial Resource for Upstart Media Bliss. "Beam Me Up" takes place online, an alternative space which, perhaps incidentally, is probably the international human headquarters for the entire "beam me up" sentiment—that fervent, and often delusional, reach toward dreams of conspiracy, government mind control, and alien visitation ("I want to believe!").
Art Fag City started their artist essay series, IMG MGMT, again this week with "Zappos Selbstdarstellung" by Joel Holmberg. In this essay, Holmberg considers the corporate culture of the online shoe company Zappos, which encourages the individual expression of its employees through social media outlets, content it then uses to build their overall brand. Holmberg makes the observation that this communal bonding through self-expression is similar to the Selbstdarstellung performances acted out by members of Otto Muehl’s Action Analysis Commune. Here, members were to "reveal one's freest self" through "spontaneous acts of self-representation." What results is "joy-bordering-on-desperation," as members were pushed to test their own boundaries by the larger group. The Zappos example illustrates the contemporary corporate adaptation of psychological practices used in various social experiments from the 1960s and 1970s, a subject elaborated in greater detail by filmmaker Adam Curtis in The Century of the Self.
Artists Eileen Simpson and Ben White, founders of the Open Music Archive, will present Ghost Trace Stellar at the Star and Shadow Cinema tonight in Newcastle-upon-Tyne, UK. Performed at a volunteer built and run cinema and open space, the event is a reanimation and expansion of the concept of Free/Libre and Open Source software models to musical proprietary, authorship and distribution.
The event is formulated around an open invitation to artists, musicians, producers and DJs to perform covers or reinterpretations of the 1920s and 30s out-of-copyright folk, blues, and jazz collated from the Open Music Archive. UK terms of copyright for literary, dramatic, musical or artistic work are set at the life of the author plus 70 years, and at 50 years from the date of recording for sound recordings. Artists have been invited to develop new works from tracks such as 'One Dime Blues' by Blind Lemon Jefferson and 'Ragtime Annie' by Charlie Poole and The North Caroline Ramblers Group. These performances will be recorded and licensed under Creative Commons Share-Alike, to generate a new resource for future use.
The Open Music Archive is an initiative to source and distribute copyright-expired music recordings, it is intended as a platform for the exchange and distribution of media-bound recordings and as a site for the creation of new collaborations. Ghost Trace Stellar is a collaboration with Polytechnic as part of their ongoing media ecologies programme.
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.
The international live media festival Netmage, hosted in Bologna, Italy each year, is seeking participants for their live media floor. Netmage seeks projects that employ electronic, electroacoustic, analogue and cinematic means to produce visuals and sound. These projects will be performed in a single event space, on single or multiple screens, for a duration of about 20 minutes each. To read the call or to apply, visit the Netmage 10 site.