cecimoss + video   446

Jon Rafman and Rosa Aiello: Remember Carthage :: New Museum
An essay film in the tradition of experimental documentarians like Chris Marker or Harun Farocki, Remember Carthage takes the viewer on an epic journey in search of an abandoned resort town deep in the Sahara desert. However, one travels not through archival or personal images but through footage sourced from PS3 video games and Second Life, depicting ancient civilizations that seem at once familiar and totally fantastical. Presented in conjunction with the exhibition “Museum as Hub: Walking Drifting Dragging,” which centers on artist expeditions, Remember Carthage is a first-person journey through a historical fantasia that highlights the fictionalizing and exoticization of culture within gaming and virtual worlds.

The voyage begins on the swaying deck of a ship in unnamed waters and proceeds through a myriad of different landscapes, from arid deserts to the gaudy interiors of what appear to be Persian palaces, to barrooms and bedrooms—each new scene unfolding in sync with the narrator’s melancholic remembrances. As in other works by Rafman, a feeling of alienation and loneliness structures the story, with the narrator searching for a connection and yet unable to grasp what is real or stable around him. In Remember Carthage, the filmmakers emphasize how digital media makes history seem both totally accessible through archival information and, at the same, completely foreign to us. Here, the narrator’s search for the abandoned town is rendered increasingly futile as he traverses a landscape where markers of time and place often appear to be unmoored, floating signs. And, as his journey continues, he becomes unable to distinguish authentic sites from simulated versions.
video  artwork  contemporaryart  gaming  secondlife  journey  newmedia 
january 2013 by cecimoss
New Kids on the Block | “Brain Work” with Pilvi Takala
Artist Pilvi Takala describes her practice, which includes performance, video and the related ephemera, as “intervention.” Takala, who was born in Helsinki and is now based in Istanbul, embeds perverse characters – often enacted by the artist – into otherwise ordinary scenarios and environments. The ensuing (in)actions strive to intervene and re-channel the invisible streams of social convention.
social  intervention  contemporaryart  interview  performance  performanceart  video 
december 2012 by cecimoss
Henry Flynt
Henry Flynt’s long career spans many roles: mathematician, musician, artist, and anti-art activist, as well as philosopher. In 1961, he coined the term “concept art” (not to be confused with Conceptual art), ushering in a new form of work that exploits and undermines the tautological structures of perceptual logic. “ ‘Concept art,’ ” he wrote in 1961, “is first of all an art of which the material is ‘concepts’. . . . Since ‘concepts’ are closely bound up with language, concept art is a kind of art of which the material is language.”

Born in Greensboro, North Carolina, in 1940, Flynt began studying mathematics at Harvard University at the age of seventeen but later withdrew to pursue artmaking. He moved to New York in 1960, where he was introduced to the local avant-garde, and performed before such luminaries as John Cage and Marcel Duchamp. Flynt was also featured extensively in La Monte Young’s An Anthology of Chance Operations (1963). Flynt subsequently denounced the art world and demonstrated against “Serious Culture” at institutions including Lincoln Center and the Museum of Modern Art in 1963–64. In the 1970s he produced experiments in music composition with fellow artist-mathematician and close collaborator Catherine Christer Hennix. It was not until the late 1980s that Flynt resumed his role as a visual artist, consistently exhibiting his works at Emily Harvey Gallery in New York and subsequently at the 1990 Venice Biennale. Flynt’s retrospective, “Activities 1959–,” is his first museum exhibition. It is on view at the Kunstverein Düsseldorf from October 6, 2012 to January 20, 2013, and then travels to the Zentrum für Kunst und Medientechnolgie in Karlsruhe, Germany. Curated by Hans-Jürgen Hafner, the show tracks Flynt’s exhaustive development of concept art as a critical genre. Here he speaks about the exhibition, his new works, and the evolution of the genre over the past fifty years.
interview  video  conceptualart  photography  music  sound 
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
DIAMOND VARIATIONS: Activated Memory I & II by Sabrina Ratté
Activated Memory is a two video project based on animated photographs of different parks and buildings of Montreal. Through the use of video feedback, 3D animation and color manipulations, the pictures render a new kind of space, a virtual world where only fragments of "reality" subsist. The music accompaniment is composed by Roger Tellier-Craig.
architecture  video  sound  composition  3d  animation  color  virtual 
december 2011 by cecimoss
A new documentation. an interview to joao vasco paiva - Robin Peckham
João Vasco Paiva (n. 1979) is a Portuguese artist based in Hong Kong since 2006. He has taught at the City University of Hong Kong School of Creative Media and Hong Kong Art School/ RMIT University. With a background in painting and advanced training in media technology, his work is characterized by the appropriation of observed phenomena, mapping apparently random situations and presenting them in an aesthetically organized framework through video, audiovisual performance, recording, and installation.

One of his best known projects in this rubric is Experiments on the Notation of Shapes (2010): taking the city as a sculptural playground, two projections present images of the Hong Kong skyline at a distance: largely still, contemplative, and gray, they offer a dispassionate glimpse of urban planning and architectonic monumentality. Facing the ceiling in a box on the floor, a monitor depicts a different vision, frenetically winding through back alleys and service roads amidst the architecture of spectacle, and generating an audio signal that is, in turn, modulated in frequency by the projected images. The resulting cocoon of sound and image runs the gamut of the urban experience, from the quietest moments of stillness to the madness of the intersection.

More recently, the project Forced Empathy (2011) consists of a single-channel video, a kinetic sculpture, and a series of prints. A number of floating objects in the harbor of Hong Kong subject to wind, waves, and other factors causing them to bob and sway, sometimes gently but other times rather wildly, are recorded by a stationary camera. When edited, the filmic object is computationally “forced” to remain stable and equidistant from all edges of the frame, such that the background environment inversely adopts the motion of the floating platform and takes on the role of visual noise. A wooden sculpture of the floating object is kinetically animated to inversely follow the motion of the video, causing a moment of confused parallelism in flat image and habitable space. Behind this kinetic moment of mimicry sits a simple graphic print, an abstraction of the harbor background.
 
His aesthetics often emerges at the point where generative processes come into contact with urban topographies, exploring control through randomness and quotation. The work discussed here is concerned with new modalities of documentation that rewrite originary aesthetics—creating new worlds as it restructures our shared sphere of perception. As Paiva prepares his latest solo exhibition, Palimpsest, which consists of an electronic installation, generative video, prints, and paintings based on the non-space of the mass transit station, he responds to a few questions about the role of new media in his practice and the status of the outsider in cosmopolitan Hong Kong. The exhibition opens at Saamlung in Hong Kong on 18 November.
interview  data  urban  video  software  generative  documentary  newmedia  installation  hongkong 
december 2011 by cecimoss
Hyperjunk: Notes on a New Nature : Bad at Sports
This week I am in New York City installing a show at 319 Scholes, a recently cited “go to” venue for all sorts of media-related arts including live audio/performance, digital interactive work, and netart. The show entitled Notes on a New Nature is a physical iteration of an ongoing research project that started several years ago with a lecture presented at The School of the Art Institute and has since had many manifestations in my own visual practice, as well as an ongoing image blogg and other literature/writing.
The above video is an introduction recited from the Front Range of Colorado concerning the central thoughts I’ve been developing with this research, as well as questions I continue to have regarding the depiction of landscape and nature amidst the proliferation of digital culture.
video  newmedia  internetart  sculpture  nature  landscape  exhibition  nycgallery 
november 2011 by cecimoss
YOSHI SODEOKA | TRIANGULATION BLOG
I'm so pleased to announce the following interview of the great japanese New York based artist Yoshi Sodeoka. I'm a big fan of his mesmerizing audiovisual carrier and interested on all around it, today he tells us everything about this trajectory, including details which he had never told before. As a exclusivity, Yoshi presents here at Triangulation as a first time online one of his new pieces called "Violet Dark of Spring of the Numinous Orb". 

Sodeoka’s psychedelic video, sound art and prints  are a dystopian clash of noise and beatitude. His projects have been shown all over the world, from London’s Tate Britain, New York City’s Deitch Projects, Paris’ Festival Némo, Edinburgh’s MU, São Paulo’s Rojo Nova, Barcelona’s OFFF, Baltimore Museum of Art, London’s OneDotZero, Barcelona’s Sonar Festival, Haifa Museum Israel, Berlin’s Transmediale, Poland’s Krakow Film Festival.
interview  video  videoartist  effects  psychedelic  sound  music 
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
E.S.P. TV on Vimeo
E.S.P. TV is a showcase of primarily NYC based experimental music, video art and performance produced by Louis V E.S.P. gallery for Manhattan Neighborhood Network television. 
E.S.P. TV is taped "in front of a live studio audience" with live greenscreening and primitive video manipulation. The entire night is sent to a VHS deck and the tape is cut down into 30 min bite sized pieces and sent to Manhattan Neighborhood Network for airing.
television  music  performance  NYC  nycgallery  greenscreen  videoart  performanceart  video 
august 2011 by cecimoss
Institute 193 | Blog
In his show, “Cream Grid Reruns,” Robert Beatty repurposes outmoded technologies to create hybridized sculptures, drawings, and installations. An anagram for “recurring dreams,” “Cream Grid Reruns” blurs sensory boundaries, and presents a unique vision of the fusion of the organic and the artificial. Beatty’s work will be on display at Institute 193 until mid-September.
installation  video  videoart  sculpture  scifi  drawing 
august 2011 by cecimoss
What is the post-cinematic? « The Pinocchio Theory
Such is the context in which I locate the “post-cinematic.” The particular question that I am trying to answer, within this much broader field, is the following: What happens to cinema when it is no longer a cultural dominant, when its core technologies of production and reception have become obsolete, or have been subsumed within radically different forces and powers? What is the role of cinema, if we have now gone beyond what Jonathan Beller calls “the cinematic mode of production”? What is the ontology of the digital, or post-cinematic, audiovisual image, and how does it relate to Bazin’s ontology of the photographic image? How do particular movies, or audiovisual works, reinvent themselves, or discover new powers of expression, precisely in a time that is no longer cinematic or cinemacentric?
cinema  digitalcinema  digital  film  movingimage  video  remediation  media  mediatheory  theory  filmhistory 
august 2011 by cecimoss
Realigning My Thoughts On Jasper Johns by JK Keller | TRIANGULATION BLOG
JK Keller told us interesting info about the amazing distorted process;"The original video is Simpsons season 10, episode 19, "Mom and Pop Art". I ripped all the frames, then used software to turn the ripped images into vectors. Then I processed the files through Illustrator using the default Alignment & Distribution tools (23 different combinations). The resulting files were then brought back together for the 23 final videos. " See more;
"With the audio, I used a similar process, making a spectrogram image of the audio from each cut in the episode. Then I applied a variety of processes to the image to mimic the alignment/distribution used. Then took the resulting image and turned it back into audio.The project is intended to be shown as an installation of a 9 screen grid. Viewers would be able to adjust dials and switches to adjust volumes & video sources to create their own juxtapositions of the 23 videos."
glitch  simpsons  video  videoart  software 
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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