TAGGED ► Heart Attack +++ Hacker Attack +++ Combat Art Review +++ Stonewall Fund
Phil Levine: ANTI-TRUMP PAINTINGS| New York on Nov 21 | It occurred to me that you might be interested in some political paintings like the one below. A group of people posing for the camera Description automatically generated---regards Phil Levine
Esther Sulca: LOOKING FOR ARTISTS | Los Angeles on Oct 25 | Hello and Good morning, My name is Esther Sulca. I work with a big client that is looking for contemporary artists that produce illusion art. We would love to be in contact with them in order to review and purchase their work. Is there any information you would be able to give me on any artists you are working with or have worked in the past that falls under this category?
Lito: ARTIST PORTFOLIO | Sao Paulo/Brazil on Oct 22 | Hello, I am Lito, Brazilian artist, resident in São Paulo. I would like to present my portfolio to your gallery. I work with canvas arts using a mix of techniques, including collage, acrylic paint, spray, stamp, liquid glass, among others. I'm sending my resume attached and you can see my online gallery here: ►eusoulito.com.br/en/
Frances Negron: INCIDENT | New York on Sep 23 | I was walking by late night on 9-22-19 and walked by your museum there was an elderly woman seating inside the store in the dark talking to herself. I was wondering were you guys aware and know who she is because just didn’t seem normal to me, also all the gates were close and the back light was on but there was no one else inside. I try calling but the number listed doesn’t work so I’m emailing you just to be sure she’s ok. Thank you and sorry if any inconvenience have a good day..
Andreas Heusser: FREE LIVING IN SWITZERLAND | Zurich on Sep 18 | Call for entries – Artist Residency in Zurich --- FREE LIVING IN SWITZERLAND --- Deadline for applications: 30 November 2019.
The Artist Residency "Freiraum" provides rent-free living in a recently renovated and furnished attic room (ca. 19m2, with a separate kitchen) in the heart of Zurich, as well as the opportunity to network and discuss projects and ideas with the artists of the authors's collective index. If desired, our collective will also help organize a public event (e.g. exhibition, concert, panel discussion). Since 2010, more than 50 artists from all over the world have profited from the program.
The Residency is open to artists of various disciplines and experience. However, priority for the space will be given to artists from abroad who have had little or no support from other sponsors.
The Residency lasts over the course of 8 weeks. Please note that guest artists are expected to bear the travel costs and the day-to-day costs during their residency themselves.
Der The Application deadline for a residency from March 2020 to December 2020 is
More infos and application process: ►www.wortundwirkung.ch/freiraum
Guy Parker: ANALOGUE TRACES | Berlin on Sep 08 | 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.
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.
Andreas Heusser: FROM DADA TO NADA | Zurich on Sep 05 | 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.
NO SHOW MUSEUM at Helmhaus Zürich
Anthology Film Archives: A MEANINGFUL TIME TO SUPPORT | New York on Jun 28 | 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.
Anthology Film Archives: PRISON IMAGES | New York on Jun 26 | INCARCERATION AND THE CINEMA - Art by Inmates on 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
Printed Matter: FUNDRAISING EDITIONS| New York on June 24 | 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 | Odense/DK on May 6 | 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 aempt to erase the massacre of their own students in 1989, the Catholic Church's absurd contracepon 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.
NY Art Book Fair 2019: EXHIBITOR APPLICATIONS NOW OPEN | New York on Apr 26 | 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.
MoMA PS1 | Long Island City, NY | Free entrance
Exhibitor applications are now open for Printed Matter's 2019 NY Art Book Fair.
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 on Apr 17 | 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.
International Exhibition of Contemporary Art | 7 September | 31 December 2019
Anthology Film Archives: IN DIALOGUE - WERNER HERZOG | New York on Apr 17 | Documentary | 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
VeniceArtFactory: LIVING ROCKS - VENICE BIENNALE | Venice on Apr 16 | Opening 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.
Heide Hatry: HEART ATTACK EXHIBITIONS IN CANADA | New York on Apr 14 :
HACKER ATTACK: contact | unknown on Feb 2 | Hi, this account is now hacked! Renew your pswd right away!
Redazione: COMBAT ART REVUE| Lucca/Italy on Mar 5 | Gasworks: 25 years of residencies and cultural exchanges | 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.
Grey Art Gallery | THE IMPACT OF YOUR DONATION TO THE ART AFTER STONEWALL EXHIBITION FUND | New York on Mar 11 | 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