Ibon Mainar, Digital Collages (Institutional Critique), 2014
Death by Hanging (1968), Nagisa Ōshima
Amazing ceramic works by Pau Sampera…
Fabian Buergy, Metronom des Todes, 2014
William Gibson talks about the Internet in 1997, BBC’s The Net…
A sculpture by Javier Galindo…
Thomas Mailaender is showcasing a new series of his cyanotypes at Ditto Gallery in London.
The cyanotype process (characterised by its cyan-blue hue) was developed as a means for blueprinting. Mailender utilises this technique to print images taken from his Fun Archive, a personal collection of absurd and anonymous pictures intuitively pulled from the Internet. Using this archaic and outmoded process to reproduce images from the modern digital age creates a dialogue about the validity and authenticity of images, and their place as artworks.
The exhibition «The Darknet – From Memes to Onionland. An Exploration» will open Kunst Halle Sankt Gallen for interdisciplinary expeditions and encompass themes such as copyright, privacy, illegality and resistance.
The Great Wall of Memes will be there, too.
“The book is far from dead: it’s returning in forms that few could ever have imagined”.
The Artful Accidents of Google Books, an article by Kenneth Goldsmith.
The Kopimi Totem, by Evan Roth, is a sculpture composed of seven open wireless routers arranged in the iconic Kopimi pyramid. The shape of the sculpture is also mirrored in ASCII form when a visitor opens the wireless settings on her laptop or mobile device.
“I’ve created this Kickstarter campaign to experiment with new form of art exhibition and approach to selling work. I’ve asked 11 artists to create new works that fit into the Kickstarter format. In response, they have each designed a custom artwork through online retailers in editions of 10, and assigned a value for these mediated works. ”
As artists, curators, and writers, we are increasingly forced to market ourselves by developing a consistent product, a concise presentation, a statement that can be communicated in thirty seconds or less—and oftentimes this alone passes for professionalism. For emerging artists and curators there is an ever-increasing number of well-intentioned programs that essentially indoctrinate them into becoming content providers for an art system whose values and welfare are wholly defined by its own logic of supply and demand.
Anton Vidokle, Art without Market, Art without Education: Political Economy of Art, 2013
“Nick Cave, the musician best known for his work with The Bad Seeds, was inspired to help create this online museum during the filming of his quasi-autobiographical documentary 20,000 Days on Earth. Cave, along with directors Iain Forsyth and Jane Pollard, began thinking about the nature of memorabilia, inspired by his own experience at a Nina Simone performance of yesteryear and a wad of chewing gum.”
“Ways of Something”, is a contemporary remake of John Berger’s BBC documentary, “Ways of Seeing” (1972). Commissioned by The One Minutes, at the Sandberg Instituut in Amsterdam and compiled by Lorna Mills, the project consists of one-minute videos by fifty eight web-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of artmaking after the internet.
Watch the online premiere of the first part here.
Images by Kim Laughton…
Michael Mandiberg, Burned Books…
“In Return invades the world of GIFs to the city of London with their latest project “GIFs Go Wild”
“Readymake: Duchamp Chess Set is a 3D-printed chess set generated from an archival photograph of Marcel Duchamp’s own custom and hand-carved game. His original physical set no longer exists. We have resurrected the lost artifact by digitally recreating it, and then making the 3D files available for anyone to print.”
Readymake: Duchamp Chess Set is a project by Scott Kildall and Bryan Cera
Gerda Steiner & Jörg Lenzlinger: The Conference, 2010-2011
Moody Vibes, by Claudia Mate, emoji sketch testing _playGnd animation tool create by Nick Briz + Branger_Briz…
“A multi-institutional team of new-media artists, computer experts, and museum professionals have discovered a dozen previously unknown experiments by Andy Warhol (BFA, 1949) on aging floppy disks from 1985. The purely digital images, “trapped” for nearly 30 years on Amiga® floppy disks stored in the archives collection of The Andy Warhol Museum (AWM), were discovered and extracted by members of the Carnegie Mellon University (CMU)Computer Club, with assistance from the AWM’s staff, CMU’s Frank-Ratchye STUDIO for Creative Inquiry (FRSCI), theHillman Photography Initiative at the Carnegie Museum of Art (CMOA), and New York based artist Cory Arcangel.”