31 January 2007

strafe - melbourne

three days in melbourne was not enough - daytime doing museums and galleries, evenings taking in the street art.

we had the pleasure of hooking up with strafe whilst in town and were given an amazing tour of the best of Melbourne's backstreets - which I'm hoping to share with you in the coming weeks

I have a preselected list of artists to feature, the galleries that are sympathetic to street art, and some websites to look out for- Its all from strafe - its all very good


this is strafe





january 2007 subject index

Site Administration

strafe - melbourne
Howard Arkley

Rocco, Boghe, Neverending


call Polar Radio - Antarctica

new media
Ready Media - montevideo
KillerTV januari 2007
Art and media - Amsterdam Symposium

The Wall

machinima - Sims99.com

december 2006 subject index II

graffiti/street art
Rembrandt de Remix
Ghostpatrol - Melbourne

creating machinima
Stole My Car

new media
new media art online
Cyberspace Salvations

Terminator Parody

Sydney Harbour Webcam
Happy New Year
Scottish Falsetto Sock Puppet Theatre

29 January 2007

Rocco, Boghe, Neverending

Greetings and salutations to the Pack,

The Wolf and Pack collective is up to its tricks once again. Presenting
The 4th in a continuing series of international artistic talent made up
fresh for the XXX.

*This Sunday, The 28Th of January* we bring you, Rocco, Boghe,
Neverending (http://www.boghe.net). A show of new paintings and
sculptures on display in the Wolf and Pack gallery space.

The jump off is 6pm (18:00 for Those That count to 24) on Sunday the
28th of Jan, and will continue in to the night with drinks and music.
Additionally we have a after hours set up for those inclined to keep
the party going in to the night, you know you need it.

So come on down, see whats up, add yourself to the mix, make moves, meet
a new friend, check out some killer art. Its called a party people, you
know how XXX rolls! Were really amped to get to work with such a great
local multimedia talent, and know your going to dig what he's been
cookin up for ya.

Best regards to all,

See you on the night,

If you have any questions please contact us using the following info~

232 Spui Straat 1012VV
Amsterdam NL
Store- 020-427-0786


Put on line Play, 2007-01-25 10:45. Sessions
* Wednesday January 31, 2007 - 14h30-17h30
With Brian Holmes, activist, criticizes art, Liliane Terrier and Rui Alberto, teachers at the University Paris 8 Saint-Denis, the workshop "Mobile Studio/African Art - Swiss Scene", Charles-Henri Morling/Comité de Trouble(s)/Ravaillac.

To give a grid of reading, to produce direction and tools for analysis, to impose an interpretation of the world around us, it as well became the role of the expertise in communication which joins all the creative functions of the contemporary company, where to leave the grid will at the same time mean to transform diagrams and instituted relations, and to allow the actualization of other possibilities.

The experimental practices in art, have sometimes the capacity to make readable the relations of being able and the systems instituted, very as much as opening new spaces, beyond the critical exercise and of the production of speech and works. The major part of the worlds of art and creation is however given the responsability to preserve and to reproduce the dominant values the in conformity, where all seems to occur like if art being done, experiments living itself, did not have right to the stay.

Against-conference for the January meeting on 31 invites various interlocutors to present the projects in which they are engaged, which contribute to a transformation of spaces of creation and reflexion.

At the higher national School of the fine arts Room of conference of the palate of the studies 14, street Bonaparte 75006 Paris - free M° St-Germain-of-Meadows Entered - Where are the borders? - visual Geography and political engagement From the camping No-to border in Tarifa in summer 2001, the Spanish network Hackitectura develops a critical and militant cartography Madiaq territory which connects the two edges of the Mediterranean. They organize in Tarifa two ateliers/festivals, under the name of Fadai' At, in 2004 and 2005. In December 2006 they take part in the exposure assembled to Cairo by Ursula Biemann, under the name The the Maghreb connection, which implies multiple partners in a sociological and videographic investigation into the conditions of the sub-Saharan migration through North Africa. Brian Holmes, which collaborated in the two projects, described their crossing, their differences, and spaces which they open.

Brian Holmes, is activist, critical of art and translator, he lives in Paris and is interested in the crossings between art, political economy and social movements. Member of the group of graphic art "not to fold" of 1999 to 2001, it works then with Engineering and design department with which it founded the review "Autonomy artistic" and is a co-operator of the Tangent University created with their initiative. He contributes to reviews, Springerin (Vienna), Parachute (Montreal), Multitudes (Paris) of which he is member of the editorial board and directed his special number "the Contemporary art: the research of the outside ", with electronic lists of discussion such as Nettime, MyCreativity, IDC, etc, the initiatives between others, such as" Fadaiat/Borderline Academy ", in Tarifa in 2004 and 2005," MyCreativity "in Amsterdam in 2006," Emergent Geographies "with Extremadura in 2007.

- Mobile Studio/African Art - Swiss Scene travels like multi-media platform to Paris - Swiss Arts centre and Dapper Museum - and in Geneva - Mamco, Musée of Ethnography of Geneva. It settles temporarily and alternatively in each one of these places, at the rate/rhythm of the renewal of the exposures. This studio, which gathers the courses of first and second cycle of Liliane Terrier and Rui Alberto, acts as a neutral ground which opens the occasion to collaborate with the artists exhibitors and their curators to produce the site and/or of DVD-Romanian leading articles of the experiment in quasi real time. The Swiss artistic scene constitutes a case study, carried out in parallel with that of African art, with the Dapper Museum, Mamco and the Museum of Ethnography of Geneva, in an attempt at contemporary anthropology muséale. With vidéos of: Flo Wang, Manhal Issa, Rey Hong Flax, Xi Chen, Romain Cieutat.

Web of Mobile Studio: http://www.arpla.univ-paris8.fr/~canal2/

Liliane Terrier is a lecturer at the University Paris 8 Saint-Denis in visual arts. Its fields of research and teaching cover history and theory with art, literature, cinema and new technologies. It is interested particularly in the various processes specifically related to technologies which are the combinative one, performativity, interactivity and the account. A share of its activity consists of the development of situations of meetings, across the fixing of the kinds and the disciplines (Cycle Momac Paris 8, ODNM Ensad and Paris 8), of workshops where the exploration of the practices is pretext to the realization of transverse and prospective works ("GPS movie" 2004-2006, "video-interactive Investigation of a territory" 2006). Rui Alberto is a lecturer in esthetics and history of art at the University Paris 8 Saint-Denis like with the IUFM of Montpellier. This franco-Angolan-portuguais collects the masks. It is with the time its history personal and history of art that us Rui Alberto tells which discovered on late at which point the Western modern art disavows the African classic art.

Collector, Rui Alberto in its work produces readings, courses, which associate the fields of the history and the theory of arts, with the fields of the alive experimentation in art. It takes part in various projects, groups, which question the concept of interculturality in arts and education, where its critical courses come to take the direction at the same time artistic practice and of transmission.

- Policies of the translation, Charles-Henri Morling Within the framework of its number 4 devoted to the study of various manifestations of the otherness, the review Hoop net - sexualités/politiques/cultures wishes to organize a collective exercise of political translation. Benefitting from this forum of discussion to try first once this experiment, it will act, while being pressed on a text in English and confronting the proposals for a translation of each one, to see in what the translation is not a simple mechanics of transposition in another language, but that on the contrary, it implies political choices which, too often, are not assumed like such.

Ravaillac, association created in 2002, has the aim of developing the whole of spaces where to speak. It thus takes care to support the expression in all its forms (newspapers, posters, radios, televisions, Internet, debates, conferences, petitions, festivals, etc). It is devoted mainly to the edition of the review political Trouble(s) sexualities// cultures and to the organization of the Poing festival to the line. The committee of the Trouble(s) review is composed of Jonathan Désoindre, William Blanc, Thibaut Chaffotte, Marie Hermann, Elzbieta Kowalska, Charles-Henri Morling.

* This title is inspired by a chronicle of Fatima Lasay, "Cure for curators", blog of Korakora.org, fév. 2006.

Site of relay of the forum: http://contre-conference.net

Contacts: coordination (with) against-conference.net, jany.lauga (with) ensba.fr


Liens | Textes indexés |

Aminata Traoré, Musée du Quai Branly : « Ainsi nos œuvres d’art ont droit de cité là où nous sommes, dans l’ensemble, interdits de séjour », Africultures, juin 2006

Fatima Lasay, Cure pour curators, Korakora, février 2006 :

Fatima Lasay, Art in the Age of Techno-Propaganda :

FatimaLasay-ArtInTheAgeOfTechnoPropagandaCoco Fusco, The bodies that were not ours, Routledge/Iniva, 2001 :

CocoFusco-TheBodiesThatWereNotOursCoco Fusco, Questionning the Frame, In these times, décembre 2004 :

Binyavanga Wainaina, How to write about Africa, Granta, janvier 2006

Fadaiat, Technological Observatory Of The Straight, Fadaiat, libertad de
movimiento + libertad de conocimiento, septembre 2006
Textes en format PDF | Rui Alberto « Afrique/Suisse.. » | « World Curatoring » |




Mercredi 31 janvier 2007 - 14h30-17h30

Avec Brian Holmes, activiste, critique d'art, Liliane Terrier et Rui Alberto, enseignants à l’Université Paris 8 Saint-Denis, l'atelier "Mobile Studio / Art africain - Scène suisse", Charles-Henri Morling/Comité de Trouble(s)/Ravaillac.

Donner une grille de lecture, produire du sens et des outils d'analyse, imposer une interprétation du monde autour de nous, c'est aussi bien devenu le rôle de l'expertise en communication qui s'associe toutes les fonctions créatives de la société contemporaine, où sortir de la grille signifiera à la fois transformer des schémas et des relations instituées, et permettre l'actualisation d'autres possibilités.
Les pratiques expérimentales en art, ont parfois la capacité de rendre lisible les relations de pouvoir et les systèmes institués, tout autant que d'ouvrir de nouveaux espaces, au delà de l'exercice critique et de la production de discours et d'oeuvres. La majeure partie des mondes de l'art et de la création se charge pourtant de conserver et reproduire les valeurs dominantes les plus conformes, où tout semble se passer comme si l'art en train de se faire, les expériences en train de se vivre, n'avaient pas droit au séjour.
Contre-conférence pour la session du 31 janvier invite différents interlocuteurs à présenter les projets dans lesquels ils sont engagés, qui contribuent à une transformation des espaces de création et de reflexion.

A l'Ecole nationale supérieure des beaux-arts
Salle de conférence du palais des études
14, rue Bonaparte 75006 Paris - M° St-Germain-des-Prés
Entrée libre

- Où sont les frontières ? - Géographie visuelle et engagement politique
A partir du campement No-border à Tarifa en été 2001, le réseau espagnol Hackitectura développe une cartographie critique et militante du territoire Madiaq qui relie les deux bords de la Méditerranée. Ils organisent à Tarifa deux ateliers/festivals, sous le nom de Fadai'at, en 2004 et 2005. En Décembre 2006 ils participent à l'exposition montée au Caire par Ursula Biemann, sous le nom The Maghreb Connection, qui implique de multiples partenaires dans une enquête sociologique et vidéographique sur les conditions de la migration subsaharienne à travers l'Afrique du Nord. Brian Holmes, qui a collaboré aux deux projets, décrit leur croisement, leurs différences, et les espaces qu'ils ouvrent.

Brian Holmes, est activiste, critique d'art et traducteur, il vit à Paris et s’intéresse aux croisements entre art, économie politique et mouvements sociaux. Membre du groupe d’art graphique "Ne pas plier" de 1999 à 2001, il travaille ensuite avec Bureau d’études avec lequel il a fondé la revue "Autonomie artistique" et est co-opérateur de l'Université Tangente créé à leur initiative. Il contribue à des revues, Springerin (Vienne), Parachute (Montréal), Multitudes (Paris) dont il est membre du comité de rédaction et a dirigé son numéro spécial "L’Art contemporain : la recherche du dehors", à des listes de discussion électroniques telles que Nettime, MyCreativity, IDC, etc., les initiatives entre d'autres, telles que "Fadaiat/Borderline Academy", à Tarifa en 2004 et 2005, "MyCreativity" à Amsterdam en 2006, "Emergent Geographies" à Extremadura en 2007.

- Mobile Studio / Art africain - Scène suisse voyage comme plate-forme multimédia à Paris - Centre culturel suisse et Musée Dapper - et à Genève - Mamco, Musée d'Ethnographie de Genève. Il s’installe temporairement et alternativement dans chacun de ces lieux, au rythme du renouvellement des expositions. Ce studio, qui regroupe les cours de premier et second cycle de Liliane Terrier et Rui Alberto, agit en tant que terrain neutre qui ouvre l'occasion de collaborer avec les artistes exposants et leurs curateurs pour produire le site et/ou des DVD-Rom éditoriaux de l’expérience en quasi temps réel. La scène artistique suisse constitue une étude de cas, menée en parallèle avec celle de l’art africain, au Musée Dapper, au Mamco et au Musée d'Ethnographie de Genève, dans une tentative d'anthropologie muséale contemporaine.
Avec des vidéos de : Flo Wang, Manhal Issa, Rey Hong Lin, Xi Chen, Romain Cieutat.
Web de Mobile Studio : http://www.arpla.univ-paris8.fr/~canal2/

Liliane Terrier est maître de conférence à l'Université Paris 8 Saint-Denis en arts plastiques. Ses domaines de recherche et d'enseignement recouvrent histoire et théorie de l'art, littérature, cinéma et nouvelles technologies. Elle s'intéresse particulièrement aux différents processus spécifiquement liés aux technologies que sont la combinatoire, la performativité, l'interactivité et le récit. Une part de son activité consiste en l'élaboration de situations de rencontres, par delà la fixation des genres et des disciplines (Cycle Momac Paris 8, ODNM Ensad et Paris 8), d'ateliers où l'exploration des pratiques est prétexte à la réalisation d'oeuvres transversales et prospectives ("GPS Movies" 2004-2006, "Investigation vidéo-interactive d'un territoire" 2006).

Rui Alberto est maître de conférence en esthétique et histoire de l’art à l'Université Paris 8 Saint-Denis ainsi qu'à l'IUFM de Montpellier. Ce franco-angolais-portuguais collectionne les masques. C’est à la fois son histoire personnelle et l’histoire de l’art que nous raconte Rui Alberto qui a découvert sur le tard à quel point l’art moderne occidental renie l’art classique africain. Collectionneur, Rui Alberto dans son travail produit des lectures, des parcours, qui associent les champs de l'histoire et la théorie des arts, avec les domaines de l'expérimentation en art vivante. Il participe à différents projets, groupes, qui questionnent la notion d'interculturalité dans les arts et l'éducation, où ses parcours critiques viennent prendre le sens à la fois d'une pratique artistique et de transmission.

- Politiques de la traduction, Charles-Henri Morling
Dans le cadre de son numéro 4 consacré à l’étude de différentes manifestations de l’altérité, la revue Trouble(s) – sexualités/politiques/cultures souhaite organiser un exercice collectif de traduction politique. Profitant de ce forum de discussion pour tenter une première fois cette expérience, il s’agira, en s’appuyant sur un texte en anglais et en confrontant les propositions de traduction de chacun, de voir en quoi la traduction n’est pas une simple mécanique de transposition dans une autre langue, mais qu’au contraire, elle implique des choix politiques qui, trop souvent, ne sont pas assumés comme tels.

Ravaillac, association créée en 2002, a pour objet de développer l'ensemble des espaces où prendre la parole. Elle veille ainsi à favoriser l'expression sous toutes ses formes (journaux, affiches, radios, télévisions, internet, débats, conférences, pétitions, festivals, etc.). Elle se consacre principalement à l'édition de la revue Trouble(s) sexualités / politiques / cultures et à l’organisation du festival Poing à la ligne. Le comité de la revue Trouble(s) est composé de Jonathan Désoindre, William Blanc, Thibaut Chaffotte, Marie Hermann, Elzbieta Kowalska, Charles-Henri Morling.

*Ce titre est inspiré d'une chronique de Fatima Lasay, "Cure for curators", blog de Korakora.org, fév. 2006.
Site de relais du forum : http://contre-conference.net
Contacts : coordination (à) contre-conference.net, jany.lauga (à) ensba.fr

Ready Media - montevideo

Ready Media
From 18-01-2007 untill 10-02-2007
Artists: Pierre Bismuth, Heather & Patrick Burnett-Rose, Claude Closky, Sagi Groner, Sami Kallinen, Matthieu Laurette, Gabriel Lester, Anna Maltz, Cristi Pogacean, Julika Rudelius

Curator: Maria Rus Bojan

In the framework of the program Art in the New Field of Visibility and under the title Ready Media, The Netherlands Institute For Media Art presents an exhibition with works by 10 international artists: Pierre Bismuth, Heather & Patrick Burnett- Rose, Claude Closky, Sagi Groner, Sami Kallinen, Matthieu Laurette, Gabriel Lester, Anna Maltz, Cristi Pogacean, Julika Rudelius.

More information: Manifestation Art in the New Field of Visibility

The exhibition aims to explore the various intersections and complex interactions between image creation, production and communication, within the context of the debate about the role and the function of image in our society.

Coined in 1995, by the Kinema Ikon artists’ group, Ready Media concept was used to signalize the stereotypical visions induced by the media culture and the self evidence that surrounds the experience of seeing.
Considering this concept as the most appropriate one to define the chameleonic visual synthesis of our time, the curator of the exhibition aims to critically approach this problematic, researching how these visual constructs reveal a new regime of image and artistic language. According to Maria Rus Bojan, Ready Media represents an artistic reality. Following the generalization and standardization of the ready-made aesthetic, we are witnessing now a substantive inversion of art, a complex dynamic which can be understood around two main vectors: on the one hand, a continued and renewed Duchampian aesthetic; on the other hand the traditional ways of expressing the human experience and social interaction overlaid with excessive information from a multiplicity of sources.
Based on an increasingly sophisticated use of images, the Ready Media visual discourses juxtapose references from different contexts, different media, different historical periods and social experiences, weaving all these together into a texture which defines a symbolic construction with new visual qualities. Re-using the already valorized images or other elements from media, which in this context function as signs, artists create new semantic shifts, breaking up the “ready made” perceptions which media generates, making us also more aware about our own process of perception.
The works selected for this exhibition reflect artists’ different strategies, attitudes and reactions to the generalized media experience. Media codifies the human and, in this context, escaping from its bondages, transcending its rules appears to be the only way of re-conquering freedom.

Works shown in Ready Media:
Pierre Bismuth, Coming soon (2006)
Heather and Patrick Burnett-Rose, Wargasm (2003)
Claude Closky, Television (2003)
Sagi Groner, FAQ (part 1)(2006)
Matthieu Laurette, Déjà vu: The Second International Look-Alike Convention at Castello di Rivoli (2001)
Gabriel Lester, Music for Riots and Fights (2005)
Anna Maltz, Superman Suit. XXL (2000)
Cristian Pogacean, Abduction from the Seraglio (2006)
Julika Rudelius, Forever (2006)

Coming soon (2006) by Pierre Bismuth comprises a single screen color video montage of the last segments of film trailers. The focus of the piece is embodied in the iconic phrase 'Coming Soon,' which is typically used to announce the release of a film. By repeating this language, Bismuth presents a paradox to the viewer, as the words create an expectation that will never be fulfilled.

Wargasm is a work created by Patrick and Heather Burnett-Rose in early 2003, as Iraq War II (the sequel) was first showing. Recognizing the infrastructure of the powerful war discourse created by governments and perpetuated by a salacious mass media, the piece employs the very techniques used to propagate war to deconstruct it’s ‘symbolic organizing principles’. The work both uses and rejects documentary imagery and context, while applying an MTV-style editing collage to music and voice soundtracks.

Hello and welcome (2000) is a piece by Claude Closky especially conceived to be presented on a flat screen monitor. Appropriating those elements from media which illustrate the daily life norms of behavior, Closky aims to critically approach the conventional dichotomies that entrap us everyday. In this context, the smiling image “Hello and Welcome” functions as a new ornament, questioning also how sincere such a standard welcoming approach could be.

FAQ (part 1) (2006) is a video work by Sagi Groner made from sampled footage from fiction films, documentaries and archive footage. It is a journey in the footsteps of other makers, a 'nostalgic' remix of a collection of visual and audio 'quotes' from unrelated works. A 'new' story is woven together from 'old' impressions, pondering and re-meditating on questions such as love, images, poetry, science, war, history and death.

The Weeping Gallery (2006) by Sami Kallinen is a piece that consists of two elements: a web page that explains the project and collects video material from the public, plus a screen and server in a physical location that displays the material. It is a sort of You Tube museum, but displaying specific images of people crying for humanity. Seen as a social experiment, this project offers to everyone the possibility of making a personal statement. With the aim of exploring how willing people are to film themselves weeping, Sami Kallinen has built this special system to also investigate what kind of material the system will attract. The result is a surprising one: the footage finds the artist and not the other way around as usual.

Throughout all his look-alike conventions: Déjà Vu - London (2003); Vilnius, Lithuania (2003); Australia (2002); Seoul (2002); Turin (2001) and Paris (2000) – Matthieu Laurette has continued to explore the social dynamic of the show, the celebrity phenomenon, and their relation to art. Déjà vu: The Second International Look-Alike Convention at Castello di Rivoli (2001) is presented in a specific display in three stages: the posters commissioned by the artist after the event from local graphic designers, the press photographs taken by event press photographers and the “making of” video, shot by amateurs on-site.

For Music for Riots and Fight (2005) Gabriel Lester collaborated with the New York Public Library / Lincoln Public Center to research the silent movie scores and compositions archive. Together with piano player Adonis Gonzales, Gabriel Lester recorded twenty-one soundtrack compositions, written between 1899 and 1929. Compositions with such titles as 'Music for Fights and Riots' indicate that the soundtrack is in fact written for certain (possible) scenes in films, and not for one single, specific film alone. Sixteen of these recordings are compiled on a CD and function as an independent recording, as well as the document of a research for a performance piece. Since the selection of silent movie soundtracks - and for that matter, the whole area of musical composition for silent movies - seems to have been lost, discarded or forgotten, the CD and performance have become rare attempts to document some of the very rich and creative musical (and visual) compositions of the early twentieth century.

Combining elements of performance, photography, and knitting, Anna Maltz inserts in her projects a slightly disturbing sense of humor. The hand knitted Superman Suit. XXL (2000) is meant to fit everyone, but is never the perfect fit. Rather than mythic saviors, she prefers to interact with her everyday heroes whose antics in the suit she documents in photographic snapshots. The project started in 1999 and is ongoing, because everyone and every time is different, even in the same suit. Conceptually her work focuses on the multifaceted connotations of domesticity, handicraft, media pop culture icons and machine-produced art.

The Abduction from the Seraglio (2006) is a new work by Cristi Pogacean, which reveals in a conceptual manner the multitude of contradictions in our time. Using the oriental carpet as a frame and as a playground, the artist combines different references coming from different sources: from Mozart’s opera (with the same title) to the actuality of the Iraqi war, from the oriental myth of the magic carpet to harem fairy tales. By inserting the hyper-mediated image of the four Romanian journalists captured in Baghdad - the image was released by Al Jazeera Television- Pogacean brings the most acute global problems to the fore, framing the war as a media reality-show.

In her new video piece Forever, (2006) Julika Rudelius focuses on the idea of eternal beauty, underlining precisely those aspects of beauty which were exploited the most in the media. Investigating the behavior of different women with similar social backgrounds and their narcissistic approach toward themselves and in relation with others, Rudelius succeeds not only in making the portrait of a certain group from society, but also in denouncing the faked assumption that beauty can be related only to wealth and success. The artist employs a realistic, documentary style, which is based on everyday situations, but through a very personal strategy she switches from daily life directly into fiction just to underline better - and in a critical way - the cynicism and dehumanization of our society.

The exhibition Ready Media is open Tuesday through Saturday from 1:00 ­ 6:00 p.m.; also open on the first Sunday of the month. Entry: € 2,50 (1,50 with discount)

Howard Arkley

The Age, July 23, 1999

Artist of the suburbs dies By GABRIELLA COSLOVICH and RAY GILL

Australia's arts community was in shock last night at the death of renowned Melbourne artist Howard Arkley. Police confirmed that Arkley had died in his Oakleigh studio of a drug overdose.

Arkley was best known for his vibrant, air-brushed paintings of suburbia. He had reached a peak in his 30-year career and was being celebrated on the world stage. He represented Australia at the 48th Venice Biennale of Art in June, and The Home Show is being shown at the Karyn Lovegrove Gallery in Los Angeles. In his recent works Arkley got the measure of the Melbourne suburbs in a way that gave us permission to celebrate what for most of us had been the mundane streets we grew up in. The rigid roads and triple-fronted monotony came alive under the spell of his paint.

Arkley's biographer and friend, Ashley Crawford, said it was a tragic accident that Arkley succumbed to an overdose. Crawford was mourning Arkley's death with Ms Burton and the artist's immediate family at the couple's Oakleigh home last night.
``Everyone is in tears. We're playing Iggy Pop's Lust for Life as a perfect memento to Howard Arkley's life,'' he said


Welcome to The Home Show

The Artist of the Australian Pavilion Howard Arkley was born in Melbourne, Australia, in 1951 and died there on 22 July 1999. The suburban landscape had been Arkley’s inspiration for more than two decades. His hermetic representations of the ‘ideal home’ had become iconic images within Australia and attracted significant overseas attention from collectors and international curators. Arkley’s international exhibitions include recent shows in Korea, Singapore and Germany as well as in the 1998 Biennale of Sydney. Arkley’s work is currently touring the UK in ‘Claustrophobia’ an exhibition that explores the resurgence of domesticity in contemporary visual art.

Howard Arkley was a major presence in the Australian art world and his exhibitions were significant events. He first exhibited at Tolarno Galleries, Melbourne, in 1975 at the age of 24. Since then his work had appeared in numerous exhibitions including Australia Perspecta, Art Gallery of New South Wales, 1981; Meaning and Excellence, Edinburgh Festival of Arts, 1984; Form, Image, Sign, Art Gallery of Western Australia, 1989; and Downtown - Ruscha, Rooney, Arkley, Museum of Modern Art at Heide, Melbourne, 1995. In 1982 he painted a tram for the Victorian Ministry of the Arts, Melbourne, and in a non-stop twelve hour session, created an enormous mural on paper. In 1991 Monash University in Melbourne mounted a major exhibition surveying two decades of his work.






Spray: The Work of Howard Arkley
Ashley Crawford
hardcover colour illustrations

This is a revised edition of this much sought-after book on Arkley. His colourful paintings of suburban art in Australia have reached audiences all over the world. This extensive collection of Arkley’s art work, pictures, sketches, and monographs is a revealing insight into the artist’s world.

10 January 2007

KillerTV januari 2007

- Gewijzigd programma KillerTV januari 2007 -
Door omstandigheden is het programma van 24 en 31 januari komen te vervallen

Woensdag 10 januari 2007
Op de eerste Killer avond van 2007 pakt KillerTV uit met een workshop/presentatie over filmkunst en droomwerelden met Erik van Zuylen, wiens oeuvre varieert van de in 2005 uitgebrachte speelfilm ‘het Mysterie van de Sardine’ -in de betere videotheek- tot een verfilming van Hermans’ de Electriseermachine van Whimshurst uit 1978.

Zie verder:

Woensdag 17 januari 2007
Hive (niet Hyves dus) is een netwerk dat voelt, ziet, luistert maar ook uitwisselt.
De achterliggende software HIVEWARES is een open source operating system dat ontworpen is om te functioneren op commerciële netwerken zoals draadloos internet.

Zie verder:

Waar: Theatrum Anatomicum, Waag Society, Nieuwmarkt 4, 1012 CR, Amsterdam
Wanneer: resp. 10 en 17 januari 2007, zaal open 19.45, aanvang 20.00 u.
Stream: http://connect.waag.org

Art and media - Amsterdam Symposium

Manifestation from 18 January - 17 March 2007


Flemish Arts Centre de Brakke Grond
Netherlands Media Art Institute
de Appel
Maison Descarte

Art in the New Field of Visibility is an event which aims to explore the complex interactions between art and media, within the context of the debate about the role and the function of image in our society. The program consists of a series of exhibitions, screenings and talks organized by the Netherlands Media Art Institute, the Flemish Arts Centre de Brakke Grond, de Appel, Maison Descartes, Institut Français des Pays-Bas, Institutul Cultural Roman Boekarest and the Goethe Institut Amsterdam.



International Symposium
Friday 19th and Saturday 20th January from 10.00 hour
Concept: Bogdan Ghiu, Maria Rus Bojan
Participants: Pascal Beausse, Corin Braga, Edwin Carels, Emilian Cioc, Irina Cios, Ann Demeester, prof. dr. David Garcia, Bogdan Ghiu, Katarina Gregos, Sagi Groner, Hanneke Grootenboer (o.v.), prof. dr. Boris Groys, Khalil Joreige, Eric Kluitenberg, Vesna Madzoski, Nataša Petrešin, Jean-Christophe Royoux, Bart Rutten, prof. dr. Rolf Sachsse, Ive Stevenheydens, Suzanne van de Ven
Saturday January 20th at 12.30 h. Lecture Prof Dr. Boris Groys
Within the context of the debate about the role and function of image in our society, the symposium “Art in the new field of visibility” attempts to create a broader framework for comprehending the recent metamorphosis of all the communication forms and the implications of this process in the art field. The emergence of a new synthesis of the worldwide communications field has generated an interesting process of unifying the semiotic distinctions between words and images, between art and non-art, between visibility and non-visibility. This process reveals a paradigm shift that is dramatically altering the boundaries, calling for new strategies of research and approach, adjusted continuously to the increasing complexity of our world.
Through four interdisciplinary panel discussions, the participants at the symposium will attempt to decipher the various aspects and features of our predominantly visual culture, exploring artists’ reaction to the generalized media experience and to stereotypes and globalization. Topics referring to the new regimes of image as a consequence of living in a transparent society, as well as topics referring to the crisis of representation and the existing situation of visual homogenization, will also be discussed.

Entrance: 20,- (students 10,-) --- including lunch
Reservations: T +31 20 6229014 or info@brakkegrond.nl

Strategies of Confinement in the Age of Biopolitics
19 January – 25 February
Opening 19 January 17.00 hour
Artist: Alexandra Croitoru, Johan Grimonprez, Mladen Miljanovic, Solmaz Shahbazi, Sean Snyder
Curator: Zoran Eric
More information: http://www.brakkegrond.nl

Strategies of Confinement in the Age of Biopolitics
Thursday February 8th 20.30 h, Zoran Eric in conversation with Bart Rutten
Videoworks from: Harun Farocki, Walid Raad & Atlas Group, Artur Zmijewski
Curator: Zoran Eric
More information: http://www.brakkegrond.nl


18 January – 10 February
Opening 18 January from 17.00 - 19.00 hour
Artists: Pierre Bismuth, Heather & Patrick Burnett-Rose, Claude Closky, Sagi Groner, Sami Kallinen, Matthieu Laurette, Gabriel Lester, Anna Maltz, Cristi Pogacean, Julika Rudelius
Curator: Maria Rus Bojan
More information: http://www.montevideo.nl

24 February – 17 March
Opening 23 February, 17.00 h.
Artists (t.b.c.): Beirut Letters, De Geuzen, Govcom.org, Lynn Hershman, Olia Lialina, Avi Mograbi, Oog (Nanette Hoogslag / Volkskrant), Sean Snyder, Thomson & Craighead, Jody Zellen
Curator: David Garcia
More information: http://www.montevideo.nl

Saturday 24 February
With contributions by: Jody Dean, Noortje Marres, Richard Rogers, Sean Snyder, David Garcia (moderator)
More information: http://www.montevideo.nl


Exhibition and videoscreening
19 – 27 January
Opening 19 January 20.00 hour
Artists: Joana Hadjithomas, Khalil Joreige
Curator: Nataša Petrešin
Friday 19 January 21.00 hour
Videoworks from: The Atlas Group/Walid Raad, Daya Cahen, Sebastián Díaz Morales
Saturday 20 January 20.30 hour
Videoworks from: Eglė Budvytytė, Keren Cytter, Jakup Ferri, Mario García Torres, Driton Hajredini, Ahmet Öğüt, Natascha Sadr Haghighian & Judith Hopf, SilentCell Network, Clemens von Wedemeyer & Maya Schweizer
More information: http://www.deappel.nl


20 January - 10 February
Opening Saturday 20 January at 17.00 hour
During the opening Pascal Beausse will talk to Bruno Serralongue
Artists: Ziad Antar, Alain Declercq, Clarisse Hahn, Florence Lazar & Raphael Grisey, Bruno Serralongue, Olivier Zabat
Curator: Pascal Beausse
More information: http://www.maisondescartes.com

Thanks to:
BeamSystems, Cultures France (Ministère des Affaires Etrangères), Galerie Fons Welters, Amsterdam, Gallery Diana Stigter, Amsterdam, Gallery Yvon Lambert, Paris, Gallery Plan B, Cluj, Galerie Laurent Godin, Paris, Lisson Gallery, London, Maison Descartes Institut Francais des Pays Bas, Amsterdam, Embassy of Romania, Den Haag Project Stichting, Amsterdam, Sebastien de Ganay Collection, YDL, Amsterdam.

Special thanks to: Mircea Pinte, Raluca Truscanu, Thomas Michelon, Valeriya Zakopay

Netherlands Media Art Institute
Montevideo / Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T +31 (0)20 6237101
F +31 (0)20 6244423

05 January 2007

Site Administration

I'll be travelling for the next few weeks. I'll post if I get an opportunity, otherwise see you next month.

There's over nine hundred posts on the site to explore, just use the "search this site" option, or mine the archives.




Spray4Justice wordt op 10 december in de Melkweg gelanceerd. De eerste prijs is een reis met Ali B naar Palestina!



02 January 2007

call Polar Radio - Antarctica


Date: 31.12.06

Location: Antarctica

'Polar Radio' is a community radio station in Antarctica initiated by I-TASC and r a d i o q u a l i a.

The first prototype station began FM broadcasts on 29 December 2006 in the Dronning Maud Land sector of Antarctica, where South Africa maintains their base, SANAE IV.

The radio station is broadcasting new music, sound art, documentaries and live shows to the research community in Dronning Maud Land. Mobile researchers can tune into the radio station from their skidoos (snowmobiles used for transport). Residents of SANAE IV can tune in to the station from FM receivers at the base.

This prototype station is the first step towards establishing a permanent community radio presence in Antarctica, which may eventually broadcast in between geographically dispersed Antarctic bases.

The research phase of Polar Radio is supported by Arts Council England.



I-TASC is the Interpolar Transnational Art Science Constellation. I-TASC is an official project of the International Polar Year 2007-2008. The project was conceived by Thomas Mulcaire and Marko Peljhan. I-TASC is a decentralized network of individuals and organisations working collaboratively in the fields of art, engineering, science and technology on the interdisciplinary development and tactical deployment of renewable energy, waste recycling systems, sustainable architecture and open-format, open-source media. I-TASC is a lichen-like structure sharing and integrating local knowledge, resources and skills across six continents in order to symbiotically engage with the air, ocean, earth and space commons

The members of the first I-TASC Reconnaissance and Communication Expedition arrived in the Dronning Maud Land sector of Antarctica in December 2006 and will stay until February 2007. They are guests of the South African Antarctic Programme . The crew are:
- Thomas Mulcaire (South Africa)
- Adam Hyde - r a d i o q u a l i a (New Zealand)
- Ntsikelelo Ntshingila (South Africa)
- Amanda Rodrigues Alves (Brazil)

The I-TASC crew's journey to the continent on board the ship, SA Agulhas and their work at SANAE IV base is documented in an online journal at the I-TASC website <http://www.i-tasc.org/>, under the NOW section.


Whilst, Antarctica has never had an indigenous population, it does now have a regular human presence. It hosts scientists from 27 different nations. In the summer more than 4000 people live in Antarctica. Scientists tend to be located at the scientific bases operated by their home nation. Because of the immense size of the continent these bases tend to be far from one another. One of the only technologies which can bridge the wide expanses of Antarctica is radio. Whilst radio is primarily used to coordinate science expeditions and vital activities such as air-traffic control and search and rescue, the existence of several amateur radio stations in Antarctica operated by radio engineers in their spare time, is evidence that radio communication for leisure purposes is viable and desirable. Like any amateur radio stations, those in Antarctica are only operational sporadically, and communicate only with other amateur radio stations, on a one-to-one basis.



Polar Radio will draw on the history of amateur radio broadcasting in the polar regions, taking inspiration from the role radio has played in the exploration of the Poles, and in facilitating communication between polar inhabitants and the wider world.

One of the most important functions of Polar Radio station is be to radiophonically link dispersed bases, creating trans-national, inter-base connections promoting discussion and collaboration amongst the researchers living in Antarctica. Should it prove feasible, following this research phase, it is hoped that Polar Radio will enable researchers to share information about the living circumstances and weather conditions of their respective bases, and to anecdotally communicate the results of their investigations.

In tandem with this community radio function, Polar Radio will also be a platform for artists. Many of the Antarctic bases have artist-in-residence programmes and regularly host artists in-situ. Polar Radio hopes to make it possible for artists in residence to communicate their work to the residents of Antarctica. It will pro-actively encourage artists to create audio-based art (sound art, new music, radio drama and other audio based practices) for broadcast, thus posing new artistic challenges for artists living in Antarctica.

It is also hoped that Polar Radio will broadcast creative programmes produced outside Antarctica. Using internet-based systems, and posted CDs, we hope to enable an interface between artists and musicians based around the world and the residents of Antarctica.

It is envisioned that the eventual programme of Polar Radio may be a combination of news reports from the various Antarctica bases authored by researchers, music programmes compiled by researchers, audio art, music, news and magazine programmes, sound art and radio art documentaries and audio-based art created by artists in residence at the Antarctic bases.



We are in the process of compiling programmes for broadcast. The internet connection at the present South African base in Antarctica is not fast enough for the crew to download sound material to broadcast. But we do want to broadcast music made by musicians and sound artists, radio plays, documentaries, and any other sonically fascinating ephemera.

So, we need your help!

If you have ever wanted a piece of music you have made, or even just a piece of music you like, heard in Antarctica, now is your chance. Make a CD and send it to: Siphiwe Ngwenya / I-TASC
c/- Pitch Black Productions, 7 Prince Street, Gardens, Cape Town 8001, South Africa


There is not much time between now and when the plane leaves, so anything you can copy onto CD and post, would be gratefully received.



For data on Polar Radio, contact: r a d i o q u a l i a
Email: adam@xs4all.nl or honor@va.com.au

For data on I-TASC, contact: Thomas Mulcaire or Marko Peljhan
Email: tm@interpolar.org or mx@interpolar.org

machinima - Sims99.com

Sims99.com was started in January of 2005 as a way to share, rate, and review machinima made with The Sims 2, which was largely unrepresented on other sites. In June of 2005, we opened the site to all forms of machinima, and in June of 2006, we expanded to include user created flash movies, animation, live action short films, and also commercial release movies and DVD on TV, especially with an eye to ratings and reviews.


The Wall