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16 August 2010 by nathaniel

August 19th: Wikipedia Art performance at Benrimon Contemporary, NYC

Wikipedia Art logoAugust 19th @ Benrimon Contemporary, part of Younger Than Moses: Idle Worship
514 West 24th Street on the 2nd floor
An evening of performances & screenings by Ryan V. Brennan, the Wikipedia Art Project, Genevieve White, Adam & Ron
Beginning 6:00 PM (come a little early for a Wikipedia Art Remix treat!)

For Sean Fletcher and Isabel Reichert’s Wikipedia Art Remix, two actors perform a scene appropriated from Edward Albee’s play “Who’s Afraid of Virginia Woolf”.  The dialogue between the iconic characters George and Martha incorporates highlights from the “Articles for Deletion” page of Wikipedia Art, an intervention by Scott Kildall and Nathaniel Stern on Wikipedia, so the couple’s argument becomes one about whether or not art can exist on Wikipedia.

See a video art version of this upcoming performance piece.

Sean Fletcher and Isabel Reichert have collaborated together on conceptually based performance works, interventions, writings, installations, videos, photography, and prints since meeting each other in 1994.  Their work is about power and vulnerability; how it relates to relationship dynamics, society, and politics. Fletcher and Reichert use collaboration as a tool to integrate the negotiation for power into works of art.

Scott Kildall is an independent artist, who intervenes with objects and actions into various concepts of space. Nathaniel Stern is an artist, teacher, writer and provocateur, who works with interactive, participatory, networked and traditional forms.

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11 August 2010 by nathaniel

Upgrade! Joburg Remote Lecture Series, Marcelino Stuhmer (reblog)

My worlds collide!

No 1: The Choreographed Accident

from Digital Arts Remote Lectures
….

I’m very excited to announce our very first Remote Lecture for 2010 by Marcelino Stuhmer based at the University of Wisconsin in Milwakee .

The Choreographed Accident: How painting survived the accident.


In this Remote Lecture Marcelino Struhmer will be speaking his expanded painting practice in three recent works.

“The metaphoric crossing between perception and hallucination occurs by means of the paraphernalia of painting, which is also that of recollection and re-cognition, as the recovery, to the senses, of what seemed to be forever beyond experience.” Paul de Man

“Mise-en-abyme”, a term coined by Andre Gide, which refers to the artistic trope of limitless reflection is akin to the physical experience of the carnival’s Mirror Maze. In my current extended painting practice, I wish the viewer to “enter into the work” and find themselves occupying a different parallel space, narrative, and time.  The spatial/architectural constructions in three recent installation projects deconstruct the cinema house into 1) a panoramic painting rotunda, 2) a funhouse mirror maze, and 3) a miniature architectural model of an apartment building in Warsaw.

In the broadest sense, the crisis of representation as seen in the history of painting provides me with a dynamic conceptual meeting point between material, process, and language. My recent installation work reconstructs or invents narratives of distant geographic, and temporal moments, allowing a collision of virtual ‘present-moments’ in an installation space designed specifically to stage these orchestrated time-collisions. I am currently working on a series of paintings, collages, and architectural models, which explores an intersection of image, film, painting, screen, and the history of theater design.

The Remote Lecture Series is a series of once a month lectures by people in different places across the world who are “beamed in” live (via the internet) to speak to a Johannesburg audience. We use available video conferencing technologies like Skype and iChat for the live lecture.  The point of these lectures is to inspire and uplift the discourses around art, new media and technology. We also stream the sessions live from Johannesburg.

Thursday 12th August 2010   -   South African Time 19:00 – Digital Arts Seminar Room, Digital Arts Convent Building. See here for directions – opposite the Wits School of Arts.  Also see calendar page…

Please note – GMT 17:00 for streaming.

Marcelino Stuhmer earned an MFA from the School of the Art Institute of Chicago in 2000. He has done residencies at the Skowhegan School of Painting and Sculpture, was a guest artist at Cittadellarte-Pistoletto Foundation in Biella, Italy, and was awarded a residency at the Rijksakademie in Amsterdam where he received a two-year research fellowship.

His most recent installation project, The Choreographed Accident: Objects, Images and Artifacts from the Pawel Avorsky Museum, Warsaw which debuted at Jeune Creation 2009 in Paris, is now showing at the Wisconsin Triennial 2010, at the Museum of Contemporary Art in Madison, Wisconsin, USA. This conceptual film project tells the story of a British spy during the Cold War who smuggled illegal Jazz records into Poland.

Apart from numerous exhibitions in Europe and North America, Stuhmer has won a number of grants and prizes, including Best International Artist at the Arte Laguna 2009 International Art Prize Exhibition at the Venice Arsenalle in Venice, Italy, a Graduate Committee Research Fellowship from the University of Wisconsin, Milwaukee, the First Place Royal Prize for Painting in The Netherlands, a Mondrian International Publication and Exhibition Grant, a Community Artist Assistance Program Grant from Chicago, and a Joan Mitchell award in conjunction with an artist residency at the Atlantic Center for the Arts in New Smyrna Beach, Florida. He is currently an Assistant Professor in the Painting and Drawing area of the Department of Visual Art at the University of Wisconsin in Milwaukee.

For more information please contact me directly on tegan (dot) bristow (at) wits (dot) ac (dot) za or 011 717 4604

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05 August 2010 by nathaniel

North Brooklyn Public Art Coalition commission

In my inbox:

I’m writing from the North Brooklyn Public Art Coalition in regards to our latest project, nbAUDIO 2011.  NbPac is currently holding an Open Call for Brooklyn-based sound artists.  We are inviting artists to propose an original sound installation that addresses the historical, social, and political atmosphere of North Brooklyn’s community. Additionally, we are asking the artists to identify a site in Williambsurg, Greenpoint or Bushwick, in which the piece would be installed.  Attached is more information about the open call, as well as a proposal form – the deadline for applications is Monday, August 30th and the selected artist will be notified on September 15th.

Taking place this spring, nbAUDIO 2011 will be the fourth project presented by the North Brooklyn Public Art Coalition since we formed in 2009.  Past projects include last summer’s kickoff with the India Street Mural Project when six local artists were chosen by an RFP process to create a series of site specific murals on India Street between West Street and the East River, celebrating Greenpoint’s rich history and the arts of North Brooklyn.  In December, we presented one of the largest site-specific public art installations ever to take place in McCarren Park with Jason Krugman’s Living Objects – three LED-lit sculptures taking on a human form.  Then last June we unveiled Amanda Browder’s Future Phenomena, a large-scale, fabric sculpture created by the community and blanketed the façade of a Greenpoint building from June 19-20, 2010.

more: http://nbpac.wordpress.com/

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28 July 2010 by nathaniel

Balance, Colleen Alborough @ Standard Bank Gallery Johanneburg

Good friend and great artist Colleen Alborough exhibits a new solo of fantastic work in downtown Joburg, downstairs at the Standard Bank Gallery. I’m sad to miss it (in Wisconsin), but if you’re in town, it’s a must see. This opens alongside a Louis Khehla Maqhubela retrospective, the latter in the upstairs gallery.

Opening, Tuesday 3 August, 5:30 for 6pm
Standard Bank Gallery, Johannesburg, 3 August to 18 September 2010

colleen alborough @ standard bank

colleen alborough and Louis Khehla Maqhubela @ standard bank

Standard Bank Gallery
Corner Simmonds and Frederick Street, Johannesburg
Tel: 011 631-1889
Gallery hours: Mon-Fri, 08:00-16:30; Saturday, 09:00-13:00
The gallery is closed on Sundays and public holidays.
Admission free

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12 July 2010 by nathaniel

compressionism site updated

compressionism.net

Just finished an overhaul of compressionism.net, and uploaded content, including works, press, documentaiton, etc. Look out for upcoming books and shows that feature the new work!

In this ongoing series of prints, I strap a desktop scanner, laptop and custom battery pack to my body, and perform images into existence. I might scan in straight, long lines across tables, tie the scanner around my neck and swing over flowers, do pogo-like gestures over bricks, or just follow the wind over water lilies in a pond.

Read more…

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30 June 2010 by nathaniel

New Media, New Modes: On “Rethinking Curating: Art after New Media”

My review of Sarah Cook and Beryl Graham’s book (both of CRUMB – the Curatorial Resource for Upstart Media Bliss), “Rethinking Curating: Art after New Media” (Leonardo books / The MIT Press) is the Rhizome News feature today. Teaser:

rethinkingcurating.jpg

Humorous and surprising, smart and provocative, Rethinking Curating: Art after New Media (MIT Press, 2010) jumps from opposing viewpoints to opposing personalities, from one arts trajectory to another. The entire book is a dialectic exercise: none of its problems or theories are solved or concluded, but are rather complicated through revelations around their origins, arguments and appropriations. Overall, the book adopts the collaborative style and hyperlinked approach of the media and practice it purports to rethink. In other words, it is not just the content of the book that asks us to rethink curating, but the reading itself; by the end, we are forced to digest and internalize the consistently problematized behaviors of the “media formerly known as new.”

Sarah Cook and Beryl Graham, co-editors of the CRUMB site and list (the Curatorial Resource for Upstart Media Bliss), have co-authored the book via email and on a Wiki, and assert outright that it is not a “theory book”; its structure instead “reflects the CRUMB approach to research, which discusses and analyzes the process of how things are done” (12). The sheer number of examples, citations, and first-person accounts in this nearly 350-page volume make it so that every time the trajectory coheres into a singular point or argument, it is then broken up again, into a constellation of ideas that make us rethink, again. We are issued challenge after challenge to our assumptions about media, our understandings of curatorial practice, and our opinions about the spaces in which we exhibit art. It is only after an exhaustive study of seemingly irreconcilable philosophies, practices and venues, the book implicitly argues, that we can begin to engage with what needs to be rethought, and how to do so.

Rethinking Curating makes three basic arguments. First, that one must approach a broad set of histories in trying to understand any given artwork, and “for new media art this set includes technological histories, which are essentially interdisciplinary and patchily documented” (283). Second, that such broad histories have led to the unique development of “critical vocabularies for the fluid and overlapping characteristics of new media art” (283). Cook and Graham reason that new media are best understood not as materials but as “behaviors” – participatory, performative or generative, for example. And third, that these behaviors demand a rethinking of curating, new modes of “looking at the production, exhibition, interpretation, and wider dissemination (including collection and conservation) of new media art” (1).

Read the whole article

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