Saturday, August 8, 2009
Thursday, August 6, 2009
Tuesday, August 4, 2009
Thursday, July 23, 2009
Monday, July 20, 2009
Monday, April 13, 2009
johnnyjohnny
Sophie's Place -- Larry Jordan
Les Astronautes : Chris Marker/Walerian Borowczyk
art art art
Thursday, March 26, 2009
somethings to look at
Punch and Judy by Jan Svankmajer. It has a guinea pig actor.
Lightning Bolt
I-BE AREA (Adoption clip) by Ryan Trecartin
you can watch the whole thing and all his other videos on his youtube channel.
Le Voyage dans la Lune -- Méliès
Kim Novak -- Kim Kielhofner
You should check out Matea Jocic's blog. It's awesome.
Lightning Bolt
I-BE AREA (Adoption clip) by Ryan Trecartin
you can watch the whole thing and all his other videos on his youtube channel.
Le Voyage dans la Lune -- Méliès
Kim Novak -- Kim Kielhofner
You should check out Matea Jocic's blog. It's awesome.
random rules
it's called Random Rules.
http://www.youtube.com/randomrules09
Here's the statement about the project...
The history of moving image seems to have 'seriously' diverted from its canonical route ever since the launch of YouTube, in 2005, the website which made possible for anyone who could use a computer to post a video that millions of people could watch within a few minutes. More effectively than ever before, amateur videos, music videos, footages of films, commercials and news segments as well as artists' videos (in lesser numbers) mingle together, in a random way, free of any short of predetermined hierarchy or system.
Does amateur culture have undervalued artistic expertise?
Some would argue that this is true; however, it is neither a major concern nor a pragmatic threat. During the last decades, there have been a lot of debates about expertise versus amateurism or around the idea that everyone is an artist, etc, that it would be redundant to renegotiate these notions anew. Maybe it is more interesting to focus on the gaps and the relations between the systems of the art market and a more open mass culture market, to find some answers, which will not be fixed in anyway. Even if artists, in some cases, are reluctant to upload their works in there (at least up to now) due to reproduction and copyright issues, they still seem to frequent YouTube for inspiration, collecting information, socializing, communication, activism or entertainment, among other reasons! Active use of YouTube is a short of curating, where different 'playlists' of people are the exhibitions and 'tagging' is a process of a random archiving.
In a time that invitations for YouTube-exchange private gatherings become regular, seemed to make lots of sense to explore what YouTube means to a specific intellectual community, by asking a number of artists to select videos already exciting in YouTube and create their own playlists. The idea was to form a YouTube channel, a short of a paradoxical archive, or an emission in an independent media (such as YouTube) which includes all these playlists, each under the name of the artist-selector. In that plot, the uploader or the broadcaster becomes the artist, the artist becomes the curator or the collector, and the viewers exceed by far the number that can be contained into a normal screening room, since the channel is to be watched in a black cube setting and online at the same time.
Through the combination of this specific set of artists -as selectors- the aim remains always to come up with an anthology of different voices existing within the YouTube context. Perhaps, by watching this channel one could come across the notions of political, private, humor, narcissism, pop and DIY culture and distribution, -among others- as they result from various personal accounts in YouTube today.
Launched at Pulse, Contemporay Art Fair NY, 5th March 2009
Artists: Andreas Angelidakis, Aids 3D ( Daniel Keller and Nick Kosmas) , assume vivid astro focus, Pablo Leon de la Barra, Eric Beltran, Keren Cytter, Jeremy Deller, Cerith Wyn Evans, Dominique Gonzalez Foerster, Dora Garcia, Rodney Graham, Annika Larsson, Matthieu Laurette, Ingo Niermann, Miltos Manetas, Ahmet Ögüt, Angelo Plessas, Lisi Raskin, Linda Wallace.
curated by Marina Fokidis
http://www.youtube.com/randomrules09
Here's the statement about the project...
The history of moving image seems to have 'seriously' diverted from its canonical route ever since the launch of YouTube, in 2005, the website which made possible for anyone who could use a computer to post a video that millions of people could watch within a few minutes. More effectively than ever before, amateur videos, music videos, footages of films, commercials and news segments as well as artists' videos (in lesser numbers) mingle together, in a random way, free of any short of predetermined hierarchy or system.
Does amateur culture have undervalued artistic expertise?
Some would argue that this is true; however, it is neither a major concern nor a pragmatic threat. During the last decades, there have been a lot of debates about expertise versus amateurism or around the idea that everyone is an artist, etc, that it would be redundant to renegotiate these notions anew. Maybe it is more interesting to focus on the gaps and the relations between the systems of the art market and a more open mass culture market, to find some answers, which will not be fixed in anyway. Even if artists, in some cases, are reluctant to upload their works in there (at least up to now) due to reproduction and copyright issues, they still seem to frequent YouTube for inspiration, collecting information, socializing, communication, activism or entertainment, among other reasons! Active use of YouTube is a short of curating, where different 'playlists' of people are the exhibitions and 'tagging' is a process of a random archiving.
In a time that invitations for YouTube-exchange private gatherings become regular, seemed to make lots of sense to explore what YouTube means to a specific intellectual community, by asking a number of artists to select videos already exciting in YouTube and create their own playlists. The idea was to form a YouTube channel, a short of a paradoxical archive, or an emission in an independent media (such as YouTube) which includes all these playlists, each under the name of the artist-selector. In that plot, the uploader or the broadcaster becomes the artist, the artist becomes the curator or the collector, and the viewers exceed by far the number that can be contained into a normal screening room, since the channel is to be watched in a black cube setting and online at the same time.
Through the combination of this specific set of artists -as selectors- the aim remains always to come up with an anthology of different voices existing within the YouTube context. Perhaps, by watching this channel one could come across the notions of political, private, humor, narcissism, pop and DIY culture and distribution, -among others- as they result from various personal accounts in YouTube today.
Launched at Pulse, Contemporay Art Fair NY, 5th March 2009
Artists: Andreas Angelidakis, Aids 3D ( Daniel Keller and Nick Kosmas) , assume vivid astro focus, Pablo Leon de la Barra, Eric Beltran, Keren Cytter, Jeremy Deller, Cerith Wyn Evans, Dominique Gonzalez Foerster, Dora Garcia, Rodney Graham, Annika Larsson, Matthieu Laurette, Ingo Niermann, Miltos Manetas, Ahmet Ögüt, Angelo Plessas, Lisi Raskin, Linda Wallace.
Friday, February 6, 2009
horse covers
so here's the new song. the video is from the experimental television center. i'll put up the song for download shortly.
more stuff to look at
artists:
-Karen Koltrane who is having a show coming up at Another Roadside Attraction in London.
-RothStauffenberg
here's a quotation (from their website) about their work:
IN THE ROOM: some thoughts on ROTHSTAUFFENBERG'S BASED ON A TRUE STORY and the idea of LOST CINEMA, POST-CINEMA and POST-TRAUMATIC CINEMA
…The ideal is a hybrid of the two, as with these rooms or locations, which suggest multiple narrative possibilities, as well as their opposite, absence of any narrative at all, just empty space. One line of approach which suggests itself is exploring the memory of cinema rather than cinema itself, shooting 'takes' or making sets which amount to fragments of a film that may one day exist or might once have existed. Where film is no longer conditioned by a single projection or linear unfolding, but can exist in a spatial dimension, a labyrinth of images in which it is possible to become lost, where the past co-exists with the present, and is not conditioned by flashback, and where the image is released from the tyranny of narrative. The great American film critic and painter Manny Farber, author of Negative Space, rarely said what a film was about. He was never interested in any synopsis of the storyline. Instead he wrote in terms of space, whether geographical, psychological or metaphysical. He described the terrain of the film as though it were a landscape, looking, for example, at Fassbinder's Merchant of the Four Seasons with the eyes of a man who had studied the paintings of Fra Angelico and saw the connection.
These rooms or locations subscribe to ideas that run deep in the history of the image, both still and moving. They subscribe to Atget's photographs of 19th century Paris, of which it was remarked that his empty, unpopulated streets looked like scenes of crimes waiting to happen. In this Atget anticipated the modern surveillance grid, diaries kept by machines, also there for the crime-in- waiting. These rooms subscribe to the idea of the false setting of the set… Christopher Petit, Introduction to Based On a True Story, Zurich September 2008
and my friend mentioned to me Nieves Resources which has good stuff to look at...
they'll be a new sound post soon...
-Karen Koltrane who is having a show coming up at Another Roadside Attraction in London.
-RothStauffenberg
here's a quotation (from their website) about their work:
IN THE ROOM: some thoughts on ROTHSTAUFFENBERG'S BASED ON A TRUE STORY and the idea of LOST CINEMA, POST-CINEMA and POST-TRAUMATIC CINEMA
…The ideal is a hybrid of the two, as with these rooms or locations, which suggest multiple narrative possibilities, as well as their opposite, absence of any narrative at all, just empty space. One line of approach which suggests itself is exploring the memory of cinema rather than cinema itself, shooting 'takes' or making sets which amount to fragments of a film that may one day exist or might once have existed. Where film is no longer conditioned by a single projection or linear unfolding, but can exist in a spatial dimension, a labyrinth of images in which it is possible to become lost, where the past co-exists with the present, and is not conditioned by flashback, and where the image is released from the tyranny of narrative. The great American film critic and painter Manny Farber, author of Negative Space, rarely said what a film was about. He was never interested in any synopsis of the storyline. Instead he wrote in terms of space, whether geographical, psychological or metaphysical. He described the terrain of the film as though it were a landscape, looking, for example, at Fassbinder's Merchant of the Four Seasons with the eyes of a man who had studied the paintings of Fra Angelico and saw the connection.
These rooms or locations subscribe to ideas that run deep in the history of the image, both still and moving. They subscribe to Atget's photographs of 19th century Paris, of which it was remarked that his empty, unpopulated streets looked like scenes of crimes waiting to happen. In this Atget anticipated the modern surveillance grid, diaries kept by machines, also there for the crime-in- waiting. These rooms subscribe to the idea of the false setting of the set… Christopher Petit, Introduction to Based On a True Story, Zurich September 2008
and my friend mentioned to me Nieves Resources which has good stuff to look at...
they'll be a new sound post soon...
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