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
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
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