Dead Drop is a project Aram Bartholl made as a part of his ongoing EYEBEAM residency in NYC:
“Dead Drops’ is an anonymous, offline, peer to peer file-sharing network in public space. I am ‘injecting’ USB flash drives into walls, buildings and curbs accessable to anybody in public space. You are invited to go to these places (so far 5 in NYC) to drop or find files on a dead drop. Plug your laptop to a wall, house or pole to share your files and date. Each dead drop contains a readme.txt file explaining the project. ‘Dead Drops’ is still in progress, to be continued here and in more cities.”
It reminds me a lot of a project I was involved in a couple of years ago. It was the “USB Gallery“, a public usb driven art gallery (an idea by artists Christian Posani and Francesco Carone). We had the same idea of spreading usb ports around the city, but in the end we didn’t :-)
‘Fuzz Face‘ is the second single to be lifted from Belleruche’s third album, ‘270 Stories’. Four and a half thousand photocopies, made in corner stores in East London, result in this original and distorted video.
“Most of Abelardo Morell’s photographs are digital, but a lot of his gear is, conceptually, a millennium old. Morell is among the few contemporary masters of the camera obscura, the ancient method of projecting an image on a wall (deployed by Renaissance masters, like Leonardo da Vinci, and possibly used as a painting aid). All it is, really, is a room with a tiny hole in the wall or roof that acts as a lens.”
“We live in this time where everything is in the present tense. Memories are simply the source materials for “tonight’s act.” Any film clip or historical document can be summoned by surfing the web, and entire TV networks are devised to trot out re-runs of Westerns and cartoons, all juxtaposed against the backdrop of people downloading what just happened, off of their telephones for public consumption. Through this, I am a storyteller. An archivist and an entertainer. And most importantly an artist.”
A more open place is a photo series by Phillip Meisel. He took long-exposure photographs of a computer screen while flipping through photo albums on Facebook. The title refers to a quote by Facebook’s founder Mark Zuckerberg: “We’re going to change the world. I think we can make the world a more open place”…
“On Saturday October 9th, the physical space inside the MoMA NY building hosted a virtual exhibition occupying all floors (including an additional virtual 7th floor) in parallel to its ongoing show. The show was not be visible to regular visitors of the MoMA, but those using a smartphone application called “Layar Augmented Reality browser” (available for free in the iPhone app store and Android market) were able to see additional works on each of the floors, put there using location-based augmented reality techniques. So far, the MoMA is not involved in all this yet.
But that’s not a requirement anymore anno 2010, being independent by using AR. The experimental exhibition is part of the Conflux Festival, the annual New York festival dedicated to the psychogeography practice.”
Cassandra Jones takes photographs she finds online and stiches them together to form animations like this Eadweard Muybridge homage:
“After Muybridge” is a loop made from 12 stock photographs that are sequenced to re-create the locomotion of a galloping horse. The animation was modeled after one of Eadweard Muybridge’s most famous motion studies called “Daisy”. I sifted through over 5,000 digital images to find 12 that matched his original photos.
The Internet allows me to access the over-abundance of everyday photographs, taken of everyday things, in every possible position. By collecting enough images of any one thing, including a running horse, I can place them in an order to re-invent or re-animate life.”
Gentili Apri is teaming up with Chrystal Gallery to present Exhibition One. A computer rendered group show with works by Kari Altmann, Charles Broskoski, Lindsay Lawson, Billy Rennekamp, Maxwell Simmer, and Harm Van Den Dorpel – curated and rendered by Timur Si-Qin.
Extracting a parallel instance of the work as a three-dimensional representation of geometric data, Exhibition One offers an opportunity to present an alternate framework that posits the questions: Where does an artwork stop and its documentation begin? What is the function of a prospective image that is decisively not-a-model?
Rune Guneriussen shot some ironic and poetic photos of domestic objects in natural environments…
“The work on objects such as tables, lamps and chairs started in 2005, and has been photographed on location all over Norway. The objects are implemented mainly in scenes cast in appropriate landscapes, and here they are subject to a certain carachter carefully laying out a story. It is an approach to the balance between nature and culture, but also a multiple reading of stories.”
“Red and Blue Chair” by Gerrit Rietveld (1918) drawn with my left hand, and built by scrupulously following the resulting drawing. The prototype was then given to a carpenter who produced a serie of five identical copies.”