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12 July 2007 by nathaniel

greg shakar at greylock arts

The extremely underrated Greg Shakar will have a (I think his first) solo exhibition opening at the new Greylock Arts gallery in Massachusetts – an endeavor by the wonderful and wondrous Marianne Petit and her partner Matthew Belanger. The former was my supervisor when I was at ITP; she is a total star many times over, and you should watch any and every thing she ever does.

Greg is a very smart, technically clued-up and thoughtful artist. I’m sure it’s gonna be a great show. The re-blog:

Gregory Shakar: MoodVectors

Greylock Arts is pleased to announce its first exhibit with Gregory Shakar’s MoodVectors.

Gregory Shakar creates interactive audio sculptures and immersive environments. As an artist and musician he is devoted to the creation of emotive and expressive electronic art. Viewers participating in his interactive installations encounter melodic bolts of lightning, giant sonorous metronomes, and enormous undulating pixels. His performance work includes audience participatory symphonies performed on hundreds of mobile phones and music for quasi-harmonic audio-visual environments.

Shakar’s work has been exhibited internationally including at Ars Electronica (Linz, Austria), Digital Arts Festival (Tokyo, Japan), Nagoya City Museum of Art (Nagoya, Japan), Sonar Festival (Barcelona, Spain), the London Institute for Contemporary Art (London, UK), the Smithsonian Museum of American History (Washington, D.C), Lincoln Center’s Avery Fisher Hall (New York) and The Kitchen (New York).

For more information about the artist visit his website at: moodvector.com.

We are pleased to present the first survey of the artist’s work in an exhibition entitled “MoodVectors”.

Exhibit Dates:

July 13th – August 18th

Opening Reception:

Friday July 13th, 5:30-8:30 p.m.

Continue reading →

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11 July 2007 by nathaniel

Opening of The pre-Crapalites at David Krut Projects

belated re-blog about upcoming Top Billing feature:

Robert_Johan.jpg _MG_4704.JPG

Artists, celebrities, fashionistas, various creative types and practically anyone swarmed to The pre-Crapalite opening at David Krut Projects this past weekend. Artists Johan Engels and Robert Whitehead have transformed the space into their own pre-Crapalite universe that includes various flamboyant installations; their combined Tele-Pathetic Conception; Engels’ extraordinary Word of Mouth cover designs; Whitehead’s enigmatic monotypes and range of limited edition prints and art works. The enormous crowd that gathered at David Krut Projects on Saturday appeared to be overwhelmed not only by the art works but also by the theatrical antics that were arranged by the pre-Crapalite duo. Such antics included “Daphne de la Rey” perched on a strawberry-decorated pedestal with an outfit to match at the entrance to the space; opening presentations by both Grethe Fox and The Right Honourable Pamela, The Lady Harlech and custom-made hors d’œuvre designed by the pre-Crapalites themselves.

For those that missed the event or are fascinated by this creative duo, The pre-Crapalites will feature on Top Billing Thursday the 28th of June at 19:30 on SABC 3

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23 June 2007 by nathaniel

07-07-07 Hello, my name is

HELLO, my name is, is the title of Juliana I. Smith’s installation for her final exhibition with MAPS, Master of Art in Public Sphere. The installation includes two video works, objects, and drawings mainly from performances she has done in public places. Juliana works with themes of chosen home (Wahlheimat), mobility, tourism and voluntary migration. Through MAPS, she had the opportunity to spend five months at Wits School of Arts in Johannesburg, South Africa. There she co-founded “Kazoo- it’s a live art thing” with Anthea Moys. They held their launch event last December at The Premises Gallery in
Johannesburg, and were the co-curators of Armed Response II at the Goethe-Insitut this past April. She recently had a video installation at the “6th International Symposium on the Aspects of Tourism”, at the
University of Brighton. Juliana’s theoretical work focuses on the “resident” artist versus the “insider” artist in Johannesburg, and makes comparisons to Berlin and New York. How does a place and site affect artwork? In a global and cosmopolitan city like Johannesburg, loaded with a violent history, turbulent politics is one able to make artwork without reflecting the environment?

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22 June 2007 by nathaniel

DATA returns!

The Dublin Art and Technology Association, originally founded by Jonah Brucker-Cohen and Nicky Gogan, was re-launched after a year-long hiatus, as as part of this year’s Darklight Festival, last night.

Featured works / artists included:

Paul Makepeace, a technologist who donates much of his income to artists, and encourages others who make decent cash to do the same (we love that); Blackletter.ie, self-publishing for Irish contemporary artists (has not yet reached its full potential, but already a fabulous resource, and I’ve watched it get better already in the short time I’ve been using it…); John Buckey and David Walker – The Kingdom, a 3D space akin to Second Life, but prettier and more art friendly; and Benjamin Gaulon, some of the coolest public art I’ve seen in a while, especially his de pong game, highly recommended by following the relevant links above.

Per usual, folks were invited to “bring your new videos, websites, works in progress!” but I had to jet home to help with the babe befre we got to that part… DATA is a great presentation, resource and discussion group – congrats to the organizers for breathing life into it again. Looking forward to more…

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20 June 2007 by nathaniel

critique and comparison

Some nice further discussion in the comments section of Tom Moody’s post about my Wireframe Series, and I’m glad for the crit – some positive, some negative, all useful for when I implement the next iteration (hopefully in Joburg in September). I’m even more grateful for his second post, a point by point comparison to Stephen Hendee (image: The Eye, New Britain Museum, New Britain, CT, USA, 2005):

hendee

-specifically evokes “wireframe” computer model (or “invokes” in the case of Stern, who uses the word in his title)
-reproduces wireframe outlines as an actual object
-“problematizes” computer drawing with surrealist invention, deformation
-use of materials such as tape and foamcor (Hendee) and rope (Stern) suggests folk-like or cargo-cult-like reification or fetishization of high technology
-inverts the idea of a computer as effortless and airy through the conspicuous employment of hand labor

I think that these, coupled with his point of it being “activated through its contact with people” (both the performers/volunteers, and the public) are where I should re-double my efforts.

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