“The title derives from a social network induced anxiety condition. One brought on by trying to keep up with a rapidly moving world. A fear of constantly being one-step behind, in the wrong place, and missing out on the most exciting events. The Fear Of Missing Out proposes that it is possible to be one step ahead of the art world by using well-crafted algorithms and computational logic.
The works in the show are the result of a computer algorithm written by Lund. By analysing and categorizing a wide range of artworks, by the most successful contemporary artists, a set of instructions were generated explaining, step by step, how to make the most successful works of art. The artist then simply made the work following the instructions. In The Fear of Missing Out, important categories from the art world such as authenticity, artistry, talent, and creativity are questioned. The title also refers to the urge to be a part of a transparent information society made up of an overarching digital network.”
“There is an aesthetic crisis in writing, which is this: how do we write emotionally of scenes involving computers? How do we make concrete, or at least reconstructable in the minds of our readers, the terrible, true passions that cross telephony lines? Right now my field must tackle describing a world where falling in love, going to war and filling out tax forms looks the same; it looks like typing.”
“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.