黑 鳥 Musings on contemporary art issues. Graffiti, street culture, urban painting, new media art, Second Life, blogging, internet resources, music, film, video & anything else that comes up. London Edition.
This blog is a journal and document regarding the online and treadmill powered reenactment of Mahatma Gandhi’s “Salt March to Dandi” in Second Life from March 12th through April 6th, 2008. I will be using this blog on a daily basis to document my progress and experience as the project evolves over the 26 days of “walking” throughout Second Life. Feel free to visit me in Second Life or on location at Eyebeam in New York City where I will be set up with my customized treadmill for the 26 days of the 240 mile march. -Joseph DeLappe http://saltmarchsecondlife.wordpress.com/
"Hi all, I am finishing up a six month residency at Eyebeam in NYC - part of this involves a final exhibition of the results of my residency. Here is information on the exhibition - of particular note - I've created a 17' tall cardboard Gandhi replica of my Gandhi avatar from the Second Life reenactment of the Salt March conducted earlier this Spring. I created the monumental statue using adapted Pepakura papercraft techniques - the sculpture has been designed to be the same height as Michelangelo's David." http://www.eyebeam.org.
The Netherlands Media Art Institute presents in collaboration with 5 days off MEDIA the exhibition and performance series Crosswire. Crosswire comprises sound installations and audiovisual environments enabling immersive and spatial sonic experiences through bodily and multi-sensory perception. Whilst the various works offer different points of access to experience sound, they all unfold their architectural or sculptural quality in the gallery. As a result, compositions become perceptible as holistic phenomena. Crosswire is curated by Maurizio Martinucci (aka TeZ)on the basis of the Optofonica platform which is devoted to the presentation of the current state of art in synesthetic media and sound spatialization. www.optofonica.com
Performances and screening Crosswire The Avatar Orchestra Metaverse (AOM) performance on the opening night feature virtual instruments designed specifically for each composition created for the Orchestra within the Second Life platform and are played by artists from all around the world making live music together. AOM's concert includes the beautiful and powerful THE HEART OF TONES (mixed reality version) by iconic composer Pauline Oliveros (aka Free Noyes), and the mesmerizing composition FRAGULA by sound artist Björn Eriksson (aka Miulew Takahe).
The performances from Sagi Groner, Aernoudt Jacobs, Telcosystems and Francisco Lopez take place within the installations so access is limited. Please make a reservation: info@nimk.nl Nederlands Instituut voor Mediakunst / Netherlands Media Art Institute Keizersgracht 264 NL-1016 EV Amsterdam http://www.nimk.nl
First UK solo exhibition by the pioneer of the European graffiti movement, DELTA, at the Elms Lesters Painting Rooms. DELTA is renowned for his complex three dimensional styles and visually spectacular, architecturally structured lettering.
Elms Lester Painting Rooms are pleased to present a much awaited exhibition of DELTA' s latest work: a showcase of the Dutch master's graphic and architecturally inspired works, including new paintings, 3D constructivist pieces and complex collages.
Boris Tellegen, aka DELTA, is an internationally acclaimed contemporary artist from Amsterdam who skilfully experiments with a variety of mediums in order to create his amazingly intricate paintings, prints, 3D sculptures, video works and installations. His work reminds the old Utopists and Constructivists and can be seen as portraits of industrial architecture.
The first DELTA tag appeared on the streets in 1984: through the years this Netherlands based artist has developed a complex and unique style that resembles isometric plans and plays with ideas of architecture and high tech futuristic vehicles.DELTA introduces an alien and idiosyncratic aesthetic into graffiti art that escapes the common logo-like word IDs. He has influenced writers all over the world for decades with his 3D letter style.
DELTA
Boris Tellegen was born in 1968. He became one of the pioneers of the European graffiti movement, in 1984, when he made his tag DELTA for the first time.
His work shows the hallmark of his time at the Faculty of Industrial Design at the Technical University Delft, from where he graduated with a degree in Industrial Design Engineering in 1994.
Delta's fine art paintings and sculptures have recently been exhibitied in Singapore / Malaysia, London and Italy. He has also produced work for musicians such as Linkin Park, Dj Vadim (Ninja Tune), Rima project on Jazzanova Compost Records, Dub Records and Alex Cortez.
Stencil Festival 2008 is now calling artists in Australia and overseas for applications to exhibit at this year's event.
The 5th Stencil Festival will be held from 1 - 10 August in Melbourne at the Yarra Sculpture Gallery warehouse and consist of three exhibitions:
- Five Continents - Six Artists, a showcase of six top artists from around the world
- DeVinyl, a special limited edition Vinyl toy exhibition (a call for this will follow soon)
- Stencil Festival Group Show, for which you are invited to apply. Please see the attached document for submission details.
Looking forward to receiving your submissions
Regards
JD Mittmann for the Stencil Festival team
MELBOURNESTENCILFESTIVAL celebrating street art since 2004 Level 1, 30 Cremorne Street Richmond VIC Australia jd@stencilfestival.com www.stencilfestival.com
The collection includes such street-art luminaries as Marcsta (Marc de Jong), Dlux (James Dodd), HaHa (Regan Tamanui) and Vexta (Yvette Bacina). Their designs will be the focus of an exhibition at the NGA late next year. The 300 stencil designs by more than 30 artists explore the explosion in Melbourne's street art between the 1990s and 2004, before Melbourne City Council undertook a widespread graffiti clean-up operation before last year's Commonwealth Games.
Utrecht University and IBM organize a symposium, hosted by Eduverse, on ‘The Play Element of Learning Leadership’ in De Balie in Amsterdam, June 24th.
Students from the MA programs New Media & Digital Culture and Game & Media Technology (Utrecht University) present their findings on leadership in online games such as EVE Online and World of Warcraft. The startingpoint for their research are studies done by Seriosity and IBM, which can be found here. Guest speakers, live and virtual, will add their views to the discussion. Besides in person, the event can be attended inworld, as it will be broadcast live in Second Life.
Dr. Tony O'Driscoll (aka Wada Tripp) describes the evolution from Web 1.0 to Web 2.0 to Web3D.
======================== Whilst there were a number of informative presentations, I thought the symposium failed in two key areas.
Firstly, the subject matter was MMORPG's, that is (Massively multiplayer online role-playing games) such as World of Warcraft, Eve and Second Life. Whilst the subject of the changing nature of the web was covered comprehensively, the history of gaming was completely omitted. MMORPGs evolved from the MUDs and MOOs of the nineties. In 1995/6 I spent a lot of time in Lambda MOO and considerable researching the media and its social implications. What I found at the symposium was that participants were discussing phenomena of MMORPGs without acknowledging the early research into multiplayer internet communities. This is an issue that I have raised before.
When I revisited RPGs after a ten year break, I discovered that SL, for example, is simply Lambda MOO with pictures and an economy. All the issues regarding communication and representation existed and were discussed in Lambda, the creative factor existed in the programming of objects and in spaces. You couldn't fly in Lambda, but you could create a room and an online character and invite people into your space to interact.
Initially Lambda was quite geeky, you had to have geek skills to participate so the participants tended to be mature and educated. Then, when internet browsers became available and the media made it popular with teenagers, the interesting people left.
I felt that a large part of the material presented as "new discoveries in game theory" were already covered in the overlooked MUD/MOO literature.
The second area where I felt the symposium failed was in that of gender. At the very end of the program a student presented a paper on gender bias in World of Warcraft. She had spent time playing as both male and female characters. Again, no reference was made to the existing research from roleplaying games such as Dungeons and Dragons, or from the early internet RPGs. This was also evident in the post presentation discussion.
I've experimented in both areas. As Dungeon Master I have presented my players with enchanted armour that reversed their gender and then observed the results. Very amusing. In Lambda I played many characters of various genders and types, I had one called "YourMum" who entered the room and checked to see if you were wearing clean underwear. Also very amusing.
The paper on World of Warcraft gender bias was very interesting and well presented and generated the most discussion. Where the conference failed with regard to gender was in its marginalisation. The only speaker who addressed gender as a leadership issue was this one. And this is supposed to be a post-feminist society.
Blakkbyrd ==================== footnote
Here is the program and videos from the February 2008 Symposium on World Wide Web. Contact info and details of participants is available here: Symposia01 Flash Page Click on “Events”
The Global Innovation Outlook presents a unique audio series featuring some of IBM's ecosystem colleagues voicing their viewpoints on open, multidisciplinary approaches to uncover promising ideas and insights that may transform business and society in the coming decades. Download audio files or subscribe to the podcast feed to learn more about these global dialogues.
Six international renowned artists and friends of Mikosa Foundation paint the mural of the former Groeneveldgarage in the Baarsjesweg 200, starting Friday June 20th: The Boghe, Morcky, Wayne Horse, Zedz, The London Police en Lordh expect to finish the wall painting on June 29th.
Its official presentation takes place on July 12th at Studio Meneer de Wit next door, including a presentation of the making-of through photos and film, music, live-painting and the release of the upcoming Mikosa Magazine Issue#05. The idea to create a new mural painting originates from Mikosa Foundation.
Mediamatic will give away all its books. We will cancel our library in protest to skimpy Dutch art funding policy. All members of the mediamatic.net community (and other book lovers) can pick up their favorite books for free. You just have to publish the ownership on your profile. And promise that you will always honor a lending request from an other community member. Et voilá, a distributed library.
First come, first serve. We have a library with thousands of books, magazines and multimedia. And there will be a bookbar and some music.
Du 22 février au 13 juillet 2008, le Musée d'art contemporain de Lyon présente l'une des plus importantes expositions jamais organisées en France en hommage à Keith Haring, artiste emblématique de la scène new-yorkaise des années 80. Il aurait eu 50 ans en 2008.
In May 1945 Van Meegeren was arrested, charged with collaborating with the enemy and imprisoned. His name had been traced to the sale made during the second world war of what was then believed to be an authentic Vermeer to Nazi Field-Marshal Hermann Goering.
Shortly after, to general disbelief, Van Meegeren came up with a very original defense against the accusation of collaboration, then punishable by death. He claimed that the painting, The Woman Taken in Adultery, was not a Vermeer but rather a forgery by his own hand. Moreover, since he had traded the false Vermeer for 200 original Dutch paintings seized by Goering in the beginning of he war, Van Meegeren believed that he was in fact a national hero rather than a Nazi collaborator.
In November of 1947 Van Meegeren was convicted to one year in prison. One month later, at the age of 58, he fell ill due to years of drug and alcohol abuse and died of a heart attack in prison. In 1950 household effects were auctioned in his house at 321 Keizersgracht in Amsterdam. ========================
After Han van Meegeren became famous in 1945, the price of his own works rose with his fame. People wanted genuine Meegeren paintings, especially in the United States where an interest had arisen in the work of the man “who swindled Goering”. It became lucrative to forge a Meegeren painting, so that many wrongly attributed and dubious pictures reached the market. http://www.meegeren.net/fakes.php
================= It was arranged that, under police guard, Van Meegeren would paint another "Vermeer", Jesus Among the Doctors , using the special paints and techniques he claimed to have used for the alleged forgeries. This he did, until he learned that he was to be charged with forgery rather than collaboration. He then refused to finish the picture and, in particular, to "age" it.
technique http://www.tnunn.f2s.com/techniqu.htm ++++++++++++++++++ The result from his visit one could read in the English paper of art The Burlington Magazine, edition September under the headline: “A new Vermeer” and Bredius started right on, and softly he said:
“It’s a wonderful moment in life to an art lover to suddenly be confronted with a so far unknown painting by a great master. Untouched, on original canvas and with no restorations, completely as had it just been given free from the master’s hand. Oh! What painting it was! Neither the beautiful signature I. V. Meer (in monogram I.V.M.)nor the picking at the breed, which Christ is blessing is necessary to convince anybody, that what we have here, I’m forced to say, the masterpiece of Johannes Vermeer and furthermore it’s one of his best paintings (117 by 129 cm), quite different from all his other pictures, but yet every inch is “a Vermeer”.
.... The painting Doctor Boon had in his hands for inspection by a friend, the Dutch painter Han van Meegeren, who told him, that the painting came from an old Dutch family, who lived in Italy under the fascistic regime. The family, according to Meegeren,baredthe name Mavroeke had asked him to sell some heirlooms, and he had now put himself into a great risk, smuggling the painting out of the country.
============ In less than six years, van Meegeren would paint a further six "Vermeers", earning the equivalent of $60 million. With money, came vice - he revelled in fine champagne, became addicted to morphine and was compulsively unfaithful to his wife.
He bought dozens of houses and hotels, but even then he could not exhaust his wealth, so he hid hundreds of thousands of guilders in gardens, heating ducts and under the floorboards of his many properties. Often he would forget where he had hidden the money, and 30 years after his death, the Dutch were still turning up cashboxes stuffed with pre-war notes. Telegraph article http://www.telegraph.co.uk
Art Fraud Writer and painter Peter Landesman and former Metropolitan Museum of Art director Thomas Hoving, author of "False Impressions: The Hunt for Big Time Art Fakes", discuss the recent art forgery committed by a teacher in Great Britain.
Brassaï became interested in the marginal art form of graffiti in the 1930s, seeing it as a form of outsider art that could open the door to new forms of artistic expression. His atmospheric photographs capture the essence of this unfettered creation. Stark contrasts of black and white alternate with softer shades of grey that meld into one another, smoothing the harsh gouges typical of graffiti.
Several of these photographs first appeared in the Surrealist review Minotaure; others were first published in France and Germany in 1960, in a work entitled Graffiti, which accompanied an exhibition that visited New York, London, Milan, Baden-Baden, Frankfurt, Hannover, and Paris.
The approach was hugely influential, both for the Surrealists and in the domain of Outsider Art.
Accompanying the photographs are selections from previously unpublished writings, including extracts from Brassaï's own notebooks, in which he noted the presence of elements of graffiti on the walls of Paris that he intended to photograph.
The book also contains an interview with Picasso on the subject of graffiti as an art form. This first English language version of this classic title is a beautifully produced edition of what is undoubtedly a seminal work in the history of modern photography.
Inspired by Australia’s most iconic rock and roller, the Bon Scott Project is a multi-faceted program celebrating and critiquing the life and times of Bon Scott, lead singer and co-lyricist of AC/DC (1974-1980). The exhibition is presented by Fremantle Arts Centre, in the city where Bon grew up and where his grave, now listed by the National Trust, is the most visited in Australia.
The Project sets out to uncover how notions of masculinity, remembrance and rebellion coalesce around the iconic figure of Bon Scott. How these notions play out in relationships forged between Bon, the curator, his fans and the nineteen artists in the spaces of the gallery, the street and the web are also explored.
The Project is led by three works which have the capacity to stimulate interest in the question of public art. Lucas Ihlein was commissioned to write a blog, http://www.bonscottblog.com , for the public sphere of the World Wide Web that records his experience as a non-fan coming to know Bon through the eyes and ears of the fans. Ihlein is also curating the LED welcome sign situated on the main road into Fremantle. Bon’s lyrics and messages from fans are being transmitted during the exhibitions and shown on the blog. Bevan Honey’s Apparition sees Bon’s face stencilled onto the southern pylon of the Stirling Highway Bridge, appearing only sporadically depending on the time of day and the atmospheric conditions. For those missing Bon, self-described professional mourner Tanya Visosevic (Madam TV) is also on hand to connect callers to Bon whom she channels in a live videophone performance.
A group show of sixteen artists across the Centre’s five galleries presents new works by artists who are fans and non-fans alike. Notable inclusions are Stuart Bailey (NSW), who has created a bootleg merchandise stand designed to cash in on the profile of the newly bronzed Bon Scott memorial statue; Richard Lewer (VIC), whose charcoal wall drawing of AC/DC members mingling with church figures references his strict Catholic upbringing; Ian Haig (VIC) whose animation recreates his excitement as an eleven year old seeing AC/DC perform at his local shopping centre; and Guy Benfield (New York) whose video characterises the artist as a quixotic figure for whom ‘it is a long way to the top if you want to rock ‘n’ roll’.
These works and many more are framed by the first curated exhibition of Bon Scott’s letters, compiled by curator Katie Dyer; a panel discussion on the unlikely topic of The Ugly/Sexy Factor: Bon and Fashion; and the creation of two bands - a house tribute band, FAC/DC, with its line-up drawn from notable Western Australian acts, and the hit-interpreting Dolomiten Polka Band.
The Project’s eclectic structure is a reflection of Fremantle Arts Centre’s multi-arts role and its increasing desire for local resonance and international reach. The Project is unashamedly framed by the interests of the Centre’s staff, who have jointly developed a generative programming methodology which seeks to value uncertainty, rigour and participation. A first for Australia and indeed the world, the Bon Scott Project opens up a far-reaching conversation between fans, artists and the community and unites them through the power of rock‘n’roll!
The Bon Scott Project is made possible through the support of the Western Australian Department of Culture and the Arts, the Australia Council for the Arts, and the Gordon Darling Foundation.
Train Tags: Beyond Hobo by Sam Caplan, December 14, 1997
In the following paper I will explore the art of train tags, their significance, and promote my assertion that train tags are indeed art.
The obvious starting place in such an exploration is in determining a definition of train tag, as well as establishing criteria of what does and does not constitute a train tag. My definition, which I base on my own observations, research, as well as input from train tag purveyors and aficionados [see below] is: a visual moniker containing a simple picture, signature, date, and optional words, drawn onto the side of a boxcar, usually with chalk or ink. As for criteria, to be considered a legitimate train tag there must exist several repetitions of the same tag on many different boxcars. Furthermore, the tag should not be confused with other boxcar graffiti that doesn't fit the definition. For example, many graffiti artists have painted expansive murals on boxcars, as well as other graffiti writings including gang tags and spontaneous etchings. The essential difference in train tags and these other markings lay primarily in the purpose behind the creation of the writings. Also, train tags are rarely, if ever, written in spray paint.
Systems of hobo, tramps or gypsy signs (pp609 - 621)
extracts
The British system is sometimes called Tramps' "Smogger" {40} The US system is called Hobo Signs {60} The Swedish system is called Tattaretecken (meaning vagrants' or gypsies' signs) {30} The French system is called Code secret de vagabondes {70}
the classic American hobo of early this century communicated through a much more basic system of marks--a code through which they gave information and warnings to their fellow Knights of the Road. Usually, these signs would be written in chalk or coal on a trestle, fence, building or sidewalk, letting others know what they could expect in the area of the symbol.
Daniel was born in St Mary Cray in Kent in 1961, the youngest son of a family of Romanichal Gypsies, which has existed in the area for many generations and represents the largest concentration of Gypsies in England. His family settled before he was born, making for a relatively stable education. Daniel studied painting at Ravensbourne School of Art from age 17 to 21. His art practice has become increasingly contextualised by an ongoing exploration of his cultural positioning. Having completed a Sociology MA specialising in Romani Studies, Daniel began his Doctoral Research at the Royal College of Art in 2006.
"Baker’s artworks address a tradition of ornamentation in Gypsy culture. He paints on glass, producing mirrored surfaces (“looking glasses”). These are inhabited by graffiti, flowers, animals and iconic motifs such as the caravan. In his ‘sign’ works Baker examines the power and ambiguity of words by formulating statements that present a mixed message (“This is shit,”). These ‘signs’ are intended to question assumption and preconception in the viewer in relation to the object the subject and the environment. As well as highlighting issues of illiteracy in Roma culture these ‘signs’ link individual consciousness with collective awareness."
Over the last two years Mebike has enjoyed great success with the event, ‘MeBike – The Dream Bike Festival – Cool, Clean, Conscious’.
2008 MeBike will organise a fantastic bicycle tour of Amsterdam. In this tour, artists and bicycle fanatics can show off their own bike creations. With this tour you can discover what an incredible, beautiful, environmentally-conscious cycling city Amsterdam really is!
The event will take place in June 2008. More information: www.mebike.org
If I Can't Dance Tonight is a new,monthly series of events, offering and eclectic programme of performances, mini expo’s, conversations with artists, film screenings, readings, music and perhaps, dancing. If I Can’t Dance Tonight offers the stage to visual artists that relate their practice to performance and performativity.
On June the 18th Suchan Kinoshita will be the main artist of the second If I Can’t Dance Tonight. In a sculptural manner, this Japanese/German artist takes our language and daily actions as the starting point for performances, which can be carried out by anybody. During If I Can’t Dance Tonight Kinoshita will focus on daily movements that we carry out time after time, in relation to our work and our working surroundings.
========= Parking Lot Party We love STEIM 2 Friday 6 June 2008, from 21.00 hrs. Music marathon with performances by Byungjun Kwon (KR/NL), Nanko (NL), JS Lach (MX) , Keir Neuringer / Rafal Mazur (PL), and dance with the DNK-Friday DJ Unit. And a special concert of the American band Sightings ("Guitar, bass and drums reconfigured for a new purpose"). Don't miss it! The Garageboxbar is open!!
This second STEIM support party is organised by Mediamatic, DNK and < > TAG. The electronic Lab STEIM is in the danger of losing their structural funding. Location: Mediamatic and the parking lot of the Post CS Building, Oosterdokskade 5 in Amsterdam www.mediamatic.net/artefact-38221-nl.html
Marleen Stikker wrote an article in the edition of 27 May of newspaper HetParool on the advice of the Art Council of Amsterdam to stop funding medialabs Waag Society and STEIM. STEIM is in danger of losing structural funding from the government, based on a review from the advisor board that called the organisation "closed and only appealing to a niche audience". In the article, Stikker states that this will be damaging the city of Amsterdam in future.
The full (original) text of Marleen Stikker's article, which is in Dutch,can be downloaded via the website. http://www.waag.org/download/36465
On June 7, the SILENT NIGHT event presents a unique opportunity to experience the city as never before: Amsterdam switches off her lights. The darkness maximizes the contrast with the bright light of Ikeda’s installations spread over the city. Ryoji Ikeda and Dream Amsterdam Foundation invite residents of Amsterdam and visitors to actively participate in the SILENT NIGHT event and help contribute to the realization of Ikeda’s Dream, promising to deliver an extraordinary transformation of the city of Amsterdam for one night only.
Reinier van Ewijk Projects Maarten Heijkamp new artwork 7 June - 5 July, opening 7 June 16-19 h. Willemsparkweg 17 1071 GP Amsterdam www www.reiniervanewijkprojects.com Gist Amsterdam ‘Bright, Light, Clear’ Laura D'ors, Oui Yang, Christina Marques 7 June - 6 July, opening 7 June 16 h. Veemkade 358-364 1019 DH Amsterdam website www.gistgalerie.nl The Living Room ‘Accrochage’ Peter Duka, Henk Olijve, Frank Lenferink, Hans de Wit and others 7 June - 6 July, opening 7 June 17-19 h. Fokke Simonszstraat 10 1017 TG Amsterdam website thelivingroomgallery.nl http://www.akka.nl/agenda http://www.akka.nl/agenda/2008/0508/index_opening.htm
Preview – 12th June 2008 Exhibition - 13th June – 22nd June
Campbarbossa, Gallery Nosco and Planet Patrol in association with Brahma beer are pleased to present their upcoming summer show, Burning Bridges, a multicultural exhibition showcasing some of the hottest established and emerging artists in the street art movement today.
Street artists from across the world will be exhibiting, many in the UK for the first time including: Stormie Mills from Australia; Alexandros Vasmoulakis, Matt Small, Cum* and Herakut from Europe, Mantis and Kareem Lotfy from Africa, Ethos and Bruno 9LI from South America; Labrona and Other from North America and many more…
Preview is on the 12th June and the exhibition will be open to the public from Friday the 13th June until the 22nd of June 2008
19 Apr — 22 Jun 2008 Exhibition Nancy Spero "Spero Speaks" Opening: Friday 18 April, from 6pm onwards in de Appel Curator: Roel Arkesteijn (NL)
Nancy Spero (Cleveland, Ohio, 1926) ranks as one of the most important artists of her generation. To mark the release of the unique publication “Codex Spero. Nancy Spero Selected Writings and Interviews 1950-2008” compiled by curator Roel Arkesteijn (Scheveningen, 1974), de Appel will host a solo exhibition by this prominent American artist on the first floor of its premises.
The publication,* issued in collaboration with Roma Publications was conceived as an ‘artistic testament’ and as such, differs fundamentally from other monographs. This ‘radical manifest’ contains a choice selection of artist’s texts, personal statements, notes and interviews. The exhibition includes exemplary works from different phases of Spero’s lengthy artistic career. The diptych sheds new light on the ‘persona’ Spero, as artist, but also as activist, feminist and mentor.
* "Codex Spero. Nancy Spero Selected Writings and Interviews 1950-2008” (20 X 27 cm, integrally bound, 192 pages) Soon on sale in de Appel or on order via www.orderromapublications.org http://www.deappel.nl/exhibitions/e/627/
Vlaams Cultuurhuis de Brakke Grond organiseert in samenwerking met de kunstopleidingen Gerrit Rietveld Academie Amsterdam en hogeschool Sint-Lukas Brussel een tentoonstelling parallel lopend aan de eindexamententoonstellingen. Hierbij is de opzet even eenvoudig als intrigerend. De afstudeerprojecten blijven op de academies. In de Brakke Grond reflecteren de kunstenaars met behulp van woord, beeld en geluid op hun achtergelaten geesteskinderen. Wat zal er van ze overblijven?
Des te mooier dat Cécile Tafanelli, student aan de Rietveld Academie, haar afstudeerproject weer aan deze tentoonstelling heeft gewijd. Ook zij maakt een herinterpretatie, maar dan van ‘‘Kopie’’ - Documented Now! in de vorm van een catalogus.
OPENING WOENSDAG 25.06.08 VAN 22h00 TOT 01h00
Tijdens de opening van ‘‘Kopie’’ - Documented Now ! speelt het Belgische duo Nid & Sancy, copymasters bij uitstek. Deze opzwepende muzikanten beuken je ongenadig murw met hun door de sequencers gierende, overstuurde elektropunk. Het duistere, rauwe en energieke machinale geweld van dit duo zal goedkeurend door wijlen Sid Vicious (The Sex Pistols) worden gadegeslagen.
Vlaams Cultuurhuis de Brakke Grond | Nes 45 | 1012 KD Amsterdam
Opens Wed 25th 10pm
Final Examination Exhibition: GERRIT RIETVELD ACADEMIE AMSTERDAM/ HOGESCHOOL SINT-LUKAS BRUSSEL
"I mentioned to a friend with a teenage son that Art Express was on again and that his teenage boy might find it interesting. He advised that ‘teenager’ was only interested in street art and how he was presently working on a graffiti stencil – own project – and was not really interested in a whole lot more. Painting was boring, sculpture left him equally unexcited and anything that didn’t come with a slick finish and a point-of-view – including graffiti - he dismissed as ‘kid’s stuff’."
"Mr. Coyote states that on December 13th he received of Defendant via parcel post one Acme Rocket Sled. The intention of Mr. Coyote was to use the Rocket sled to aid him in pursuit of his prey. Upon receipt of the Rocket Sled Mr. Coyote removed it from its wooden shipping crate and sighting his prey in the distance, activated the ignition. As Mr. Coyote gripped the handlebars, the Rocket Sled accelerated with such sudden and precipitate force as to stretch Mr. Coyote's forelimbs to a length of fifty feet. Subsequently, the rest of Mr. Coyote's body shot forward with a violent jolt, causing severe strain to his back and neck and placing him unexpectedly astride the Rocket Sled. Disappearing over the horizon at such speed as to leave a diminishing jet trail along its path, the Rocket Sled soon brought Mr. Coyote abreast of his prey. At that moment the animal he was pursuing veered sharply to the right. Mr. Coyote vigorously attempted to follow this maneuver but was unable to, due to poorly designed steering on the Rocket Sled and a faulty or nonexistent braking system. Shortly thereafter, the unchecked progress of the Rocket Sled brought it and Mr. Coyote into collision with the side of a mesa."
