cecimoss + artist   584

Tobias Madison at Kunsthalle Zurich (Contemporary Art Daily)
The Swiss artist Tobias Madison (born in Basel in 1985, lives and works in Basel and Zurich) belongs to a generation of young artists who frequently open up the isolated process of artistic creation through the adoption of cooperative or collective strategies, and often assume the role of the curator, client and originator in the process. The roles that Madison adopts are as wide-ranging as the media in which he works: these include sculpture, video, projection, computer-generated and assisted painting, audio pieces, texts, photographs and scans. His works, which are processual in nature, are full of references and descriptions of found symbols and break through the boundaries and categorisations of the art system with playful ease. For the exhibition in Kunsthalle Zürich, Madison works with feedback loops and shifts in both spatial and conceptual exhibition forms and formats, events normally associated with exhibitions, mediation and collaborations.
switzerland  artist  contemporaryart  sculpture  internet 
april 2013 by cecimoss
Clemens Behr | TRIANGULATION BLOG
Clemens Behr's work is based on abstract installations and sculptures built in both public and interior environments. These three-dimensional and volumetric collages which usually are dimensionally huge are made of found recycled ephemera as well as basic building materials such as cardboard, wood, paint, tape and found materials. Into the post there are some works from 2012 but I recommended to see his great portfolio.
sculpture  contemporaryart  artist 
march 2013 by cecimoss
Chrome & Flesh: An Interview with Mark Leckey
In July of this year, the video artist Mark Leckey gave an informal lecture at Chelsea College of Art and Design, London on an ephemeral concept he titled 'Touchy-Feely' — a sort of sensory nerve at the tip-end of his cumulative project on distribution and demand, The Long Tail (2009), (which he previously spoke to Rhizome about.) During the talk, he presented an excerpt from Pearl Vision (2012), a short film and 'self-portrait', that premiered at 'Ghosts in the Machine' at the New Museum and was broadcast on BBC4 last month. The sensuous object of the snare drum (physically absent yet present in high definition audio and video) in this latest work addresses contemporary effects of desire and displacement, caused in part by the everyday technological prostheses at the body's disposal. Recently I spoke with Leckey over email. His perspectives on the intricacy of feeling, ever-changing aesthetic hierarchies, the space beyond the screen and the power of rhythm follow:
interview  contemporaryart  artist  technology  materiality  objects  newmedia 
december 2012 by cecimoss
Enrico Boccioletti/Spcnvdr
content aware is a collection of edited pictures downloaded from fashion blogs, where the subject is assimilated to the background using content-aware fill in photoshop.

content-aware fill is a feature introduced in photoshop CS5 which matches any selected area to its sorrounding context, as like as the removed object never existed. the subject of the shot is not actually removed or deleted but only absorbed into the background, de facto equalizing both of them on a same level of relevance. also, a ghost (an idea) is still visible in the picture, a reminder of the actual subject (a real person) that was there.

an undefined silouhette is in place of the original subject, becoming a paradigm of every possible subject.

every image comes with a name and an address as caption, a fake name generated randomly by this website.
a name which could be true, being perfectly plausible, but was instead arbitrarily generated by an algorythm according coherently to a set number of parameters.

this project is a research concerning identity and possibility, and the consideration of a perpetual possibility of what might have been, no more a concept in a world of speculation only, but a visible representation of this ever growing oscillation of boundaries between possibilty and realization. a delicate balance to be fully aware of.

“What might have been is an abstraction/Remaining a perpetual possibility/Only in a world of speculation” ~ T.S. Eliot, Burnt Norton, I, 6-8
photoshop  internetart  affects  fashion  fashionblog  portfolio  artist 
november 2012 by cecimoss
Zachary Davis
Zachary Davis is concerned with the limits and difficulties of human cognition, evolved long ago as a “learning and pattern recognition machine.” An active member of Portland-based artist collective Appendix Project Space, which is known as much for intellectual engagement as physical practice, his current research explores the resonance of new visual technologies with deep-rooted neurological processes. A broader interest in the collision of the natural and the synthetic also informs his project. While this sounds dryly conceptual, Davis’s study finds appealing material form in an interrelated and carefully curated body of sculpture, moving image, and photography.
sculpture  movingimage  photography  cognition  perspective  artist  contemporaryart 
october 2012 by cecimoss
Sophie Clements
Sophie Clements is a visual artist based in London. Taking inspiration from ideas in science and experimental music, Clements manipulates time to create highly constructed objects that grow from their surroundings, producing collages that rely on chance interactions and discourse between the concrete ‘real’ and the constructed ‘unreal’. Her recent work explores the use of video as a form of sculpture, using devices including sculptural installation and video projection to deconstruct and re-assemble time and material to question the notion of physical reality in relation to time and memory.

Much of Clements’ work is made in relation to sound and music – the expression of the two languages of sound and visual as a singular voice being a key driving force. Sophie has worked in collaboration with a number of composers or sound artists, as well as various visual artists.
artist  interactive  sound  video  sculpture  portfolio 
october 2012 by cecimoss
Daniel Temkin | TRIANGULATION BLOG
Daniel Temkin makes still and interactive pieces stemming from different forms of miscommunication, often built as uneasy collaborations with the computer. I'm featuring two of his projects which are related with glitches and errors produced by the use of basic softwares such as Photoshop. The first one is called Glitchometry, Daniel describes; each image begins as one or a few black squares or circles. They are sonified -- imported into an audio editor. Sound effects are added to individual color channels, as if they were sound, transforming the image. Because the tool is used in an unconventional way, there is no immediate way to monitor the effect. The image manipulator has a sense of what each effect does, but no precise control over the result. It is a wrestling with the computer, the results of which are these images.
glitch  photoshop  software  artist 
april 2012 by cecimoss
Rhizome | Artist Profile: Antoine Catala
Your exhibition at 47 Canal, “I See Catastrophes Ahead,” takes the form of a rebus, in which each of the five pieces in the gallery represents a part of the titular sentence. As the press release notes, “Every digitized image, sound, video, smell, taste and object is associated with [key]words. In an internet search, typing a word opens the door to an infinite universe of possibilities.” The rebus is a centuries-old form of translating words into images, and yet you’re employing it here to reflect the impact of recent technology—the Internet search—on the way we conceive of language. Do you see a connection between the two? There’s something about a rebus that is curiously reflective of the way the Internet works: when you type the word “cat,” for instance, into Google, you get a whole list of unrelated suggested search terms. Was this something that you were thinking about specifically when you made this work?

I was specifically focusing on Google Image Searches.  Google Image search makes connections between images and words.  A rebus operates similarly.  Like you say, searching for the word cat brings up a near endless flow of images of cats.  The rebus reader operates the other way; he or she sees an image and has to attach a word to it, in the process sometimes making wrong associations.  The rebus reader is a bit like the Internet algorithms, attaching words to images.

The Internet, at its inception, was silent and drab; now it’s an exciting place, with plenty of videos, sounds, and images. There is a tendency for the Internet to “flesh up,” to develop substance on top of the underlying text backbone.  Now objects are thrown in the mix.  With an Internet search one can cull and print (via 3D printing) objects.

So, via an Internet search, a word can conjure up many quasi-physical or physical incarnations, be it images, sounds, videos or now objects.  I was specifically interested in the triad word – image – object in making the works for “I See Catastrophes Ahead”.  Each piece in the show is an in-between stage, part image, part object, and part word.
interview  artist  search  internet  television  installation  sculpture  text 
april 2012 by cecimoss
World as Medium: On the Work of Stano Filko | e-flux
Stano Filko’s work is never just about the world. It is world. Because Filko speaks world. World is his medium, his language, his means of artistic production: using the medium of world Filko produces (anti)happenings, environments, installations, objects and diagrammatic drawings of all kinds. Some look very different from others. But that is the freedom of a mind that speaks world. It can choose the means and materials that seem apt in a given situation. What matters first and foremost is that each and every work articulates a particular stance, attitude, and point of view: it addresses the world as a whole from the limits of that world, that is, from the point where a world begins and ends, where α and Ω coincide. In each work Filko projects a view of the world as a whole by formulating conditions—and formalizing terms—under which the world could be viewed as a whole. When Filko builds an immersive environment, these terms and conditions are spelled out in a spatial and physical manner. But they can equally be rendered in a purely semiotic form, as a paradigmatic system, when he draws up diagrams and scribbles words on a sheet of graph paper. And finally (the conditions for articulating) a world can simply be given in a thought, as in the pivotal HAPPSOC 1 piece, in which Filko and Alex Mlynárčik designated all life in the city of Bratislava as a work of art for the time between May 2 and 8, 1965.

This is a provocation! And to see why, we have to grasp the radical sense of possibility with which Filko confronts us: in his work a world can be articulated through spaces, signs, and thoughts alike. From the point of view of his production, therefore, the spatiophysical, the semiotic, and the speculative (and to this we may add the spiritual, political, and sexual) are alternative prisms, but, practically speaking, as prisms they are tools with similar use value. As an artist Filko can use all of them. So, when it articulates a world, a diagrammatic drawing or simple gesture in principle has the same status as a fully designed room installation. Even the smallest thing can show the big picture. These are conditions of autonomy produced within a material practice: Filko creates the freedom to define the value of any artifact or sign according to his own terms, that is, according to the terms of the world systems that he constructs.
artist  theory  philosophy  world  installation 
march 2012 by cecimoss
Stano Filko at Emanuel Layr (Contemporary Art Daily)
Galerie Emanuel Layr is pleased to announce Stano Filko’s first solo show at the gallery, an exhibition of new works by the Slovak artist, opening on Thursday, January 26.
The ‘vacuum’ originally represented the ideal of empty space in antiquity. For Plato and Aristotle such a substance was frightening and impossible. Aristotle refused the notion, stating, “a vacuum does not exist”. However, since antiquity generations of physicists and philosophers, as well as psychologists and artists, have considered the concept of “total emptiness” useful and inspiring. Yet the concept of the vacuum no longer represents an ideal empty space; it has come to simply mean a space that is empty of matter.  From modern particle physics we learn that the vacuum is considered the ground state of matter. The most representative and enigmatic moment for such a state of matter is the BIG BANG. This is what Stano Filko takes as the subject matter for his new show at Galerie Emanuel Layr – the vacuum as an intermediary phase between, before and after the UNIVERSE. Filko’s concept of the vacuum is, of course, not a direct answer, but rather an indirect conceptual and imaginative background to Leibniz’ famous question: Warum ist überhaupt etwas und nicht vielmehr nichts? (Fedor Blascak)
physics  sculpture  installation  vacuum  matter  artist 
march 2012 by cecimoss
Desktop Views
DESKTOP VIEWS is a project about entering the (virtual) space that serves as the foundation of the working environment.

"Desktop is the main element of a human - machine interface. Desktop is your window to the digital world. Desktop is your first step into virtual reality. Desktop is a reflection of your individuality. Desktop is your everyday visual environment. Desktop is an extension of your organs. Desktop is the face of your computer. Desktop is your everyday torture and joy. Desktop is your own little masterpiece. Desktop is your castle. Desktop is a seducer. Desktop is a reliever. Desktop is your enemy. Desktop is your friend. Desktop is a psychoanalyst. Desktop is your little helper. Desktop is your link to other people. Desktop is a device for meditation. Desktop is the membrane that mediates transactions between client and server. Desktop is a substitute for so many other things. Desktop is a question. Desktop is the answer." - Alexei Shulgin

The site has been launched with the first 10 desktops collected and 5 more will be released each following week. The site can be viewed by 'Date' (in the order the desktops have been received) or it can be viewed alphabetically by 'Name' (with the artist's first name). After clicking on the thumbnail, the enlarged version can be clicked once more to view the full-sized image in a new window. To view the artist's website, click on their name above the enlarged version of their desktop. Below is a screengrab of my own desktop. - Adam Cruces
interface  newmedia  internetart  design  computer  contemporaryart  artist 
november 2011 by cecimoss
JON RAFMAN interviewed by AIDS 3D « KALEIDOSCOPE blog!
Aids3d: As an artist you’ve got a lot of different things going on. Do you think it’s important as an artist to have a seemingly cohesive body of work, or at least some kind of delineation between different sub-practices. Could you outline some structure that organizes your practice as a whole?

Jon Rafman: What ties my practice together is not so much a particular style, form, or material but an underlying perception of contemporary experience and a desire to convey this understanding. One theme that I am continually interested in is the way technology seems to bring us closer to each other while simultaneously estranging us from ourselves. Another one is the quest to marry opposites or at least have conversations between them, the past and the present, the romantic and the ironic, even though these conversations often end in total clashes. All my work tends to combines irony, humor and melancholy.
interview  games  google  history  surveillance  artist  contemporaryart  technology  gaming 
november 2011 by cecimoss
Jeanette Doyle
Jeanette Doyle's practice is generally concerned with picture making and the problem of producing compelling images in an image-saturated culture. Strategies employed include the mobilisation of pop-cultural references, for example the utilisation of text and image segments from popular magazines and blogs. This work bypasses the accustomed image of other people's bodies to indicate the actual body either in terms of its demands and decompostition; for example, 40 x Drawings from HELLO! Magazine Laminated into Formica, accompanied by Related Toiletries (1996/7) or it's physical and geographical sighting/siting as in the Gawker Stalker Series (2005) and StarLine Tours (2007). These series also seek to investigate our misrecognition of ourselves in the lives of others and the inevitable complexity of shared narratives.
portfolio  labor  image  internet  culture  artist  contemporaryart  popculture  blog 
november 2011 by cecimoss
cmd - Artie Vierkant - Artie Vierkant
...increasingly I feel we learn more about the character of physical entities through digital means. Or at least a huge amount of the things created in a digital environment (if such a designation is important) are quantifying or augmenting things that already exist. For instance, every tree in Paris is now equipped with an RFID chip. For the moment that mostly means we have some sort of efficient database / cataloguing system set up to help us maintain these trees, but as the technology gets more advanced that data will get further and further imbricated into how we conceive of “tree”. So suddenly not only is an object tagged with some unique identifier and a little package of metadata: it’s also sending and receiving signals, interacting with other objects moving around it, and in some way affecting how we interact with it.
interview  artist  internetart  netart  sculpture  objects  materiality  contemporaryart 
september 2011 by cecimoss
Annotations - Triple Canopy
A pixel is an abstract container that holds a value capable of being translated into any physical size. Of course, making it physical brings about certain material contingencies. I became interested in the structure that the camera overlays in the process of re-photographing. In certain of the “Aggregates” photographs the cells of the grid are really small, and some have over 50,000 color combinations. In these instances the camera sensor has trouble making out the edges of such a fine grid, and in turn creates a moiré pattern, which causes a cyan or magenta fringe at the edges of the gridlines. As I re-photograph and re-print the sheet, the fringe builds into a layer of color imposed by the camera itself. For me, the errors that occur as this rational system of computation breaks down offer some interesting possibilities. 
interview  photography  technology  print  artist  contemporaryart  design  software  grid 
august 2011 by cecimoss
Rhizome | Artist Profile: Laura Brothers
I assume that the way in which my work is normally viewed is through the action of scrolling. You’re on a computer and you are gliding the images in succession past your gaze. I liken this to a sort of super slow motion film strip. It’s a way of storytelling. For a post, each individual image is viewed in relation to the one that comes before it and the one that follows. Meanwhile, they are all sort of floating in an endless black space. There’s no real clear-cut definition between the images in this context. So to me, within each post, each distinct image is really part of the same piece; the same story.
internetart  design  internet  technology  interview  artist  contemporaryart 
august 2011 by cecimoss
Rhizome | Artist Profile: Duncan Malashock
A lot of my work deals with interfaces, either making them, using them, or automating their use.  Those mediated experiences, you could say, are a tech-oriented phenomenon, but really the way I figure it, you could just as well say that any experience can be mediated through anything else that’s a “medium”.  Personally, I tend to explore ideas that come about through my personal relationship to technology as a medium.  And I think that’s pretty normal for an artist, no matter what materials are involved, because I see the creative process as basically being made of two interacting mechanisms.  The first is your own ability to manipulate what you’re working on, and the second is your ability to be emotionally and intellectually affected by the results.  It's a feedback loop, where the results of one process affect the tactics of the other; you see what “works” and what doesn’t “work”, whatever that happens to mean at the time, and you go back and change it until it does.  
interview  newmedia  internetart  interface  technology  artist  friends 
august 2011 by cecimoss
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