Carlo Zanni just published his last work, a new experiment in Data Cinema: A Server Side generated movie where a guy is listening to a voice reading YouTube Terms of Service.
When YouTube changes its Terms of Service, the server behind the movie gets the new text and through a text-to-speech software renders the voice over which is then imported into the filmed sequence.
I’m in Bisaccia (Avellino, Italy) for Interferenze, a great new media art festival that this year takes place in an ancient castle. The location is breathtaking and the program looks amazing also. I curated the Software Art and the Video sections. Here’s some links to the works:
PAINT FXis a painting collective/ club/ company/ brand/ website/ blog/ party consisting of Jon Rafman, Micah Schippa and Parker Ito.
“We’re kinda like Jogging meets Poster Company meets shiny stuff, but we’re way juicier. Each work featured on the site is intended to belong to the brand PAINT FX as opposed to the individual who created the work. Maybe we’ll outsource some work too. We started the project because we were popping huge boners off of juicy gestural marks and we thought it would be fun and easy to make a lot of those. But PAINT FX doesn’t favor styles or themes, but favors shiny computer screens. In that way we’re like the “Cool School” (Finish Fetish) or maybe we are the “Too Kewl School”. We don’t all live in California, but we can be categorized geographically (the Internet, duhhhhhhhhhh!). It should also be noted that PAINT FX favors quantity over quality. The content of these paintings is mostly determined by the software’s capabilities – Art Rage, Photoshop, Corel Painter etc. I think we’re very interested in “materials and materiality”, but we slip in some painting references every once and a while (Josh Smith, Roy Lichtenstein, Warhol?). In order to fully appreciate this project one must consider the site, the software, and the potential for these paintings to be transformed into objects (hint, hint).(Note: The statement for PAINT FX was written by Parker Ito, and may not necessarily reflect the perspectives of other participating members.)”
“An invitation was sent to a group of artists. I provided a curated list of works from SFMOMA’s permanent collection and asked each artist to make a work in response. This assignment continues my exploration as to how others interact with the museum, particularly how artists relate to works in the permanent collection.”
Paddy Jonhson discusses the rise of a new kind of art gallery. Brad Troemel dubbed this spaces as “Dual Sites”:
“Thus, internet art is marked by the compulsive urge of searching (or, surfing) to connect with others in a way that is not directed by privatized interests, but found and shared among individuals. The Dual Site is an institution born from this individuated system of relating with one another. It is an exhibition space symptomatic of The Physical and The Digital’s comingling– an example of how art, like life itself, now exists somewhere between the two.”
“Para-Sites features a series of subtle interventions conceived for interstitial spaces, locations and human-scale architectural elements at Laboral. By means of projections, a parallel reality is superimposed on that of the space itself. The interventions work as parasites, disturbing and altering our perceptions of an already familiar place. ”
Last week I took a trip to Gijon, in order to attend the opening of Para-sites, an exhibition by Pablo Valbuena at LABoral. I also visited the other two shows currently on view in the museum: Habitar and Process as paradigm, which include lots of interesting projects. As usual, here’s my photoreport.