the real web_art

artist are producing loads of projects on the web, some more successful then others. but publishing on the net seems to be one of the most successful ones.

the real web_art is, actually, the transportation of art material in the web, through the web, with the web. most of the so called internet art or web art are not that solid enough in their contents and can become a very boring nonsense and a wast of time with lots of visual rubbish on the top of it. because the web changes so fast web art or net art can become just irrelevant for the art discourse that we are having now, which is the act of "negotiation" in and with the means of production of art.

to proove my point here is a successful web-based project xym that is a magazine_like platform which gives artists the opportunity to showcase some of their works online becoming this way part of this web_magzine. for a period of time anybody can download the material and choose to print or not. using images and texts. it is a old practice in a new package! cheers to the makers of xym.com marlie mul and yngve hole.

“the happy end of franz kafka’s ‘Amerika,’and dan graham: beyond

in his “Martin Kippenberger: The Problem Perspective” first american retrospective at moma shows a lot of the genius he was in working with found material and constructed ones and with this mix of medias reconstructed realities. his own reality and the ones around him. somethimes his intallations could look pretty chaotic but they were all very precise and thoughtfully constructed. but in the end, i am sure, he always left some space for "chance" as well, given to his assemblage the right energy. i never forget his big show in geneve in 1997 where i saw for the first time a series of installations in the „Respektive 1997-1976“, Museé d’Art Moderne et Contemporain. what is brillant in the work of martin is that he just blended live and art perfectly. like when he wen to new york to be a guest professor. coming around 11 am to give a class, he would take the students to have a drink in the next pub to start the day. something which was not a very american thing to do. he did, indeed, redefine art!!!

it is so funny that dan grahem also a very genious type of guy has not died yet. what is very interesting is the similarities that can be found in this two artists. the intelligence and playfulness and the energy that they gave and still given to the art discourse. formally they may be quite distinct and different. but the modus operandi is the same. when you go around the glass structure from dan graham and when you look at the installation and paintings that martin kippenberg did, which always have formal reference to painting you will find out that they are generate from a truthful perception of life with help of some kind of addiction. we will enjoy this two great fellows for years to come and probebly find some secrets still hiden in they works.
graham just opened beyond at the moca in los angeles.

about realestate and artestate

art and social situations. right here in a very expensive place on the planet there is a house that was empty for some many years after serving as community center for youth in one of the central areas of frankfurt. some artist and creative individuals took over the place since last august. they call their group
"faites votre jeu" a place for art and culture. but they got from the city a notice to get out by the 15 of january.

RheinMainTV aktuell - 05.08.2008 from faites votre_media
today is the 19 of january and they just did a demonstration walk and still there. they have at the moment one exhibition called "the real estate show" done by the "free calss fmm" with really good works from taslima ahmed, timothy furey, marty kirchner, jackie tarquinio, dan starling, martin stiehl, jeronimo voss. show goes till the end of janury.


Untitled from faites votre_media

hexibition dates 10.01.2009 bis 31.01.2009, tue. 19:00 bis 22:00, wed. 19:00 bis 22:00 and sat. 17:00 bis 21:00 or by appointment as well. just call 0160-95656439

sound from the caribics

we had such a great evening at the caribic residency when
a line up of sound artists started to rave _

here the performance of mark schreiber

human existenciallity - we are more funny and similar then we think

if somebody is spelling the beans of human existence and the awkwardness of living through it, this someone is called olav breuning. just watch this two videos and you have a clue about how we still to go a long way to discover ourselves as weird humans that we are. exposing the tribal-like similarities between the swisses japaneses and papua-new-guinea locals and tourists everywhere he hits on the globe as a tiny little dot-like-village.we are trhough imagery bewn showel in out brains, every second, just to small to not be aware of our congeniality. and believe me he and brian had so much fun on doing it.

all my regards to brain kerstetter what a great performer he is.

home 1

home 2

visions of mr. fuller

'I'd love to go to the black market, if I only knew where it was!'

thanks to eurotopics we can read some of the views from Roger-Pol Droit on the economy. in ruff economic times like this it could be helpful to understand some of it's complex and tricky ways around us.

Les Echos - France | 26/11/2008
Roger-Pol Droit on the anchoring of the market

Philosopher Roger-Pol Droit writes in Les Echos newspaper about the concept of the market and how its significance has changed down the centuries with the emergence of financial markets: "'I'd love to go to the black market, if I only knew where it was!' a respectable woman said in France during the occupation, when barter trade was a necessity. What exactly did she mean? Apparently a market is first and foremost a location. A place people can go to. ... In short, a real location where people meet to buy and sell. ... Because the fact is that over the centuries markets became locations where demand and supply met and where prices were determined. ... The development of the stock markets in the 19th and 20th centuries did not alter this anchoring of the markets. On Wall Street or in the City of London ... securities and shares are now traded instead of calves, cattle, pigs and poultry, but people must still meet and prices must be agreed on. ... The global market seems no longer to have a physical location. ... And if no one knows where it is, it is easy to get the impression that the market, how should I put it ... has become black, for example."

art was not made for tv

but youtube is doing a good job so far. it is a showcase for great moments of art in a tv-format and art that was on tv. like this great performance of john cage in 1960.

dancing with the mind

that is what we can say about bill forsyth work and his legacy.

here we can see the krafting of "in the middle somewhat elevated" created in collaboration with sylvie guillem and part of one of his great works
"impressing the czar". that great soundtrack was composed by thom willems. it was premiered in 1988 and was a very good critic to the "man in the box". remember that TV was just starting to have its golden days. how much was this work a multidisciplinary achievement is a good question.



here a bit of the finish product

to make other see deeper you maybe need to "no show"

"when no means on" a show by melvin moti at the _mmk_zollamte_ in frankfurt is a rare opportunity to see and hear details on the journey of an artist in his desire to encapsulate the process and observation of an activity that we call art. fiction tangles into reality in the pieces that melvin moti produces. even art history is involve in his collection of thoughts and visual observations.
he has the ability to revel the intrinsic parts of the process of making art in a multidisciplinary age. he makes films to be heard.

the loud "le silence de lorna" film

the film "le silence de lorna" is a drama that is evolving in europe's daly reality. the use of woman as tool for trafficking drugs, as sex slave and in this case buying and selling identities in europe and around the world is a highly paid business. in europe the mafia knows how to take advantage of the need ones, from both sides, the rich and the poor europeans. the design of the movie done by the dardenne brothers is a quite inspirational piece for who wants to investigate movie making in the age of image saturation. this movie can make someone's heart and mind really tick loud.

comtemporary art in the re-modus

i just got this book from projectspace176 called past-forward which accompanies the exhibition curated by vincent honoré and a product of his residency at the zabludowicz collection in london. honoré's text _ a fragmented time_ is a trip into the artists practicies of today and their origins. in other words, the content of past-forward is just what we need to know and re_cap about the situation in which art production or re_production is at.

michael ned holte, contribution to past-forward titled_

frequently
unasked
questions

starts like this_

"what is it that makes today's art so different, so appealing?

what's appealing is that so little is different.
The contemporary is marked by a simultaneous and contradictory refutation and reiteration of the past. in other other words, it is all about the re-:
reduce,reuse,recycle,..(+77 re-verbs).realize they're super bad, repeat, repeat, repeat... "


another great piece in the book is
"corpse in reverse" (kiev exquisite) by raimundas calasauskas.

in a numbered limited edition of 1,000 this book designed by åbäke is a piece of gold not to say it is an art piece by itself. reading this book we don't even need to see the exhibition to realize how important this contribution is for the contemporary re_search.

manifesta 7 - hope in rovereto and hope

tatiana trouve. polder, 2007 installation and drawings series "intranquility".

poetry is all over rovereto, this old city gave the artists enough power to deal with europe the old and the changes that are coming through globalization and other cultural and socio-political exchanges.

that was very well expose by videos like "caregivers"2008 by libia castro and ólafur ólafsso. but in other note many artsits exposed just simple and ironical gestures like the videos from guido van der werve with the "Nummer acht. Everything is going to be alright" 2007 or "Nummer negen. The day I didn’t turn with the world" video.

In rovereto you can smell tradition and, as the curators wished, it is the best setting for a confrontation between tradition and the modern.
on this trail we will find in rovereto's central train station projects like the "disneylend express" sticker and other pieces trying to trick the minds of the locals not a easy achievement i would say.



tim etchells delivered a sweet project, in a literal meaning of the word ice-cream. his projects has an interest in the creative possibilities and restrictions of linguistic structures, cultural codes, systems and rules, all of which he approaches as both a subject of inquiry and a mode of operation. his project "Art Flavours" involves the creation of new flavors of gelato inspired by concepts and terms from contemporary art. Through a series of meetings between the artist, a local ice-cream maker and an art writer, the work is an encounter between popular confectionary and art practice. It plays with the possibility of translating languages and ideas from the specialized context of art into new tastes. City Changes , meanwhile, consists of 20 text works, beginning with a description of a city in which nothing ever changes. This initial text is repeated and rewritten to produce a sequence of 19 increasingly preposterous variations of this imaginary place.

when you red tim etchells wrinting on the wall you really enjoying to see the craftsmanship in a very precision of a real multidisciplinary artist at work. i saw his work first in In "The Travels" 2002 with "Forced Entertainment" theater company where the performers are more or less present as themselves, sharing time and space with the audience, telling, recounting, reading and constructing the performance from evidence gathered elsewhere.

in this solo project tim etchells do reveal a more concentrated poetic action that have some how a lot to do with hope in rovereto and many other places in the world today.

manifesta 7 and why we may need museums for the souls

at manifesta7 one of the best sections is "the soul or, much trouble in the transportation of souls" curated by anselm franke and hila peleg. anselm directs the extra city center for contemporary art in antwerp and hila is currently a PhD candidate in curatorial knowledge/visual cultures at goldsmiths college/university of london. this collaboration became a very intelligent work.

they "collected" and assembled works by artists and other muldiciplinaries practicioners like natascha sadr haghighian wich have made this video which shows dancer, choreographer and former microbiologist xavier le roy in conversation with ostheopath martina zeidler{more here}. 

the two videos by keren cytter, which did push buttons on local and european conflicts, historical and present ones by mentioning the poverty of the soul and the arrogance of european societies trough the centuries towards the rest of the world and in their own local realietie as well. keren cytter managed to do a time specific work. with artist like andree korpys and markus löffler and their video piece "villa feltrinell" we can see how history is always hunting the present and how we can use that to transport the troubled soul in discussion in the m7 project.{more...}. 

the choice of presenting a series of "museums works" _ "the MUSEUM OF EUROPEAN NORMALITY" by maria thereza alves, jimmie durham and michael Taussig ,"the MUSEUM OF LEARNING" by brigid doherty (more here..). 

in the top of it all this section of the manifesat7 does a constant research on psychiatric ativities in and on society. good example are The Museum Projective Personality Testing and  The Museum for Franco Basaglia (more here..).

this specific part of the exhibition can make us think about the real time and place for museum. the relation to human necessity of remembering or forgetting reality. the artists and researchers invited to be part of this section of the manifesta are some of the most intense and witty ones working today.

the artist of m7, coming from all over, the planet are not easy on the europeans or italians, by the way,  making this manifesta not an easy one to digest or even understand by locals but very important one for the intensify the art making as a scientific work almost.

the manifest7 index is a good publication to go along with the exhibition. the piece "regenerating memory" written by hedwig fijen, fabio cavallucci and andreas hepkemayer goes to the core of this project. the choice of the location was really good and important as well.

more later on  the "principle hope " in rovereto...

blu blog

news of the blu activities

1# HomeBodies exhibition

Investigation of possible experiences of a Space No. 7 by jonas jensen
book written in danish and english, 62 pages, 2008


finally is there

The first HomeBodies exhibition will open the 8th of August 2008 and run until the 13th of September 2008 at the Atelierfrankfurt, Frankfurt am Main, Germany. Seven artists and one curator have produced this exhibition. Ola Bielas (Poland), Francisca Bancalari (Argentina), Keren Cytter (Israel), Teresa Gillespie (UK), Jonas Jensen (Denmark), Dirk Krecker (Germany), and Charlotte F. Smith (UK), have materialized works independently and or dependently within the HomeBodies framework created by Annabelle von Girsewald. The sculptural and audio installations, videos, and textual based works investigate alienation and displacement in relation to the concept ‘home’.

HomeBodies began in early 2007 as a student project of the London Consortium. Annabelle von Girsewald’s call for artists developed into a two-day HomeBodies Conference at Birkbeck College, London 2007 where 12 international academics and artists presented papers and works responding to the transformation of ‘home’ and to Gaston Bachelard’s The Poetics of Space. Bachelard’s phenomenological and psychological interpretations of the house and in particular Jung’s dual image of the cellar and attic were explored.
The process-orientated project has continuously evolved into a global altermodern explanation of ‘home’ devoid of nostalgia.

“HomeBodies” originates from the American word homebody meaning a person who prefers pleasures and activities that center around the suburban home and especially the basement. This is the starting point for the project yet in reverse, the displacement of its 20th century meaning. Therefore not feeling ‘at-home’ becomes a program in effect. The program aims to include multiple positions within the HomeBodies complexity of place-making while struggling with the foundation of its constructions to comprehend the correlation between the body and the home. The project accepts the danger of our habitat remaining in the dark rather than giving in to desire to see in entirety.

Exhibition opening 08.08.2008, 8 - 10pm

open tuesday and friday from 5 to 8pm
saturday from 3 to 6pm

or by appointment

atelierfrankfurt
hohenstaufenstrasse 13 - 25
60327 frankfurt ma main
kontact@atelierfrankfurt.de
tel. 069-7430377-1

some photos here
http://www.new.facebook.com/album.php?aid=2003697&l=479a5&id=1002720313

who or what is killing art ???

here a very good entry from graham coulter-smith in his blogg artintelligence.net. a really interesting take on the donald kuspit's book “The End of Art”.

some of graham's views are very "new yorke art world" views, but never-the-less it is a very good material for a semester study in our age of multidisciplinary art practices. this is my first contact with the _artintelligence.net_ and i like it. all respect. graham is a teacher and have done a lot of research and he enjoy put it into writing.

all things considered, i would say that even if we do love the the _situationist_ attitude of getting life and art mingled we should be always careful not to kill art or get confuse about some basic differences that does exists between those lets say "fields". otherwise it may give room for really bad exhibitions or shows - maybe we show talk, next, about the difference between these two terms "exhibitions" and "show" so much used in art. we might get some answer about the justification of the entertainment and shock-value in contemporary art. maybe that could be the real possible reasons of the killing of art in a very near future.

death is lively then ever

we can't have enough of death imagery
and pleasure principle are doing it at its best.
with so much war and conflicts around the planet death still reining in life, art and fashion.

so much imagination

video drawings or paintings in motion, what is this all about. maybe you can tell us.

here is a good example "muto" done by blu.

or letter A


this works have a strong appeal as video but do they held the beauty of drawing or action painting-like that they actually try to produce. 

the question in basel is, finally, “How would contemporary art be without video?”

and i  would say "how about the computer animation and computer manipulation in contemporary art practices"? as they invite hans op de beek to talk about the video in comtemporary art in basel this week.