26 February 2007
How to Succeed in Evil is not a self-help page for the maladjusted. It it is the story of Edwin Windsor, Evil Efficiency Consultant. He’s like Arthur Anderson for Supervillians.
But the problem with supervillians is that they are all too egomaniacal to listen to good advice.
24 February 2007
22 February 2007
CINEMA / PARTY Andy Warhol Memorial
now on the twenty-year anniversary of Warhol’s death Amsterdam is also paying tribute to Andy.
The Andy Warhol Club is launched at 11 as a kind of sampler for the big Warhol exhibition at the Stedelijk this Fall.
If you’d rather enjoy some cinematic gems, swing by Filmhuis Cavia where you can enjoy ‘The life and times of Andy Warhol’ and more amazing documentaries and movies.
As for the day after: on Friday the 23rd Cavia is also throwing a Warholesque Factory party with modern-day video projections.
Filmhuiscavia, Van Hallstraat 52-I
11, Oosterdokskade 5
February 22 and 23
4 and 9 Euro
21 February 2007
Kunst als leven – Art as Life
10.02 – 22.04.07
TU – SU 11:00 – 17:00
TH 11.00 – 21:00
EINDHOVEN - THE NETHERLANDS
Allan Kaprow, father of ‘happenings’ and ‘the most famous unknown artist’ died in April 2006. In association with the Haus der Kunst, Munich, the Van Abbemuseum organises the largest European solo presentation of the work of this American artist, displaying a development of almost 50 years of artistic work. The concept for this exhibition was developed together with the artist shortly before his death. Much of Kaprow’s art is special because it is interactive, intended to be carried out by people. The exhibition consists of a range of objects from Kaprow’s artistic legacy on view as well as a number of ‘happenings’ in which visitors can participate. The Van Abbemuseum’s artistic policy is to exhibit major overview exhibitions of artists from the sixties and seventies, who are the ‘classics’ of today.
The theme of the Allan Kaprow 'Kunst als leven – Art as Life' exhibition is the paradoxical question of how museums can display art in an appropriate manner in this day and age, while approaching real life with art as closely as possible. A range of objects from Kaprow’s artistic legacy will be displayed: early paintings, environments, video documents and photographs, as well as a fast array of original scores for his ‘happenings’ and ‘activities’.
This special presentation is not intended as an attempt to rewrite or document history, but to encourage visitors to see the ‘museum as mediation’. Kaprow was never interested in passively consumptive viewers but in active participation. The Van Abbemuseum is both a place of mediation and an agency of action. The exhibition will entail a re-enactment of a selection of happenings – on condition, however, that the visitors understand their new role and participate.
Towards the end of the 1950s, American artist Allan Kaprow (1927-2006) coined the term ‘happenings’ for a new art form. A decade earlier, Kaprow had studied philosophy and subsequently art history with Meyer Shapiro in New York. At the same time he studied art with Hans Hofmann. It was while following composition classes with John Cage at the New School for Social Research in 1956/57 that he discovered he could use coincidence as well as everyday materials in his art. His work metamorphosed from expressionist scenes of figures through raw assemblies of materials to room-filling ‘environments’. With audiences participating, events took place in these ‘configured’ spaces from the late 50s onwards. Kaprow succeeded in doing what many painters and sculptors had endeavoured to achieve before him: the dissolution of the boundaries between art and reality. He accomplished the move into reality in such a radical fashion that his ‘happenings’ – which he later relabelled ‘activities’ – became indistinguishable from real life. During this process the artist drew back more and more from the institutions. To him, museums were burial chambers of art that no longer had anything to do with life.
During the exhibition various happenings will take place in and outside the Van Abbemuseum. Participation is a must.
For more information, dates and reservations, visit http://www.kaprow.org.
Exhibition concept: Eva Meyer-Hermann & Stephanie Rosenthal
Van Abbemuseum exhibition curator: Eva Meyer-Hermann
In association with Haus der Kunst, Munich.
2 juni / june 2007 -
26 augustus / August 2007
Museum of Contemporary Art,
Los Angeles, voorjaar / Spring 2008
What is machinima?
A simple definition would be "Making movies with computer games".
A longer definition is "Machinima is filmmaking within a real-time, 3D virtual environment, often using 3D video-game technologies.
In an expanded definition, it is the convergence of filmmaking, animation and game development. Machinima is real-world filmmaking techniques applied within an interactive virtual space where characters and events can be either controlled by humans, scripts or artificial intelligence." - machinima.org faq
You can read another full description from - Machinimag
It has also been described as "A revolution in film-making", "The mp3 of movies", A "Punk" art-form, and many other things! For me it is a fascinating, and fun, hobby!
What is Machinima Premiere for? To promote the making of machinima movies.
Merda’s distinctive autography is inscribed through precise line and shape, utilising harsh organics imagined by mathematics and rendered through abstracted and premeditated calligraphy.
His works on paper defy simplistic limitations.
He represents the finest elements of global pop-culture and incorporates an array of influences from futuristic sci-fi, international anima and historical and contemporary typographies.
Merda, 1351841 (2007) - Silkscreen
Working on an array of scales, Merda primarily models surfaces of the urban landscape. Through the application of anthropomorphic and animatronic trickery, transforming complex and precise text-like imagery into a labyrinthine form.
His most recent works include a billboard for Absolut Vodka and a mural at the Redbull Music Academy in Melbourne. This is Merda’s first solo exhibition in Australia and one that we should all embrace with passion and gratitude.
New works on paper and silkscreens representing the coded language 1351841.
An exhibition that should not be missed.
Artists' Reception, 8th March 2007 - 6pm till 9pm. The exhibition will run from the 8th March through to the 29th March at The Autopsy Gallery - 162 Carlisle Street, St Kilda East, 3183, Melbourne, Victoria, Australia.
The Autopsy Gallery’s is located at 162 Carlisle Street, St Kilda East and is open from 12pm – 5pm weekdays and 12pm – 4pm Saturday.
All media enquiries to Jade Palmer (0421 707 625) or Darren Henderson (0420 319 373) or email the gallery.
20 February 2007
On the 3rd of August 2006, Suzanne Vega became the first major recording artist to perform live within a virtual world in avatar form. Suzanne was interviewed by The Infinite Mind's John Hockenberry within Second Life.
This short video tries to catch the moment from the perspective of the audience of the avatars who, from their 'armchairs' around the world, shared this moment together, live.
The singer's avatar explains how her original acapella version of "Tom's Diner" became the basis for MP3s, then proceeds to sing it.
In August 2006, Suzanne Vega will become the first major recording artist to perform live in Second Life avatar form. This forms part of a larger project sponsored by 'The Infinite Mind' (public radio show), which has hired 'Infinite Vision Media' to create a permanent presence in Second Life.
After some technical trouble getting her After some technical trouble getting her avatar to play the guitar (an audience member offers his), Suzanne Vega presents through her alter ego a rendition of her classic otherworldly fable to an audience in the online world of Second Life.
19 February 2007
DAIM, Daniel Man,Pius Portmann,STOHEAD,TASEK,TILT,Heiko Zahlmann
WE ARE THE PEOPLE WHO ARE DARKER THAN BLUE
Kurator: Rik Reinking
In the Hamburg one style work is to be seen a fuenftaegige exhibition from 21 to 25 February.
Here sieve international streetart artists of Rik Reinking shown.
took part artist: DAIM, Daniel one, Pius haven man, STOHEAD, TA sec., TILT, Heiko number man
Incoming goods of ACRES THE PEOPLE WHO of ACRES DARKER THAN BLUE curator: Rik Reinking
WE ARE THE PEOPLE
DARKER THAN BLUE
Skulpturen und Bilder
Vernissage und Party:
21. Februar 2007, 21 Uhr
Ort: stilwerk Hamburg
Große Elbstraße 68
Kurator: Rik Reinking
DAIM – DANIEL MAN – PIUS PORTMANN –
STOHEAD – TASEK – TILT – HEIKO ZAHLMANN
Ab dem 21. Februar 2007 zeigt Rik Reinking im Hamburger stilwerk eine Auswahl von sieben internationalen streetart-Künstlern. Alle stammen aus der Grafittiszene und haben im Laufe der Jahre gelernt, sich von dem der Szene eigenen Vokabular zu emanzipieren. Dennoch leugnen sie ihre Herkunft nie. In den Arbeiten ist sichtbar, wo ihre Wurzeln liegen, und aus eben diesem Grund realisieren die Künstler überwiegend Arbeiten vor Ort.
Incoming goods of ACRES THE PEOPLE DARKER THAN BLUE sculptures and pictures
Vernissage and party: 21. February 2007, 21 o'clock
Place: stilwerk Hamburg
Große Elbstraße 68
Took part artist: DAIM - DANIEL MAN ONE - PIUS HAVEN MAN - STOHEAD - TASEK - TILT - HEIKO NUMBER MAN
Starting from 21 February 2007 Rik Reinking shows a selection of seven international streetart artists in the Hamburg one style work. All originate from the Grafittiszene and in the course of the years learned to emanzipieren itself from that the scene own vocabulary. Nevertheless denial it their origin never. In the work is visible, where their roots lie, and for evenly this reason the artists realize predominantly work locally.
DAIM, Daniel one, Pius haven man, STOHEAD, TA sec., TILT, Heiko number man Incoming goods of ACRES THE PEOPLE WHO of ACRES DARKER THAN BLUE
curator: Rik Reinking
Das von-der-Heydt-Museum Wuppertal zeigt bis zum 6.Mai 2007 eine Auswahl internationaler Künstler der Steet Art Szene.
Street Art ins Museum - ein Wiederspruch?
Jeder Künstler kennt seine Herkunft und spätestens seit Banksy wissen wir das Museen auch für Street Art taugen.
Das von der Heydt Museum nennt dazu folgenden Grund:
"Die Künstler markieren nicht mehr nur ihr Terrain, sie treten in Dialog mit der urbanen Zeichenwelt, verdrehen deren Bedeutungen mit Witz und Verve und machen so politische Kunst im besten Sinne."
bis 6.Mai 2007
"Still on and non the wiser..."
Von der Heydt-Museum
D – 42103 Wuppertal
Information / Führungen:
Telefon 0202 - 563 6231
The of that Heydt museum Wuppertal shows a selection of international artists of the Steet kind scene up to the 6.Mai 2007.
Street kind in the museum - a resaying?
Each artist knows his origin and at the latest since Banksy knows we museums also for Street kind is suited.
Of the Heydt museum calls in addition the following reason: "the artists mark no longer only its terrain, it step into dialogue with the urbanen indication world, rotate their meanings with joke and Verve and make so political art in the best sense."
"Still on and non the wiser..."
Von der Heydt-Museum
D – 42103 Wuppertal
Information / Führungen:
Telefon 0202 - 563 6231
make sure you follow the links to the videos of the artists at work
1.02.2007 - 06.05.2007
Still on and non the wiser...
Street Art - Graffiti - Wuppertal
Schon 1975 sprach der französische Medienphilosoph Jean Baudrillard von Graffiti als "Aufstand der Zeichen" - als Medium derer, die in postindustriellen Metropolen nur als Konsumenten zählen. Dieser Aufstand ist längst nicht mehr nur Subkultur. Seit ein paar Jahren hat die "Street Art" und das "Graffiti" die engen Regeln der HipHop-Kultur hinter sich gelassen. Die Künstler markieren nicht mehr nur ihr Terrain, sie treten in Dialog mit der urbanen Zeichenwelt, verdrehen deren Bedeutungen mit Witz und Verve und machen so politische Kunst im besten Sinne.
In Wuppertal wird ab dem 11. Februar 2007 eine Auswahl von elf internationalen Künstlern gezeigt, die aus der Graffitiszene stammen und die im Laufe der Jahre gelernt haben, sich von dem der Szene eigenen Vokabular zu emanzipieren. Dennoch leugnen sie ihre Herkunft nie. In den Arbeiten ist sichtbar, wo ihre Wurzeln liegen und aus eben diesem Grund werden überwiegend Arbeiten vor Ort realisiert werden. Wir freuen uns, Sie begrüßen zu dürfen und Ihnen die Gelegenheit zu geben, Arbeiten zu erleben, die von den teilnehmenden Künstlern eigens für diesen Ort geschaffen wurden.
Already 1975 spoke the French medium philosopher Jean Baudrillard von Graffiti as "rebellion of the indications" - as medium of those, which count in post office postindustriellen metropolises only as consumers. This rebellion is long no longer only subculture. Since a few years the "Street kind" and the "Graffiti" left the close rules of the HipHop culture behind itself. The artists mark no longer only its terrain, it step into dialogue with the urbanen indication world, rotate their meanings with joke and Verve and make so political art in the best sense.
In Wuppertal starting from 11 February 2007 a selection is shown of eleven international artists, who originate from the Graffitiszene and which in the course of the years learned, by that the scene own vocabulary to emanzipieren itself. Nevertheless denial it their origin never. In the work is visible, where their roots are appropriate and from evenly this reason become for work locally are predominantly realized. We are pleased to be allowed and you the opportunity give to welcome you to experience work which was created by the participating artists particularly for this place.
17 February 2007
Until Never gallery, Lvl 2, 3-5 Hosier Lane
Exhibition and Seminar
24 February – 17 March
Opening 23 February, 17.00 – 19.00 hour
Curated by David Garcia
This exhibition and seminar addresses the central narrative of western democracy our 'faith in exposure', the unquestioning belief that the circulation of knowledge through news media (and other means) constrains the powerful and guarantees democracy. In a world where we may know but are still compelled to obey, Faith in Exposure is a platform for artists and researchers to ask whether it is still tenable believe the central myth of the information age; that knowing the truth shall make us free.
Beirut Letters, De Geuzen, Govcom.org, Lynn Hershman, Olia Lialina & Dragan Espenschied, Avi Mograbi, Sean Snyder, Thomson & Craighead, Jody Zellen
Oog (Volkskrant): Luis Mendo, Graham Harwood, Micheal Takeo Magruder, Laure Ghorayeb, Rob Hamelinck & Nienke Terpsma, Kessels Kramer, Jeroen Kooijmans, Jochem Niemandsverdriet, Max Kisman, Tjebbe van Tijen, Persijn Broersen & Margit Lukacs, Lust (Thomas Castro, Dimitri Nieuwenhuizen, Jeroen Barendse), Willem van den Hoed, Han Hoogerbrugge, Occulart (Geoff Lillemon), Jody Zellen, Motomishi Nakamura, Rob Moonen and Tom America. Curator: Nanette Hoogslag
The exhibition Faith in Exposure is open Tuesday through Saturday from 13.00 – 18.00 h. ; also open on the first Sunday of the month. Entry: € 2,50 (1,50 with discount)
Saturday 24th of February
13.30 – 16.30 hours
With Jodi Dean, Noortje Marres, Richard Rogers, moderated by David Garcia
Reservations: firstname.lastname@example.org, +31 (0)20 6237101
Entrance 10,- ( students 8,-)
More information Faith in Exposure: http://www.montevideo.nl/en/index_agenda.php?cat=e&id=184
Nederlands Instituut voor Mediakunst
Montevideo/Time Based Arts
1016 EV Amsterdam
T 020 6237101
F 020 6244423
15 February 2007
There are now believed to be about 150 of the images in public places from freeway overpasses to pavements and walls.
Wandjina images are part of the spiritual belief system of Aborigines in the Kimberley in northern Western Australia.
Glenn Pilkington of Perth-based arts foundation Artsource believes several street artists are responsible.
"I think the biggest thing which ... concerns me coming from the perspective of an Indigenous person is more so about the protection of one's culture and people's culture which is alive and active and very current and that the imagery is being used without any consultation with the traditional custodians of that image," he said.
Donny Woolagoodja, who chairs the Mowanjum Artists Spirit of the Wandjina Aboriginal Corporation, says a severe tribal punishment such as spearing is the traditional response to painting the Wandjina without permission.
But he's told The Australian he wants to meet the graffiti artist and explain the symbol's cultural significance, fearing that the painter may be bringing harmful energy upon himself or herself.
"Our culture is very powerful and our law is very powerful, so please be careful."
Woolagoodja says the graffiti artist paints the image well.
"He can paint all right, he does the Wandjina just like us."full article
Well the main theme of the SBS broadcast is that the Wandjina street-art in Perth is not culturally appropriate according to local Noongar elders and the traditional Wandjina custodians in the Kimberley. Elders keenly feel that the Wandjina is a powerful, sacred, spirit and not to be tampered with or treated "lightly". Comments are heard from Donny Woolagoodja, chairman of Mowanjum Artists Spirit of the Wandjina Aboriginal Corporation, who feels that the misuse of the Wandjina could be "spiritually harmful" to the person or persons involved.
List of links
- Wandjina on Flickr
- Wandjina on Technobohemian
- Mowanjum Artists Spirit of the Wandjina
- Donny Woolagoodja
- Wandjina on Myspace
- On ancient rock art including Wandjina:
- In particular this PDF- The Wandjina Figures:
- General Perth Graffiti
Fatcap Graffiti est un portail présentant le coté artistique (fresques, infographies, sketches...), vandal (trains, roulant...) du graffiti.
Ce portail tente aussi de les guider (sketches, adresses, matériel, forums...) et de les informer (news, interviews, articles...).
Have you ever been stuck in a country wanting to be polite but having no idea how to even say 'please' or 'thank you'? or have you ever needed to get somewhere quickly but been frustrated because you couldn't even ask for basic directions in the local lingo?
We have, so decided to produce a series of free language guides that contain around 30 basic phrases that you can download onto your iPod.http://journals.worldnomads.com/language-guides
This year's festival will put two more cities on the map later this year, Brisbane and Newcastle, besides returning to Sydney.
Highlights of the festival exhibition will also tour to regional centres in Victoria for the first time. The Art Galleries of Ballarat, Shepparton and Sale will host the exhibition around mid-year.
Keep your eyes on the website for a detailed schedule and updates.
If you are interested to help get the festivals happening please send us a mail, we would like to hear from you.
We are also calling for artists to apply to exhibit together with some of the most exiting street artist from around the world at the Stencil Festivals.
Applications close on Fiday 2 March, please download the Application Guidelines for details.
De Wittenstraat 25/1
1052 AK Amsterdam
Phone/Fax: +31 (0)20 4865824
Mikosa Foundation was founded in Amsterdam in 2005 by an international executive board. Based on our manifesto, we want to spread artists' works through different medias, expositions and special events: being a the firment for a box of contemporary art, bringing different styles and visual images together, ranging works from graffiti writers to internet designer and from street artists to video artists. All of them got one basic thing in common: their black book. This is usually filled up with unfinished artworks, the idea we transferred to our first long-term project: the Mikosa Magazine.
Each Mikosa Magazine consists 10 international artist. It is printed black on white on A4 paper, 48 pages in total and is only printed in a small run of a maximum of 500 pieces. The artists are free to give us the design of their choice and should do whatever they want with a focus on unfinished artworks. Therefore their works will be consistent with the handmade principle of the magazine. Everything is handmade, starting from the cutting and folding of the karton covers, through the usage of stamps till the individual painting on each issue and the final bindings of the magazine.
Furthermore each issue always comes with a special item that is related to the magazine and their artists. For Issue#01 we did the Mikosa Poster Collection, so every artist work is also available on an A4 poster. For Issue#02, the Mikosa Card Box was developed, a handmade carton box with an A5 off-sett print of each participant of the magazine. And for Issue#03 the artists developed the Mikosa Fabric, a special silkscreen on an A3 cotton.
GRAFFITI NYC by Hugo Martinez, NATO, Antonio Zaya
145 Illustrations in color Trim
Pub Date: November 2006
Featuring legendary writers JA, GIZ and RATE
Street art hits Europe this February with the release of GRAFFITI NYC, the definitive new text on one of the most controversial, and among the most important, art forms to emerge in the past half century. The landmark book's release will be complimented with special appearances and art events in Amsterdam, Berlin and London by the author, Hugo Martinez, and three of the leading graffiti artists working today, JA, GIZ and RATE.
On Saturday February 17 in Amsterdam, they will be creating their art on the exterior of the American Book Center, where the signing will be held.
GRAFFITI NYC takes readers on a tour of New York City, the birthplace and Mecca of graffiti. Martinez, a leading authority on the history of street art, has been a key figure in the development and documentation of New York street art since it emerged nearly 40 years ago.
Guided by the keen eye of graffiti artist and photographer NATO, his book offers a from-the-trenches look at the work of over 100 of the very best contemporary graffiti artists, or "writers," practicing today, with 145 pictures interspersed with quotations from writers, police, politicians and cultural commentators. A variety of portraits, action and lifestyle shots provide an unprecedented glimpse of this movement, its creators, roots and future.
Among the artists featured are VFR, SI, NETA, TECK, JA, COST, MQ, TRACY 168, KEZ 5, SKUF, COCO 144 and BRUZ. Those and many more are gathered in this ground breaking, unapologetic look at contemporary "graff."
American Book Center
11 February 2007
Friday, August 18th, 2006 at 12:35 PM PST
by: James Linden
On the eve of the Second Life Community Convention, here’s a present for the community.
While trying to generate some archival screen shots, Andrew and I managed to get a build running of Second Life circa August 2001. We called it “LindenWorld” back in those days. Here’s a video showing what we looked like back then. I apologize in advance for the movie quality - I’m an engineer, not an artist, and I shot and narrated this in one take.http://blog.secondlife.com/2006/08/18/historical-movie-lindenworld-august-2001/
The NMC Campus is an experimental effort developed to inform the New Media Consortium’s work in educational gaming. In early 2006, the organization made the decision to create a space for experimentation in a virtual 3-D world and began a search for suitable platforms, with a special interest in massively multi-player environments.
Ultimately, Second Life was chosen, and working with an advisory board drawn from its membership, the NMC began designing a space within Second Life expressly to support collaboration, learning, insightful interaction, and experimentation — and to encourage exploration of the potential of virtual environments.
Produced by the folks at the Electric Sheep Company, this promo provides an overview of the New Media Consortium's virtual campus built in Second Life... (more)
The New Media Consortium (NMC) is an international 501(c)3 not-for-profit consortium of nearly 200 leading colleges, universities, museums, corporations, and other learning-focused organizations dedicated to the exploration and use of new media and new technologies.
NMC member institutions are found in almost every state in the US, across Canada, and in Europe, Latin America, and Japan. Among the membership are an elite list of the most highly regarded colleges and universities in the world, as well as a growing list of innovative museums, research centers, foundations, and forward-thinking companies.
The consortium serves as a catalyst for the development of new applications of technology to support learning and creative expression, and sponsors programs and activities designed to stimulate innovation, encourage collaboration, and recognize excellence among its member institutions. Through its many projects, its comprehensive web site, and its series of international conferences, the NMC stimulates dialog and understanding through the exploration of promising ideas, technologies, and applications.
NEW YORK, NY – jen bekman is pleased to present Photographs from the New World, an exhibition of new work by James Deavin.
The exhibition will be on view from November 1 – December 9, 2006, at jen bekman, located at 6 Spring Street, between Elizabeth and Bowery, New York, 10012.
Photographs from the New World documents user-generated landscapes in the online, virtual world Second Life.http://www.jenbekman.com/deavin/press_release.php
In technical terms, Second Life is best understood as a three dimensional virtual interface through which to create and explore visual and sonic information. In layperson’s terms, Second Life is an interface with which to explore a new world. What interests me as an artist is how this new world — which could conceivably be filled with any object, perspective or conceptual model — remains dominated by metaphors from one of the oldest worlds in art history: Dutch still life painting.
Marshall McLuhan once famously opined that the message of any medium wasn’t its content, but rather its influence over culture. Second Life programmers believe that most users don’t yet understand the full potential of the environment in which they are currently gaming, chatting, shagging and so forth. As a result, the way most of us use and think about Second Life is “a little like renting out the London Symphony orchestra to play a few bars of happy birthday” (to quote Steven Johnson on a different topic). This will change over time, and perhaps one way to understand these photographs is as a piece of Second Life history, markers of a time when people were still viewing the new world through the eyes of the old.
February 17 - March 17, 2007
EVA and FRANCO MATTES (a.k.a. 0100101110101101.ORG)
"13 Most Beautiful Avatars"
Postmasters Gallery, New York
Opening reception: Saturday February 17, 6-8 p-m
Postmasters Gallery is pleased to present "13 Most Beautiful Avatars," a portrait series from Second Life by EVA and FRANCO MATTES (a.k.a. 0100101110101101.ORG), for their second solo show at the gallery.
The Matteses have been living in the virtual world, Second Life, for over a year, exploring its terrain and interacting with its peculiar inhabitants. The result of their "video-game flanerie" is a series of portraits, entitled "13 Most Beautiful Avatars." Not unlike Warhol's entourage of stars, captured in the "13 Most Beautiful Boys" and "13 Most Beautiful Women" portrait series, the Matteses' "13 Most Beautiful Avatars" captures the most visually dynamic and celebrated "stars" of Second Life.
The portraits reflect Second Life aesthetics, featuring the bright colors, "artificial" light, broad flat areas, 3D shapes, and surreal perspectives that are typical of this virtual world. Overall, the series draws on the technological developments which allow the creation of alternate identities within simulated worlds. Despite the relative newness of using video game-derived source materials, the avatars' icons recall questions common to earlier eras of portraiture, including the cultural and psychological context of the images, and the relationships between high art and subculture, between contemporary art and "traditional" art forms, and between art and life itself.
The project was created during the artists' stay at The Italian Academy for Advanced Studies at Columbia University. The Matteses are the recipients of 2006 New York Prize for most promising young Italian Artists.
A portfolio of prints produced by Jean-Yves Noblet Contemporary Prints will also be available.
Born in 1976, Eva and Franco Mattes, (a.k.a. 0100101110101101.ORG) have been pioneers in the net.art movement remixing famous digital art pieces and performing Life Sharing: a real-time digital self portrait, during which they even submitted to satellite surveillance for an entire year. In the last decade they have created unpredictable mass-scale performances staged outside the traditional art venues and involving an unaware audience, where truth and falsehood mix to the point of being indistinguishable. They created and released the code for a computer virus, erected fake architectural heritage signs, run media campaigns for non-existent action movies (United We Stand), and even convinced the entire populace of Vienna that Nike had purchased the city's historic Karlsplatz and was about to rename it "Nikeplatz". Their controversial performances, often bordering on illegality, have been widely discussed in the media earning them the name "Bonnie and Clyde of Contemporary Art". Their works have been shown internationally including: Collection Lambert, Avignon; Fondazione Pitti Discovery, Florence; Lentos Museum of Modern Art, Linz; New Museum of Contemporary Art, New York; ICC, Tokyo; Manifesta 4, Frankfurt; Galleria Civica di Arte Contemporanea, Trento and the Venice Biennale.
For more information on the Second Life project and an interview with the artists:
Postmasters Gallery located at 459 west 19th street between 9 and 10 Avenues is open Tuesday through Saturday 11 – 6 pm
Please contact Magdalena Sawon with questions and image requests
www.postmastersart.com e-mail : email@example.com
10 February 2007
Jan. 23, 2007
FIRST-RATE ART IN "SECOND LIFE"
Richard Minsky, an artist and founder of the Center for Book Arts in New York City, is launching the first magazine dedicated exclusively to the art scene in the burgeoning online universe of Second Life.
Dubbed Slart -- as in Second Life Art -- the publication is designed to bring "real world art issues" into the virtual sphere, and to make sense of an imaginary art scene that already involves some 100 online galleries. Among the articles on tap for the premiere issue are "Will virtual artworks appreciate in value?" and "Is all virtual art illustration?"
Second Life claims more than 2.8 million users (though independent estimates put active membership at 100,000), and has attracted major attention from both the media and corporations. Reuters has opened a bureau inside the virtual world, for instance, and stores like American Apparel are using the venue as a platform to sell their wares, both virtual and real.
The development of a Second Life art market has followed close behind, with the online universe’s unusual setup -- users are granted copyright to their in-world creations -- encouraging artistic investment, according to Minsky.
Examples of artworks traded in Second Life range from scanned copies of public-domain artworks to complex kinetic sculptures that could only exist in virtual space. According to Minsky, works produced in unlimited editions can be had for as little as 100 Linden dollars while unique works regularly sell for as much as 15,000 Lindens (Lindens are the currency of Second Life, and trade at a rate of 250 Lindens to $1 U.S.). Some artworks can even sell in the six-figure range -- which adds up to real money, in either world.
To judge by the advance issue of Slart, one artist to watch is Filthy Fluno, already the subject of multiple Boston Globe articles. Fluno is the avatar-name of artist Jeffrey Lipsky, executive director of the nonprofit Munroe Gallery in Lexington, Mass. His graffiti-influenced, semi-abstract pictures depict Second Life scenes and people, but they are also versions of works that he makes in the real world -- his clients may purchase artworks at Fluno’s gallery in Second Life and receive the flesh-world version via snail mail As if that weren’t confusing enough, the real-life Lipsky is white, while his online incarnation is a brawny African-American, seemingly a cross between Jean-Michel Basquiat and "Hollywood" Hulk Hogan.
In contrast, the fantastic sculptures of StarAx Statosky, arguably Second Life’s first art megastar, can only exist in the virtual universe, the physics of which are decidedly dreamlike. Statosky has already had a one-day retrospective at Second Life’s Aho Art Museum, Oct. 15, 2006, including many works lent by private collectors in the online world. The imagery may seem a bit hokey -- it ranges from an animated butterfly floating over a fairy on a large flower to a giant devil whose mouth you can walk into -- but to Second Lifers, the works display an immense command of digital craft. (Footage of the Aho Museum opening is available on YouTube.)
Yet Statosky’s story also contains a cautionary note for artists looking to do business in Second Life. His most popular creation was a "magic wand" that allowed users to translate their in-world dialogue into animations, which he sold for 15,000 Linden dollars a pop, or $60. It was a big hit; Philip Rosedale, CEO of Linden Labs, the company that produces Second Life, even described StarAx’s wand as "possibly the coolest single thing you can own in SL." However, after one of the periodic updates of the game changed the world’s operating principles, the device was rendered non-functional, destroying the artist’s business and apparently inducing him to abandon the world completely (rumors abound that StarAx has returned under a different guise).
Still, one way or another, the art scene in Second Life seems bound to grow. IBM, already a major player in the universe, is rumored to be amassing a corporate collection of virtual works.
Meanwhile, art galleries and institutions are getting onboard -- in December 2006, SoHo art dealer Jen Bekman launched an online version of her Spring Street gallery in conjunction with a show of images from Second Life by British artist James Deavin, while George Eastman House in Rochester, N.Y. spearheaded multiple exhibitions in the universe coinciding with its "Seeing Ourselves" show, Apr. 22-July 30, 2006, featuring online versions of photos by Matthew Brady, Richard Avedon, Alfred Stieglitz, Dorothea Lange, Edward Steichen, Mary Ellen Mark and Gordon Parks.
And, in case there is any doubt whether art in Second Life can address serious issues, the U.S. Holocaust Museum has taken the initiative and put up a virtual version of the photo exhibition, "Our Walls Bear Witness: Darfur -- Who Will Survive Today?"
Slart is planned as an in-world publication, readable as a magazine within Second Life. Minsky also intends to make the magazine available in paper form (check www.minsky.com for details) for all those still wedded to their first life.
Well Bill said he'd like a smoke. Nobody knew where the dope was stashed. I said "I think Merinos." But I was just spinning a bit of a yarn. Barry pulls a joint out of his pocket. Bill says "Great, Barrier Reefer, what is it mate?" "Noosa Heads of course. Me mate Adelaide 'em on me." And it was a great joint too, Blue Mountains away and his Three Sisters.
- (Merino - Australian sheep) (Great Barrier Reef - The famous coral reef running down the coast of Queensland) (Adelaide - capital of South Australia) (Noosa Heads - a seaside resort in Queensland) (Blue Mountains - Mountain range outside Sydney) (Three Sisters - Landmark in the Blue Mountains, 3 pinnacle rocks)
Well I thought I'd roll one meself, I said "Chuck us the Tally Hobart". He said "They're out on the Laun, Ceston, can you get em for us?" Burnie says "Its okay mate, she's apples, I'll get em for ya"
- (Tally Ho - Cigarette papers) (Hobart - Capital of Tasmania - Australian State) (Launceston - city in Tasmania) (Burnie - city in Tasmania) (Apples - one of the main export products of Tasmania)
Just then Alice Springs into action, starts to pack Billabong. And you wouldn't believe it, the bongs broken. I said "Lord Howe!"
"Hay-man" somebody says "Will a Didgeridoo?" I said "Hummmmm mummmm mummmmm mummmmm maybe it'll have ta."
- (Alice Springs - capital city of the Northern Territory - near Uluru / Ayers Rock) (Billabong - water hole in the outback) (Lord Howe - Australian owned island off the east coast of Australia) (Hayman - Australian island on the Great Barrier Reef) (Didgerdoo - Aboriginal musical instrument) (Hummmm mummmmmm mummmmmm - sound the didgerdoo makes - long droning sound)
09 February 2007
CLUB VOYEUR: CORCORAN
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: www.brakkegrond.n
08 February 2007
The International art fair of The Netherlands.
Feb 8 - 12, 2007
Cruise Terminal Wilhelminakade 699,
3072 AP Rotterdam
Tel: 31 20 4201995
Rotterdam 2007 City of Architecture
In 2007 the theme of Rotterdam will be Rotterdam 2007 City of Architecture: a large-scale display that puts the unique architecture of the city in the spotlight. Rotterdam will be the stage for an entire year for exhibitions, events and excursions on architecture and will organise a special audio tour that leads you along 40 architectural high points. For the entire program, please visit www.rotterdam2007.nl.
The Netherlands Architectural Institute
Museumpark 25 | Rotterdam |t: +31 (0)10 440 12 00
Exhibition: Luminous buildings, Architecture of the night
27.01.2007 | 06.05.2007
Night architecture, or the architecture of light, occupies a central position in this exhibition. From the arrival of the first electric lights, expressionistic utopias and the night architecture of the 20s and 30s to the designs of today. The exhibition sheds light on the connections between technical possibilities, social developments, changes in taste and municipal problems. In Rotterdam lighting has played an important part even in the work of J.J.P.Oud and, of course, in that of Brinkman & Van der Vlucht, who designed the Van Nelle factory. Boasting the buildings of Wim Quist, Francine Houben, Wiel Arets, Renzo Piano, Norman Foster and of course, the Erasmus bridge of the UN Studio, the night skyline of Rotterdam is the most impressive skyline in the Netherlands.
For the upcoming 2007 edition, collaboration with studio Rijksbouwmeester will take place for the first time. They have invited the American art group Grafitti Research Lab (GRL) for a special art project during Art Rotterdam. Because GRL is involved in new ways of expression and provides commentary on and in the urban public environment - also called 'Urban Landscape'. They do this in cooperation with Eyebeam Systems; an organization aimed at promoting a cultural dialoque between art and science.
Owing to a technical leaning, they realize 'street art' that goes much further than the well-known spray-can graffiti. The urban landscape is transformed into something extraordinary, and is colourful and stylised - it is often presented with humour and/or a specific message.
The Kop van Zuid in Rotterdam is an ideal location for GRL's activities because of the strong urban and industrial atmosphere of the environment. The area has an historical character and is also still in development. During events such as Art Rotterdam, the Kop van Zuid is a hive of activity. The combination of all these ingredients ensures that this place is an extremely well suited platform for the art group. For the opening, GRL specially organizes a unique 'one-off' event that puts the spotlight on Art Rotterdam and the direct vicinity in a spectacular way.http://www.artrotterdam.nl/events.php
Calling all writers, street artists, prankster, bikers, protesters, citizens and untouchables! The Graffiti Research Lab will be in Rotterdam from February 7th through the 10th. We’re taking control of the Renzo Piano KPN Telecom Building and turning the Kop Van Zuid into the People’s Revolutionary Green Laser Light District.
We are turning the 37 x 72 meter screen into a place to display your uncurated animations and graphics. The back-side of the KPN is becoming a giant open wall you can write on with a BFL (big fucking laser).
And throughout the week, the G.R.L. will venture outside the green zone on sorties to laser tag and projection bomb the city of Rotterdam on the BORF riot bike. Join us!
Check out our raw proof-of-concept laser tag R&D:
How to get involved:
If you are near Rotterdam, hook up with us on the opening night of the Rotterdamn Art Fair (February 7th) and contribute your hand styles to the KPN tower. Send us an email or cell number to megaohmresistor at hotmail dot com to receive electronic and SMS messages regarding the dates and times of actions in Rotterdam and Amsterdam in early February.
If you can’t make it to the Netherlands in February, send us your own animations and graphics for the LED facade on the KPN Building. The KPN Telecom building features a 70 meter tall low resolution LED facade. Send us your 22 pixel wide by 41 tall monochrome animated gifs or quicktime movies and we will convert them to work on the big screen. Animation will operate at 4 frames per second. No curation (except hate speech we don’t agree with) or any corporate logo. Submit you animations to fi5e at ni9e dot com. We need your animations by the 6th of February. We will document every animation and post video and flicks online.
For more information about the KPN building click on the links below:
06 February 2007
As part of the Adelaide Film Festival’s Art + The Moving Image strand, the Experimenta Vanishing Point exhibition and video jukebox presents media art and videos inspired by the twisted realities of Alice in Wonderland and Being John Malkovich.
Showcasing the works of Australian and international digital media artists, filmmakers, scientists, video artists, animators and sound artists working at the forefront of new media
art, the exhibition features miniature worlds and photographs that come to life. This is an exhibition of artworks you can touch and play with: art like you’ve never experienced.
Media and video artists featured: Narinda Reeders & David MacLeod
(Australia) :: June Bum Park (Korea) :: Shaun Gladwell (Australia) ::
Daniel Crooks (Australia) :: Minim++ (Japan)::Grant Stevens (Australia)::
Julie C. Fortier (France):: William Wegman (USA)::Penny Cain (Australia).
Dates: 16 February – 10 March
Venue: Art Gallery of South Australia, North Terrace, Adelaide
Hours: Open every day 10am – 5pm
LUNCHTIME TALK BY CAROLINE FARMER
Take a journey through a wonderland of interactive media art with Caroline Farmer, Executive Director of Experimenta, and find out what inspired the artists to create such flights of the imagination.
Date: Tuesday 20 February, 12.45pm
Venue: Art Gallery of South Australia.
Free. No bookings required
For more information about the artists featured and images of the artworks please visit; http://www.experimenta.org/vanishingpoint/adelaide.htm
04 February 2007
"Today I hired a detective to track me down"
The first solo-exhibition of guerrilla-poet Laser 3.14 will contain, besides an overview of his street-art, also a unique collection of paintings, drawings, video-pieces and zeefdrukken which will be exposed together for the first time.
"Yearning for a second renaissance, Laser 3.14"
"That which started with Eve should've ended with Adam, Laser 3.14"
"Shadows form from obstructed light, Laser 3.14"
These are several examples of the cryptic and poetic sentences that have sprung up in the street tapestry of Amsterdam over the past few years. The texts are mostly sprayed onto temporary construction boards and containers by the anonymous "Laser 3.14".
For the accidental passer-by, the texts can act as a trigger, jolting one into a moment of reflection and contemplation, affording another a simple smile, while yet another might hurry by obliviously and indifferently.
Laser 3.14 starts spraying graffiti in the eighties in and around Amsterdam. After stylistic meanders in comic-book-drawing painting, and poetry, he goes back to his roots, the graffiti scene. Laser 3.14 goes beyond graffiti in the strict sense though, he goes further. The form, so important in graffiti, does not dominate in Laser 3.14's work. The content however, becomes that much more important; his street-poems often betray a social-critical undercurrent, interlaced with references to politics, philosophy, poetry, music, films and religion.
24 February until 31 March 2007
Opening party on the 24th of February from 17:00 till 21:00
Elandsgracht 35, 1016 TN Amsterdam tel: 020-421 11 13 fax: 020-639 19 31
Open donderdag tot en met zaterdag, 1e zondag vd maand 14-18 uur
Email :firstname.lastname@example.org Website :www.gallerywm.com
W139 is a combined work/exhibition space for contemporary art in the centre of Amsterdam. It was founded in 1979 by a group of young artists who wanted to present an alternative to what was shown by the city’s museums and commercial galleries at the time, which they felt to be too uniform. In the course of 25 years, W139 has developed from an anti-establishment laboratorium into a professional non-institutional platform for art. Today W139 operates parallel to, rather than in opposition with the more established venues. W139 provides ‘room for risk’, fulfilling a unique role in the Dutch art world.
For the opening exhibition of her renovated birthplace W139 invited five artists: Iris Kensmil, Adriaan Rees, Rob Birza, Peter Vos and Paul Drissen. The question was if they wanted to make works that fuse together with the architecture of the exhibition space. Futhermore the object was that (parts of) their works permanently stay present in the exhibition space. Not to restore the inviolable status of the everlasting art piece but rather to fade the boundaries between the different autonomous contributions. Following artists can ignore, affect, change, complete or destroy the works that are present.
Tijdens het tiendaagse festival the game is up! inviteert Vooruit een internationale schare aan kunstenaars uit diverse disciplines. De centrale notie van het festival: het concept van het spel, haar codes en regels, wordt door de artiesten op eigengereide wijze uitgedaagd. Het spel is immers bij uitstek het terrein waar codes op hun rekbaarheid getest kunnen worden. De artiesten in the game is up! tonen de (verborgen) codes, leggen zichzelf (absurde) regels op, doorbreken of parodiëren ze.
Tijdens het festival staat er een speciale reeks FrictiesSalons klaar.
FrictiesSalon8: Stelarc (AU)
Wo 7/2 - 21.00 - domzaal
vanaf 22.00 - balzaal - gratis
opening tento the game is up!
We openen de reeks Salons én het festival met de Australische performancekunstenaar Stelarc, die wordt aanzien als een van de belangrijkste vertegenwoordigers van body art en elektronische kunst. Als het gaat om het verleggen van grenzen wat betreft het integreren van technologie in het menselijk lichaam, is hij een echte pionier. Hij gebruikt daarbij allerlei robotica, VR systemen, medische instrumenten en prothesen en fungeert altijd zelf als testpersoon. Zijn fascinatie ligt in de specifieke reacties van het lichaam op technologische uitbreiding of digitale bemoeienis. Het gaat enerzijds over het construeren van waanzinnige technologische constructies (een robotische derde arm bijvoorbeeld) maar ook over het loslaten van de controle over zijn eigen lichaam (en het te laten besturen over het internet). Zijn doel is 'alternatieve, intieme en onvrijwillige reacties van het lichaam' te onderzoeken.
Stelarc zal in de domzaal aan de hand van een pak visueel materiaal een levendige presentatie/demonstratie geven van zijn werk en passie.
Aansluitend is er de opening van de tentoonstelling rond 'de game is up!' met werk van the Yes Men, Agnes Meyer-Brandis, Antoine Schmitt, Tamiko Thiel, Guillaume Reymond en Aram Bartholl. Wees welkom!
During the tiendaagse festival the game is up! ahead an international schare to artists from several disciplines invites. The central idea of the festival: the concept of the game, its codes and rules, is defied by the artists in a headstrong manner. The game is pre-eminently the area where codes on their ductility can be tested. The artists in the game are up! tones (hid) the codes, impose to itself (absurdity) rules, break through or parody they. During the festival is ready FrictiesSalons there a special range.
FrictiesSalon8: Stelarc (AU) Wo 7/2 - 21.00 - roomroom room 5 euro English spoken as from 22.00 - ballrooms - for free opening tento the game is up!
We open the range Salons and the festival with the Australian performance artist Stelarc, who becomes look as of the most important representatives of body art and electronic art. If it concerns moving borders concerning incorporating technology in the human body, he is a real pioneer. He uses thereby all kinds of robotica, VR systems, medical instruments and prostheses and acts always themselves as a test person. Its fascinatie lies in the specific responses of the body to technological extension or digital intervention. It concerns on the one hand constructing waanzinnige technological constructions (robotische a third arm for example) but also concerning releasing the control concerning its own body (and it governing boards concerning the Internet to leave). To be aim is ' alternative, intimate and involuntary examine responses of the body '. Stelarc will give a living presentation/demonstration to visual material in the roomroom room by means of a package of its work and passie.
Connecting is the opening of the tentoonstelling ' the game is up!' with work of the Yes one, Agnes Meyer-Brandis, Antoine Schmitt, Tamiko Thiel, Guillaume Reymond and Aram Bartholl. Indicated welcome!
03 February 2007
Zaterdag 3 feb 2007-Zondag 11 mrt 2007
Vrijdag 2 feb 2007, 18.00-20.00 uur
Kunstenaars: John Armleder (CH), Tim Ayres (UK/NL), John Beech (UK/USA), Julian Dashper (NZ), Robert Glaubit (USA), Kyle Jenkins (AU), Fransje Killars (NL), Klaas Kloosterboer (NL), Ren�e Levi (CH) , Mathieu Mercier (F), Gerold Miller (D), Olivier Mosset (CH/USA), Gerwald Rockenschaub (A/D), L�opoldine Roux (F/B), Tilman (D/B/USA), Alan Uglow (UK/USA), Jan van der Ploeg (NL), Emmanuelle Villard (F/B), Dan Walsh (USA), Tamara Zahaykevich (USA), Beat Zoderer (CH)
Curator: Petra Bungert en Tilman
minimalpop is na Florence, New York, Parijs en Brussel nu te zien in Amsterdam.
In eerdere versies van deze tentoonstelling was abstracte kunst te zien van internationale kunstenaars. In ieder gastland nemen naast deze kunstenaars ook nationale kunstenaars deel. Dit biedt de gelegenheid inzicht te krijgen in de verschillende artistieke benaderingen van de abstracte kunst. Ook kan zo het internationale discours over abstracte kunst (non-objective art) verder worden onderzocht en verdiept.
minimalpop, a travelling group exhibition curated by Petra Bungert, director of CCNOA center for contemporary non-objective art, Brussels (B), and German artist Tilman, opened at Florence Lynch Gallery, New York City (USA) in July 2004, and was subsequently presented at Galerie les filles du calvaire, Paris (F) and Brussels (B) in spring 2005.
In honor of prospective guest countries and its respective exhibition venues, fortcoming versions of minimalpop will include, along with the selection of international artists � a wider selection of native artists. This will not only provide an insight into the artist� divers artistic approaches, but it will also enrich the supranational discourse about contemporary non-objective art.
Maatschappij Arti et Amicitiae is een vereniging van beeldend kunstenaars en kunstlievende leden, opgericht in 1839.Rokin 112, 1012 LB Amsterdam