ABOUT US + WIKIPEDIA + MANIPULATION + NAVIGATION + MAIL EN | DE
NO!art homepage  PREV | NEXT
Feedback 2018 search and find in the NO!art archives

   NEWS
   ARTISTS
   GALLERY
   PAST
   AUDIO
   FEEDBACK
   LINKS
   MULTIPLES
   SENTENCES
   STATEMENTS
   STATISTIC
   VIDEO
   WRITINGS

    NO!manipulation

    NO!art
    occupies
    the strategic
    juncture where
    artistic production
    and socio-cultural
    action meet.

    STUETZPUNKT

INDEX 2019

TIMELINE: 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010
2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002 | 2001 | 2000 | PREVIOUS

►►► Heart Attack +++ Hacker Attack +++ Combat Art Review +++ Stonewall Fund
+++ Venice Art Factory +++ God's Angry Man Werner Herzog +++ Human Rights
+++ New York Art Book Fair 2019 +++ Fundraising Editions +++ Progressive Sign
+++ Prison Images +++ Anthology Film Archives Support +++ From DADA to NADA
+++ Analogous Traces

+ + + + + + + + + + + + + + + + + + + +

GUY PARKER: Analogue Traces | Berlin Sep 08


Falling Star

The sun descends over Berlin's Planterwald, May 2018. If it wern't for haze, the Fernsehturm would be visable between the rectanglar structure, part of the Treptowers complex and the electricity pylon. An 1970s artwork revisited using equipment roughly of that time and a little later; Hitachi CCTV FP71 camera, Sanyo VTC5000 Betamax VCR, programmable mains timer switch. Video accelerated x64 with Winows Movie Maker and Blender.

Analogue traces

Sometime around 1970 I became obsessed with the idea that video has been invented to satisfy an ancient longing: to allow the human eye to gaze directly at the sun without damage to the retina.
---Mary Lucier, Light and Death¹

In 1975 American artist, Mary Lucier pointed a video camera at the rising sun. In a piece titled Dawn Burn, a video camera captured dawn over the New York skyline; the sun's intensity leaving indelible traces on the fragile surface of the video tube as it crossed the frame. For Lucier these marks were scars, 'trauma so deep it cannot be erased but, instead, accumulate on the image surface as a form of memory'

This process and Lucier's suggestion that her camera was able to absorb and retain what it had viewed, albeit as a form of wounding questions the fate of another video camera, a CCTV camera proposed by Bill Viola in Video Black – The Mortality of the Image², whose service of twenty years silently surveilling the same scene without ever being coupled to a recorder, comes to an end. Viola's camera is left with nothing to show for it's experience

'Without a memory to give it a life, events flicker across its image surface with only a split second to linger as after images, disappearing forever without a trace. '

In The Autobiography of Video Ina Blom asserts 'changes can only be perceived if you are able to remember and compare. And memory, Viola tells us, is precisely what this camera does not have. You cannot expect it to tell history or to transfer accumulated knowledge. Its time is the present only, and the events that make up this present hardly seem to register at all, leaving only the briefest of traces.' ³

The 'after images' that Viola refers to, the 'traces' described by Blom are the video tube sensor's lag, a sort of electronic persistence of vision that would cause bright objects to appear to momentarily remain visible once removed from view or to stream ghosts as they move a screen. Described here as analogous to ultra short term memory; conspicuous enough to be visible yet too fleeting to have any mnemonic purpose, the phenomena is related to one of the factors that made the video tube's responding counterpart, the Cathode Ray Tube that employed much the same technology but for display rather than capture, suitable to be adapted for use in the first electronic Random-access Memory system.4 Video's potential for immediate feedback, that proved alluring to early counterparts of Viola and Lucier, allowed for an entire computer program to be displayed on screen in a series of dots and dashes to then be read by a sensor that would then write the displayed quantity back onto the screen. Manually, the operator could access any part of the 32 bit memory code, intervening in the loop to adjust the data. The video tube's ability to produce live feedback could potentially be adapted into memory systems. What it lacks is storage. Momentary delay or lag displayed on screen was no use for storage, the formation of a body or archive; a recording.

Although a means of electronically writing, saving or storing the imagery captured by the video tube had been imagined as far back as the 1920s the electronic moving image existed without dedicated storage until the late 50s. Until then it relied on a film camera to reshoot it's images. Unlike video, the motion film recording substrate was developed simultaneously to the development of the apparatus. Unlike video, every film second is provided for by multiple sensors, 'footage' that judders past the gate to become film frames. A scratched or over exposed film frame is, gone within the blink of an eye. Not so for the video camera that only ever has one sensor, one eye.

And yet, Lucier proves the video camera uncoupled to a recording medium, the eye without a brain, can in fact have recourse to a variant of storage; a write once system where memory is etched with a blinding light process gradually causing irreversible damage. Burn. The term used for this effect would later be used to describe optically writing data for storage to Compact Disc and DVD. As with Keraunography, the mythical process where lines and images are drawn onto a variety of media including human skin by energy and light descending from the sky or Optography, the phenomena of the retina retaining its last seen image beyond death; video burn provides primitive, use once image storage that simultaneously inflicts injury or destruction of the device that has gathered it. Combining Lucier and Violas cameras for experiment: a static Vidicon camera pointing towards the setting sun. Over a period of days and weeks, as the earth moves about the sun, the fireball's glare will streak across the image in gradual increments, creating diagonal tracks across the screen that resembles those made by video heads onto tape during the helical scan recording process. Unlike the magnetized tracks set into the rewritable palimpsest of video tape those drawn upon sensitive photoconductive layer of the

Over the passage a year, a writing over of the entire target sensor could occur. Over the twenty years proposed by Viola, it would be entirely burnt and blinded, yet as it was retired, it would take with it some material evidence of its service, some indexical proof of what it had seen. Video, the medium born without memory would blind itself to create one. Video Black – Viola's camera has remembered something after all.

1. Mary Lucier, Light and Death printed in Illuminating Video: An Essential Guide to Video Art, Doug Hall, Sally Jo Fifer, Aperture, 1990.
2. Bill Viola, 1990. excerpt printed in Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings, Kristine Stiles and Peter Selz,University of California Press, 1996.
3. Ina Blom, The Autobiography of Video: The Life and Times of a Memory Technology, Sternberg Press, 2016.
4. The Small Scale Experimental Machine or Manchester Baby, 1948. http://www.computinghistory.org.uk/det/6013/The-Manchester-Baby-the-world-s-first-stored-program-computer-ran-its-first-program

more

+ + + + + + + + + + + + + + + + + + + +

ANDREAS HEUSSER: From DADA to NADA | Zurich Sep 05

NO MuseumNO SHOW MUSEUM at Helmhaus Zürich

Only a few days left in Zurich - Last chance to see the award-winning new exhibition by the NO SHOW MUSEUM: From Dada to Nada is a ramble through the history of artistic engagement with nothing, starting with the Dada movement at the beginning of the 20th century up to Contemporary art.
Location: Helmhaus Zurich, Limmatquai 31, 8001 Zurich (tram 4 and 15 to stop 'Helmhaus')
Opening hours: Thursday 5.9.: 11 - 20 o'clock
Friday 6.9.: 11 - 18 o'clock
Saturday 7.9.: 11 - 18 o'clock, 
followed by the Long Night of the Museums: 18 - 02 o'clock 
Sunday 8.9.: 11 - 18 o'clock.
Upcoming exhibitions of the No Show Museum:
October 2, 2019: Nothing matters. Icons of the Voids. Exhibition in cooperation with Stano Masar. Main square Linz and Valie Export Center Linz, Austria.
October 6, 2019: Nothing matters. Icons of the Voids. Exhibition in cooperation with Stano Masar. Kunsthalle Bratislava, Slovak Union.

+ + + + + + + + + + + + + + + + + + + +

ANTHOLOGY FILM ARCHIVES: A meaningful time to support ... | Jun 28th

Jonas Mekas, film image, 2000
Jonas Mekas, As I Was Moving Ahead Occasionally
I Saw Brief Glimpses of Beauty
, 2000, 16mm.

Dear friends of Anthology,
It has been a momentous year here at Anthology. With all this organization has achieved – the many films screened, the many works restored and preserved – we also suffered the loss of our dear friend and mentor, AFA’s founder Jonas Mekas.
As we approach the end of our fiscal year on June 30th, we hope you’ll spare a moment to reflect on what Anthology is and share in Jonas’s vision for this organization, for cinema, and for life.
This deadline, as we close the book on this fiscal year, is a meaningful moment for our staff to consider all that Jonas had achieved and all he anticipated for this institution. Your tax-deductible gift this weekend allows us to continue to spotlight the unseen, highlight the historically significant, and reveal remarkable feats of the cinematic form, and allows you to help contribute to this vision.
Whether you’ve attended film programs, joined as a member, or kept tabs on us from elsewhere, we thank you for your continued support of all that we do here at Anthology Film Archives!
Best wishes for a peaceful & rewarding summer,
John Mhiripiri and the entire staff at Anthology
Anthology Film Archives is a 501(c)(3) nonprofit organization  more

Support Anthology Film Archives

+ + + + + + + + + + + + + + + + + + + +

ANTHOLOGY FILM ARCHIVES: Prison Images | New York | Jun 26th

inside women
Christine Choy & Cynthia Maurizio INSIDE WOMEN INSIDE (1978, 28 min, 16mm-to-digital)

PRISON IMAGES: INCARCERATION AND THE CINEMA - Art by Inmates | July 8 til 25
Mainstream movies inform much of what we understand about prisons, and while most commercially-driven films provide us with an ideology meant to naturalize the prison system, there are others that persist in challenging received notions about the usefulness and effectiveness of punishment. Spanning from the 1950s to today, this series brings together a broad selection of films, with each reflecting different aesthetic and critical relationships to the prison institution: from provocative, activist documentaries to inmate-made films, from commercial exploitation cinema to classic escape dramas, and more.
From July 18-26 we'll present a follow-up series focusing more specifically on films made by or with inmates, as well as documentaries that explore similar programs intended to foster the creation of theater, music, art, and literature by inmates. Curated in collaboration with Evelyn Emile. more

+ + + + + + + + + + + + + + + + + + + +

PRINTED MATTER: Fundraising Editions| New York | June 24th

Lawrence Weiner: Read to Learn Art
Lawrence Weiner, LEARN TO READ ART, 2019

Peter Moore: Trio A with Flags
Peter Moore, Trio A With Flags by Yvonne Rainer, 1970/2019

See Printed Matter's most recent Fundraising Editions launched on the occasions of our 2019 LA Art Book Fair and spring benefit. Proceeds support Printed Matter's many public programs devoted to the distribution, understanding and appreciation of artists' books.
We are pleased to offer new works by Jeffrey Cheung, Petra Cortright, Jibade-Khalil Huffman, Ella Kruglyanskaya, Peter Moore, Cauleen Smith and Lawrence Weiner.
Printed Matter works with artists to create editioned artworks in support of our mission. While these editions are an important source of revenue for our organization, their production and distribution are also aligned with our mission to disseminate artists’ works made as multiples. more

+ + + + + + + + + + + + + + + + + + + +

Jens Galschiøt: Progressive Highway Sign (billboard) | Odense/DK | May 6th

Jens Galschiot Highway Signpicture

In Denmark, the most progressive highway sign (3x3 m) was set up in April at the E20 exit by Odense. It is the Danish artist Jens Galschiøt who has designed the sign, which also points towards his gallery.
On the sign, everyone is exposed to the artistic razor: China's a􀆩empt to erase the massacre of their own students in 1989, the Catholic Church's absurd contracep􀆟on ban, the US's denial of climate change, the extreme double standards and arrogance of the Western world, the retreat of the Europeans from humanism, men and women’s roles in a queer time, and the powerlessness of the climate negotiations.
The artist says: "I am happy to live in a country where one can see the value in art about social criticism, as well as have it on an official Danish highway, and on the hometown of Danish poet Hans Christians Andersen also, who even used his adventures to put focus on the absurdity of society. Art must be used to create new insights into the world, and that is the kind of art that is on the sign”.
The signage cost about 50.000 euros. Galschiøt has got them with the help of art crowdfunding, for which he made a series of unique sculptures that were sold specifically to finance the signage. Within 14 days the sculptures were sold and the signage paid. more

+ + + + + + + + + + + + + + + + + + + +

NY Art Book Fair 2019 - Exhibitor applications now open | New York | April 26th

New York Art Book Fair

Printed Matter presents
THE NY ART BOOK FAIR | September 20–22, 2019
Opening Night: Thursday, September 19

printedmatterartbookfairs.org
@printedmatter_artbookfairs

MoMA PS1 | Long Island City, NY | Free entrance

Exhibitor applications are now open for Printed Matter's 2019 NY Art Book Fair. 
Apply through May 20  here

Since its founding, the NYABF has grown into a leading international event for the arts publishing community, providing an important platform for artists and publishers to connect with audiences and circulate their work in a dynamic environment.
Over three days, the NYABF 2019 will welcome hundreds of exhibitors from around the world, including a broad range of artists and collectives, small presses, institutions, galleries, rare and out of print booksellers, and distributors. With a commitment to diversity and representation, the event will serve as an open meeting place for an extended community of publishers and book enthusiasts, as well as a site for dialog and exchange around all facets of arts publishing
The Fair weekend will once again feature a full calendar of free educational programming, book launches and signings, performances, artist-led events, special exhibitor projects, and so much more!
Exhibitor applications are open through May 20, 2019

Apply here

MoMA PS1 is located at 22-25 Jackson Avenue on 46th Avenue, Long Island City, NY. Poster graphic design by Garrick Gott

+ + + + + + + + + + + + + + + + + + + +

AIAPI Staff: Call for Artists - Human Rights #Clima | Rovereto/Italy | April 17th

International Exhibition of Contemporary Art | 7 September | 31 December 2019
Fondazione Opera Campana dei Caduti | Rovereto | TN | Italy
PARTICIPATION IS FREE and is OPEN TO ALL ARTISTIC EXPRESSIONS
Deadline 20 July 2019  Download Participation Form

Human Rights Goals

HUMAN RIGHTS? #CLIMA – Edizione 2019 | UNRIC Agenda 2030 says about the climate change: “Climate change is now affecting every country on every continent. It is disrupting national economies and affecting lives, costing people, communities and countries dearly today and even more tomorrow. Weather patterns are changing, sea levels are rising, weather events are becoming more extreme and greenhouse gas emissions are now at their highest levels in history. Without action, the world’s average surface temperature is likely to surpass 3 degrees centigrade this century. The poorest and most vulnerable people are being affected the most.
Affordable, scalable solutions are now available to enable countries to leapfrog to cleaner, more resilient economies. The pace of change is quickening as more people are turning to renewable energy and a range of other measures that will reduce emissions and increase adaptation efforts. Climate change, however, is a global challenge that does not respect national borders. It is an issue that requires solutions that need to be coordinated at the international level to help developing countries move toward a low-carbon economy.
To strengthen the global response to the threat of climate change, countries adopted the Paris Agreement at the COP21 in Paris, which went into force in November of 2016. In the agreement, all countries agreed to work to limit global temperature rise to well below 2 degrees centigrade. As of April 2018, 175 parties had ratified the Paris Agreement and 10 developing countries had submitted their first iteration of their national adaptation plans for responding to climate change.”

+ + + + + + + + + + + + + + + + + + + +

ANTHOLOGY FILM ARCHIVES: In Dialogue: Werner Herzog | New York | Apr 17th

Werner Herzog: God's Angry Man
GOD'S ANGRY MAN

DOCUMENTARY IN DIALOGUE: WERNER HERZOG | April 18-28
Werner Herzog’s prominence within the realm of nonfiction cinema has grown in recent years, both due to the films themselves and to his promotion of the idea of an “ecstatic truth” that hinges on the director’s manipulation of reality. At the same time Herzog has gained attention by critiquing other, more passive approaches, such as Direct Cinema.
Nevertheless, it is not easy to say what defines a Herzog documentary, aside from the presence of his almost legendary voice and his interest in outsiders who are often confronted with extraordinary circumstances. Guest curated by Alejandro Bachmann and Michelle Koch – the editors of a recent German-language book on Herzog’s documentaries – this film program attempts to illuminate this unique body of work by pairing particular Herzog films with works by other filmmakers that focus on similar topics, deal with comparable material, or employ related approaches. This series is co-presented by the Goethe-Institut New York.  read more

KASPAR HAUSER

STROSZEK

+ + + + + + + + + + + + + + + + + + + +

VeniceArtFactory: Living Rocks - Venice Biennale | Venice | Apr 16th

James Darling and Lesley Forwood: living rocksOpening party | Living Rocks: A Fragment of the Universe | Venice Biennale May 10th RSVP to 58th Venice Biennale vernissage of the Collateral Event by James Darling and Lesley Forwood on May 10th at 9:00pm.
VENICEARTFACTORY is proud to invite you to the opening cocktail of Living Rocks: A Fragment of the Universe, an Official Collateral Event of the 58th Venice Biennale.

Copyright © 2019 VeniceArtFactory, All rights reserved.
Contact: info@veniceartfactory.org

darling and forwood statement
darling and forwood homepage

+ + + + + + + + + + + + + + + + + + + +

HEIDE HATRY: Heart Attack Exhibitions in Canada, Peru ... | New York Apr 14th

hattry exhibition heart attackBefore I inform you about upcoming exhibitions, I'd like to share something I just learned, which, though I hope you won’t need it, could prove valuable:
HOW TO SURVIVE A HEART ATTACK:
If you suddenly start experiencing severe pain in your chest that starts to extend out into your arm and up into your jaw, you might have only about 10 seconds left before losing consciousness.
You can help yourself by coughing repeatedly and very vigorously (a deep breath should be taken before each cough, and the cough must be deep and prolonged, as when producing sputum from deep inside the chest.)
A breath and a cough must be repeated about every two seconds without let-up until help arrives, or until the heart starts beating normally again. (Deep breaths get oxygen into the lungs and coughing movements squeeze the heart and keep the blood circulating. The squeezing pressure on the heart also helps it regain its normal rhythm. That way you might make it to the hospital) Tell as many other people as you can about this, as it may just be possible to save a life.  read more

+ + + + + + + + + + + + + + + + + + + +

HACKER ATTACK: contact | unknown | Feb 2nd

Hi, this account is now hacked! Renew your pswd right away!
You do not know anything about me and you may be probably wanting to know why you're receiving this message, is it right?
I am ahacker who burstyour email boxand all devicesa few months ago. It will be a time wasting to attempt to contact me or alternatively try to find me, it's hopeless, since I forwarded you an email from YOUR hacked account.
I started malware soft to the adult vids (porno) site and suppose you visited this site to have some fun (you realize what I really mean).
During the time you were paying attention to movies, your internet browser started out to act as a RDP (Remote Control) that have a keylogger which granted me authority to access your screen and web camera.
Next step, my applicationgatheredall data.
You typed passwords on the web-sites you visited, I already caught all of them.
Without a doubt, you are able modify them, or possibly already modified them.
Even so it does not matter, my spyware updates needed data every 5 minutes.
What did I do?
I compiled a reserve copy of the system. Of all files and contact lists.
I have managed to create dual-screen record. The 1st part demonstrates the clip you had been observing (you've got an interesting taste, ha-ha...), the 2nd part demonstrates the video from your web camera.
What should you do?
Good, I think, 1000 USD is a good amount of money for our very little riddle. You will do the deposit by bitcoins (in case you don't recognize this, try to find “how to buy bitcoin” in any search engine).
My bitcoin wallet address: 12YXRfYeszfDSTzc5zH7wBbHPWpJkeSD3p
(It is cAsE sensitive, so copy and paste it).
Important:
You will have 2 days in order to make the payment. (I put an unique pixel in this email, and at this moment I know that you've read this email).
To monitorthe reading of a messageand the actionsin it, I set upa Facebook pixel. Thanks to them. (The stuff thatis appliedfor the authorities can helpus.)
If I fail to get bitcoins, I'll immediately give your video to all your contacts, including family members, colleagues, and so forth?

+ + + + + + + + + + + + + + + + + + + +

REDAZIONE: COMBAT ART REVUE| Lucca/Italy | Mar 5th

Gasworks: 25 years of residencies and cultural exchanges

Gasworks/Italy

Gasworks is a non-profit art organization established in 1994 that works both in the UK and internationally. It provides studios for emerging London-based artists and residencies for international artists at their first exhibition in the UK, supporting them and giving them the opportunity to spend time researching and developing ideas, in an exciting panorama that a city like London can offer. Combat Art Review meets the director Alessio Antoniolli.
This year is Gasworks 25th anniversary. Could you give us an overview of what Gasworks is in 2019 and what’s been achieved since 1994?  read more

+ + + + + + + + + + + + + + + + + + + +

GREY ART GALLERY | The Impact of your donation to the Art after Stonewall Exhibition Fund | New York | Mar 11

Guy Students Protest, New York 1970
Diana Davies, Untitled (Marsha P. Johnson Hands Out Flyers for Support
of Gay Students at N.Y.U.), c. 1970. Digital print. 11 x 14 inches (27.94 x 35.56 cm).
Photo: Diana Davies/© The New York Public Library/Art Resource, NY

On June 28, 1969, only a few blocks away from the Grey Art Gallery's home in Washington Square, the Stonewall riots began, proving to be a turning point in the modern LGBTQ movement over the ensuing five decades. The Grey, along with countless NYU faculty, students, administrators, and alumni, have engaged with this movement, contributing to groundbreaking change, but at times experiencing heartbreaking loss.  read more

  top of page

__________________________________________________________________________
©  http://feedback.no-art.info/en/2019.html