28 March 2007

black cube

Germany - Frankfurter Rundschau
The fuss over a black cube

Two years ago artist Gregor Schneider
submitted plans to set up a 13-metre black cube which evokes the Kaaba in Mekka at Venice's biannual arts festival.

However, owing to fears that it would incite protests from Islamic fundamentalists, the project was withdrawn - as was a later attempt to have the cube put on show in Berlin.

Now the black cube is on show at an exhibition in Hamburg about Kasimir Malevich's Black Square in the context of 20th century fine art.

Elke Buhr writes that the cube is worth seeing but that unlike Malevich's picture, which "in the imperial Russia of 1915 had a considerable impact, also politically", with the cube "the observer finds it hard to understand the anticipated political controversy".

Things are different nowadays, Buhr remarks. "Unfortunately, over the past century the Black Square hasn't turned out to be a door to a different world. Instead it has become what it already was in the times of supremacism: a much-cited logo, a piece of design that fails to lift the world out of its trap. Thus, the Kaaba in Mekka continues to reign supreme as the true gate to heaven." (27/03/2007)

Beuys reenactment in Second Life

Eva and Franco Mattes (a.k.a. 0100101110101101.ORG) reenacting Joseph
Beuys' "7000 Oaks" in a synthetic world

Beuys' project begun on March the 16th 1982, at Documenta 7, in Kassel.
His plan called for the planting of seven thousand trees, each paired
with a columnar basalt stone. Beuys intended the Kassel project to be
the first stage in an ongoing scheme of tree planting to be extended
throughout the world as part of a global mission to effect
environmental and social change.

The Mattes are reenacting Beuys' work "7000 Oaks", staging the new
performance in the synthetic world of Second Life. The first virtual
tree and stone were planted on March the 16th 2007, exactly 25 years
after the original oak was planted.

The 7000 basalt stones have been stacked on Mattes' island in Second
Life: Cosmos Island. The diminishing pile of virtual stones will
indicate the progress of the project, which will go on until all 7000
oaks and stones will be placed. Second Life inhabitants will have the
chance to take part to the performance, placing stones and trees in
their lands.

This work is part of Eva and Franco Mattes series of "Synthetic
Performances": reenactment of historical performances inside synthetic
worlds where body, space and time can be completely reinvented. The
series started at the beginning of 2007 and will feature works by
artists like Vito Acconci and Marina Abramovic.

"Joseph Beuys' 7000 Oaks" is commissioned by Centro de Arte Juan
Ismael, Fuerteventura (Canary Islands, Spain), for the exhibition
"Deambulatorios de una jornada, en el principio y el proyecto Tindaya",
curated by Nilo Casares.

More information and contacts: www.0100101110101101.org

Video Vortex

Video Vortex Conference: November 30 and December 1 2007, Amsterdam (NL)
Organized by the Institute of Network Cultures

First announcement, March 15, 2007

Event: http://www.networkcultures.org/videovortex/
List info: http://listcultures.org/mailman/listinfo/videovortex_listcultures.org

In response to the increasing potential for video to become a significant form of personal media on the Internet, this conference examines the key issues that are emerging around the independent production and distribution of online video content. What are artists and activists responses to the popularity of ‘user-generated content’ websites? Is corporate backlash eminent?

After years of talk about digital conversions and crossmedia platforms we are now witnessing the merger of the Internet and television at a pace that no one predicted. For the baby boom generation, that currently forms the film and television establishment, the media organisations and conglomerates, this unfolds as a complete nightmare. Not only because of copyright issues but increasingly due to the shift of audience to vlogging and video-sharing websites as part of the development of a broader participatory culture.

The opening night will feature live acts, performances and lectures under the banner of video slamming. We will trace the history from short film to one-minute videos to the first experiments with streaming media and online video, along with exploring the way VJs and media artists are accessing and using online archives.

The Video Vortex conference aims to contextualize these latest developments through presenting continuities and discontinuities in the artistic, activist and mainstream perspective of the last few decades. Unlike the way online video presents itself as the latest and greatest, there are long threads to be woven into the history of visual art, cinema and documentary production. The rise of the database as the dominant form of storing and accessing cultural artifacts has a rich tradition that still needs to be explored. The conference aims to raise the following questions:

- How are people utilising the potential to independently produce and distribute independent video content on the Internet?
- What are the alternatives to the proprietary standards currently being developed?
- What are the commercial objectives that mass media is imposing on user-generated content and video-sharing databases?
- What is the underlying economics of online video in the age of unlimited uploads?
- How autonomous are vloggers within the broader domain of mass media?
- How are cinema, television and video art being affected by the development of a ubiquitous online video practice?
- What type of aesthetic and narrative issues does the database pose for online video practice?

Conference themes:

Viral Video critique

YouTube made 2006 the year of Internet video. The video content produced bottom-up, with an emphasis on participation, sharing and community networking. But inevitably like Flickr being consumed by Yahoo, Google purchased YouTube. What is the future for the production and distribution of independent online video content? How can a participatory culture achieve a certain degree of autonomy and diversity outside mass media? What other motives does Google have for Internet video in terms of searching and advertising? After the purchase of YouTube, Google was asked to remove a number of clips that breached copyright laws. What comparisons can be made between the Napster incident with audio and video-sharing websites?

Vlogging Critique

This section will deal with vlogging criticism. Is video blogging a form of text-based blogging with other means? How can we develop a form of criticism, and a critical practice, that is not derogative and yet surpasses the anecdotal diary level? Is vlogging the next stage of ego boosting of the blogger, who wants to raise his or her ranking status? What is a video diary and how can this emerging genre be shaped? Can there be sophistication in ‘vlogging’? How can we overcome the evangelical that stresses the possibilities of gadget features? And how can we overcome the amateurish aesthetics of this new genre?

Participatory Culture, Participatory Video

The Web 2.0 holds the promise to create a participatory culture that can renew the stagnated democracies in the West. In this utopian approach, the user has the historical task to overcome the old regime of top down broadcast media and create decentralised dialogues. To what extent can user-generated video content be energized by presenting the material as citizen journalism? Is the increased user participation really a sign of a new political culture or is it a mere special effect of technological change?

Real World Tools and Technologies

In this session we will investigate the progress that open source and free software initiatives have made in regard to the development of the codex and the player that can compete with the proprietary standards such as Microsoft Media Player. It is not enough to critique the corporate takeover of MySpace and YouTube and upload alternative content. Increasingly the intention of programmers shifts towards Peer2Peer solutions in order to create a truly distributed network in which content can freely float around without having to use centralised servers. In this session we will present projects such as;

Theory & History of the Database

Searching databases has become a dominant cultural practice. Instead of flipping through a radio and TV guide, the cinema programme or the library, we browse the Internet. In this session we would like to go back in time and investigate the history of the computer database. What are the ideological underpinnings of ‘taxonomy’? What do we search when we perform a search? Should the aim be to overcome the fragmented experience of our contemporary database culture and create overriding meaning structures that deepen our understanding without having to compromise on content diversity?

Narrative and the Cinematic

Do these fragmented video databases lead to new narratives and genres? Does a database like YouTube evoke a skill such as continuous partial attention, or a contemporary disease like the attention deficit hyperactivity disorder (ADHD)? Against the medicalization, scholars have put the ability of users to reassemble short stories into larger new narratives as a reassuring alternative that replaces old media skills. The bricollage is assembled by the end-user, not the producer. Is there a new cinematic experience?

Database Taxonomy and Navigation

How do artists relate to the possibility of building large video databases? Is YouTube the future of video art? Traditionally, artists have always worked with found footage but nowadays it has never been easier to access. The remix culture, online video tools and increased server space make it possible to create large databases in which complex interconnected content can be offered to the viewer. What is the underlining information architecture? How does one navigate Steven Spielberg’s video archive of the holocaust survivors? Or take the Dropping Knowledge project in which 110 experts answered 100 questions of the audience, which can be accessed as a database. The same can be said of large museum collections.

Internet Video: Art, Activism, and Public Media

From 16mm film and video to the Internet and back, activists have always used the moving image to produce critical and innovative work. For many, the experimentation with visual language and critical content has been one and the same. In this session we will explore early examples of Internet video and investigate how artists and social movements have responded to the YouTube challenge. Is it better to integrate your message into large existing platforms or should we rather let a thousand blossoms bloom and each have our own video server? Online video databases like YouTube seemingly are the ideal artist portfolio online, with unlimited uploads and a massive audience. MySpace is inhabited by bands and musicians, but why don’t video artists and filmmakers occupy YouTube? If we look at the videos on YouTube, what aesthetics do we find? Is there a homogenous style that only builds on eyewitness tv and candid camera formats? And now that music videos and commercials increasingly resemble video art, can we define how exactly artistic practices influence the look of online footage? What would it mean to take YouTube Art serious? Is YouTube a medium and platform in itself for art works or is it merely used as a promotional device? Many have used YouTube to produce diary-type performances in which they either played themselves or pretended to be some character. What status do we give to such ego documents? Is YouTube used by artists as a tool to intervene in social and political issues? In this session we will present projects such as:

Evening Programme / Exhibition

Video Slamming
“Short, user-created videos are creating a new kind of watching experience, one more about ‘snacking’ than half-hour sitcoms.” (The Economist)

Much like poetry slamming the use of short video fragments has become a dominant mode in visual culture. Where are the video files found and how are they used and played with? Is ‘video slamming’ the new way of watching audiovisual files? This session is all about the new ways of watching, using, and playing with moving images: scratching, sampling, mixing, but also (meta) tagging, recommending etc. This session will feature performances, live acts and lectures.

Video Vortex Discussion List:

With this discussion list we like to gather responses to the rise of YouTube and similar online video databases. What does YouTube tell us about the state of art in visual culture? Is YouTube the corporate media structure of the 21st century? What are the artist responses to YouTube aesthetics?

General information about the mailing list is at:

To post to this list, send your email to: videovortex(at)listcultures.org

This list is meant for all those interested in the topic, and will possibly continue after the event in late 2007.

Practical info:

November 30 and December 1, 2007.

PostCS 11, PostCS building
Oosterdokskade 3-5
1011 AD Amsterdam
T: 020 - 62 55 999

23 March 2007

podcast resources

PodNova is a distributed podcast directory. It’s maintained by dozens of volunteers from around the world. It features a way to search and subscribe with one click, secure subscription management and an easy way to synchronize your podcatch clients via OPML and RSS.


GigaDial is a new approach to radio programming. You can use it to create and subscribe to podcast-powered stations composed of individual episodes from your favorite podcasters.

Podsafe Music Network

The PodSafe music network is designed to give podcasters access to music, other content and tools to create royalty-free podcasts. Musicians can use the network to promote and market their music, while listeners can access music in single-play or podcast formats.

Podcast Pickle

PodcastPickle.com seeks to bring users the freshest content on the Web through the vast directory of podcasts. It is a community for podcasters and podcast listeners.


R-mail lets you watch an RSS subscription via email

If you want to listen to podcasts, this program is for you. Juice is the premier podcast receiver, allowing users to capture and listen to podcasts anytime, anywhere.
View screenshots

22 March 2007

The Borrowers

Mary Norton was born in London in 1903, and brought up in Bedfordshire, which was the setting for The Borrowers. In 1941 she was given a war job in America, and worked for two years for the British Purchasing Commission in New York. It was during this time that she began to write. After the war, she moved back to England with her family and continued writing and acting. Mary Norton died in 1992.

1. The Borrowers (1952)
2. The Borrowers Afield (1955)
3. The Borrowers Afloat (1959)
4. The Borrowers Aloft (1961)
5. Poor Stainless (1966)
6. The Borrowers Avenged (1982)

A race of tiny people who live beneath the floor of a proper human kitchen make friends with a young boy, and begin to learn about the world above their heads, from which they have borrowed the furniture and tools.







podcast articles

Getting Started with Video Podcasts

Video iPods have turned out to be a huge hit. But if you are like most owners, you will quickly tire of spending $2.00 at the iTunes store every time you want to watch something new.

Fortunately, video podcasts provide a way to automatically get new videos downloaded to your computer or portable media player.

Use Handbrake to Rip DVDs for iPod Videos

Handbrake is a free, open-source application that you can use to convert your media to use on video iPods.

Producing a Podcast with the Gear You Own Today

In this exclusive excerpt from the book, Podcasting: The Do It Yourself Guide, author Todd Cochrane explains how you can get started with podcasting using your computer and gear that you probably already own.

Making a Podcast with Blogger and FeedBurner

Blogger is a free blogging service that can be used to create podcasts. Getting started is as easy as filling out some forms on the web.

Podcast Imaging: The Sign On Your Front Door

One way to dramatically improve the interest in your podcast is to include audio imaging. Simply put, audio imaging is the fancy sign that hangs out in front of your business.

Saving MP3 Files For Podcasts

The de facto standard format for podcasts is MP3. This article discusses how to save audio files as MP3 files.

Magnatune Embraces Podcasting

Magnatune has emerged as a leading open music record label. We asked Magnatune founder John Buckman about his thoughts on podcasting and using tracks by his label's artists in podcasts.

Podcasters Respond to $28 Million Radio Industry Ad Blitz

The National Association of Broadcasters has launched the largest radio promotional campaign ever, marketing radio as the primary source for news, music and compelling audio entertainment. This marketing campaign will be hard to avoid on traditional radio.

One place you're not likely to hear it, though, is in the world of podcasting. We asked several leading podcasters about the campaign, their thoughts on the state of traditional broadcasting, and why some listeners are looking for an alternative.

Get Started with Podcasts in 3 Steps

A tutorial about getting started with podcasts using the free iPodder client.

What is Podcasting?

A brief introduction to podcasting.


open source software

Blender (http://blender.org) is the open source software for 3D modeling, animation, rendering, post-production, interactive creation and playback.
Blender is an industry standard, featuring broad functionality and extremely intuitive interface, completely sufficient for thorough production studio set up.

Cinelerra (http://heroinewarrior.com) does 3 main things: capturing, compositing and editing audio and video with sample level accuracy.
It's a seamless integration of audio, video and still photos.

GIMP (http://gimp.org) is the GNU Image Manipulation Program. It is a freely distributed piece of software for tasks such as photo retouching, image composition and image authoring.

Ardour (http://ardour.org) Ardour is a digital audio workstation. You can use it to record, edit and mix multi-track audio as well as mix video soundtracks and experiment with new ideas about music and sound.

19 March 2007

The International Sputnik Day 2007

The International Sputnik Day 2007

On October 4th, 1957 the Soviet Union launched the worlds' first
satellite, named Sputnik ? companion of the earth. 50 years later, on
October 4, artists all over world are going to celebrate the successful
first launch with self-organized parties and celebrations. The idea is
to have small parties, lets say, invite some friends for Sputnik-Dinner
or put a small commemoration website online or maybe you host a special
radio program honoring the Sputnik. You are warmly invited to
participate and contribute! Please get in touch with me with any ideas,
questions, hints and thoughts at sputnik@irmielin.org.

The Sputnik Manifest

1. Sputnik is a project of Modernism ? The faith in a progressive future.
2. Sputnik paths ? on the height of fordism ? the way to post-fordism.
3. Sputnik was the first truly global radio transmitter.
4. Sputnik ? Thanks to you we enjoy Internet, Global Positioning System
and the Integrated Circuit.
5. Sputnik is the icon of globalisation.

We, the Multitudes of the World, celebrate the 50th Anniversary of the
heroic Sputnik Launch as the Advent of Globalisation

The Sputnik Gazette

The Sputnik Gazette will be published during 2007, containing interviews
and texts by artists and scientists regarding the Sputnik Satellite and
consequent technologies such as GPS, Internet, Integrated Circuit.

You may subscribe to the Sputnik Gazette online at
http://sputnikgazette.irmielin.org. The subscriber receives an email
with a link to a PDF file and is requested to print the PDF file on A4/
Letter-format paper of minimum ten copies. The ten or more paper copies
shall be redistributed in your city/ institution. Electronic forwarding
doesn't count as redistribution. About 10 issues of the Sputnik Gazette
are planned to be produced in 2007.

14 March 2007

jtv vodcast

Get the latest jtv video you can download and keep! Watch jtv on your video-enabled portable device (such as your video iPod, PSP), or on your computer (even when you're not connected to the internet).
Every week, a new vodcast appears here on the jtv website. Download in either mpeg format (good for video iPods and PSPs), or in Windows Media format (good for pretty-much everything else).



Grand Palais
from March 29 through April 2, 2007
(Professional preview and vernissage, March 28)

Last year artparis was the first fair to benefit from the reopening of the Grand Palais. Today it is back for its ninth edition, and again it will enjoy the light, the volumes, the space and the very particular atmosphere of the "glass roof". It will host 109 French and foreign galleries, among them some thirty new exhibitors. Some twenty galleries will take part in the Sculpture Itinerary.


13 March 2007

artist-in-residence in Second Life

Ars Virtua Artist-in-Residence (AVAIR): Call for Proposals
Deadline: April 7, 2007

Ars Virtua Gallery and New Media Center in Second Life
(http://www.arsvirtua.com) is soliciting proposals for its second artist-in-residence program. Established and emerging artists will work within the 3D rendered environment of Second Life.

The 11-week residency will culminate in an exhibition and a community-based event. Residents will also receive a $400 stipend, training and mentorship as necessary.

Ars Virtua Artist-in-Residence (AVAIR) is an extended performance that examines what it means to reside in a place that has no physical location. Ars Virtua presents artists with a radical alternative to "real life" galleries:

1) Since it does not physically exist artists are not limited by
physics, material budgets, building codes or landlords. Their only
constraints are social conventions and (malleable-extensible) software.
2) The gallery is accessible 24 hours a day to an unlimited number of people in every part of the world simultaneously.

3) Because of the ever evolving, flexible nature of Second Life the "audience" is a far less predictable variable than one might find a Real Life gallery. Residents will be encouraged to explore, experiment with and challenge traditional conventions of art making and distribution, value and the art market, artist and audience, space and place.

Application Process: Artists are encouraged to log in to Second Life and create an avatar BEFORE applying. Finalists will be contacted for an interview. Interviews will take place in world in April. Applications will be judged based on ideas presented and work executed. We are looking for an artist who is willing to work within what may be a new environment for them and to be prepared to evolve in response to the synthetic world of Second Life. To apply send the following information to avair-at-arsvirtua.com:

1) Name, address, phone number, email, second life name.
2) Link to an online portfolio (expect a 5 minute visit) and a 500 word (two
page) proposal. If you do not have an online portfolio please briefly
discuss your work.

artbrussels 2007

artbrussels 2007
Friday 20 – Monday 23 April 2007
Daily from 11am to 7pm
Preview and Vernissage on Thursday 19 April (by invitation only)
Finissage on Monday 23 April, from 11am to 10pm

Venue: Brussels Expo – Hall 11 & 12
Place de Belgique 1 – 1020 Brussels


From Friday 20 to Monday 23 April inclusive, the 25th edition of the contemporary art fair artbrussels takes place in Brussels Expo. A select group of leading galleries from 20 countries brings work by both established and young, up-and-coming artists. Visitors can look forward to browsing more than 2,000 artworks, offering a fantastic, actual overview of the latest developments in the contemporary art world.

The 25 th anniversary will not go by unnoticed. For this jubilee edition the fair has been restyled, with an interesting line-up of new projects.

They include the exhibition "25/25" in which 25 artworks will be selected from works acquired over the years by collectors, institutions and museums at artbrussels. For the very first time, Belgian artists have been invited to create an intervention for the fair: Jan De Cock, Eric Duyckaert, Ann Veronica Janssens, Chris Martin, Hans Opdebeek.

Exhibitors’ list

Dutch Electronic Art unFestival

Call for participation

unDEAF: Dutch Electronic Art unFestival

unDEAF is a satellite event of the Dutch Electronic Art Festival 2007. unDEAF is uncurated. Your work will not be judged, or restricted by a theme, neither it has to be finalized. unDEAF is self-organized. You organize and promote your own event, whether an art piece, a performance, a talk, a workshop, a meal, a song, a party or other as-yet-undefined events.

How to participate in 3 steps:

1. Announce your event at the website (http://undeaf.v2.nl/WhoIsDoingWhat).
2. Subscribe to the mailinglist and stay tuned to the latest news.
3. Show up in person or avatar from 13th to 15th of April.

For those brave-hearts that would like to help organizing unDEAF, we might have simple accommodation for free.

From Tuesday 10th to Sunday 15th of April
Rotterdam, The Netherlands
Free participation

Cubist Society Website

The International Society of Cubists officially launched its Web site today, a brilliant rejection of natural form and perspective that metaphysically establishes the implication of movement, analytically redefines spatial relationships, and is an absolute bitch to navigate.

"What the hell is this? I can't tell how to get anywhere," one of the site's first visitors told the Cubist Society's Webmaster-Curator, Paulo Cassat. "Is this art, or is this a Web site?"

"Thank you," Cassat responded.


This site is going to turn people off," complained one young sculptor. "I mean, how do I get from the home page to, say, the fundraising form?"

"You must be willing to abandon your pre-conceived notions of traditional Web design," replied Bernioz, "and disregard its nefarious standards of foreshortening, modeling, and chiaroscuro (the distribution of light and shade)."

"Uh-huh. But how do I find the link?" the young man persisted.

"You must embrace the idea that the link exists," said Bernioz, "for once that idea is established, form itself can be forgotten."

"You don't know where it is, do you?"

"Not specifically, no," Bernioz conceded. "It's there somewhere. I think on a nonsequential parallel plane right behind the polygonal search box."


08 March 2007

Grafik Warfare - uk

Grafik Warfare is a loose collective of street artists based in Brighton, but with friends all over the UK and beyond.

GW has members working in all media: paint, ink, stickers, screenprint and stencils. We do work on canvas, cardboard, MDF and walls.


Over 120 photos from our 'Still Living Life' Exhibition, held aboard the MS Stubnitz, docked in Amsterdam during August 2005.

Maastricht Art Fair

Every March, TEFAF Maastricht takes place in one of the oldest and most historic towns in the Netherlands. Maastricht is situated close to the borders of Germany and Belgium, a place where art and commerce have coexisted and prospered mightily for centuries.

For over 30 years it has provided a perfect home for what has become the world’s leading fine art fair.
TEFAF Maastricht leads because it offers the very best choice of only the very best in the world of fine art.

It offers an unrivalled chance to view and to buy genuine masterpieces, presented by the world’s most prestigious dealers. The paintings, from Bruegel to Bacon, and objets d'art which reflect 6,000 years of excellence in the world of applied art, put TEFAF Maastricht in a class of its own.

virtual t0ur

The World's Leading Art and Antiques Fair
Click here for more information on the Fair

Dates & Opening hours
9 - 18 March 2007
Daily 11am - 7pm
Sunday 18 March 11am - 6pm


€ 55 per person, incl. one catalogue
€ 90 ‘double’ ticket (for 2) incl. one catalogue
€ 110 season ticket, incl. one catalogue
€ 20 children 12-18 years
(Accompanied children under 12 free)
€ 20 catalogue

(Maastricht Exhibition & Congress Centre)
Forum 100
6229 GV Maastricht
The Netherlands
T +31 43 383 83 83



A symposium of three evenings will be organized about the mutual influence of science fiction and computer technology development.

The event is organized by internet provider Xs4all, Waag Society and the Cyberspace
Salvations research team of Leiden University and the Erasmus University Rotterdam.

Prominent Virtual World designers, cyberpunk authors and the editor of a cyber culture magazine will engage in discussions with the audience and social scientists.

The main theme is the cross-fertilization between science fiction and 'science faction', how it took place in the past and can shape technologies of the future.

The first Speaker & date: March 21

Bruce Sterling (USA) (founder of cyberpunk movement, designer) &
P. Pels (NL) (Anthropology, Leiden University)
Moderator: Sally Wyatt (UK) (Virtual Knowledge Studio, President of the European Association for the Study of Science and Technology)

Livestream: http://www.killertv.nl/
Reservations: symposium@cyberspacesalvations.nl
Location: Pakhuis de Zwijger
Piet Heinkade 179
Venue starts: 20.00
Free entrance
English spoken


All ROmanian Crews - Graffiti

The purpose of this site is to present the graffiti movement in Romania (particularly) and all over the world.


Architecture in Second Life Machinima


A video showing how Crescendo Design has been using Second Life as a professional tool in their real life practice. This video was sponsored by 'The Arch' blog, www.archsl.wordpress.com and the 'RL Architects in Second Life' group. For more information, IM Keystone Bouchard in-world.

05 March 2007

Star Trek Enterprise [English]

Star Trek Enterprise [English]

Venice Biennale - Netherlands

Aernout Mik part of a three-part project at Venice Biennale

The Dutch contribution to the Venice Biennale in 2007 will be a project consisting of three equal and interconnected facets focusing on issues of “security,” violence, anxiety, and immigration:

a new work by artist Aernout Mik;

a critical reader with texts by artists, philosophers, sociologists, and polical scientists, co-edited by philosopher Rosi Braidotti, curator and writer Charles Esche, and Maria Hlavajova;

and a series of lectures and conversations.

The third part is conceived of as an “extension” of the Pavilion and will take place at BAK, basis voor actuele kunst in Utrecht from September through the end of November 2007, and will be a collaboration with other art institutions in the Netherlands, including the project Becoming Dutch by Van Abbemuseum, Eindhoven (http://www.vanabbemuseum.nl).

The Biennale takes place from June 10th until November 21st 2007.


Bill & John

the Adventures of Bill and John


04 March 2007

Mapping the City

Mapping the City
16 February – 20 May 2007

Stedelijk Museum CS
Post CS Building, 2nd floor
Oosterdokskade 5
1011 AD Amsterdam, NL
Tel. +31 (0)20 5732.911
Fax. +31 (0)20 6752.716

‘Mapping the City’ focuses on the relationship between artists and the city from around 1960 to the present day. The group show revolves around the way in which artists perceive urban space. The emphasis is on the city as social community, on behaviour, poses, and urban ritual

Participating artists
Doug Aitken, Francis Alÿs, Stanley Brouwn, Matthew Buckingham, Philip Lorca diCorcia, Guy Debord/Asger Jorn, Ed van der Elsken, Valie Export, Lee Friedlander, Dan Graham, Frank Hesse, Douglas Huebler, William Klein, Saul Leiter, Sol LeWitt, Sarah Morris, Bill Owens, Martha Rosler, Ed Ruscha, Willem de Ridder en Wim T. Schippers, Beat Streuli, Jeff Wall

Two ideas are at the heart of the exhibition: the flâneur, a type first described by Charles Baudelaire around 1850, and the activity of dérive, a practice coined by Situationist Guy Debord. The exhibition begins in the late nineteen-fifties when Debord published his Theorie de la dérive (1958). Another jumping-off point is Stanley Brouwn’s famous series This way Brouwn. Starting in 1962, Brouwn started asking random passers-by for directions in getting from point A to point B. He gave each route that people drew for him the title This way Brouwn.

From the late nineteen-sixties and early nineteen-seventies onwards, many artists adopted the city as their workspace. Similar to Brouwn, themes such as walking through the city, chance, and grappling with our everyday environment are also integral to the work of Douglas Huebler. Others, like Martha Rosler, subject the metropolis to critical scrutiny. In her piece The Bowery in Two Inadequate Descriptive Systems Rosler employs photography and text to analyze the underbelly of New York society. For Austrian artist VALIE EXPORT, the city was ‘still a male space’. With her Tapp- and Touch Cinema (1968), she invited the viewer to a 'tactile experience that is the reverse of inauthentic voyeurism'.

Another theme in the exhibition is ‘street photography’. From the nineteen-fifties onwards, photographers like Ed van der Elsken, William Klein and Saul Leiter, injected post-war photography with a freshness and immediacy. For instance, Klein’s unpolished, experimental style caused quite a furore and inspired a generation of young photographers. His photo diary of New York figured people, children, parades, litter and an aggressive, alien, lonely urban landscape cluttered with raucous billboards.

Contemporary art
The core of Francis Alÿs' activities revolves around the many walks he has taken through the centre of Mexico City since the early nineteen-nineties. Alÿs’ Collection of Ephemera includes numerous drawings, photos, notes, maps and objects that relate to his walks in the ten-block radius around his studio in the historic centre of Mexico City.

The Heads of Philip Lorca diCorcia and the street scenes by Beat Streuli can be seen as contemporary variants of classic street photography. Their photographs capture the manifestly vacant expressions on the faces of anonymous passers-by.

A biography of Florida’s sun-drenched capital, Sarah Morris’ video work Miami presents the city’s various facets as the hub of the tourist industry, drug and illegal immigrant trafficking on a more or less equal footing. The film installation A Man of the Crowd by Matthew Buckingham is based on the similarly-titled short story by Edgar Allan Poe. The result is a tense mini-thriller set in the streets of Vienna. The video piece by Doug Aitken, Electric Earth, is pervaded by a powerful sense of estrangement. This overwhelming video installation projected onto eight huge screens confronts us with the modern city as though it were the remains of an alien civilization.

visited this exhibition.

enjoyed the sarah morris video, but had to sit on the floor {30mins} to watch it, as no seating was provided.

it was good to see valie export's "touch cinema", but the two minute loop was way too short, more please.

nothing else engaged, so I went to club 11 for coffee

re club 11: it must have the worst cust
omer service in Amsterdam. Cold coffee in cracked cups, if you can get served at all.

If you have the misfortune of attending an art event at club 11, I suggest you either take a thermos flask and sandwiches, or eat at the indoor climbing gym across the footbridge.

the eye of the blackbird


ArtOlive Offline exhibition

Douwe Dijkstra




For a number of years now ArtOlive has been presenting the Kunstbeeld ArtOlive Award to the best Dutch art school graduate. The award is a great way for any young artist to start off his or her career.

Because this year the award will be handed out for the fifth time in a row, ArtOlive is taking some time to reminisce with the ArtOlive Offline exhibition.

Every two months a number of different artists from the past five years will be asked to show their work once more at the Westergasfabriekterrein.

This month’s artists include Erica Scheper (ArtEz HKA Arnhem, 2005, zie foto), Marin de Jong (Willem de Kooning Rotterdam, 2006), and Douwe Dijkstra (Artez CABK Zwolle, 2005). The latter is doing particularly well, winning awards and prizes left and right for his (animated) videos.


Til April 29