cecimoss + art   873

Art Workers: Between Utopia and the Archive | e-flux
The topic of this essay is artistic work. I am not, of course, an artist. But in spite of being quite specific in some respects, artistic work is not fully autonomous. It relies on the more general—social, economic, technical, and political—conditions of art production, distribution, and presentation. During recent decades these conditions have changed drastically, due first and foremost to the emergence of the internet.

In the period of modernity, the museum was the institution that defined the dominant regime under which art functioned. But in our day, the internet offers an alternative possibility for art production and distribution—a possibility that the permanently growing number of artists embrace. What are the reasons to like the internet, especially for artists, writers, and so forth?
art  criticism  essay  ybca 
july 2013 by cecimoss
Rhizome | Parapolitics
If art is going to insert itself directly within these structures of communicative capitalism, then it needs to make explicitly clear its relationship to this capitalism. Social networking tools, and indeed the wider technologies of web 2.0, are sold to us within a narrative of emancipation; they are the promise of instant feedback, the ability to keep the world updated as to ‘what’s happening’, in real time. They are the harbingers of horizontal democracy. Jodi Dean operates a salient critique of this fantasy, however, emphasizing the extent to which communication today functions as a primarily economic form, and as such an all-consuming ideology: “Capitalism is our fixed reality”. This is the entire melancholy of Twitter, as one social media example among many: it becomes not what we say that’s important, but that we keep saying it. It’s like the feeding of the 5000, with one piece of bread passed between everyone as no one dares ingest it, all then stopping at the 1st century Palestinian version of Taco Bell on the way home. The result is infinite exchangeability, zero engagement, in which “communicative exchanges, rather than being fundamental to democratic politics, are the basic elements of capitalist production.”

To replicate these models in our art is to perpetuate the capitalism that is resulting in systematic social divides on both local and global scales that have abstracted our social relations for the gross profit of an arbitrary few. Claire Bishop argues for the criticality of her delegated performances as one of sadist transgression, in which the perversity embodied by institutions and presented as a norm is revealed through a parallel perversity, which by contrast is parsed as an anomaly. Certainly we can say this about Santiago Sierra; arguably it is true of much of Haacke’s work, too. Yet when the economic reality is becoming progressively more perverse, this becomes a terrible one-upmanship. We need an art that does more than make visible the already evident.
art  politics  newmedia  socialmedia  contemporaryart  internetart  web2.0 
february 2013 by cecimoss
The Dimensionist Manifesto Charles Sirato, Paris, 1936
The Dimensionist tendency has led to:

I. Literature leaving the line and entering the plane : Calligrammes , Typograms, Planism, Electric Poems.

II. Painting leaving the plane and entering space : Peinture dans l'espace . Compositions Poly-matérielles , Constructivism. Spatial constructions. Surrealist objects.

III. Sculpture stepping out of closed, immobile forms (i.e. out of forms conceived of in Euclidean space), in order that it appropriate for artistic expression Minkowski's four-dimensional space .

It has been, above all, "solid sculpture" that has opened itself up, first to inner space, and then to movement; this is the sequence of developments: Perforated sculpture; sculpture-ouverte , Mobile sculpture; Kinetic sculpture.

IV. And after this a completely new art form will develop: Cosmic Art. The Vaporisation of Sculpture: "matter-music." The artistic conquest of four-dimensional space, which to date has been completely art-free. The human being, rather than regarding the art object from the exterior, becomes the centre and five-sensed [öt-érzékszervü] subject of the artwork, which operates within a closed and completely controlled cosmic space.

This is how one would most concisely summarize the essence of Dimensionism: Deductive with respect to the past. Inductive with respect to the future. Alive in the present.
manifesto  1930s  markleckey  hungary  art  contemporaryart  dimensionism  charlessirato 
december 2012 by cecimoss
Counter-Production
In the wake of technological and economic transformation during the twentieth and twenty-first centuries, the image of artistic production has undergone major changes. In view of the inner constraints of a reality framed according to post-Fordism with its insistence on efficiency, flexibility, and intelligent self-management, to what extent and in what ways do artists participate in and confront contemporary conditions of global production and capital? Some artists have responded to the changed conditions of production indirectly by pointing out their intrinsic contradictions with the use of definitions such as “productive non-production” or “non-productive production,” “counter-productive work,” or the body as site of reproduction and self-production.

The exhibition Counter-Production examines the gesture or method of counter-production so as to grasp and address questions relating to the ways in which contemporary artistic production functions. At the same time, this attempt forms the basis of a redefinition of the term “counter-production,” which, like the politico-economic, technological and socio-cultural fields in which it originally made its appearance, is subject to historical transformation and, as such, is to be redefined.
economy  labor  art  contemporaryart  survey  exhibition  economics  material 
october 2012 by cecimoss
Interview with MSHR by Maurizio Cattelan
Striving for ground zero is a good starting point for a project. We use primitive electronics of our own design and human voices as our sound sources, because we want to come from a closer place to the root, from a more radical or basic place and develop therefrom. Our hope is that this process will continue to reveal new creative pathways for us to explore. Building our own electronics also lets us build them in any form we want, which is really useful for interactive installations, and for making sculptural instruments to perform with. Building our own instruments also allows us to have more interesting and unique interface systems. We are interested in interfaces that rely on elemental things... plant life, the human body, natural phenomena. We use these techniques especially in our installation work, to make interactivity a crucial part of the art.
art  sound  band  noise  installation  instrument  environment 
april 2012 by cecimoss
Frieze Magazine | Archive | Dear Painter …
Tomma Abts, Tauba Auerbach, Matt Connors, Charline von Heyl and Bernd Ribbeck talk about the role of abstraction in painting today.

What does the term ‘abstraction’ mean to non-figurative painters working today? I spoke to five artists, all of whom make work grounded in process and materiality. There is a dissonance between the directness of their work and the fuzzier set of interests and objectives – high-minded, metaphysical and historical – that ‘abstraction’ suggests. None of these painters seem interested in spirituality as a social idea or abstraction as a historical category, but they share a real belief in the metaphysical properties of work, materials, process and practice, a kind of secular faith in the possibilities of non-objective image-making. Their desire is not for transcendence through abstraction, but for a greater embeddedness in the world through materials and work.
painting  abstraction  interview  art  contemporaryart  materiality 
march 2012 by cecimoss
Remote Control | e-flux
Remote Control includes a range of work by artists who explore the way television shapes contemporary culture, and also highlights a number of contemporaries who are responding to the mediums digital convergence. Coinciding with the digital switchover in the UK, the exhibition marks the end of analogue broadcasting—a milestone in the evolution of television.

The exhibition includes significant works that examine how television has changed the way artists engage with material and form, and how adopting techniques of television broadcasting has contributed to the deconstruction of traditional definitions of art. Exploring the role of television in the public sphere, many of the works presented in the exhibition challenge themes of gender, race, propaganda, identity, pop imagery and consumerism.
television  popculture  consumerism  art  exhibition  contemporaryart 
march 2012 by cecimoss
Frieze Magazine | Archive | The Long Nineties
Mocked and ridiculed, the 1980s met a pitiful end at the hands of a generation of artists who considered a market-friendly, object-based art their ideological nemesis, and punished it summarily for its false richness.

This is an exaggeration, of course, but ask around in my (Northern European) corner of the world, and I would guess that many of those who were working back then will confirm this picture of a generational showdown. By contrast, faded and forgotten as they may be, ‘the long nineties’ remain unsubverted. The symbolic revival of Félix Gonzáles-Torres at the 2011 Istanbul Biennial, for instance, echoed his status as a guiding star of curating and art theory of that decade.

However, during the last five years, as the historicization of the ’90s gains momentum, the jury has gradually reconvened. The case being weighed is that of art’s relationship to the social. In 2007, Ina Blom published On the Style Site: Art, Sociality and Media Culture, examining the practices of many of the prominent artists of the ’90s and after; a 2010 symposium at Tate Britain was entitled ‘Art and the Social: Exhibitions of Contemporary Art in the 1990s’; and Claire Bishop’s Artificial Hells: Participatory Art and the Politics of Spectatorship will be published by Verso in 2012. The art-historical claim of the latter is that the ‘social turn’ should be ‘positioned more accurately as a return to the social, part of an ongoing history of attempts to rethink art collectively’. I will proceed more sceptically – or counter-socially – by revisiting the ’90s through the social as a problematic not only for art, but also in relation to the ‘governmentality’ of our time – Michel Foucault’s term for the economics and relations of power that shape a society as a field of possible action.
1990s  90s  art  criticism  frieze  relationalaesthetics  public  publicart  theory 
february 2012 by cecimoss
Hito Steyerl, Art as Occupation: Claims for an Autonomy of Life / Journal / e-flux
Lets start with a simple proposition: what used to be work has increasingly been turned into occupation.

This change in terminology may look trivial. In fact, almost everything changes on the way from work to occupation. The economic framework, but also its implications for space and temporality.

If we think of work as labor, it implies a beginning, a producer, and eventually a result. Work is primarily seen as a means to an end: a product, a reward, or a wage. It is an instrumental relation. It also produces a subject by means of alienation.

An occupation is the opposite. An occupation keeps people busy instead of giving them paid labor. An occupation is not hinged on any result; it has no necessary conclusion. As such, it knows no traditional alienation, nor any corresponding idea of subjectivity. An occupation doesn’t necessarily assume remuneration either, since the process is thought to contain its own gratification. It has no temporal framework except the passing of time itself. It is not centered on a producer/worker, but includes consumers, reproducers, even destroyers, time-wasters, and bystanders—in essence, anybody seeking distraction or engagement.
politics  essay  ows  labor  art  contemporaryart  life  economy 
december 2011 by cecimoss
Architecture of Fear - a conversation with Trevor Paglen - we make money not art
I suspect that there are very few places left on this planet that haven't been discovered by intrepid explorers. Yet, Trevor Paglen has found and investigated territories that still need to be documented and exposed to the world. If you've never seen his photographs, i suggest you swing by the Z33 House for Contemporary Art Center in Hasselt, Belgium. They are part of Architecture of Fear, an exhibition that examines how feelings of fear pervade our daily life.
architecture  art  culture  design  exhibit  photography  interview  surveillance 
november 2011 by cecimoss
Lev Manovich | Essays : The Death of Computer Art
Lots of people talk about the coming convergence of computers,
communication and television. This convergence will probably happen. In
fact, judging from the new models of personal computers which are clearly
being positioned as consumer electronic devices (incorporating answering
machine and TV cards in them), it is indeed well underway.

Those of us who work with digital art often debate another convergence -
- the convergence between art world and computer art world. I recently came
to the conclusion that this particular convergence will NOT happen. Below
are the reasons why.
art  essay  manovich  newmedia  computerart  contemporaryart  artworld 
november 2011 by cecimoss
Coventry University Podcasts » Blog Archive » Zombie Media: Media Archaeology as Circuit Bending - Jussi Parikka
Reuse, remix, remediation, and various other inventions of the “re” are an emblematic part of contemporary digital culture. This talk gives an insight into how we can reimagine media archaeology as an artistic methodology of circuit bending and reinventing old media into new uses – something we refer to as “zombie” media instead of dead media. The talk addresses how the methodologies of reuse and opening up old technology can be seen as crucial artistic methodologies to address the political economy of closed consumer technologies – and how this links up with the ecological crisis of information waste. The talk is based on the text co-written by Garnet Hertz and Parikka, and nominated for the Transmediale 2011 Media Theory Award.
mediastudies  mediahistory  obsolescence  technology  mediatheory  art  mediaart  circuitbending  DIY  contemporaryart  mp3  podcast 
october 2011 by cecimoss
Matthew Fuller » Art Methodologies in Media Ecology
Art is no longer only art. Its methods are recapitulated, ooze out and become feral in combination with other forms of life. Art methodologies convey art’s capacities to enact a live process in the world, launching sensorial particles and other conjunctions in ways and combinations that renew their powers of disturbance and vision. Art methodologies are a range of ways of sensing, doing and knowing generated in art that are now circulating more haphazardly, perhaps less systematically, and requiring of a renewed form of understanding in order to trace and develop them. Art methodologies are cultural entities, embodied in speech, texts, sounds, behaviours and the modes of connection between things that share and develop, work on, art’s capacity of disturbance and the multi-scalar engorgement of perception.
mediatheory  performance  video  art  reference  perception  contemporaryart  mediaart  media 
september 2011 by cecimoss
Frieze Magazine | Archive | Down the Line
"The last 20 years have seen revolutions in technology that have transformed our lives. How have art and its institutions reacted?"
contemporaryart  technology  internet  internetart  postmodernity  postmodernism  network  opensource  artworld  art  culture  frieze 
august 2011 by cecimoss
Svetlana Boym | Off-Modern Manifesto
To err is human, says a Roman proverb. In the advanced technological lingo the space of humanity itself is relegated to the margin of error. Technology, we are told, is wholly trustworthy, were it not for the human factor. We seem to have gone full circle: to be human means to err. Yet, this margin of error is our margin of freedom. It's a choice beyond the multiple choices programmed for us, an interaction excluded from computerized interactivity. The error is a chance encounter between us and the machines in which we surprise each other. The art of computer erring is neither high tech nor low tech. Rather it’s broken-tech. It cheats both on technological progress and on technological obsolescence. And any amateur artist can afford it. Art's new technology is a broken technology.
art  theory  technology  amateur  noise  philosophy  essay 
august 2011 by cecimoss
Rhizome | Keeping it Online
Today I am pleased to announce the publication of a paper that documents the past, present, and future preservation practices of Rhizome's archive, the ArtBase. This paper is the synthesis of years of research conducted by Rhizome and other leaders of digital preservation, in and outside of art institutions. What follows is an attempt to summarize a few key points. The paper in its entirety is available here: Sustainable Preservation Practices and the Rhizome ArtBase
art  research  newyork  preservation  rhizome  circulation  newmediaart  newmedia  archive  database  code  nonprofit 
august 2011 by cecimoss
« earlier      
per page:    204080120160

related tags

#hi11  3d  70s  80s  90s  1930s  1960s  1970s  1980s  1990s  abstraction  academia  academics  accessories  activism  activist  adamcurtis  aesthetics  africa  album  alternative  amateur  america  amiga  amsterdam  analog  andywarhol  animated  animatedgif  animation  architecture  archive  archiving  art  art?  artband  artbase  artblog  artbook  artcollective  artcriticism  artdealer  artgroup  arthistory  article  artificialintelligence  artist  artists  artistsspace  artist_run  artmarket  artproject  artscene  artspace  artust  artwork  artworld  astronomy  auction  audio  augmentedreality  austin  australia  austria  avantgarde  band  bayarea  benefit  benjamin  berlin  bicycles  biennal  biennial  billboard  bioart  biology  bizarre  blackmetal  blog  blogging  blogs  body  book  bookart  books  bootleg  brand  brianeno  british  broadcast  brooklyn  burnham  business  cableaccess  calendar  california  canada  cards  cars  cartography  cassette  celebrity  charlessirato  chelsea  chicago  christmas  cinema  circuitbending  circulation  cities  city  clothes  clothing  cloudcomputing  code  collaboration  collaborative  collage  collection  collective  color  comedy  comics  commissions  communication  community  communityaccess  competition  composer  composers  composition  computer  computerart  computers  concept  conceptual  conceptualart  conference  conservation  consumerism  contemporary  contemporaryart  contest  conversation  copyright  corporate  craft  creativecommons  crime  crisis  criticism  critiism  culture  curating  curation  curator  cursor  cute  cutepuppydogs  cybernetics  dada  data  database  datavisualization  death  decay  deleted  deleuze  delicious  demo  democracy  design  designer  digital  dimensionism  discussion  distribution  distributor  diy  documentary  documentation  dogs  drawing  dumpfm  DVD  dystopia  eames  earthart  ecommerce  economics  economy  education  effects  election  electromagnetic  electronic  electronicinstrument  electronicmusic  electronics  embroidery  emotions  environment  environmentalism  essay  essays  event  events  everyday  exhibit  exhibition  exhibitionspace  experience  experimental  fabric  fair  family  fanzine  fashion  fashiondesigner  feedback  feminism  festival  fiction  filetype:gif  filetype:jpg  filetype:mov  film  films  fim  finland  firefox  flash  flickr  fluxus  folk  folkart  folklore  food  found  france  free  fresno  friends  frieze  fun  fundraiser  funny  furniture  future  futurism  galleries  gallery  galleryspace  game  gamedesign  games  gaming  gang  gelitin  gender  generation  generative  generator  geography  geometric  gif  gifts  glitch  globalization  globalwarming  google  googlemaps  graffiti  graphic  graphicdesign  graphics  grid  group  groupexhibition  hack  handmade  hardware  hiphop  historiography  history  house  howto  hsitory  humor  hungary  iceland  icon  identity  illustration  illustrations  image  images  independent  industrial  information  insanity  installation  institution  instrument  interactive  interface  internet  internetart  intervention  interview  ireland  israel  italy  japan  jazz  jewelry  journal  journalism  jstchillin  knit  knitting  kraut  krautrock  label  labels  labor  landart  landscape  language  lasers  law  lecture  LED  libraries  life  light  lighting  links  literature  live  location  logos  london  loop  losangeles  lowfi  LSD  machine  magazine  mail  mailart  mailinglist  make  manifesto  manovich  map  mapping  maps  market  markleckey  masculinity  material  materiality  mathematics  mechanical  media  media:image  media:video  mediaaart  mediaart  mediahistory  mediart  mediastudies  mediatheory  melbourne  meme  memory  mexico  miami  middleeast  miniature  minimal  minimalism  mix  modeling  money  motion  movement  movie  movies  mp3  mp3blog  museum  music  musicblog  musichistory  musician  musicreference  musicvideo  musivideo  myspace  narrative  nature  net  net.art  netart  netlabel  network  newage  newcastle  newmedia  newmediaart  newmediahistory  newmediart  newmuseum  neworleans  news  newyork  newyorkgallery  noise  nonprofit  norway  nowave  nursewithound  nyc  nycgallery  object  obsolescence  oddities  oil  online  onlinestation  opensource  organization  ows  painting  palin  paper  papergoods  paris  park  parody  participation  participatoryart  pdf  pedagogy  peformance  perception  percussion  performance  performanceart  philosophy  photo  photograph  photographer  photography  photos  photoshop  pictures  pizza  podcast  poetry  polaroid  politics  pollitics  pop  popculture  popularculture  porfolio  portal  portfolio  portland  portrait  poster  posters  postmodernism  postmodernity  pov  pranks  preservation  press  prformance  print  printedmatter  prints  process  productdesign  programming  project  projection  providence  psychedelic  psychogeography  psychology  public  publicart  publication  publicspace  publisher  publishing  punk  queer  quilt  race  radio  rare  recession  record  recordlabel  records  recycle  reenactment  reference  refugee  relationalaesthetics  release  religion  remix  research  residency  resource  resources  restaurant  review  reviews  rhizome  riotgrrrl  ritual  robot  robotics  robots  ruins  russia  sampling  sanfrancisco  schedule  science  scifi  screen  screensaver  sculptuer  sculpture  scultpure  security  sevenonseven  SF  shop  shopping  show  silkscreen  skateboard  sketchup  skin  smallpress  social  socialmedia  society  software  sound  soundart  soundartist  southafrica  space  spectacle  spirituality  sports  starwars  stationary  stonehenge  stop-motion  storage  store  storefronts  story  streaming  street  streetart  style  suburbia  subway  summer  surfclub  surfclubs  surfing  surreal  surveillance  survey  syllabi  synth  system  systems  tape  tate  tech  techno  technology  technoogy  telematic  television  temple  temporality  temporary  texas  text  textile  textiles  texture  theater  themepark  theory  time  tool  translation  transmateriality  transmission  transportation  travel  tropical  tumblr  tv  typography  ubu  uk  urban  venice  venice2013  venue  video  videoart  videoartist  videogame  videogames  videos  vimeo  vinyl  virno  virtual  visual  visualculture  visualization  walks  wall  war  web  web2.0  webcam  webdesign  website  weird  women  wondershowzen  writing  yahoogroup  ybca  youth  youtube  zine  zines 

Copy this bookmark:



description:


tags: