A very interesting and necessary reflection on the difficulties of being our true selves online in 2019. And a good description of the never ending tension between the will to hide (and be safe) and the need to participate (and be exposed). Be sure to also read part II.
“Lavinia Schulz and Walter Holdt were a wife and husband partnership briefly famous in Germany during the early 1920s for their wild, expressionist dance performances consisting of “creeping, stamping, squatting, crouching, kneeling, arching, striding, lunging, leaping in mostly diagonal-spiraling patterns” across the stage. Shulz believed “art should be…an expression of struggle” and used dance to express ‘the violent struggle of a female body to achieve central, dominant control of the performance space and its emptiness'”.
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“After Snell finished creating the 3D model, he disassembled the computer he made it on and ground it to dust using a specially-designed sealed box. This included the computer’s enclosure, its hard drive, its RAM and its graphics processing unit. He then 3D-printed a mold of Dio and cast the sculpture into this mold using resin and the ground remains of the computer.”
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How do artists capture movement? What happens when our actions become codified – or exploited? A fascinating video-essay by Alan Warburton
by Kim Laughton
Sometimes to Deal With the Difficulty of Being Alive I Need to Believe There is a Possibility that Life Isn’t Real
Simulation/Game by Jeremy Couillard coming to Steam and itch.io in May 2019
What if reactions left bruises?
Emotigun, by Tadas Maksimovas
– GO TO HELL WITH YOUR MONEY BASTARD –
(Asger Jorn refuses the Guggenheim Prize with a telegram in 1964)
Mindblowing fashion design by Stefan Kartchev
“We define ourselves as photographers even when we’re working with 3D materials,” say Paris-based duo Benjamin Roulet and François Bellabas. “Everything comes from photography.”
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“You cannot touch the exposed pieces, but nobody told me not to use them as emitters.”
Particle rendering a portrait from the Bode-Museum using Redshift by Simone Vezzani.
This short film by American director Ramin Bahrani traces the epic, existential journey of a plastic bag, voiced by Werner Herzog…
Yilmaz Sen designed Balenciaga’s latest social media campaign. The artist imagined a set of avatar-type models in Resort 2019 outfits looking blankly at the camera whose bodies slowly start to contort.
[via eyesontalent]
PLAY, an artwork by Urs Fischer with choreography by Madeline Hollander.
Barbara Kruger for Dazed and Confused
Asger Jorn, L’avant-garde ne se rend pas (The Avant-Garde Doesn’t Give Up), defiguration, 1962
“It feels a little like we’ve been given the ability to time travel,” said Seth Denbo, director of digital initiatives at the American Historical Association.
Talking about road accidents and robots…
Nam June Paik, The First Catastrophe of the 21st Century, 1982
Location: 75th Street and Madison Avenue, Manhattan, outside of The Whitney Museum
“For this performance, the robot K-456 was removed from its pedestal at the Whitney Museum of American Art, which hosted Paik’s retrospective exhibition, and guided by the artist down the street to the intersection of 75th Street and Madison Avenue. When crossing the avenue, the robot was “accidentally” hit by an automobile driven by artist Bill Anastasi. With this performance Paik suggested the potential problems that arise when technologies collide out of human control. After the “collision”, K-456 was returned to its pedestal in the Museum.”
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