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Romain Goetz : coucou@romaingoetz.fr

Pré-Superstitio

"Tout le fantastique est rupture de l'ordre reconnu, irruption de l'inadmissible au sein de l'inaltérable légalité quotidienne." Roger Caillois

First Look: Whispering Pines 10 //14-06-2018

First Look: Whispering Pines 10

In this internet soap opera, a quest for enlightenment leads only to new-age kitsch.
Whispering Pines 10 is copresented by the New Museum and Rhizome as part of the ongoing series First Look: New Art Online.

A collaboration between artist Shana Moulton and composer Nick Hallett, Whispering Pines 10 (2018) is a continuation of Moulton’s celebrated video series by the same name, and features a performance by the artist as her alter ego, Cynthia. The website offers a new format for Moulton’s premise: an episodic internet soap opera, with original music and libretto by Hallett.

The mountainous California landscape around Whispering Pines, the trailer park near Yosemite where Moulton was raised, serves as a backdrop to her cult video art series, its format inspired by Twin Peaks and Pee-wee’s Playhouse. In nine episodes dating back to 2002, Moulton appears as Cynthia—hypochondriacal, agoraphobic, and prone to surreal fantasies. Cynthia’s attempts to escape pain yield only fad cures; her quest for enlightenment leads to new-age kitsch.

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20180614

Akihiko Taniguchi //04-06-2018

Akihiko Taniguchi

lives and works in Japan. Artist. Full-time lecturer of Tama Art Univ. and part-time lecturer of Musashino Art Univ. Produces installations, performances and video works using self-built devices and software. In recent years, mainly produces a net art work. and sometimes VJing. Main exhibitions include "dangling media" ("emergencies! 004" at "Open Space 2007," ICC, Tokyo, 2007), "Space of Imperception" (Radiator Festival, UK, 2009), "redundant web" (Internet, 2010) "[Internet Art Future?]" (ICC, Tokyo, 2012) and others.

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20180604

Artie Vierkant //04-06-2018

Artie Vierkant Artie Vierkant

Artie Vierkant is a 26-year-old artist based in Brooklyn, New York. Not quite classified as a digital or new media artist, Vierkant’s work falls somewhere between the two with a bit of art theory and over-enthused, first-time Photoshop user gusto sprinkled into the mix. Through his widely-circulated theoretical essays and unconventional artistic practice, Vierkant’s main form of art comes from the dialog he evokes through his images and the alterations he makes to them.

The way that the internet changes the process of art making and consumption is one of the driving factors in Vierkant’s work. Breaking the wall between physical and digital in regards to art practice is where his ongoing series, Image Objects finds its significance. The series is composed of digital files that he renders as UV prints and machine-cuts to fit on 3D cintra sculptures—but there’s more to it than just the physical objects that one would view in a gallery. The series has another portion to it that lives in, you guessed it, the internet.

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20180604

Bibli01 //04-06-2018

De l’art « post-Internet » — Benoit Lamy de la Chapelle
A rape in cyberspace — Julian Dibbell
Turing Complete User — Olia Lialina
CLUNY III EN 3D — Tony Côme — Strabic
Immersive Contemplation in Video Art Environments — Ti any Sutton
Introduction à la littérature fantastique — Tzvetan Todorov
Digital Studies — Bernard Stiegler
PANIC ROOM — Nico Tubingen — Courte Focale
POST INTERNET SURVIVAL GUIDE — Katja Novitskova
Demeter and Persephone in space: transformation, femininity, and myth in the Alien films — David Greven
INTERIORS: David Fincher — Interiors /Mehruss Jon Ahi and Armen Karaoghlanian

31/10/2014

20180604

Guillaume en Egypte //04-06-2018

Guillaume en Egypte

A poet of the trace who left precious few, Chris Marker (1921-2012) was born French but lived in the imagination. We might also know him as Sandor Krasna, Jacopo Berenzi, or the grinning Guillaume-en-Égypte (“a cat is never on the side of power”), the alter-egos and self-effacement in dialectical counterpoint to the essayistic voice that is quintessentially Marker: playful, skeptical, compassionate, lucid, curious above all. “This secret and unpredictable man,” recalled one of his earliest collaborators, “dressed unlike anyone else, always ready to defend lost and difficult causes.” As much a password as a pseudonym, the name Chris Marker first appeared in postwar France as a byline for cultural reportage, educational dossiers, travel guides, and a novel (Le Cœur net). Quixotic amalgamations of fact and speculation, these early texts are montage by other means.

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20180604

Réel > Ultra Réel //04-06-2018

Réel > Ultra Réel

mardi 2 décembre 2014 à 18:36

20180604

Restoring Brandon, Shu Lea Cheang’s Early Web Artwork //04-06-2018

Restoring Brandon, Shu Lea Cheang’s Early Web Artwork

In April, the Guggenheim’s CCBA initiative, which conserves computer-based art in the museum’s permanent collection, completed the restoration of Shu Lea Cheang’s web artwork Brandon (1998–1999). Commissioned by the Guggenheim in 1998, Brandon was the first of three web artworks that entered the museum’s permanent collection in the early days of the Internet. (A full navigation of Brandon can be seen in the video below.)

By Joanna Phillips Deena Engel Emma Dickson Jonathan Farbowitz

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20180604

Reverse Engineering //04-06-2018

Reverse Engineering Reverse Engineering

Video.

Jaakko Pallasvuo 2013 source.

20180604

The cat, the reverend and the slave //04-06-2018

The cat, the reverend and the slave The cat, the reverend and the slave

Markus est un furry : l'animal qui sommeille en lui est un chat. Benjamin est un pasteur moderne : il prêche les évangiles dans une église virtuelle. Kris est un maître goréen : il contrôle la vie sexuelle de ses esclaves depuis sa chambre... Un documentaire sur trois communautés emblématiques de Second Life.

Documentaire de Kaori Kinoshita et Alain Della Negra • 1 h 19 min • 15 septembre 2010

20180604

Ian Cheng – Between Human and Non-Human //10-01-2018

Ian Cheng – Between Human and Non-Human

In Liu Cixin’s award-winning sci-fi novel The Three Body Problem, humans come into contact with an alien civilization on the brink of environmental destruction. In order to visualize and understand a species with an entirely foreign biological, sociological, and ethical organization, scientists built a simulated game in which players could interact with this landscape from a humanistic perspective: dress up as Einstein, climb atop pyramids, or roam the Warring States. After all, what are we but blinded by the hallmarks of human achievement? With his ambitious Emissaries Trilogy, artist Ian Cheng comes close to tackling that conundrum from the opposite standpoint, that is a non-anthropocentric one. He asks the question, can a simulation operating on its own rules and logic, take on a life of its own, and offer insights on the nature of our own chaotic consciousness?

----

Second, as Cheng has formulated in Mousse Magazine, simulation reaches a conceptual tipping point for human identity and historical understanding. Used in forecasting the weather, election results, and other predictions models, it is an “imitation of a reality”, a “model of a system”, a tool for understanding a world with too many intertwining forces, networks, and dimensions to be essentialized into simple categories. To grasp the role it plays in past, present, and future, a lot of prioritizations rooted in Western thought—reality over imitation, human over the non-human, culture over nature, the earthly over the cosmological—need to be overturned and reconfigured. As Bruno Latour speculates in We have Never Been Modern, rather than maintain the illusion that modernity and progress are somehow stable reference points, “we are going to have to slow down, reorient and regulate the proliferation of monsters by representing their existence officially”[1]. Perhaps these monsters are manifest in the surprising points of convergence and divergence between the emissaries’ quests and our own existential questions.

article
expo

20180110

Scott Macdonald - Cinéma américain altérnatif //05-01-2018

Au cinéma, toute l'attention créative, critique et analytique est (la plupart du temps) entièrement dévolue à cet unique objet, ce produit, cet événement, ce moment de vie du film, là-haut sur l'écran. On nous dit : regardez , pas ailleurs, c'est que ça se passe, c'est que se situe le problème ; la dialectique est circonscrite au rapport que nous entretenons avec ça. Et si nous considérions cette attitude du public comme une forme particulière de passivité ? Ce regardez là est un appel à votre conscience pour que vous compreniez mes problèmes, ma vision du monde et non la vôtre. En me gratifiant d'un public, les spectateurs abandonnent leur propre conception du monde, et en formant cette audience inépuisable dans toutes les sphères de la vice, que ce soit dans le domaine artistique, à l'école, au travail, dans leur vie civique et politique, ou ailleurs, ils deviennent captifs de cette habitude d'écouter les autres. C'est tout particulièrement sensible dans le domaine de l'art puisque cette forme a valeur d'exemple et que la servitude du rapport passif à l'action en sort publiquement renforcée. À de tr!s rares exceptions près, l'art cinématographique tout entier perpétue ce format unilatéral de transmission.

Scott Macdonald et le cinéma américain alternatif - Scott Macdonald - 1979 — Media Crisis - Peter Watkins - 2015

20180105

What is poetic about computation? //18-11-2017

Greetings. Welcome to the first class of Poetics and Politics of Computation at the School for Poetic Computation(SFPC). I’d like to begin the class by asking “What is poetic computation?” First, there is the poetics of code, which refers to code as a form of poetry. There is something poetic about code itself, the way that syntax works, the way that repetitions work, and the way that instruction becomes execution through abstraction. There is also what I call the poetic effect of code, which is an aesthetic experience realized through code. In other words, when the mechanics of words are in the right place, the language transcends its constraints and rules, and in turn, creates this poetic effect whereby thought is transformed into experience.

Together, the poetics of code and the poetic effect of code form ‘poetic computation.’ The terms code and computation are often used interchangeably, but I should note that code is only one aspect of computation. Code is a series of instruction for computation that requires logical systems and hardware to make the instructions computable. In that sense, computation is a higher level concept than code. For our purposes, however, we can use poetics of code and poetics of computation interchangeably throughout these discussions.

To a non-coder, non-artist friend, or to those just beginning to learn to program, I often say code may look like poetry in an alien language. And to those more experienced with code, writing code sometimes feels like writing poetry because it doesn’t always ‘work.’ I mean two things by ‘work’: first, does it work as an art form? Is it good poetry? On the other hand, I mean ‘work’ in a more utilitarian sense. Does it have practical application?

Taeyoon Choi

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20171118

"Sea of Vapors" – Sylvia Schnedelbauer //20-09-2017

"Sea of Vapors" – Sylvia Schnedelbauer

Schedelbauer’s graphic black-and-white images, both her own and found, pulsate and bleed into each other and into us. Alternating with black frames and emerging from and into complex superimpositions, they feel as if they swallow each other up. Beginning with what appears to be an image of a woman’s bending head, a curl of her hair hinting at the “vertigo” about to ensue, the film takes us to a hungry, grazing horse’s mouth, fingers, naked backs, and deep into an eye that pulls us, willingly or not, into its stream of (un-)consciousness. Circular images echo or form inside each other—eye, sun, moon, embryo, and the recurring white bowl, brimming with associations that beckon and repel and hold us in their grip. A tumult of barely discernable lips, pounding surf, forests, landscapes, accompanied by a powerful dissonant and disturbing score, overwhelms and exhausts the viewer as if we, too, are caught up in some traumatic flow of sensation and memory emerging from the simple act of holding, contemplating, raising, and drinking from that bowl. The incessant flicker of Schedelbauer’s images seems to bare the black holes (frames) of memory and time that alternately tear all of our images/recollections/sense of self apart or hold them/us together.

  • Irina Leimbacher, Film Comment • Source

20170920

Obiplaisance // Emplacie // Abstalia //08-05-2017

Reflexion sur un opposé, un antonyme pour la nostalgie.

Le mot nostalgie, provient du grec ancien νόστος, nóstos (« retour ») et de ἄλγος, álgos (« douleur // soufrance »). Littérallement, la douleur du retour, “mal du pays”. Ou, reformulé : souffrir parce que quelque chose est parti on qu'on désire le retrouver // un souvenir positif, une rémanence positive du passé — autant "c'était mieux avant" que de "douces pensée sur des états antérieurs" qu'on souhaite ré-activer / ré-acquérir.

Xavier parlait de son isolement, de ce besoin d'intimité qui lui donnait parfois la nostalgie de la vie de famille. Il avait eu une enfance si heureuse près de sa mère qui l'adorait ! (Theuriet, Mais. deux barbeaux, 1879, p.102).

Comment lui trouver un opposé ?
L'opposé de la douleur pourrait être le plaisir, la paix // quiétude, et l'opposé du retour serait l'aller.
Donnant, le plaisir de l'aller : la quiétude sur la fin actée des chose // être en paix avec ce qui est terminé // la joie de l'aller des choses. Éprouver du plaisir parce que quelque chose est parti et qu'on ne souhaite pas le retrouver.
En gros, mettre en un mot // univerbaliser : "je suis bien content que ce soit terminé".
Considérons pour l'instant, et mettons de côté, la rémanence négative du passé — progressisme ? / mélancolie ?.

Quelques recherches étymologiques :

Le plaisir provient du latin placeo (plaire) avec quelques dérivés placens (aimé), placentia (désir de plaire), plăcĭdē (doucement) et provient du radical indo-européen commun : plāk (« plat, aplanir »). Pour trouver un mot, nous pourrions utiliser des choses proche de placie et placide.
Quelque chose qui appaisse - quelque chose qui procure de la joie.

Sinon, du latin gaudeo (se réjouir // éprouver une joie intime // être content) - // felix (fécond // heureux) - proche du grec ancien θῆλυς, thễlus (« féminin ») mais peut être trop profond. Dans cette même recherche de mot : Gaudens.

Aller possède une étymologie bien plus riche.

  • Du latin vado (vadere) = aller // marcher et du grec ancien βαίνω, baino (« aller, marcher ») donnant le préfixe ba-. 

  • Également, en grec ancien, on peut le rapprocher du mot διά, dià (« en séparant ») : en séparant / en divisant / d'un côté et de l'autre, ici et là / d'une façon différente / l'un avec l'autre, l'un contre l'autre. (e.g. = dichotomie : l'opposition entre deux élément // di-viser. Donnant **διαβαίνω, diàbaino : traverser, franchir.
  • Aussi, ambulo en latin (marcher, errer). Provenant du grec ancien ἄλη, álê (errance). Donnant le préfixe amb-, lui-même correspondant au grec ancien ἀμφί-, amphi (des deux côtés, double). e.g. : amb-plecti (embrasser), amb-uere (brûler - embraser, ambigu, ambidextre, amphithéâtre, &c.)
  • Du latin eo (« aller »). Auquel on pourrait même rajouter le préfixe ob- (« vers »). Obeo / Obire / Obit. Qu'on pourrait traduire par : 1. Aller vers, aller au devant de. 2. S’en aller, périr, mourir. 3. Se coucher, en parlant des astres.

Nous pourrions chercher dans l'idée de fin (latin : finis), ou de ce qui viens après — μετά, méta (« au-delà, après »).
Dans celle du nouveau avec le grec ancien νέος, néos « nouveau ».

Essayons ainsi de trouver un mot qui définisse tout cela.

Je pense retenir pour le moment : l'obiplaisance : prendre du plaisir en ce qui est fini / mort. et la neoplaisance : prendre du plaisir en ce qui est nouveau. Je note également emplacie : le plaisir qui entoure - entourer de plaisir (enjoyer).

20170508

Matin des magiciens //21-04-2017

" (…) une manifestation des lois naturelles, un effet du contact avec la réalité quand celle-ci est perçue directement et non pas filtrée par le voile du sommeil intellectuel, par les habitudes, les préjugés, les conformismes."— Louis Pauwels et Jacques Bergier — Le matin des magiciens

C.f. : Réalisme Fantastique

20170421

Cluny 3D - Videos //19-04-2017

Cluny 3D - Videos Cluny 3D - Videos

20170419

Computer-deams-98 //19-04-2017

20170419

Conversasion avec Martine Rousset, cinéaste "cabane". //19-04-2017

Comment dirais-tu que tu travailles le rapport entre le son, l'image et le texte ?

En gros, c'est ça. Quand il y a un film avec un texte, c'est qu'il y a une rencontre entre un paysage et un texte. Non pas un paysage qui illustre un texte ou un texte qui va illustrer un paysage, mais un lien de similarité, comme si les racines du texte étaient dans ce paysage, comme si les racines du paysage étaient dans ce texte.

[…]

Le cinéma peut essayer de voir ce que veux dire ce : "C'est là". Quelle est la racine commune ? Est-ce que ce paysage précède le texte, est-ce que ce texte existe parce que ce paysage existe dans le monde ? Comment ça se rencontre, comment passe le texte dans le paysage, comment le paysage passe dans le texte ? C'est fragile, ça, ce n'est pas là pour imposer des certitudes ou des analyses. D'où les parties en noir & blanc dans le film, qui sont comme des images qui sont passées par le texte, revenantes. J'ai juste envie d'aller dans certains lieux avec la caméra, un micro, le sonny pro, filmer avec une certaine lumière et attendre qu'il se passe quelque chose.

Entretien publié dans Jef Klak n°2 "Bout de ficelle" - Association Marabout - Printemps / été 2015.

20170419

Do you have the Shine? - David Kirsch //19-04-2017

20170419

FLEXIA //19-04-2017

20170419

Introduction à la littérature fantastique //19-04-2017

Introduction à la littérature fantastique

20170419

Modeling human motion //19-04-2017

Modeling human motion Modeling human motion

"One of the most difficult problems in current computer animation is modeling human motion. It is much easier to simulate a flying corporate logo, for example, than to create a simulation of realistic human movement. As a highly articulated and non linear system, the body has yet to yield its secrets fully to computer algorithms. To solve the problem, Robert Abel and his associates marked position points on a human model's body and filmed her while she went through a series of exactly choreographed motions. They then analyzed the film using a computer, creating a data base that provided the basis for the female robot simulation. The juxtaposition of the materially present human model (left) with the simulacrum of the female robot from the computer animated sequence "Brilliance" (right) illustrates the transformations that takes place as the body is translated from a material substrate into pure information. The sequence shows the female robot manipulating objects on a dining table with a facility that is possible only because they have lost their materiality, as she herself has also. (Used with permission from Robert Abel, President of Synapse Technologies, Inc.)"

20170419

Shana Moulton //19-04-2017

Shana Moulton Shana Moulton Shana Moulton

Shana Moulton is one of these artists who I am delighted to have been presented with; her lo-fi semi-autobiographic videos are a total pleasure. She’s the kind of artist I really like, her work gives you something at first glance but then reveals layer after layer of extra depth upon further investigation. Initially they seem like good examples of post-digital/post-internet filmic work, perhaps exploring how constant communication desensitises us. But no! Whispering Pines is much more than your average lo-fi film. Taking influence from subjects as wide ranging as Twin Peaks to old ladies knick-knacks, Moulton’s works are a barrage of self-confidence issues, hypochondria and humour.*

article & article &
tumblr & site.

20170419

SMART MOBILITY - Karl altmann //19-04-2017

SMART MOBILITY - Karl altmann

Source

20170419

The History of France in 3D - Bertrand Dezoteux //19-04-2017

The History of France in 3D from Bertrand Dezoteux on Vimeo.

20170419

wwwwwwwww.jodi.org //19-04-2017

wwwwwwwww.jodi.org

20170419

Altrer Réel Numériques / Superstitions numériques — Les passages du réel aux numériques //16-04-2017

Je m'intéresse aux points de passages entre les objets du réels et l'imaginaire numérique. M'inspirant de la définition du fantastique de Todorov Indroduction à la littérature fantastique, ou il (le fantastique) ne peut exister que lors d'une hésitation, autant celle du personnage que du lecteur, se demandant s'il doivent accepter le surnaturel tel qu'il est et l'intégrer au réel ou s'ils doivent le refuser et l'expliquer par leurs lois concrètes.

J'applique alors cette "hésitation" à l'idée que nous tentons au travers du numérique de produire des "équivalents" des objets de notre environnement. Cependant, ces transcriptions ne sont pas des copies conforme des objets qu'ils traduisent, mais une adaptation dépendantes des contraintes du numérique. Ils développent ainsi une autonomie vis-à-vis de l'objet qu'ils tentent de reproduire. Leur nouveau contexte leur procure une identité qui leur est propre.

Néanmoins, ces objets que nous traduisons ont une valeur en eux-même, un affect qui leur est attribué par les sentiments, les émotions que nous éprouvons à leur contacts. Je me demande alors jusqu'à quel points ces émotions se transmettent aux traductions de ces objets. Et si, au vu de leur autonomie, cet affect ne se transforme pas, lui aussi, créant des sentiments "nouveaux".

"L'hésitation" a alors lieu lors de la "transformation" de ces sentiments : dois-je accepter que la traduction numérique est un "nouvel objet" avec une identité et une indépendance propre et donc produit un affect "nouveau", hors des loi des objets "réels", ou alors est-ce un simulacre de l'affect de l'objet "original" qui n'as pas d'existence propre.

Je me place dans une recherche face à ces "reproductions", pour analyser et comprendre comment "l'hésitation" se produit. Et, tout comme la littérature fantastique se sert de cette "hésitation" comme un procédé narratif permettant de raconter une histoire, (les réactions des personnages face à ces événements, les liens qui vont les y lier, etc.), je tente de me servir de cette "hésitation" appliquée au numérique comme un procédé narratif et graphique. Ainsi, voir ce que peut raconter l'hybridation de ces objets, ce qu'elle peut produire et générer, comment elle peut devenir un support et un médium.

Par exemple, l'artiste britannique Ed Atkins, au sein de son oeuvre Ribbons crée une représentation de lui-même mélangeant 3D et captation vidéo en très haute résolution pour produire un avatar catalysant les aliénations que produisent les réseaux sociaux. Se détachant ainsi du besoin de parler des réseaux sociaux pour exprimer les impressions qui en découlent. Il qualifie ainsi la personnalité de cet avatar comme "dépressive, souvent sous une table ou derrière un mur", c’est "une chose horrible dans le besoin". Une allégorique de notre condition face à ces médiums. Il questionne ainsi la relation ambivalente existant entre les objets réels et virtuels et les conditions réelles et virtuelles.

Autrement, dans leur documentaire The Cat, the Reverend and the Slave, Alain Della Negra et Kaori Kinoshita cherchent à comprendre la manière dont les fantasmes de certaines personnes (vie enviées, transformations corporelles, etc.) prennent place dans cet "autre réel" qu'est le numérique et plus particulièrement le jeu "Second Life".

Un autre exemple serait celui de Kari Altmann. Elle s’approprie les manières de communiquer autour de la technologie et réalise des collages numériques et des vidéos qu'elle expose sur son site internet. Ses créations se veulent en perpétuelle évolution et ne sont pas externalisées, à moins que cela lui soit proposé pour une exposition. L’œuvre change alors d’état sans que cela ne transforme la version "numérique" : son travail exposé est toujours visible en ligne, tel quel. Ses expositions ne sont ainsi pas des "retranscriptions" de son travail numérique, mais un autre mode d’existence pour ses réalisations qui sont au fond continuellement exposées.

20170416

Computer Dreams //16-04-2017

Computer Dreams

20170416

Ed Atkins //16-04-2017

Ed Atkins Ed Atkins Ed Atkins

"One of the most prominent artists of his generation, Ed Atkins works primarily with High Definition video and text, exploiting and subverting the conventions of moving image and literature.
Centred around an augmented and appended version of the new multi-screen video work Ribbons, Atkins’s exhibition transformed the Serpentine Sackler Gallery into a submersive environment of syncopated sounds, bodies and spaces. This is his largest solo exhibition in a UK public institution to date.
Ribbons (2014) had its UK premiere at the Serpentine Sackler Gallery in a site-specific adaptation. Presented alongside installations of text and images, accompanying videos and tourettic interjections, the exhibition underscored the ambivalent relationship that exists between real and virtual objects; between real and virtual conditions.
“The Sackler exhibition will re-possess some sort of sub-horror genre; the old powder rooms, haunted by the phantom smell of gunpowder, paranoia and anticipation of violence, will emphasise a particularly phantasmatic aspect of Ribbons; the protagonist’s questionable corporeality, their presence, their performance of loss and monstrousness” – Ed Atkins
Sounds from a suite of synchronised projections positioned throughout the Gallery led the visitor through the space, with glimpses of song, swells of orchestra, murmuring voices and waves of sub-bass. Ribbons is part musical, part horror, and part melodrama; Bach’s Erbarme Dich and Randy Newman’s I think it’s going to rain today are two of the songs featured. Naked, lonely and misanthropic, the palpable melancholy of Atkins’s Computer Generated avatar hero is ‘rendered’ as HD graphic, troll, voyeur and, perhaps, artist.
Atkins’s work draws attention to the way in which we perceive, communicate and filter information. His videos combine layered images with incomplete or interrupted excerpts of singing, speech, subtitles and handwriting. Working with a specialist in computer generated animation, Atkins exploits the hyperreal surfaces produced by new software systems to create complex, nightmarish environments populated by virtual characters, avatars of ambiguous provenance and desires. Atkins has described the male figure that appears in these works as ‘a character that is literally a model, is demonstrably empty – a surrogate and a vessel’. Despite the emotive music and poetic syntax of the protagonists, their emptiness serves to remind the three-dimensional, warm-bodied viewer of their own physicality.
The experience of the physical body in Atkins’s show was be contrasted with and complemented by the durational performance being undertaken by Marina Abramović, whose exhibition ran concurrently at the Serpentine Gallery.
"

20170416

Falling Rope, 2013 //16-04-2017

Falling Rope, 2013

"Nobuo Nakamura, Director of CCA Kitakyushu, who chaired this year’s jury, commented that “Mirza presents work enclosing many different elements of art and technology, effortlessly traversing domain boundaries. He skillfully combines sound, installation and moving image, conflating old analogue material such as TV, keyboard, amplifier, furniture, with cutting edge high-tech material, positioning aspects of culture and time and transient technology into one space.” Another jury member, Mike Stubbs, Director of FACT Liverpool, added that “the jury selected Mirza for his ability to consistently extend a practice, which continues a fascination with media, time and transmission, much like Paik, similarly speaking beyond cultures, language and belief. […] Work, which demands the imagination and completion by us, the audience, deserves the prize, for his own openness in revealing a process of experiment in creating and re-mixing his own audio-visual system.”

source

20170416

Holly Herndon //16-04-2017

20170416

Kate Cooper - RIGGED //16-04-2017

Kate Cooper - RIGGED Kate Cooper - RIGGED Kate Cooper - RIGGED

*For Kate Cooper's first institutional exhibition RIGGED, this year's winner of the Schering Stiftung Art Award has produced a new work comprising of video and photographic production specifically for KW INSTITUTE FOR CONTEMPORARY ART.

Through an extensive use of CGI techniques commercial photography and post-production, the show RIGGED highlights the labor inherent in the creation of images, looking at the position the female body has occupied in the history of digital image technology. Through the creation and re-rendering of images of the body, Cooper asks how these digital figures might perform in our place made real as downloadable, ultra-realized bodies.

Cooper is interested in the fictional spaces of universally understood advertising images, tests our experience of them and relationship to them and thus openly questions our conceptions of gender and labor they collectively generate. RIGGED explores new possible connections between bodies and images, and presents tensions between presence and invisibility. As digital images become our body doubles – expensive yet unpaid figures performing on our behalf – the labor inherent in these modes of production becomes re-focused in an economy of withdrawal. Our own bodies use a strategy of refusal; and camouflage as a technique of survival.

As Cooper states: "In our post-representational world – where images are dislocated and free-floating across networks – how can we renegotiate an agency to images, imbue them with power, make them work for us?"

RIGGED displays the human being itself as a commercial good, the billboard-sized figures, installed throughout the space, focus on the body as a place for communicating ideas; re-coding and re-configuring new meanings. As the rendered images become disturbingly realistic, Cooper's doppelgangers surround the observer in their muted formations, and narrate their own illusionary potential, which is more permanent than flesh.
Curated by Ellen Blumenstein*

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Petra Cortright at Société //16-04-2017

Petra Cortright at Société Petra Cortright at Société

I had a computer since I was one. Like thousands of trees, water- falls and stuff. It would be so good to look at now, this printed-out list of emoticons. The librarian was telling everyone to use Google instead of Yahoo because it was better. I thought it was a weird word.

unnnnnn­nnnnnnnn­nnnnnnghthist question. google images probably?? i wrote in 2007 inspired by the meeting of largest dog in the world with the smallest dog in the world: They have stupid technology. Money doesn’t exist. borderline creepy stuff like that. They got really freaked out because I only showed up with my laptop and a webcam I was listening to happy hardcore and Britney Spears remixes till 6 AM. so it was hard to eat and sleep, but I was massively productive and I made so many videos. It was really exciting, but all of the sudden I felt really sick and I actually threw up.

I’m like the biggest baby ever. I was on the pre Olympic team. I quit at the height of everything because all of the college scouts were showing up to watch you like Britney Spears, Taco Bell, KFC, Rugrats It’s really silly, it’s really dark, it’s really beautiful At Petco they have this big machine where you can make dog tags. i cant say i am like “philosophically” into it. its convenient. but i have to say though that the comments are a special gift
since 08 i become more organized skypes just ok.

They did everything with their hands, that’s what was natural for them at that time. So I got all the materials myself and tried to learn and I only lasted an hour. It’s really generic dreamy, like dream house boards, flowers people would like to have at their wedding, exotic travel landscapes and cityscapes. But in general there haven’t really been a lot of surprises. Or maybe it feels taboo to talk about in a way.

I’m used to making every thought into a tweet. If anything I sometimes feel slowed down by it. And he was like, “Wow, good idea, let’s do that!”
Before you play, you begin adding what you want to the city. That was my favorite part. It’s like if you don’t already know something you can’t search for it. I use my hands and my hair a lot because you can get a lot of movement out of them.I have this respect for them because they give me the structure I need to feel the freedom to be creative and make work. there is a difference between the light in Berlin, which is kind of blue, as opposed to the light in LA where it’s very orange and beautiful. tired, eating beans alone in my studio I searched for trees.

Text by Ella Plevin

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