Showing posts with label contemporary art. Show all posts
Showing posts with label contemporary art. Show all posts

SPAMM (SuPer Art Modern Museum)


Absolutely stoked out of my tiny little mind to be included in SPAMM (SuPer Art Modern Museum). For me this represents one of the biggest, if not the biggest achievement of my creative journey. As one who has for most of the time sat on the margins and felt like an outsider in the mainstream art world, it's nice to feel like I finally belong somewhere. Check out some incredible art by artists working in the digital field! Enter SPAMM here...

Prosthetic Pavilion: The Wrong - New Digital Art Biennale


The Prosthetic Pavilion is a part of The Wrong - New Digital Art Biennale which launched on November 1st 2017 and runs until the end of January 2018. The Wrong is the largest and most comprehensive digital art biennale today. A global event aiming to display digital culture, open to participation, and spreading its content through online and offline locations around the world.

The Wrong’s mission is to create, promote and push positive forward-thinking contemporary digital art to a wider audience worldwide through a biennial event that gathers an extensive selection of digital artworks, while embraces via its exclusive instant radical inclusion trademark technique; the young artists and curators of today’s exciting digital art scene.

The online biennale happens in pavilions; virtual curated spaces in any online accessible media where selected artworks are exhibited. The offline biennale happens in embassies; art spaces, galleries, institutions and artist run spaces in cities around the world which feature temporary projects, featuring live performances, workshops, artist talks and exhibitions. The Wrong is free to participate and to attend, and mostly everything is one click away.

For its third edition there are +80 curators confirmed, more than +1.100 artists are to show their talent, and the attendance is expected to grow up to +12M unique visitors worldwide.

My video The Road Ahead is showing as part of the Prosthetic Pavilion.
You can enter the Pavilion here...
You can find out more about The Wrong here...

ReArtVision

Well...it had to happen eventually. Bega catching up with the rest of the world that is. If not quite there yet with aesthetically pleasing architecture then at least the germ of a creative 'movement' that has been propelled by the current (and inaugural) Festival of the Face, an offshoot of the now national, and lucrative Shirley Hannan Portrait Award. And a major part of the transformation has been the 'occupation' of the old Retravision electrical retail store into a multidimensional art space.

Saturday night saw an 'event', hopefully among the first of many, where the pictures on walls concept was augmented by performance, films and music. And an opportunity for me to have some of my videos projected on the 'big' screen. Many thanks to Richard Maude and Tony Dean for making it all happen...


The space transformed

Musician Dr Chris Korvin at the 'operating' table

Some of my photomontages

Still from 'Black Red White'

Still from 'Black Red White'

Still from 'Broken'

You can follow Festival of the Face on Facebook here...

Hyaena Reich live in Madrid



...and speaking of Hyaena Fierling Reich...it was this video that first drew my attention. Exemplary and inspiring stuff! You can visit her website here...

Griet Menschaert has a new website...


...and it's a ripper. Moving away from the blogroll, we are now able to see Griet's oeuvre in a more 'exhibition' like format, and in doing so her brilliance and originality shine through. Ranging from her intricate works on paper and mixed media through to the enigmatic self-portraits, site specific works, collaborations and the conceptual, we see an artist who imbues all she touches with a quiet elegance and gentle humility. Well worth a look. Click on the image above and Griet will take you for a tour...

Chance Encounters

Third cultural stop was La Trobe University Visual Arts Centre in Bendigo where we 'did a job' on an installation by Bruce Mowson and Elliot Howard called 'The Listening vs Striles of Ming'. A series of different boxes, mostly on casters, sat randomly in the VAC Gallery. While reading through the 'artist's statement' (which incidentally was sending my blood pressure up around the 200/140 mark) the delightful Gail McNaulty (VAC Events and Admin Co-ordinator) explained the work was interactive and that the public was invited to 'move things around'. I asked if there was a sound and light component we could play with as well but sadly no.  

But first to the health hazard of  the 'artist's statement'. I quote:
"The sculptural products are the end result of an extended period of collaborative studio work by Mowson and Howard. During this period Mowson and Howard have developed a way of working that encompasses, amongst other things, fabrication, discussion, design, critical reflection, material selection and testing all of the above. There are also other complex factors in play that may include the friction produced between adjacent and slowly brewed subjectivities, the disarming affective qualities of noise meeting cheek and the divining of ephemeral political, libidinal and golden forces. Through the working process they are pleased to have stumbled upon certain key effects that include a favela-glance, a disco-touch and an amoeba-noise."

This was enough to set me off, in this rare opportunity to make some (what I call) easy art. So, five minutes later and we had rearranged the boxes into a wall that divided the gallery in half. I asked Gail if we could turn the lights off to 'complete the piece'. After some discussion with the Managing Curator Paul Northam the switch was found and turned off. Unfortunately skylights prevented the darkness I was hoping for. Paul commented that no one had done anything like this before to which I replied that "the wall represents the alienation that exists between much contemporary art and the public, and that the lame drape inside a 'cage' represented the burka and the alienation of asylum seekers and the status of women in some Muslim societies". The darkened room simply added to the overall theme. He, to his credit, saw the joke immediately and much fun and merriment was had by all, he appreciating the chance to talk art rather than administration for a few minutes.

Mowson, Howard and anonymous waves, The Wall, 2013, mixed media

Mowson, Howard and anonymous waves, The Wall, 2013, mixed media

In an atrium opposite the installation sat a site specific work by Phillipino artist Jan Leeroy New that I thought a nice contrast, if not relief, from what stood opposite. Lovely use of recycled materials into a form that had meaning...enough said...I am sure you are getting the idea by now.

Jan Leeroy New, Carapace, 2009, mixed media

And finally on the way out spotted ceramics by Vanessa Lucas. whose black jug has to be the sexiest jug ever conceived. Exclaiming "Vanessa's jug!" brought Paul and Gail out again who asked do you know Vanessa? "We should" I replied, "she was bridesmaid at our wedding!" Vanessa will be showing her meticulously crafted creations in Malmsbury, Victoria during May. More details on this later... 


I did notice on the way out the lights had been switched back on...

Imaginary Landscape

Bob Georgeson, Imaginary Landscape, 2012, Acrylic on Panel

More of Griet Menschaert



I had featured Griet's work a few posts back, but for those of you that didn't bookmark her site, she has just produced a brief portfolio stretching back over the last 3 years. A nice production using Scribd. If you click on the rectangle at the lower right hand corner you will get the full screen view.

Griet's work intrigues because of the contrast between her graphic works and her self portraits. While the former seem to have a life of their own and grow from the spaces they inhabit, the latter reflect a closed world of the privacy of the imagination. Perhaps the old dichotomy of the artist: introverted personalities that choose a public career in the most extroverted of worlds?

Art in the digital domain

Every now and then I feel the need to remind my son, who is 29 years old and knows everything, that it was old farts like me that invented and developed the Internet and WWW, and that the sophistication (and I dare say usefulness) of things like HTML, cascading style sheets, online relational databases etc, are far more interesting and likely to be remembered than the ability to be able to Tweet from your smartphone. Of course pronouncements such as this fall on deaf ears to the Me++ generation who, in an attempt to find relevance in a world where everything of interest has already been done, have formed the spatial ability to arrive at the conclusion that the universe began in 1980, and that anything prior to that is therefore irrelevant.

I mention this in relation to art. When people ask me what kind of art I do, and I respond that I work in photomedia, photomontage, video and predominantly online in the public domain, their eyes glaze over, the bottom lip starts twitching, and the ensuing silence seems interminable. Young artists just stare with incredulity that someone of my age can even mouth these words, while my peers mumble stuff about the tactile nature of art. Unless it hangs in a frame on the wall of a gallery then it can't be taken seriously. I understand their point, for many of them computers are things to be feared and used only under sufferance, and when it's a sunny day in paradise who wants to be inside anyway? And, there is always the question of money...

So, what is it and why do it? Just about every major gallery in the world has an online presence, in some case their entire collections are available, as well as research or commentary. Past criticism of online galleries has been image resolution. The Google Art Project aims to bring together high res pics from major collections. Wikipedia's Arts Portal is worth bookmarking, particularly for more detailed information about creative culture across the ages. In an earlier post I have featured UbuWeb, and I cannot reiterate enough how good this site is for anyone interested in 20th and 21st Century contemporary culture and the avant-garde. It continues to amaze and inspire with every visit...

For the artist two sites deserve mention. First Wikimedia Commons is a vast repository of public domain images, sound files and videos made available through the GNU and Creative Commons licences. And there is The Internet Archives, an equally if not more outstanding resource in the public domain that contains video,  live music, audio and texts. Many artists are now drawing on these resources, and some, like myself choose to work almost entirely within the public domain. Why? Exposure is  the answer. While it is nice to be  a legend in one's own backyard, ultimately not many people get to see your work, let alone participate in thoughts or discussion. Starting this blog and a new way of working this year I had no expectations of what might happen. Now, over 7000 page views, 800 looks at my profile, discussions with artists and organisations around the world later, to go back to the white cube with 20 visitors a day seems a little, well, quiet.

For me working in the public domain is exciting and challenging. I am always learning, or having to learn something new. This is rewarding because, unlike my son, I know very little.

Griet Menschaert

Griet Menschaert, Landscape as Jewel, 2012, pencil on paper

Griet Menschaert is a Belgian born multi-disciplinary artist who lives and works in Eindhoven in the Netherlands. Eindhoven was rated in 2011 as the worlds most intelligent community, and if Griet's work is indicative of the population you can see why.

Griet Menschaert, Self Portrait, 2012

I came across her site while looking at other bloggers that list Hans Bellmer as an influence (seems that there are not that many of us!). I really like what she does, so thought I would share it with you...

Griet Menschaert, Drawing for 'Buiten de lijnen 02', 2012, graphite pencil and blue chalk on wall

I particularly like the quiet elegance and her capacity to work beyond the 'frame on wall of gallery' aesthetic, and her self portraits which are disarmingly painterly and self deprecating. Well worth a look, and personally very inspiring... 

UbuWeb



UbuWeb is one of those sites that represents all that is good about the Internet, and is an absolute must for anyone purporting to have an interest in contemporary creativity. Where else could you listen to Marcel Duchamp giving a talk on the creative process in 1957, or hear Hans Arp reading his own poetry, or watch Pina Bausch dance, or listen to Brain Eno's recordings in the mid-70s, or watch Paul McCarthy's video experiments? Below, the FAQ's from UbuWeb explain what it is about...

When did UbuWeb Start?
UbuWeb was founded in November of 1996, initially as a repository for visual, concrete and, later, sound poetry. Over the years, UbuWeb has embraced all forms of the avant-garde and beyond. Its parameters continue to expand in all directions.

How is UbuWeb funded?
UbuWeb has no need for funding. All work is done solely on a volunteer basis. Our only cost is our monthly hosting fee, which amounts to US$50 each month.

Can I get involved?
Yes. UbuWeb is built by many hands and we are always in need of digitizers, both audio and textual. Drop us a line if you are interested and capable.

Can I use something posted on UbuWeb on my site, in a paper, in a project, etc.?
Sure. We post many things without permission; we also post many with things with permission. We therefore give you permission to take what you like even though in many cases, we have not received permission to post it. We went ahead and did it anyway. You should too.

How do I purchase something from your site?
You can't. Nothing is for sale on UbuWeb. It's all free. We know it's a hard idea to get used to, but there's no lush gift shop waiting for you at the end of this museum.

What is your policy concerning posting copyrighted material?
If it's out of print, we feel it's fair game. Or if something is in print, yet absurdly priced or insanely hard to procure, we'll take a chance on it. But if it's in print and available to all, we won't touch it. The last thing we'd want to do is to take the meager amount of money out of the pockets of those releasing generally poorly-selling materials of the avant-garde. UbuWeb functions as a distribution center for hard-to-find, out-of-print and obscure materials, transferred digitally to the web. Our scanning, say, an historical concrete poem in no way detracts from the physical value of that object in the real world; in fact, it probably enhances it. Either way, we don't care: Ebay is full of wonderful physical artifacts, most of them worth a lot of money.

Should something return to print, we will remove it from our site immediately. Also, should an artist find their material posted on UbuWeb without permission and wants it removed, please let us know. However, most of the time, we find artists are thrilled to find their work cared for and displayed in a sympathetic context. As always, we welcome more work from existing artists on site.

Let's face it, if we had to get permission from everyone on UbuWeb, there would be no UbuWeb.

How do I download MP3s?
There are thousands of resources on the web to learn how to do this. That's not what we're here for.

I only have RealPlayer. How come you mostly have MP3s?
MP3s are almost open source. RealMedia is proprietary. We'll always choose open source over proprietary. In the beginning, we streamed RealMedia because that's all there was. The few Real files on site are leftover from those days. We'll be getting rid of them as soon as we can. In the meantime, should Ogg Vorbis or some other truly open source media grow popular enough, we'll migrate to that.

Are you affiliated with a university?
No. UbuWeb is a completely independent site. However, several universities and partners have generously offered us server space and bandwith, with no restrictions or input regarding our content. We have gratefully accepted their offers.

Why are your pages in English? / Why are your pages not in English?
Most of our pages are in English; several of them are not. UbuWeb is accessed universally, hence much of our content is in several languages (the Jean-Luc Godard interview with Serge Daney, for example, is in French). We encourage more multi-linguistic material. If you speak a language other than English and are interested in translating some of our pages or content into your language, we'd be thrilled to post your efforts.

Who are you?
See our masthead, our board of directors, and our partners.

Where are you located?
Our editors are pretty much spread across the United States: New York City, Utah, California, Seattle, etc. You can contact us here.

Why don't you respond to my emails?
Due to the volume of email we receive, we unfortunately cannot respond to them all.

I'm interested in advertising on UbuWeb. How do I go about this?
You don't. UbuWeb is completely commercial-free and it will always stay that way.

Why isn't new content posted every day?
UbuWeb is an archive, not a blog. It has accumulated slowly and steadily and shall continue to far into the future.

I'd like to receive notices of UbuWeb updates. How do I do this?
UbuWeb refuses to advertise or promote itself. Most of all, we detest the idea of filling inboxes with more unwanted material. A few times a year, we post our updates to select mailing lists; that's what they're for, aren't they? For UbuWeb updates, best to just keep checking back on the homepage, where notices of all new content appears.

Do you have an UbuWeb listserve?
Yes, but it's private.

What system do you design UbuWeb on? What browser is UbuWeb optimized for?
We are diehard Mac devotees. We love Firefox.

What is your philosophy?
See our manifesto.

Why is there no Alfred Jarry on UbuWeb?
;)

What happened to the image of the nude woman at the top of the Artist Index page?
Too many people complained that it was offensive, so we removed it and replaced it instead with another Wallace Berman image that we like just as much. It's from the cover of his seminal magazine from the 1960's Semina. As ever, UbuWeb runs off the fumes of Wallace Berman.


Why won't you look at my MySpace page?
It's ugly, crowded, filled with ads, blares music at you, and nine times out of ten, crashes our browser. Really, it's the polar opposite of UbuWeb. Just as in meatspace there are certain streets you never walk down, so in cyberspace, we assidiously avoid the MySpace mall. No ifs ands or buts. Sorry.