Monday, October 29, 2007
October 29, 2007
Rhizome News: Blogger Skins
October 29, 2007
It used to be a bit creepy to admit you googled a new friend or business acquaintance, but these ad hoc background checks are now customary. Marcin Ramocki's latest project 'Blogger Skins,' at artMoving Projects in Brooklyn, references the layer of character these simplistic queries impose upon us. Often out of date, decontextualized, and in some cases shockingly spot-on, our google search results, for good or bad, have become inextricable from our identities. To visualize this process Ramocki used Google's image search on art bloggers Tom Moody (tommoody.us), Paddy Johnson (artfagcity.com), Regine Debatty (we-make-money-not-art.com), James Wagner (jameswagner.com), and Joy Garnett (newsgrist.typepad.com), and tiled the first one hundred images that appeared into a mosaic 'portrait' of each critic. The snapshots point to the absurdity of such cursory investigations, and flip the dynamic between the artist/critic and researcher/researchee relationship. Regine Debatty becomes an art world supermodel, Paddy Johnson appears to have a relationship with Lou Reed, and Tom Moody is an abstract art-creating cricket player. In his own words Moody notes, 'I like what Ramocki says but vaguely wish I didn’t have to be the proof.' - Caitlin Jones
Friday, October 26, 2007
John Giglio folding door rear of gallery
Marcin Ramocki's blogger skins and John Giglio's door from inside.
The Front Doors installed By Giglio in 2005
Some might argue that because of functionality these installations fall into the catagory of architecture. While they do function- their relationship to Robert Irwin, Dan Flavin, James Turrell, Donald Judd seems more direct.
Wednesday, October 17, 2007
166 N.12th St, between Bedford and Berry Sts., Williamsburg (917-301-6680, 917-301-0306).
Subway: L to Bedford Avenue Thurday -Sunday, 1pm - 6pm www.artmovingprojects.com artmovingprojects.blogspot.com
Opening 7-9 Saturday, October 20 – November 18th
Mirage: Morning Before the Fact
A merciful mirage makes the living possible. The sun stoops low over everything wished for in a flash. Reverie alone assists the staggering mind. Here, at last (the map appears to disappear), are the artist’s intentions intact: that shimmer, that presence, as destructive as it is sublime. The clearest way to the universe is through wilderness. How to show the way for those who would climb through a hole in the sky?
In a sculptural landscape the artist figures herself as a traveler searching for a lost memory. In transitory time universal ideas and local reflections connect to macro and micro levels of conception. The forms are fleeting – moving in and out of solidity. Can a holistic view be regained? Can perception be trusted?
When the sun sets and after the sunsets and before it is night, the sky has light but there is no actual sun. The light is very soft and there is something magic about it. It limits with a magic look, a softening beauty and fragility. Open-ended and interrupted experience: the wind blowing, bird rustling, and sunshine flowing into trees.
Evening reports back as forms travel towards their disappearance. Place and replace with light and shadow, rich with past needs of representation or significance. The flawed nature of perfection is a landscape. Antelope Canyon, Bodø, Cappadocia, and the Sahara are the alien lands where great mountains and majestic deserts dwarf humans to insignificance. Such landscapes are neither an empty vista awaiting human settlement nor a jewel-like scene resisting human intrusion.
Like a mirage these objects seem to reconfigure themselves, the active mystery of uncertain vision. The work emits its aura without muscular statement or grand scale. The largest fire proceeds through aeons of emptiness in textures, tones, shapes, and edges, superimposes, and washes. The largest fire proceeds.
Melanie Neilson Junceau
Project Space: new doors by John Giglio
“blogger skins” is a project based on time-specific capturing of image Google searches.
The community most sensitive to this new phenomenon, and par excellence conceptually most related, is the world of pro-bloggers. For this project I chose five art bloggers: Tom Moody (tommoody.us), Paddy Johnson (artfagcity.com), Régine Debatty (we-make-money-not-art.com), James Wagner (jameswagner.com) and Joy Garnett (newsgrist.typepad.com) and performed specific image searches on their names. The thumbnails of first 100 images were imported (in the order of appearance) into an HTML editor and compiled into an image map, reflecting the original Google layout and popularity of search items.
New Project Space Location rear Door and Installation by John Giglio.
In keeping with the Front Doors designed by Giglio in 2004 the rear door expands aMP's new media ambitions.
Thursday, October 11, 2007
Ken Butler Abstract Horror at Galapagos
Program Abstract Horror
7.30-7.45 Matt Freedman and Tim Spelios (performance)
In this collaboration these multi-talented artists riff off each other, Matt drawing cartoons as Tim drums. Satire meets absurdity in this off-beat combination.
7.50-8.05 Ken Butler (performance)
Ken Butler’s Voices of Anxious Objects The artist-musician performs mesmerizing world textures and driving melodic gypsy grooves with passion and purpose on an amazing arsenal of amplified hybrid string instruments made from household objects and tools. Duchampian Dada meets Hybrid Hindu Hendrix as function and form collide in an environment ofhyperactive hardware. Perhaps he will drag out some of the more “dangerous” instruments for this show. Guns, swords, axes, and knives may sing for their supper.
8.10-8.17 Oliver Michaels “Marching to the Sun” quicktime movie A ridiculous video sculpture that spits and spews various mundane objects, so questioning perpetual energy and common sense.
8.20-8.8.23 Richard Kern (“Lulu in the woods”1 minute. A short video of a beautiful young woman (lulu) moving around in nature in her underwear. Innocence mixes with anticipation of some action.
8.25-8.30 Marcin Ramocki “Serenity” dvd “Serenity* is a short and funny video depicting a group of people discussing the artistic merits of the
sci-fi feature "Serenity”
8.32-8.33 Jillian Mcdonald “Zombie Animation” A motley crew of zombies – images downloaded from www documentation of flash mob “zombie-walks” - lumber through post-industrial cityscapes long gentrified and now rezoned for condo living.
8.34-8.40 Linda Post ( Mortal Storm) dvd Mortal Storm appropriates the opening footage of a Hollywood film of
the same title from 1940. A god-like voice booms over storm clouds,
lamenting human the weakness to resort to violence. The scene is
repeated, locking us in a loop of the dilemma.
8.41-8.46 William Stone “Savage Ferox” dvd
In 2005 Stone traveled 150 miles up a jungle river in Guyana South America with Mark Dion and Bob Braine. Shark the guide tells a story of the only movie that he had ever seen on a big screen as a few bottles of rum were consumed around the jungle campfire. It was an Italian movie called Savage Ferox (sometimes called Let them Die Slowly) that was banned in Italy because it was rumored that real human corpses were used.
8.50-9.05 Tom Moody (performance) For this performance Moody will play a selection of his tunes accompanied by looping animated GIFs from his website.
9.10- Bubbly Fish (performance) Playing with a gameboy Haeyoung Kim creates penetrating 8-bit music .
Tuesday, October 9, 2007
Friday, October 5, 2007
Condensation, distillation, and repetition are just some of temporal strategies that the 11 artists in the small but striking show of video work Digital Political Time Lapse at the Brooklyn campus of Long Island University employ to represent the last few years in global media history. Understandably, the United States’ war in Iraq as well as the paranoid catastrophe of recent homefront politics looms large for many of them. Inside the fishtank-like gallery in the lobby of the university’s Kumble Theater, William Stone’s 2004 work ‘Plural Nounsss’ edits one of George Bush’s State of the Union address down to a series of elemental words, such as “benefits,” “terrorism,” and “firefighters,” while Adam Simon presents a ‘Video Portrait’ from 2002 of photographer Moyra Davey softly decrying the post-September 11th directive to go shopping in the name of safety, and Aunrico Gatson presents a single-channel video slpit into a three-monitor, machine gun-paced slideshow of war images culled from the Internet. But in addition to time-based ruminations on war and security, several works, such as Jillian Mcdonald’s animation derived from Webcam footage of the 2006 bloom of a “corpse flower” at Brooklyn’s own botanic gardens, veer into the many different Web-enabled images that have found their way into the political melange. Among them are several that insert the personal into the news-driven mix. Marcin Ramocki, for example, creates pixilated portraits, using the composition tool of an ancient Macintosh sound-editing application, that create a spazz-core cacophony when played. The exhibition comes full circle when, on a table opposite the entrance, a surveillance camera and attached monitor capture video of visitors, who can then rewind from their own real-time moment all the way back to the exhibition opening to watch others encounter themselves on screen.
This entry was posted by William Hanley on Friday, October 5th, 2007 at 7:52 am.
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