to follow up on today’s seminar:
http://www.medienkunstnetz.de/works/performer-audience-mirror/
watch a video of the 1975 performance here http://vodpod.com/watch/1502271-dan-graham-performeraudiencemirror-1975
http://notesonlooking.com/?p=3218
plus, see Rock My Religion here http://vimeo.com/5445916
Required reading for the seminar:
The catalogue for the 2001 ZKM exhibition CTRL [SPACE] – Rhetorics of Surveillance from Bentham to Big Brother.
It’s in the Semesterapparat in the library, also Christian has a copy that you can come and borrow (if you promise to treat it well). Plus the artist’s pages are still online at http://ctrl-space.zkm.de/e/ (English) or http://ctrlspace.zkm.de/ (deutsch).
We suggest you should go and have a look at the essays, only available in the printed version. There is an interesting (German-only) interview with the curator Thomas Y. Levin here.
A pigeon’s perspective, including wing-flapping:
virtual_group (cologne) and School of intermedia art (hangzhou) present Vision Quest, an event of some (art) exchange and data-Streaming about how being looking forward to seeing (more).With the participation of art Institute of Basic Visual, Johannes AmoroSa, Malgorzata Calusinska, Chen Si, Vera Drebusch, Theresa Krause, Li Ming, Karin Lingnau, Henning Frederik Malz, Ou Wenting, Evelina Rajca, Zhang Jianyun, Zhang YiShen.
coordinated By Deng Yuedream and Susanna Schoenberg.
Juli 3rd 2011, 10 am – 10 pm
Boutique am Ebertplatz 50668 cologne germany
and madein Space 18 wuwei road putuo district Shanghai 200331 china
www.liveStream.com/virtual_group
An Exhibition of Radical Speech Acts
October 30–November 9, 2010
Opening Reception:
November 1, 2010, 6:00 – 8:00 pm
Arnold and Sheila Aronson Galleries
The Sheila C. Johnson Design Center
Parsons The New School for Design
http://www.newschool.edu/sjdc
The exhibition presents the work of fifteen artists and collectives who explore the relationship between language and power, media, action, and socio-political context through gallery works, talks, workshops and performances. The exhibition takes its name from the title of a groundbreaking treatise by British philosopher J.L. Austin, who eloquently presented the concept of speech acts. He disavowed the notion of language as something passive that simply describes reality, but rather described it as a set of practices that can be used to affect and create realities. Austin’s premise is that speaking itself contains the power of doing.
Participating artists include Melanie Crean; Azin Feizabadi and Kaya Behkalam; Andrea Geyerand Sharon Hayes; Yael Kanarek; Carlos Motta; Martha Rosler; the Iraqi/U.S. Cross Wire Collective; Mark Tribe; and The Yes Men. Artists presenting talks and performances include Wafaa Bilal; Feizabadi; Kanarek; Huong Ngo and Hong-An Truong; Tribe; and Mary Walling Blackburn.
Several pieces in the show relate speech to the urgency of the political process during an election season. Carlos Motta’s Six Acts: An Experiment in Narrative Justice (2010) reenacts a series of speeches concerning the concept of peace, originally delivered by six liberal Colombian presidential candidates from the last century who were assassinated because of their ideology. Performed by actors in public squares in Bogota during the last presidential campaign, the work emphasizes the transformative potential of fiction as a tool of reparative collective memory. Azin Feizabadi’s The Epic of the Lovers: God, Mafia and the Citizens (2009) muses on the disparity between individual and collective desire for change during Iran’s Green movement, written and photographed by the artist as he participated in the protests in Tehran. Melanie Crean’s The Anonymous Archives (2008-10), is an online archive of interviews that document the rapid shifts in Iraqi and American desire for pol itical change during the period of US military divestment, beginning before the 2008 election of President Obama, and finishing just after the current US mid-term elections.
John Baldessari is looking for people who want their name in lights, but just for 15 glittering seconds.
Your Name in Lights reflects the changing cult of celebrity in modern society and recalls Andy Warhol’s prediction that in the future everyone will have their 15 minutes of fame. Drawing on imagery from Broadway theatre displays and Hollywood films, this ambitious new work will involve more than 100,000 participants.
Register your name and watch it appear in lights on the Australian Museum’s William Street façade.
For more information, and to submit your name, please visit the Sydney Festival 2011 Website.
Nobody’s Property: Art, Land, Space, 2000-2010
October 23, 2010-February 20, 2011
Over the last ten years, “land” and “space” have become pressing subjects for artistic investigation, so much so that we can now speak of a new generation of environmental artists. Nobody’s Property will explore this development and probe the reasons for its appearance at the beginning of the twenty-first century. The exhibition features the work of seven artists and two artist-teams: Jennifer Allora and Guillermo Calzadilla, Francis Alÿs, Yael Bartana, Andrea Geyer, Joana Hadjithomas and Khalil Joreige, Emre Hüner, Matthew Day Jackson, Lucy Raven, and Santiago Sierra. Using media that range from video and photography to digital animation, performance, and assemblage, these artists parse the economic, geopolitical, and phantasmatic conditions of land and space. Their methods are as varied as their media, but they tend to coalesce around one of four approaches: the investigatory, the parafictional, the interrogative, and the interruptive. While some of the artists in the exhibition explore historical configurations of space, gauging its symbolic import for specific actors at specific moments in time, others consider concrete land-sites—sites, that is, with a particular geographical correlate. Among these land-sites are the cities of Jerusalem and Beirut, the island of Vieques, the border town of Juarez, the Navajo Nation, and the industrial center of Tongling. Each one crystallizes a larger debate around issues such as war, globalization, cultural patrimony, civil rights, and national sovereignty.
surveillance and self-surveillance are belonging to the actual setup of understanding and acting public space, intimacy and (tele-)communication, not only between individuals, but also between situations and “formats” of/for space.
The figurative idea of Surveillant Architectures coined by artist Julia Scher, is (maybe?) not just referring to the imperative that,
if you want to “understand” – explore, discuss, maybe practice – surveillance, then you have to “think on” or to “argue with” architecture/s,
but much more that there is a kind of (post historic?) perspective on the issues of public space, intimacy, questioning the privatization of spaces, the publicity of privacy, the defensible attitude of semi-public spaces, the generalized practice of “doing” public opinion – making opinions and preferences public -:
all this could be asked to declare itself as surveillance-related, in a surveillant perspective.
VIRTUAL_GROUP is inviting you to participate in the upcoming broadcast
TUE NOV 30th at 18 CET (17UTC)
WED DEC 1st at 11 CET (10 UTC)
http://www.livestream.com/virtual_group
