cecimoss + internet   211

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
Artup is a Bay Area community-powered incubator for forward-looking work stationed at the intersection of contemporary art and digital technology. Welcoming artists of all disciplines, Artup provides a foundation for a consistent and engaging stream of high quality work for and by curious aesthetes throughout the Bay Area.

The Bay Area is technological ground zero. Bay Area residents are the first to experience the impact of the latest technological developments. Artup strives to stimulate responsive artworks and critical conversations to match that intensity.

Technology workers in the Bay Area are transforming the world. Now is the time for Bay Area artists to do the same.
newmedia  internet  technology  bayarea  friends  event 
april 2013 by cecimoss
Jon Kessler: The Web / Swiss Institute Contemporary Art New York | VernissageTV art tv
In this video, we attend the opening of mixed-media artist Jon Kessler’s current solo exhibition at the Swiss Institute Contemporary Art in New York. Titled The Web, the show is a large-scale immersive and interactive installation the visitor can participate in by downloading a special iPhone app (Jon Kessler’s The Web). The video provides you with a walk through the exhibition on the opening night and statements by Siebe Tettero (Director, Métamatic Research Initiative Amsterdam) and Gianni Jetzer (Director, Swiss Institute Contemporary Art New York) who talk about the concept of the exhibition. The show runs until April 28, 2013.
installation  network  internet  contemporaryart  switzerland 
march 2013 by cecimoss
Frieze Magazine | Archive | Net Gains
Much of the work made using online technologies is near-impossible to translate into the offline world of exhibition-making (even for younger artists, the paradigm is still that of the gallery space) without some qualitative loss of format, context and meaning. However, this very act of transplantation opens up new possibilities in the presentation of art making and exhibition design. Artists and curators have to think harder and more creatively in reconfiguring the visual economy of the computer screen (private, confined, flat) in the exhibition space (public, open, layered). Of course, trying to reformat the social and political power struggles of a networked medium that relies on the instant performativity of the process for its enactment is no easy task. But for digital affect to transform into art world effect we need to recognize that the process is underway. The wheel is already spinning.
newmedia  internet  exhibition  internetart  discussion 
february 2013 by cecimoss
Technical Difficulties
Claire Bishop asks: “Whatever happened to digital art?” [“Digital Divide,” September 2012]. It is a troubling question for the artists, critics, curators, funders, and nonprofit administrators who have observed or participated in the growth of this field over the last decade. Why does this work remain invisible to Bishop? It is partly due—as per her own admission—to her focus on a “mainstream,” which she defines as the art that appears in “commercial galleries, the Turner Prize, national pavilions at Venice.” Still, we would argue that even here the “divide” she describes is actively being bridged and, because of a critical blind spot, she is forcing it back open.
newmedia  philosophy  artworld  contemporaryart  internet  internetart 
january 2013 by cecimoss
Idle Screenings
Idle Screenings streams video and image art to thousands of desktops daily, through the use of custom screensaver software. Our exhibition explores value within an attention economy by beaming original works into empty rooms at the expense of other resources, such as energy, bandwidth, and time.
exhibition  newmedia  online  computer  internetart  internet  curation 
november 2012 by cecimoss
netartnet.net is an online-gallery listing and directory. The archive contains current, past, and future exhibitions with dates, links, and press releases.
internetart  internet  gallery  exhibition  online 
may 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
Hyperjunk: Observations on the Proliferation of Online Galleries : Bad at Sports
Recently the topic of online galleries and their proliferation in the past year has been on the tips of many tongues. Specifically, the argument involves a musing on how the development of online venues for showing net-based work is providing a fundamental shift in the paradigms of traditional art market systems. Although I support and am interested in these projects, I haven’t been convinced one way another of their effectiveness, or if these new galleries are actively engaging, responding, or directly working against the establish status quo of art exhibition. One such criticism of the overall impact of these spaces comes from the striking similarity of artists shown in these venues. In very few instances do these spaces show artists that haven’t otherwise had some kind of successful online exposure (through something like Rhizome, Art Fag City, or even the artist’s own dynamic social networking presence). The amount of overlap between the artists shown in these online venues is telling to the overall quality of work being made and distributed online. It’s not that I want to argue that these artists are underserving of so much attention, or that their work hasn’t earned wide distribution and exhibition, but I do question the value of having multiple online venues showing such similar kinds of work and artists (especially given the availability of so many creative, insightful, and challenging works being made within/around network culture).

This being said, I came to scrutinize my own suspicion of these so-called alternatives by questioning the fundamental basis of my own judgement: is it the responsibility of these websites and galleries to create an antithesis of the standard model of commercial distribution? Is it is also their responsibility to only show artists that otherwise would never have an opportunity to show in physical space? Following this train of thought, I came to question whether it is even the intent of these spaces and sites to operate as opponents or counters to the art market, and if it is fair of me to critique these spaces underneath these expectations. If not, then what intentions and responsibilities do organizers and curators have in the creation of their forum? To provide more substance for these considerations, I decided to talk directly with those that have been cited as promising examples of this trend in an attempt to uncover how these (mostly artist-run) initiatives consider their own activities within the larger scope of contemporary art exhibition and economics.
economics  economy  internetart  internet  curation  market  online 
february 2012 by cecimoss
In Digital Age, Sourcing Images Is as Legitimate as Making Them | Raw File | Wired.com
For decades, photographer Paul Shambroom has trained his lens on the infrastructure of America, from nuclear weapons storage facilities to manufacturing plants; local council meetings to emergency response teams.

His investigations require mountains of research and hundreds of thousands of miles on the road. Known for his large-format, purposefully composed photographs, Shambroom is a distinguished name. And yet, he is ready to put his approach and techniques aside for a joyride in the sea of online digital images.

“I love image making … but it’s something I know I can do. I just don’t want to spend the rest of my life doing the same things,” he says.

Instead, Shambroom is teaching students at the University of Minnesota about navigating images found on the internet and how image production and consumption are evolving. As he trades in his car keys for a keyboard, Raw File taps Shambroom’s thoughts about online imagery, the photographer-artists best swimming through the swell of images, Boolean searches and bombarding students with left-field assignments.
curation  internet  photography  process  software  interview 
february 2012 by cecimoss
An Internet of Things | e-flux
An “internet of things” describes a world embedded with so many digital devices that the space between them consists not of dark circuitry but rather the space of the city itself. The computer has escaped the box, and ordinary objects in space are carriers of digital signals. This capacity seems to finally fulfill the dream of artists and architects of the mid- to late twentieth century, among them Jack Burnham, Cedric Price, Archigram, and Christopher Alexander, who experimented with a cybernetic apparatus for modeling space. It might also be the practical answer to quests by Nicholas Negroponte’s Architecture Machine Group and architects exploring Artificial Intelligence, who rehearse interplay between digital machines and the space of the city and the body—reciprocal modeling that enhances the capacities of each. On the contemporary scene, manifestoes like Carlo Ratti’s “Open Source Architecture” imagine that in digitized space—this web of things—architecture can be constructed in much the same way that a wiki is assembled.

As art and architecture adopt technologies to embrace a new imaginary or model a new relationship, digital technologies often become an essential prosthetic for an idea about form-making. Yet these nourishing and exciting projects also perhaps prematurely stop, short of, or even foreclose on, a much more expansive investigation. Even when resisting the vampiric modernist impulse to declare a new regime, these projects may be drawn into a cul-du-sac; their production of artifacts risks being yet another anecdotal, even marginal, expression in a succession of ideas.

A non-modern question—the artifacts of which have always been with us, the boundaries of which include but exceed all of the above experiments, and the answer to which we already know—is how space, without digital or media enhancement, is itself information.1
internet  space  architecture  theory  essay  materiality  information 
january 2012 by cecimoss
CCS Bard | Cosineve and the Old Internet
In the 1990s, I was a frequent reader of Usenet, a collection of Internet discussion boards called newsgroups, whose history stretches back a decade before the emergence of the World Wide Web in 1991. Social phenomena that would later become part of the Web already existed in prior incarnations on Usenet: there were local city groups that functioned like Craigslist today, others devoted to file-sharing and tech tips, and many clustered around certain professions, hobbies and pop culture topics like music, television, and film. Usenet was a text-based phenomenon, like early email, direct dial-in bulletin boards, and IRC, the live chat protocol that likewise predates the Web; all of these structures were replicated in some form within the gated communities of contemporaneous commercial services like AOL, Prodigy and CompuServe. This loosely interconnected congeries of systems provided the linguistic biome where the peculiarly telegraphic cant of online culture first flourished and evolved into a new mode that operated between writing and speech; years before the Web, these were the places where colon-dash-parenthesis began to signify a smile or a frown, where “spam” and “troll” took on new meanings, and where users learned to type ROTFL and LOL while staring, physically impassive, at a screen.
internet  fiction  1990s  internetart  discussion  electronic  literature  socialmedia  mediahistory 
december 2011 by cecimoss
Rhizome | Artist Profile: Artie Vierkant
The thinking behind Image Objects has always been that by introducing distortions (and layers of other imagery) into the images I can make the viewing experience on the Internet or through other mediated sources fundamentally different from viewing the objects in an installation setting. It also allows me to make a lot more pieces than I could otherwise. These all start as digital files, so ultimately it's rather arbitrary at what point I decide that a file I'm working on is ready to be physically produced—any one of these could easily have undergone more changes, had more or less layers, &c. So by having a piece produced physically and then splitting it into all of these different variations I have the opportunity to sort of go back into it and reshape it into all of the other shapes it could have been.

All of this does stem a bit from, yes, feeling that for the most part installation photographs very accurately represent what a physical sculpture looks like. When I see documentation of works before I visit the exhibition, usually the act of visiting does little more than produce a sense of deja vu. Even if not, install photos are usually an idealized version of the pieces that make them look closer to how the artist intended them to look.

The problem with this is that, really, it's so much easier and for the most part makes so much more sense now to just Photoshop or 3D-sculpt how you want your work to look rather than ever printing it or painting it or assembling it. That was part of the impetus behind Image Objects as well. If I'm going to be making a physical object that will be seen 99% of the time through another image I felt there should be something unique about both types of experiences. Otherwise, why have the physical object at all?
interview  newmedia  mediaart  internet  documentation  display  installation  contemporaryart 
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
Book launch, Vienna/Austria: Content | Form | Im-material—Five Years of CONT3XT.NET | CONT3XT.NET
The book “Content | Form | Im-material” analyses how artistic creation on—and based upon—the Internet and the processes of its re-formulation in the real space can be developed in order to find appropriate presentational modes, suitable for both sides—the Internet and the art world—in favour of interdisciplinary discourse. It also represents a synopsis of the activities of the art collective CONT3XT.NET over the past five years, since it was founded in Vienna in early 2006 by Sabine Hochrieser, Michael Kargl, Birgit Rinagl and Franz Thalmair. Programmatically, this group of artists, curators and authors—their different roles and functions sometimes regarded strictly, sometimes as a fluid continuum—work at the basis of contemporary visual, textual and networked practices. 
publication  internetart  curating  theory  internet  netart  artworld 
august 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
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 | Making Word: Ryan Trecartin as Poet
Is Ryan Trecartin a video artist? A “video-installation” artist? Reviewing “Any Ever,” the exhibition now on view at MoMA PS1, Roberta Smith grasped for precedent, naming Paul McCarthy, Matthew Barney and Pipilotti Rist. But, she admitted, the comparisons fell short....Video is an outcome of his process, but watching is not the only or best way to understand it. Trecartin says he starts each work by writing a script. Language—the primal, biological system of symbols—is the model and vehicle for art and commerce and every other manifestation of social activity. And the forms of all the aspects of Trecartin’s work—the camerawork, the editing, the music, the makeup, and the costumes, as well as Lizzie Fitch’s sets for the videos and “sets” for their viewing in “Any Ever”—are prefigured in the way he works with words.
language  video  videoart  poetry  performance  internet  text 
july 2011 by cecimoss
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