“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.”
Digital collages made from northern and early renaissance paintings by Scorpion Dagger…
“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.”
Annals of Time Lost
“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.”
more documentation here
Generated works of art by Casey Richardson…
Free roam above the myst, an installation by Jonathan Zawada (Prism, Los Angeles, 8 September – 6 October, 2012)…
“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)
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.”
See also: A letter to Jennifer Knoll
My favourite national pavilion at the Venice Biennale 2013: Jeremy Deller‘s English Magic…
“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.”
“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.”
“Installing an Anish Kapoor mirror piece”.
Art Handlin‘, my new favourite tumblr blog…
Because originality is overrated…
Mike Kelley, Why I Got Into Art, 1991
Patrick Grenier, I’d Eat Heart Worm, 2005 neon with transformer 24″ x 32″ [installation view]
“an open letter to Apple + experimental prosumer manifesto on the issues of planned obsolescence, upgrade culture, technological self-reliance, control and copying. A [re]mix/make of Phil Morton’s 1976 video tape ‘General Motors’, in which contemporary Chicago [dirty] new media artists explain their love && hate relationship with the ‘default art computer’. by Nick Briz, copy<it>right 2013″
“The maintenance and conservation of contemporary visual art is a new challenge for museums and art conservators. More and more artists have taken leave of the painter’s brushes and are moving on to new media, such as video. Or they are making installations of transient materials like polystyrene, wax and scotch tape. Can these works be saved for the art lovers of the future?”
DIS Images is a fully functioning stock image library. Dedicated to manipulating the codes and trends in stock photography, DIS Images invites artists to create alternative scenarios and new stereotypes, thus broadening the spectrum of lifestyle portrayal.
Amazing series of digitally manipulated images of landscapes by chinese artist Yao Lu:
“The artist photographs mounds of garbage covered in green protective nets which he assembles and reworks by computer to create bucolic images of mountain landscapes shrouded in the mist inspired by traditional Chinese paintings. Lying somewhere between painting and photography, between the past and the present, Yao Lu’s work speaks of the radical mutations affecting nature in China as it is subjected to rampant urbanization and the ecological threats that endanger the environment.”