A kinetic sound sculpture for two electric guitars and one electric bass. Taking its name from the classic rock combination of guitar, bass and drums, this fairground-esque installation invites the audience to navigate the space around and between the instrument-machine band members and wander through their perpetually aleatoric song.
A hybrid of a remote controlled car & mechanical hand generates random music.
The car is controlled by an altered remote, which is triggered by 2 desk fans. When the fans are directed at the remote, contacts are blown together and the circuit is completed, sending the car up and down the keyboard in random directions.
The banlieue, ie. the French suburb, has always been at core of Bad Beuys Entertainment’s work. Originating from the Parisian outskirt Cergy-Pontoise, the collective has created a reputation for itself through their aesthetization and simultaneous critique of the banlieue as a symbolic system. The socially conscious element in their practice reflects the reference to artist Joseph Beuys in their name, whose work was closely allied with socioeconomic reform. Iconic images associated with the French suburbs, such as burning cars, council housing, and small-time gangsters reemerge as cardboard public housing (Babylone_by_us, 2003) or “self portraits” using stand-ins (Sauvageons (little savages), 2004). Bad Beuys Entertainment’s move to recover the popular representation of the banlieue in their work is apparent in the current show at the Palais de Tokyo in Paris.
This gallery-installation/internet-art hybrid automatically created sculptures using spam and e-mail to trigger the sculpting process. It consisted of a steel frame surrounding a large block of biodegradable (starch-based) Styrofoam. Attached to the frame is the Eroder: a mobile sprayer that squirted colored water on to the foam. Done in collaboration with Tony Muilenburg and commissioned by Rhizome.org.
An ongoing project by artists Michael Smith and Joshua White, Open House was commissioned by the New Museum, and presented in its lower level public gallery in 1999 when the institution still resided on Broadway. In this version, Open House was a large-scale installation of a Soho artist’s loft belonging to the fictional artist “Mike Smith,” who is created and played by the artist Michael Smith and who, viewers learned through a video-taped sales pitch playing in the entrance to the installation, has lived in the loft for over twenty years, and is now looking to sell it. According to the pitch, the new owner will inherit the loft and, in a gesture that lies somewhere in between personal erasure and a Buddhist-like surrendering of material possessions, the past twenty years of Mike Smith’s art, all made while he lived in Soho. This dual sale—of art and life—turns the Open House installation into both a marketing pitch and a memoir. It presents the artist’s two-decade trajectory in Soho: video-taped documentation of the rigorous building of the loft, which in itself resembles a durational performance art piece of the 1970s, his multi-faceted, multi-media art, his activism, and his personal evolution, all with a price-tag. Presented at a critical juncture in the fictional artist’s life, Mike’s story with Soho ends where Open House begins, with the desire to leave the neighborhood, or what it has become, for some place more affordable and less pretentious.
This interview with Michael Smith took place in anticipation of the launch of an online version of Open House—a project that was realized thanks to my colleague John Michael Boling, who worked with Smith to transfer the work from DVD to the web.
(Produced by CCCS, Florence. Courtesy the artist. Photo Credit: CCCS, Firenze; Valentina Muscedra
For one art, Gallaccio will fell and disassemble a tree and then reconstruct it with all the engineering required to support it visible. The tree, a weeping cherry killed when contractors erroneously cut its root system, will reach into SculptureCenter's fifty-foot-high clerestory, virtually filling the space with its branches. Viewers will enter the space under its branches and will only be able to apprehend the full tree when standing at the far end of the gallery fifty feet away.
The title of the work is borrowed from an Elizabeth Bishop poem whose subject is loss and the unlikely possibility that we might master it through artful practice. one art is a tree as assisted ready-made, building on the art historical tradition of landscape and grappling with our desire to believe in an untamed nature.
In one art, Gallaccio's aesthetic act is to move the tree from its normal outdoor environment to an urban industrial building adapted as an exhibition space. Yet the process of disassembling and rebuilding the tree transforms it - drawing attention to the extraordinary formal and structural properties of the tree.