Friday, March 27, 2009
misc 20090327
---- techne = művészet (StAuby) http://www.youtube.com/watch?v=6WwPHeM5ltI
és Big Dog, Robotic Chair
---- Random Rules - A Channel of Artists' Selections from YouTube, curated by Marina Fokidis
Artists: Andreas Angelidakis, Aids 3D ( Daniel Keller and Nick Kosmas) , assume vivid astro focus, Pablo Leon de la Barra, Eric Beltran, Keren Cytter, Jeremy Deller, Cerith Wyn Evans, Dominique Gonzalez Foerster, Dora Garcia, Rodney Graham, Annika Larsson, Matthieu Laurette, Ingo Niermann, Miltos Manetas, Ahmet Ögüt, Angelo Plessas, Lisi Raskin, Linda Wallace.
„The history of moving image seems to have 'seriously' diverted from its canonical route ever since the launch of YouTube, in 2005, the website which made possible for anyone who could use a computer to post a video that millions of people could watch within a few minutes. More effectively than ever before, amateur videos, music videos, footages of films, commercials and news segments as well as artists' videos (in lesser numbers) mingle together, in a random way, free of any short of predetermined hierarchy or system. Does amateur culture have undervalued artistic expertise? Some would argue that this is true; however, it is neither a major concern nor a pragmatic threat. During the last decades, there have been a lot of debates about expertise versus amateurism or around the idea that everyone is an artist, etc, that it would be redundant to renegotiate these notions anew. Maybe it is more interesting to focus on the gaps and the relations between the systems of the art market and a more open mass culture market, to find some answers, which will not be fixed in anyway. Even if artists, in some cases, are reluctant to upload their works in there (at least up to now) due to reproduction and copyright issues, they still seem to frequent YouTube for inspiration, collecting information, socializing, communication, activism or entertainment, among other reasons! Active use of YouTube is a short of curating, where different 'playlists' of people are the exhibitions and 'tagging' is a process of a random archiving.
In a time that invitations for YouTube-exchange private gatherings become regular, seemed to make lots of sense to explore what YouTube means to a specific intellectual community, by asking a number of artists to select videos already exciting in YouTube and create their own playlists. The idea was to form a YouTube channel, a short of a paradoxical archive, or an emission in an independent media (such as YouTube) which includes all these playlists, each under the name of the artist-selector. In that plot, the uploader or the broadcaster becomes the artist, the artist becomes the curator or the collector, and the viewers exceed by far the number that can be contained into a normal screening room, since the channel is to be watched in a black cube setting and online at the same time. Through the combination of this specific set of artists -as selectors- the aim remains always to come up with an anthology of different voices existing within the YouTube context. Perhaps, by watching this channel one could come across the notions of political, private, humor, narcissism, pop and DIY culture and distribution, -among others- as they result from various personal accounts in YouTube today.” Launched at Pulse, Contemporay Art Fair NY, 5th March 2009
---- „Mi a baj a yt-al?”, tranzitblog 20080222
gyel::::
---- nagyhalászi gólyák, szöveg itt : mme gólyanapló
---- nasa tv, kép forrása
hely::::
---- wage work, blog
---- Ludwig Forum für Internationale Kunst, Aachen
---- Neuer Berliner Kunstverein n.b.k. Berlin, 40 éves
---- Stedelijk Museum Bureau Amsterdam (SMBA), itt The Demon of Comparisons, 28 March - 17 May 2009
”With Heman Chong, Hafiz, Tibor Hajas, Beom Kim, Sung Hwan Kim, Wendelien van Oldenborgh, Tadasu Takamine, with special contributions by Philippe Rekacewicz and Grace Samboh
The Demon of Comparisons is an association of subjective positions relating in various ways to larger social and political frameworks, to power and cultural constructions. Placing emphasis on the issue of individual agency in a landscape defined by questions of national and cultural identities, The Demon of Comparisons questions the kind of collectivity these subjects can form. The title is a translation of a phrase from Jose Rizal's novel Noli Me Tangere, "el demonio de las comparaciones", also used by Benedict Anderson as the title of his book, where it is rendered as The Specter of Comparisons. An original and insightful thinker, Benedict Anderson questioned the patterns and the meeting points that are to be found throughout geographies, times and power structures that lead to formations of identities and various senses of belonging. Our translation remains anchored in this area of interest, but is intended to add the potential of the polisemy, indeed the spectres, of the original Spanish word, "demonio", in dealing with the subjectivity of one's experience of culture and power.
The Demon of Comparisons grew out of exchanges and discussions during Open Circuit #1: Yogyakarta, organized by Electric Palm Tree in September 2008 in Indonesia. During the week-long workshop, participants shared and negotiated their experiences and vocabularies of social transformation from their respective backgrounds.”
---- Casco, Office for Art, Design and Theory, Utrecht, itt The Antagonistic Link 29 March - 17 May 2009
”Mixrice, Hwa Yeon Nam, Nam June Paik, Sasa [44] with Sulki & Min, Curated by Binna Choi
The Antagonistic Link is an experimental setting for drawing transnational links in the form of an agonistic process that assumes the opposing parties to be in a state of conflicting coexistence. The Antagonistic Link uses 'Bye Bye Kipling', a historical satellite event conceived by Nam June Paik in 1986, as a point of departure. The exhibition combines this piece with three other projects initiated by artists and designers from South Korea, as well as other related activities. All these works explore the constructive possibilities of overcoming the sense of distance and antagonism that is the paradoxical product of advancing globalization.
"East is East, and West is West, and never the twain shall meet", the first line of The Ballad of East and West, a poem by Rudyard Kipling, opens up Paik's live satellite link-up of Japan, Korea and the United States – a broadcast featuring different sorts of cultural events and performances. Paik designed and coordinated the event with the intention of countering this poetic declaration (which, to be fair, is also undermined in the rest of Kipling's poem as he suggests that individuals are capable of this after all). The video is a shorter edit of the original broadcast and reveals various ironic and fractious moments in such a linkage. This may be a starting point for questioning the complexities and contradictions inherent in today's communication channels and global links — an inquiry that neither denies nor blithely celebrates the possibilities of transnational connection.”
---- Electric Palm Tree
---- CCA Gallery, kubai fotósok, Ahi…escapando, 2009 (10th Havana Biennial Project)
---- Riksutställningar, Visby, Svédország
---- Kumu Art Museum, Tallinn
---- Urban Jealousy, 1st International Roaming Biennial of Tehran, 3rd station, Belgrád, 2009.04.03.-04.10. (korábban Istanbul, és Berlin), blog
szöveg::::
---- e-magazine. 10th Havana Bienal, cca
---- Public Preparation
---- Miltényi Tibor: Papp Gergelyről, monográfia: Papp Gergely: Fotóalbum, 1998, Szellemkép Kiadó
---- AAAARG új címe: http://a.aaaarg.org.
