Natalie Saltiel
Since 2006

Rhizome Curatorial Fellow

Kickstarter Projects We ❤

In conjunction with Rhizome's brand new curated page on Kickstarter, we are featuring select projects from the site on the blog. If you would like to let us know about your fund raising efforts on Kickstarter, shoot us an email at editor(at)

►Bent Festival 2011

Now in it's 8th year, Bent Festival 2011 will be held at 319 Scholes in Brooklyn, June 23rd – 25th.  Bent is an annual electronic art and music festival celebrating circuit bending and its related creative practices: DIY electronics, hardware hacking, glitch, software art, abstract video.  Each year artists are welcomed from across the country and around the globe to share their craft through performances, workshops, video screenings, art exhibitions, and installations. The festival, as a whole, showcases the state of the art in DIY electronics and circuit bending culture, with an emphasis on participation, education and exploration.

► endarchive

endarchive is an open archive of urban experience built from the street. Using unique QR code tags collaborators can make their personal experiences of the city accessible in physical space.

After placing a QR sticker on an object or location, the tag is scanned using a QR scanner on a mobile device like an iPhone or Android and an entry is created consisting of text and an image. Anyone on the street can then view the archive entry by scanning the tag or entering the unique URL. is an online repository of user entries in New York City. We are trying to raise money ($800) to fund the printing of our QR stickers. 

►DesignBlocks: Visual Programming for Artists

DesignBlocks is an open-source, web-based visual programming language that makes it easy to control lines, shapes, colors and images to create generative and interactive artworks. It uses the same visual grammar as ...


From the Rhizome Archives: Hacking the Art OS--Interview with Cornelia Sollfrank

In this series of posts, we will be reblogging content from Rhizome's Archives, available here. This interview with Cornelia Sollfrank, conducted by Florian Cramer, comes from Rhizome's former publication, the Rhizome Digest. It was published on March 31, 2002. You can peruse old editions of the Rhizome Digest here.

Big thanks to Rhizome's curatorial fellow Natalie Saltiel for help with this post.

Date: 3.15.2002 From: Florian Cramer (cantsin AT Subject: Hacking the Art OS--Interview with Cornelia Sollfrank Keywords: net art, hacking, gender, design

[This is the English translation of the original-length German interview. Copyleft and publication data is given at the end. -FC]

Hacking the art operating system

Cornelia Sollfrank interviewed by Florian Cramer, December 28th, 2001, during the annual congress of the Chaos Computer Club (German Hacker's Club) in Berlin.

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I have questions on various thematic complexes which in your work seem to be continually referring to each other: hacking and art, computer generated, or more specifically, generative art, cyberfeminism, or the questions that your new work entitled 'Improvised Tele-vision' throw up. And of course the thematic complex plagiarism and appropriation - as well as what can be seen as an appendix to that, art and code, code art and code aesthetics.

Surely code art and code aesthetics are more your themes than mine. I think I should be the one asking the questions here. (laughter), this refers very specifically to statements made by you, for example in your Telepolis interview with, which I found excellent because of its rather sceptical undertones. If that really is more my area though, then by all means we can bracket it out of the interview.

No, no. I didn't mean it like that. Quite the opposite in fact. However that is what is so interesting and difficult about the relationship between these complexes - and which I often find myself arguing about. A lot of things appear to run parallel, or better put, one invests more in one area for a particular period of time, then returns back to something else. To keep an eye on how these various activities link together is not easy.


Kickstarter Projects We ❤

In conjunction with Rhizome's curated page on Kickstarter, we are featuring select projects from the site on the blog. If you would like to let us know about your fund raising efforts on Kickstarter, shoot us an email at editor(at)

►PRISM index - Handmade Mixed-Media Art Book

PRISM index is a limited edition, handmade, silkscreened, mixed-media book that compiles the work of a wide spectrum of artists into one place. The name serves as an acronym for print, images, sounds, and movies.

The goal of this publication is to create a collage of current art/culture scenes from throughout the US and the world. As a network for artists, this project seeks to establish a platform for multi-media sharing through the tactile, aural, and visual experience of print, images, sounds (CD), and movies (DVD) and to extend and elaborate those expressions through its online presence. PRISM index intended to create something that could not be thrown away, skimmed through, replicated, or forgotten.

Limited to 500 hand-numbered copies. Packaged in archival sleeves.

►Ende Tymes Festival of noise and experimental music

A festival dedicated to noise and experimental music, Ende Tymes will feature over 40 artists in live performances, video screenings, workshops, discussions, and sound installations. With an emphasis on bringing in out-of-state artists to interact with established locals, the Ende Tymes Festival will expose younger artists and fans to older and more distant artists.  The festival will occur June 24-26 at the Silent Barn (a DIY music venue, established 2005) and Outpost (a video post-production resource center for artists, established 1990), both located in Ridgewood NY. 

The artists will present work that engages with the many forms of noise and experimental music: drone, avant-garde, electro-acoustic, harsh noise, digital & analog synthesis, soundtracks, installations.  In addition to the musical performances at Silent Barn, there will be screenings at Outpost of videos by selected artists as well as those chosen from the pool of a public call for works, including some with live performance. 

►Important Projects

Important Projects is an independent artist run exhibition space in Oakland, CA. We started the space in November of 2009 with the intention of creating an exhibition platform that we (being artists ourselves) would want to participate in.  

Our space focuses on single projects and solo shows. At the core of the program is the belief that solo shows are an integral aspect to the development of an individual’s artistic vision. But we maintain an open program that encourages discussion, collaboration, and our bottom line is that we put the intentions of the artists we work with first.

The gallery is currently a small room on the second story of our house.  The size and location of this room provide a very specific context. Visitors who come to the space are invited into our backyard, into our home, and ultimately into our hearts. These are the days of our lives y’all!

As we move forward with the space, we want to maintain this level intimacy. An important part of Important Projects is that the gallery is part of a home. But one of the gallery's founders is moving on to earn his M.F.A., and we feel that a change is in order. We want to move the space and adjust our program so that Important Projects will no longer be a part of our home, it will be our home. The space will evolve so that it is not only an experimental space, but also an experiment in living.


Kota Ezawa: City of Nature

Kota Ezawa, City of Nature, 2011.

The artist Kota Ezawa meticulously transforms found footage from television, cinema, and art history into simplified two dimensional vector-based animations. In City of Nature, a video commission for Madison Square Art currently installed in Madison Square Park, Ezawa appropriates and deconstructs excerpts from popular films including Jaws, Fitzcarraldo, Deliverance, and Brokeback Mountain. Removing all human presence, Ezawa concentrates on nature as the work's subject, and its relationship with our visual representation of it. Decontextualized and stripped of any narrative content, the film clips are recognizable, yet untraceable, emphasizing the pervasive and subconscious influence of popular visual media on our collective unconscious. The installation of the four screens in the center of the park's natural but constructed environment further accentuates the dichotomy of real and artificial landscapes.