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Ibon Mainar, Digital Collages (Institutional Critique), 2014
Death by Hanging (1968), Nagisa Ōshima
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Amazing ceramic works by Pau Sampera…
Fabian Buergy, Metronom des Todes, 2014
Ai Weiwei, Han Dynasty Urn with Coca-Cola Logo, 1994
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.
Krystal South organized an exhibition on Kickstarter:
“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
In 1974, at the Utah Museum of Art in Salt Lake City, Chris Burden climbed into a “chrysalis”-like sac and had himself installed in between some of the museum’s exceedingly random 18th century paintings, with candles placed at his head and feet. And there he hid all day.
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“Cybernetic Serendipity was an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London in 1968 and then touring the United States.”
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Artist Marion Balac has collected images of iconic statues captured by Google Street View, which automatically tries to blur out what it recognizes as a human face to ensure anonymity.
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“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.”
More here.