Primary and basic technology become works of art capable of playing with our passion for machinary and technology, a form of "pain" that we feel with and through our bodies. Simplicity is at the heart of Macchina Inutile (Useless Machine), an almost inconsistent assembly of delicate stems and coloured metal pieces built on to a spinning structure that slowly speeds down
Andy C. Deck, net artist and pioneer of conceptual art on the net, has been active for more than a decade and is not a character that needs a lot of introduction. A New Yorker, Andy Deck got his degree in English Literature at the University of Michigan, studied in Paris at the École Nationale Supérieure des Arts Décoratifs and in 1993 he obtained his MFA in Computer Art at the School of Visual Art in New York, where he is now a professor, as well as teaching Media Design & Theory at the Sarah Lawrence College in New York and at New York University.
The greeks often confronted death in a shy way. Whatever they had in front of them was in their past. That is how I have lived my life, not retracing my own life but the life of a person that I had loved. (1). This is how Roland Barthes describes in La camera chiara the moment of his mothers death, who, looking through the pictures of his mother throughout the years, tries to meet her again, to find her in some way. This is how Moira Ricci proceeded, she later confirmed that she had been inspired by Barthes, which is obvious in her most famous project called 20,12,53-10,08,04 (2) produced after her mother's sudden death.
In our digital era we have a large number of technologic devices at our disposal, that allow us to store informations about ourselves, and fulfills our greets ambition as human beings: a perfect, or rather quasi-perfect memory. This being consequentially followed by a deep turnover between the mechanisms of memory and oblivion: in analog media era, the action of forgetting is a natural biological process; to memorize, on the other hand, was more difficult and had certain costs. In contemporary digital society remembrance is a default operation, while forgetting has instead become a longer and more difficult process.
Lev Manovich once said that the deep change which is affecting culture in the era of computerized media revolution also concerns space and its representation and organization systems. Space becomes a media itself: Just like all other media - audio, video, images and text - nowadays space can be transmitted, stored and recovered in a snapshot. Space can be squeezed, re-formatted, changed into a flow, filtered, computerized, programmed and interactively managed (L. Manovich, Il linguaggio dei nuovi media)
Even if the Knifeandfork were not raised in Los Angeles (Brian House is from Denver and based in NY, Sue Huang currently lives in LA but was born in Saudi Arabia) their art seems to me quintessential to such odd place. They designed an user-oriented fictional narrative inspired to Kurosawa's film Rashomoon based on the algorithm of the /Prisoner's Dilemma /game theory model (5 'til 12, 2006); transformed a contemporary art museum in a golf club (Emptiness is Form (golf and donuts) at MOCA, 2009), and staged a public continuous reenactment of the infamous Maradona's goal that leaded Argentina to victory at the 1986 World Cup (Trying the Hand of God, 2009).
Game Over. If Federico Solmi's work was characterized by an ironic destruction of myths and (anti)heroes, and the violence of his narration faded into laughter, with his latest exhibit, From Uterus to Grave with no Happy Ending, and video installation Douche Bag City, his satire becomes more bitter and deals with a highly topical theme - as always-- and with a very personal style.
From the 25th till the 28th of February the 13th edition of the Sonic Acts Festival took place in Amsterdam. This edition - The Poetic of Space - was entirely dedicated to the exploration of space in performative, audiovisual and film arts. Sonic Acts has become a moment for investigation into the importance of physical space, as well as for the physical and psychological impact of artistic creations centred on space, in a time, like the one we live in, of important and continuous technological development.
Kinetic, a word that derives from the Greek word kinetikos, from kinetos, stands for movement or motion. In an ample sense the word concerns all that regards or is produced by movement. Kinetic art therefore is relative to all those works of art that foresee movements of parts, or depend on motion for their execution.
Our changing understanding of reality has inspired the invention of new concepts of space and strategies for spatial research and practice across disciplines. There have been several radical changes in cosmology, science, art, design and philosophy, concerning the ways in which reality and our experience of it may be understood. As can be seen in recent studies by scientists, artists, designers and thinkers, such changes have encouraged the development of new philosophies and theories on space, new types of spatial perception, interaction etc
The theme of space is a cornerstone in the philosophical investigation. It appeals to the world experienced by the subjects in terms of perceptual knowledge, the aim then is never the metrological and scientific analysis of change, but the attempt at clarification of the common sensitive comprehension of those data which the outside world offers to those who meet it.
Heroes? Not really, according to them. They do what we all could do, what we all should maybe do: to denounce, inform, express ourselves, find our spaces, make our voice being heard (especially when who should be representing us, does not actually do it at all) and yet defend freedom, enjoy ourselves, try to be fine and take charge of the consequences of our lifestyle over human kind and the environment. Without being afraid, without being submissive, get what is ours, in a creative way, in a cultuerd, artistic way.
Talk about suicide has has hardly ever been a simple thing, and that is especially nowadays. It is a dodgy, slippery ground. it might be tolerated wether it is tackled pivoting the speech on a medical-psychoanalitical attitude, since it allows to remain in a detached, scientific standpoint. Yet it becomes extremely likely to upset many people's sensitivity, if one tries to relate the subject to contemporary thought and politics
New media art in greater China, when it is present, tends toward the conservative: re-engineered video games, simplistically interactive video installations, and sound art are the norm. In a few corners, however, a new wave of artists is pushing this envelope and developing new strains of practice based particularly around the complementary poles of aesthetic coding and, most intriguingly, biological matter.