general

In addition to "Sanity Disobedience," another exhibition I'm participating in opens this Friday, October 22: a dump.fm show in Bushwick, Brooklyn, NY:

Here is the press release:

319 SCHOLES PRESENTS DUMP.FM IRL
Curated by Lindsay Howard

dump.fm is an image-based chat room for real-time communication. Founded in November 2009 by Ryder Ripps in collaboration with Scott Ostler (of MIT Exhibit) and Tim Baker (of Delicious), dump.fm serves as a platform for artists who use its technology to foster community and creativity. IRL brings together dump.fm users from all over the world (many of whom will be meeting "In Real Life" for the first time) to offer an alternative to the traditional 1:1 experience by translating the liveness of dump.fm into a visual confectionery through collaborative participation in the physical realm. Look for caves animated by psychedelic GIFs, web-based performances with interactive webcams, architectural renderings of virtual property, and audio-visual recompositions that return images to the social networks and digital systems from which they emerge.

OPENING RECEPTION

October 22, 7:00pm-1:00am


Participating artists include: Francoise Gamma, Jeanette Hayes, Felix Lee, Tom Moody, Stefan Moore, Scott Ostler, Arran Ridley, Ryder Ripps, Erik Stinson, Duncan Alexander, Michael Francis, Agathe de Trémontels, Sterling Crispin, Justin Strawhand, Tim Baker, Joel Cook, Lucy Chinen, Jude MC, Andrej Ujhazy, Dylan Fisher, Jamie Rockaway and Matt Torti, Chris Shier


RESIDENCY

October 23 - October 28, public hours: 1:00-8:00pm 



The residency aims to highlight and support the sense of community and group discovery already present on the dump.fm site. The public is welcome to attend from 1:00pm-8:00pm to check out the group exhibition and works in progress, cruise the net and post live with dump.fm users directly to the dump.fm fullscreen. All projects will be documented and presented the following week on dump.fm/irl.

DUMP.FM PRESENTS IRHELL
October 30 - October 31, 10:00pm-???

Halloween parties in Mexico City and Brooklyn will be connected through dump.fm.

Visuals by Thunderhorse // Performances by Anamanaguchi, Nullsleep, Gatekeeper, Brenmar, Physical Therapy, Jon Lynn (Unsolved Mysteries), Laurel Halo, Magick Mountain, DJ Brother Ladypantz, Oscouro, Flash Porno

319 SCHOLES is at 319 Scholes Street in Brooklyn, NY (map)
the image above was dumped by lucy.

Update: The name of the exhibition curator, Lindsay Howard, was inadvertently omitted when I posted the press release. My apologies--fixed now.

I have artwork in a couple of shows opening this week in Brooklyn. Both have receptions this Friday, Oct. 22. The image above accompanies the press release for a show curated by Rod Malin called "Sanity Disobedience for a New Frontier," at Camel Art Space, near the Graham "L" stop on Metropolitan. Here is the press release, from the Camel website:

Camel Art Space presents:

• Sanity Disobedience For a New Frontier •

October 22- November 28, 2010
Weekends only: 12 – 6 pm or by appointment
Opening reception: Friday, October 22nd, 6 – 9 p.m.
Location: 722 Metropolitan Avenue, Brooklyn NY 11237

“Sanity Disobedience for a New Frontier,” an exhibition that addresses the concept of technological assimilation in the digital age and its relationship to counter-cultural, anti-conformity assumptions. The show alludes to the irrational becoming rational, a paradox reflected in many characteristics of the digital age. In a sense, according to exhibition curator Rod Malin, the show explores the attitudinal space between two media pieces, Bas Jan Ader’s short conceptual film piece of 1970 “I’m Too Sad to Tell You,” in which the artist cries in front of a camera after a brief title, and Chris Crocker’s more recent YouTube phenomenon “Leave Britney Alone.” Although neither of these works appears in the show, they act as psychological signposts or brackets for the art on view.

Artists include: Allen Cordell • Tom Moody • Jamie O’Shea • Sophia Peer • Tristan Perich • Meridith Pingree • David Prince • Janos Stone

“Sanity Disobedience for a New Frontier” pulls together eight unique-minded individuals whose practices parallel those of tech pundits, rewiring the brain to deleterious effect. Tristan Perich is driven by the computational/theoretical limitations of our own brains and of digital code; he uses seemingly simple forms to reveal the sensitivity of complex systems. Tom Moody works in an under-examined form of post-studio art that he has called Psychotronic GIFs, ranging from sincere social commentary to degrading trash. As an advocate of impermanence, usually in the incongruous dual persona of “the lumberjack” or “the scientist,” David Prince uses slight mockery, humor, and a dose of heroism to challenge current unascertainable attributes. Transforming human behavior and traffic patterns, Meridith Pingree creates a spatial interruption with her reactive sculptures. Particularly strange, yet stunning with beauty, the new appropriation piece by filmmaker and artist Allen Cordell inexplicably justifies the act of refrigeration of TV dinners. Sophia Peer teams up with Allen Cordell to create an infomercial embracing the superior ability of Black Water to create a cooler apartment. Janos Stone creates fractal wall pieces out of drywall with relief etching, resulting in images depicting social interactions through media and matter. If Jamie O’Shea were to boast of his civic duties, self-deception would be top on his list, and in doing so he probably wouldn’t stand on a soapbox but rather create a vortex in time so he can levitate.

An exhibition booklet, Sanity Disobedience, will be published in conjunction with the show.

About the Curator:

Rod Malin has been a media specialist for the last five years for Marian Goodman Gallery, Bronx Museum of the Arts, as well as various Contemporary institutions and artists. Simultaneously, Malin has been working on a self-accredited PhD in liminal cultural studies while maintaining his own projects at M A L I N S T U D I O, a space that explores ephemeral and contextual ideas. Malin has worked with several curators including Lance Fung (Fung Galley NYC), Erin Riley Lopez (Bronx Museum of Art), and Catherine de Zegher (The Drawing Center). Malin’s ability to be versatile as a media specialist, artist and curator is exemplified by his recent exploration in “Curating the Virtual,” which has drawn over 7,000 visitors from all over the world to his Invisible Museum of Post Contemporary Art.

Camel Art Space is an artist-operated exhibition space with a focus on current issues in art within a not-for-profit framework and is affiliated with the studio artists at 722 Metropolitan Avenue, Brooklyn, NY. Camel Art Space does not represent artists in the traditional sense, but merely composes shows of their works for the inherent merits of showing art. In an inclusive spirit, Camel Art Space is open to proposals from independent curators and artists. As an affiliate member of Williamsburg Gallery Association, Camel Art Space participates in 2:nd Friday Art Walk, holding receptions every 2nd Friday of the month. Camel Art Space has been named by New York Magazine as one of the City’s new galleries to watch.

I'll be showing looping GIF animations on TV sets, and a handful of portraits drawn on the computer using the "vintage" MSPaint(brush) program. I share the curator's interest in showing new media work in galleries and hope you'll come see the show. After the opening I'll be in the gallery on November 13 from 12-3 if you want to come by then.

The other exhibit I'm participating in is the dump.fm show at 319 Scholes--I'll put some links up for it in a separate post.

Update: The artist in the photo above is Jamie O'Shea, performing a piece situated mainly in the viewers' retinas (afterimages from the bright light). His assembly of a battery using Stone Age materials can be viewed in the Motherboard video "Immaculate Telegraphy". (Update to the update: A video in the exhibit shows him building a fire with handmade tools and smelting iron and copper oar in a furnace also made with materials from the forest landscape. The battery is a component of a working telegraph key that emits a small electric charge when tapped. All the information on how to do this came from internet research.)

More on digital natives (don't really want to keep talking about this but here's a reply to an AFC commenter):

My point was there isn't a consensus, it's Net Gen Skeptic vs the New Museum (which itself can't definitely state a thesis). It's Paddy vs Duncan on the relevance of childhood experiences to adult work. One could argue that all the multi-tasking and "moving across media" you describe are conditions the modern techno-state is forcing on everyone, regardless of age, and imagine a counter-exhibit to "Younger Than Jesus" called "Techno-Paternalism and The Cult of Youth." If you want to argue that there is a radical break in the type of work being made between generations (sounds like you do), I would start with the New Museum exhibit and the writers cited in its 512 page catalog.

My comment to Paddy Johnson's blog post about that photo-painting and sculpture series:

Koons spoke in Dallas years ago right after Made in Heaven--I was living there at the time and likened the performance to a combination of art historian, zen master, and Ronald Reagan. Koons had constructed a retroactive narrative--essentially the "story of banality" that he told and retold--to explain each phase of his career, leading up to the Made in Heaven images. Like Reagan, who generally said nothing but was very congenial, Koons walked us, with calm, slightly psychotic certainty, through wacky explanations of how earlier pieces laid the foundations for the current work, for example, "this is a porcelain pig ushering in banality, the herald of my future perfect love for Illona." It was all so measured and plausible-sounding that by the time he got to showing enormous, projected slides of his skanky porn (in one of the most conservative cities on the planet!), the images seemed logical, inevitable and normal. [AFC c]ommenter Sven (and from what it sounds like, Roberta Smith) aren't accounting enough for the irony in Koons' schtick; porn is not "perfect love" or, jeezus, "emotional vulnerability" any more than his "wholehearted embrace of capitalism" uh, wholeheartedly embraces capitalism.

To the person who thinks animated GIFs are a '90s bulletin board avatar dead end and defends a certain social media platform that won't play them, please note two recent essays, one on Paddy Johnson's blog and one on Slate, on the topic of "the return of animated GIFs."

Interesting that Slate mentions none of the sites Johnson notes and seems not to be aware of the art uses of animated GIFs and previously-made connections to Paul Pfeiffer. The author, Jonah Weiner, mostly covers the lame-o GIF mills such as SenorGIF and 4GIFs, sources of a million looped movie clips and porno money shots.