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27 June 2008 by nathaniel

Trespass @ Resolution Gallery, Johannesburg

Implicit Art friend Daniel Hirschmann shows in his first South African and first print-based exhibition, opening early next month at Resolution Gallery (and I’ll even get to see it while I’m in Joburg! I’m excited to visit the first/only “gallery of digital art” in South Africa, which opened only recently….). Born and raised in Joburg, studied at Wits and ITP / NYU, now a resident artist and designer in London, Daniel is an art and techno geek of monumental proportions; a glimpse of the kind of generatively produced and lovely work he’ll be premiering at RG can be seen in this flickr set. These are made through live camera captures that are then run through custom Macromedia Freehand scripts, if memory serves correctly….

Invite to the show, which also features work by Nils Eichberg and Olivier Schildt, below.

Trespass @ Resolution Gallery, Johannesburg: Daniel Hirschmann, Nils Eichberg, Olivier Schildt

Posted in art, art and tech, flickr, inbox, re-blog tidbits, south african art, stimulus, technology ·

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01 May 2008 by nathaniel

DATA 30

Fantastic DATA on Tuesday with Alessandro Ludovico (Italy), Jaime Villarreal (Mexico), Ivan Twohig (Ireland).

Ivan showed several projects including his Falling Man, which turned free 3D graphics of a falling man into life-size paper sculptures throughout a gallery. Alessandro showed his Google Will Eat Itself and Amazon Noir, and Jaime did a live networked performance with junk and micro-controllers, making music in real-time with his friends in Mexico while here in Dublin.

Heaps of photos here. A few samples:

See more photos.

Posted in art, art and tech, flickr, Ireland Art, pop culture, stimulus, technology, theory ·

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20 February 2008 by nathaniel

Contemporary Irish Art Society and a Birthday Blog (updated below)

sirens' dillisk, lambda print on metallic paper, 2007, 610 x 1200 mm, edition 5Haydn and I gave very brief talks to the the Contemporary Irish Art Society last night, about my recent print work for Art on Paper Gallery (South Africa) and Haydn Shaughnessy Gallery (Ireland and in Second Life). It was really fun to be with an audience who knew nothing of the technologies I normally use (they were so curious and interested when I showed them one of my interactive installations, stuttering, for example), but who could completely appreciate the trajectory coming from that work, and leading into my performative printmaking process. The most buzz from them came out of the art historical referential pieces, such as nude descension and nude descension II, or Joburg Boogie Woogie and Joburg’s Ghost, as well as the locally made works. The Society itself wound up buying sirens’ dillisk (shown right, and a detail is in the header of this blog), a piece produced in West Cork in the middle of last year. They often purchase Irish works that are later donated to museums, galleries, hospitals and other official bodies, so I’m curious to see where it winds up.

Tangentially, today is my blog’s 5th birthday. It’s gone through many refigurings, so I appreciate any and all who have been “with” me for any length of time, as well as newcomers to my work and occasional rants. This means MTAA also had a recent blog birthday – Tim, here’s your yearly reminder.

update: Haydn on his talk last night

Posted in art, art and tech, Compressionism, creative commons, flickr, Ireland Art, me, south african art, stimulus, technology ·

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17 January 2008 by nathaniel

ingrid michaelson

ingrid_michaelson.jpg

I rarely look up a song I’ve heard on television. Maybe on a late night show now and again (I think I found Corinne Bailey Ray thanks to a meta-late night show, Studio 60), or something in a movie, but on TV, not so much. But after the third time I had turned to my wife and said, “This is actually quite a beautiful song; and I think it may be the same artist as the last time I said this,” while watching Grey’s Anatomy, I caved and looked it up on the internet. I was shocked when I found Ingrid Michaelson’s name. Via Wikipedia:

Michaelson was born to artistic parents — composer Carl Michaelson and sculptor Elizabeth Egbert, who is the Executive Director & President of the Staten Island Museum. She took up piano at age 5. She had trained until age 7 at Manhattan’s Third Street Music School and continued for many more years at the Jewish Community Center of S.I.’s Dorothy Delson Kuhn Music Institute. There she met vocal coach Elizabeth McCullough, who worked with her through high school. She is a graduate of Staten Island Technical High School and Binghamton University, where she received a degree in theatre.

“Hey, Nathaniel,” you might ask, “didn’t you go to SI Tech?” Yes, I did, and Ingrid and I were pretty friendly for a short while. In fact, next time I’m at my folks’ place (though that may be a year or so in the making), I’ll go and dig up some photos of us (real photos? not on flickr? Yeh, we’re talking old school disposable camera photos circa 1994/1995).

This isn’t, of course, to take any ownership of Ingrid, her talents or her success. Probably more accurately, I knew the girl who would some day grow to be the woman pictured above (though she doesn’t look as if she has aged a bit. Of course, her lyrics reveal a maturity that says otherwise….). I’m sure neither one of us is the same person. But despite that recognition, I can’t help but feel a sense of – not pride, as that would indicate I played even a small role, which I did not – satisfaction.

I think this satisfaction comes from bearing witness. Ingrid has the same ‘humble beginnings to myspace find to nearly a rock star’ bio on her web site, in the NY Times, and various other places (that last link is a nice interview). But I know it not as a press release – it’s all true. I’ve been to her house on Van Duzer Street on Staten Island; I’ve met her parents; I’m pretty sure I was even in a school show with her (yes, I used to sing and play music in a past life…). Even back then (she was 14 or 15 when we met), Ingrid was generous, quirky, did her own thing, down to earth (see aforementioned interview), and had a similar style to the one she has now: I liked her immediately.

We haven’t been friends since I graduated in 1995, but I do remember running into her, must’ve been around 2001, when I was at NYU; I don’t remember much about the conversation (other than the standard, Staten Island / high school friend thing of poking a bit of fun at each other), but I recall that she was content doing a bit of acting, playing music, figuring things out. I looked her up a few years later (around the time Friendster was popular and I also was feeling minor nostalgia/homesickness living in Johannesburg, so looking up high school buddies), and found her web site and downloaded a few MP3s. Still doing her thing. I had meant to email her and say how I liked the tracks, but never got around to it, and my guess is that she’s pretty aware of the fact that lots of people like them by now :)

It’s just nice to see, you know? It’s a real story of someone who did not claw or suffer or change to get some success. She was content to do her thing before she was a rock star, and from what I can tell, she’s continuing on that track now, as she says, “taking it slow.”

Congratulations, Ingrid. I’m a different kind of fan to the one I was in our former incarnations, but you can add me as one for sure. I wish you more and more success.

Sidenote: also check out Ingrid’s “dutch pop” (ha) side project, Ingrid&Andrew

Sidenote 2: and if you like that, and speaking of talented musicians I went to high school with, also check out João Orecchia (that’s his site; here’s his myspace) – who I do still know very well; he is my daughter’s god father – and his Johannesburg-based band 5 Men 3 Missing (again, their site. myspace). Awesome stuff.

Posted in flickr, Links, me, music, poetry, pop culture, re-blog tidbits, stimulus, uncategorical ·

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09 December 2007 by nathaniel

dvblog feature

somehow missed this feature a few days ago:

 

 Sentimental Construction
Sentimental Construction (2007, 25.4MB, 6:31 min)

Nathaniel Stern took a bit of a hammering in various quarters for this piece,
made on a residency in Croatia.
I think there’s an probably an element of you-had-to-be-there about this
although, that said, I think the video is rather magical &
does as good a job of summoning the kind of ephemeral spell this stuff can weave
as any I’ve seen.
Lastly it has to be said the reason Nathaniel is great is because
(1) he has a frightening amount of energy, more indeed, really, than his fair share –
he starts 5 ‘isms’ before breakfast
(2) he is bold, unafraid to risk looking ridiculous & therefore quite often as an artist
he goes to much more interesting places than most…
In general I’ll take a Nathaniel “failure” over quite a lot of folks’ “success”.

Thanks, Michael. Tom Moody came to this piece’s defense a day or two after Paddy’s pan (above), as well. This video has actually since been updated/edited (only had one day to do it in situ in Croatia), available here. Follow-up piece (passage) is here. Not sure what’s next, but it’s growing and changing as I ride it out, or fuck it and go in the opposite direction…

Posted in art, art and tech, creative commons, flickr, re-blog tidbits, south african art, stimulus, youtube ·

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24 October 2007 by nathaniel

performance 2 (passage)

untitled 11A continuation from The Wireframe Series: Sentimental Construction #1, performance 2 (passage) is a similarly site-specific, publicly performed architectural structure made of rope. The piece, erected in Joubert Park, Johannesburg South Africa (2007), twists the idea of ‘public space’ by its double activation: first, through the volunteers who stretch its form outward and around them; and second, through the communal play of the park’s inhabitants, which gives the structure a performative turn.

Although the design is, itself, a passage – several doorframe shapes in series, swinging freely from atop four wooden poles – it can only move between hard and soft, virtual and actual, public and private, through its contact with people. This is juxtaposed with the inconsistencies of South Africa’s major inner-city: crumbling art deco buildings surrounded by crowded streets and busy taxi ranks, all making way for the quiet of the Johannesburg Art Gallery’s neo-classical architecture, and the leisurely games, picnics and ice cream stands in the inexplicably carved-out Joubert Park. The surrounding areas of the park have historically been a bundle of contradictions – before, during and after Apartheid – sustained as civic spaces because of how they’re used by the public. performance 2 playfully mirrors the contradictions of this space and its utility, and further underpins the tensions between work and play, nostalgia and possibility, construction and emergence.

video documentation

[youtube:http://www.youtube.com/watch?v=MaYitxrlMm8 500 395]
download as quicktime or ogg / theora

Performers / Documentarians: Brendan Copestake, Ismail Farouk, Anthea Moys, João Orecchia, Rat Western. Click for photos and sketches.

Creative Commons License
The video, images, concept and design of this work are licensed
under a Creative Commons Attribution 3.0 Unported License

Posted in art, creative commons, flickr, me, south african art, stimulus, youtube ·
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nathaniel’s books

Interactive Art and Embodiment book cover
Interactive Art and Embodiment: the implicit body as performance

from Amazon.com

Buy Interactive Art for $30 directly from the publisher

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Ecological Aesthetics: artful tactics for humans, nature, and politics

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