“The conversation surrounding the presentation and archival of new media art has often revolved around the issues facing curators and historians as they struggle to bring older works to newer formats; in Annals of Time Lost, Jon Rafman reframes this responsibility into an opportunity: A COPEX LD75D microfiche reader displays Rafman’s New Age Demanded, a series of busts rendered from 3D models; while a nearby plinth houses a 3D print of a bust from the same series. The conditions of archival anxiety—which has been, on some level, wrongly understood as a passing phase to a future in which Google Glass sees all—become palpable as Rafman reexamines the scale and physicality of archives.”
“Media Burn integrates performance, spectacle and media critique, as Ant Farm stages an explosive collusion of two of America’s most potent cultural symbols: the automobile and television. On July 4, 1975, at San Francisco’s Cow Palace, Ant Farm presented what they termed the “ultimate media event.” In this alternative Bicentennial celebration, a “Phantom Dream Car”—a reconstructed 1959 El Dorado Cadillac convertible—was driven through a wall of burning TV sets.”
“Anti-art is art because it has entered into a dialectical dialogue with art, re-exposing contradictions that art has tried to conceal. To think that anti-art raises everything to the level of art is quite wrong. Anti-art exists only within the boundaries of art. Outside these boundaries it exists not as anti-art but as madness, bottle-racks and urinals”
(SMILE Magazine, 1985; quoted by Florian Cramer, in Anti-Media, 2013)
“In a story that plays out entirely on a teenager’s computer screen, Noah follows its eponymous protagonist as his relationship takes a rapid turn for the worse in this fascinating study of behaviour (and romance) in the digital age.”
Constant Dullaart, Jennifer_in_Paradise, 2013. Re-distributed digital image, encrypted message.
“An image taken by John Knoll of his (at that time) soon to be wife, Jennifer. Together with his brother Thomas, John is know for developing Photoshop. Digitized by Kodak in 1987, it is the first known image to have been manipulated using the program. The image is newly distributed online, containing a steganographically encrypted payload.”
An amazing 30-minute documentary about the life and work of Diane Arbus:
“Freaks was a thing I photographed a lot. … They made me feel a mixture of shame and awe. There’s a quality of legend about freaks. … If you’ve ever spoken to someone with two heads, you know they know something you don’t. Most people go through life dreading they’ll have a traumatic experience. Freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats.”
E’ da poco passata la mezzanotte e sulla spiaggia di Marzocca l’attività è frenetica. Presentazioni e performance si susseguono sui due palchi senza sosta, e i tantissimi spettatori intervenuti fanno la spola tra un evento e l’altro, raccogliendo idee e spunti, immagini e sensazioni. Dopo l’introduzione dei curatori Pippo Ciorra e Cristiana Colli, sui palchi si sono susseguiti dibattiti sull’editoria, l’arte, il design, e riflessioni a tutto campo sul sistema cultura e sulla sua capacitá di incidere sulla realtá di tutti i giorni.
In questo momento, Christian Caliandro presenta il suo libro “Italia Revolution” e il designer Ron Gilad racconta il suo progetto “The Logical, The Ironic and the Absurd”. Ma il programma é ancora ricco, e la spiaggia insolitamente affolllata…
Domani notte (19 luglio 2013), dalle 6 del pomeriggio alle 6 del mattino, sarò su una spiaggia dell’Adriatico (Marzocca di Senigallia, per la precisione) a commentare con post, tweet e facebook tutta la maratona culturale di Demanio Marittimo.Km-278. In qualche centinaio di metri quadri ci sarà una concentrazione mai vista prima di arte, creatività, intelligenza, voglia di fare e raccontare. Qui trovate il sito dell’evento, qui il programma completo.
E se volete partecipare alla discussione online, gli hashtag da usare sono: #dmkm278 e #mappelab.
COS’E’ DEMANIO MARITTIMO.KM-278 Il 19 luglio, dalle 18 fino all’alba del giorno successivo, il km 278 del litorale adriatico torna ad essere un luogo di incontro e di esperienze in cui convergono le idee e le eccellenze di architettura, arte, design, cinema, letteratura, enogastronomia e sviluppo sostenibile. 12 ore per una maratona che vede la spiaggia di Marzocca di Senigallia (Lungomare Italia 11) teatro di DEMANIO MARITTIMO.KM-278. Ideato e curato da Cristiana Colli e Pippo Ciorra è promosso dalla rivista “MAPPE/Marche Architettura Progetti Pensieri Eventi” e dall’Associazione DEMANIO MARITTIMO.KM-278 con la collaborazione del MAXXI, Museo nazionale delle arti del XXI secolo, della Regione Marche, del Comune di Senigallia, della Scuola di Architettura e Design di UNICAM – Università di Camerino e con il supporto di un’ampia rete di imprese, istituzioni, associazioni culturali.
“Victorian social reformer William Morris returns from the dead to hurl Roman Abramovich’s vast yacht Luna, which blighted the waterfront beside the Giardini at the 2011 Venice Biennale, into the waves.”
“China’s censors are blocking words like “today” and “June 4″ from social media as part of the country’s yearly chore to block any reference to the anniversary to the Tiananmen Square massacre 24 years ago. And though the Chinese are running a sophisticated and tight censorship ship, they’re having a bit harder time blocking memes.”
If you happen to be in Milan before July 12th, go and take a look at this little project I’m working on…
“Nothing to see here is an exhibition in two parts and a discussion on art and visual culture in the era of the Internet at the Milan branch of the Istituto Svizzero, from 30 May through to 12 July 2013.
The initiative, curated by Valentina Tanni and Domenico Quaranta, is articulated as a moment of reflection on the status of images in contemporary society. The global diffusion of computers and the Internet, that supplied a vast number of users with the access to tools to produce and distribute images, has triggered a real explosion of creativity at every level. A multiform and undefined visual universe is the result – made of irregular, amateur cultural products, anonymous and collective creations, memes and viral videos – that often seem to evoke and repropose languages and practices that are linked to the avant-gardes, both historical and recent. Nothing to see here wishes to offer an overview of this irregular and vital movement, that takes place outside the institutional circuits and is slowly giving shape to a new culture, that radically questions professionalism in the art practice and forces us to rethink the creative activity and its role in society.”
This is one of the most inspiring readings I ever did. Seriously. Paul Miller went completely offline for a year and he finally discovered that blaming the web for our vices and our poor decisions about life just isn’t the right way to go.
I’m pasting a couple of quotes, but you should read the whole thing, because it’s richer and more complex than that.
“By late 2012, I’d learned how to make a new style of wrong choices off the internet. I abandoned my positive offline habits, and discovered new offline vices. Instead of taking boredom and lack of stimulation and turning them into learning and creativity, I turned toward passive consumption and social retreat.”
“I’d read enough blog posts and magazine articles and books about how the internet makes us lonely, or stupid, or lonely and stupid, that I’d begun to believe them. I wanted to figure out what the internet was “doing to me,” so I could fight back. But the internet isn’t an individual pursuit, it’s something we do with each other. The internet is where people are.”
“Hyper Current Living is a performance by Ryder Ripps in which he “lives” and “works” at Red Bull Music Academy between April 28th and May 5th 2013 – he’ll be drinking Red Bull and creating digital stuff at hyper speed. In the stream, our output is valued by its proliferation and its likes and favs – what incentive is there to spend 4 years writing a novel if it will just be a link in a stream lasting a few hours? The piece brings this trait into light by designating a time and space to the creation of such fragmented, short interactions native to social media.”