art positions & projects

Professor to implant camera in the back of his head

Professor Wafaa Bilal, who works at NYU’s Tisch School of the Arts’ photography and imaging department, is causing a stir because of his artistic experiment raises privacy concerns.Bilal, who has a countdown on his website for the project – dubbed 3rdI – will have images from the camera broadcast live from the back of his head to an exhibit in a museum in Qatar scheduled to open in December.

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The camera, which will be the size of a thumbnail, will be attached using a method similar to piercing, according to The Wall Street Journal, which spoke to Bilal’s colleagues familiar with the project.
Bilal will have the camera in his head for a year, and it will take pictures in one-minute intervals.

What will museum visitors see? Well, that depends on Bilal’s travels, which is where the controversy comes in. Questions have been raised as to whether he will have the camera on while he teaches at NYU and whether students’ privacy may be invaded. NYU is looking into the issue.

“As a school of the arts, a school whose mission is to educate artists, we place a high value on his right to free expression in his creative work as an artist, and take that principle very seriously,” NYU Spokesman John Beckman said in a statement. “But as a school of the arts, we also take seriously the privacy issues his project raises, its impact on our students and the importance of preserving trust in the pedagogical relationship between a faculty member and students.

“There have been numerous conversations since Professor Bilal informed us of his project as we sought to find the right balance; we think they have been constructive and productive. We continue to discuss with him the right mechanism to ensure that his camera will not take pictures in NYU buildings.”

This isn’t the first time the Iraqi artist’s experiments have caught people’s attention.

His work “Domestic Tension,” where he stood in front of a paintball gun and allowed people to shoot him over the Internet 24/7, caused widespread buzz online.

His controversial video game piece, “Virtual Jihadi,” ended with a lawsuit from the American Civil Liberties Union. Bilal hacked a video game and put an avatar of himself in the game and then appeared as a suicide-bomber hunting Former President George W. Bush.

source: CNN online

Claudia Robles' brain data performance INsideOUT

Friday july 2nd 2010, 6 pm
Musiksaal der Universität zu Köln, Hauptgebäude, Albertus-Magnus-Platz, 50923 Cologne

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INsideOUT -Performance using an electrocephalogram and real time media.
This performance is about the materialization of the performer’s thoughts and feelings on the stage. In the performance, imagination becomes spatial. The stage is a place for the appearance of the invisible. Yasu Ohashi says: “the actors aim at our senses, our body and our unconscious and not at our intellect. Their gestures try to envision THE INVISIBLE WORLD.”
The performer, who is surrounded by sound and images, interacts with them using an EEG (electroencephalogram) interface, which measures the performer’s brain activity. Those sounds and images -already stored in the computer- are modified consequently by the brain data via MAX/MSP-Jitter. Hence, the performer determines how those combinations will be revealed to the audience. Images are projected to a screen and also onto the performer, while sounds are projected in surround.

This project was developed during an artist in residence at the Kunst und Medienwissenschaften Department of the Academy of Media Arts in Cologne (Germany).

A Reasonable Man in a Box : Jill Magid @ at Whitney NYC

In her first solo exhibition in an American museum, Jill Magid (b. 1973) continues to explore means of penetrating closed systems of power. Taking institutional structures, rules, laws, and language as her media, Magid has developed a conceptually rigorous, largely performance-based practice in which she seeks to engage institutions of power on a personal, intimate level. Developed for the Whitney Museum’s first-floor Anne & Joel Ehrenkranz Gallery, Magid’s A Reasonable Man in a Box takes its point of departure from the “Bybee Memo,” a controversial 2002 document signed by Jay Bybee, Assistant Attorney General of the United States Department of Justice’s Office of Legal Counsel, and declassified by President Obama in 2009. The document discusses acceptable methods of “enhanced interrogation” of a high-level Al Qaeda operative, including the use of a confinement box. As Whitney curatorial assistant Nicole Cosgrove writes in the introductory text, “A Reasonable Man in a Box explores the perversion of reason, and the malleability of language and law. Using video, collage, and text, Magid transforms an international and political issue into a physical and intensely personal experience. The installation represents an artist’s desire to engage a legal memo—and her government—in dialogue, and to unlock a closed system of legal language with a single rhetorical question.”

Jill Magid: A Reasonable Man in a Box is organized by Anne and Joel Ehrenkranz Curator Chrissie Iles.

http://whitney.org/Exhibitions/JillMagid

CfPP: Gewächshaus Erinnerung – a project by thon&beuse

The project Gewächshaus Erinnerung by thon&beuse is concluded: documentation online under
http://www.thonbeuse.com/reaction-gewaechshaus.html

Gewächshaus Erinnerung
Performative Installation, 30 Tigerbambusrohre, 2000 Meter imprägnierter Baumwollfaden, 100 Meter schwarzes Nylonseil, 100 Meter weisses Nylonseil, Draht, 1000 Sandwichboxen transparent, gesammelte/gespendete Erinnerungsstücke, gegossener Wurfanker, 2 Schekel. thonbeuse 2010
Schlagworte (Tags) Bewegungsmuster, Intim/Öffentlich, Erinnerungsmuster, Topographische Vernetzung/Verteilung, Erinnerung/Raum, Architektur, Baugeschichte, Erinnerung/Ritual, Erinnerung/Wandel, Kunst/Wort

re-active platform @ glasmoog

re-active platform
Ralf Baecker, Artur Holling, Karin Lingnau, JiHyun Park, mit Luis Negrón van Grieken, Susanna Schoenberg
March 20 to April 14, 2010
glasmoog
Academy of Media Arts Cologne
Filzengraben 2a, Cologne, germany

re-active platform

re-active platform is about the logic and aesthetics of systems; circuits, signals and displays are represented as objects, images and sites, while the Phänomene des Realen [phenomena of the real] seem to be nothing more than just mere coincidence.
re-active platform, initiated by Susanna Schoenberg in 2004, embodies concepts, works, tests and exchange between students and other art and technology competencies that temporarily and repeatedly turned into site and condition themselves.
www.khm.de/export/re-active

Background
re-active platform began 2004 as seminar formula at the Academy of Media Arts in Cologne; it was part of the research&teaching field called multimedia&performance; it was supposed to be as >technical< as possible and to be in the local vanguard of application of and
experimentation with new technologies [expanded media, intermedia..] or pieces of them.
So re-active platform started as a label for a production oriented environment [the platform as a place] where persons with very different background issues, interests, skills, and positions in the creative process [the platform as a collaborative pool], were and still are asked to reflect together about art works acting [re-acting] like >systems<.
With a kind of regular incidence re-active platform got visible as a concept and as a variable group in seminar activities, workshops, group exhibitions, field works.

Concept
The main task consists in reflecting the idea of re-activity on a very abstract level, not referring to much to individual preferences of the artists for their usual shapes of production.
The first entities discussed as metaphors were circuits and data-streamings as accessible phenomena.
The results is a collaborative produced ensemble of artefacts not produced for being unique, but for being part of a [variable] discourse.

Rivane Neuenschwander: A Brazilian Makes Playful but Serious Art

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At the New Museum last Friday the artist Rivane Neuenschwander was on her knees, slicing up the carpeting in a third-floor gallery as she searched energetically for microphones hidden in the floorboards and walls. A security and surveillance team had secreted the bugs there at her request, but without her knowing their locations; now the devices were recording her hunt in the otherwise silent room, in preparation for a fast-approaching show.

read more: http://www.nytimes.com/2010/06/22/arts/design/22neuen.html

Surveillance, Performance and New Media Art

Vol 7, No 2 (2010)
Surveillance, Performance and New Media Art

The relationship between the visual arts and surveillance has been explored through large scale exhibitions (CTRL:Space, ZKM), and texts such as Loving Big Brother (McGrath, 2004) have introduced questions of performance and performativity into the surveillance debate. However, as the technological possibilities available to artists grow, and the social impact of surveillance is increasingly recognized, there is a need for a thorough examination of the uses of surveillance in the visual arts, particularly in the genres of new media and performance art, where issues regarding technological engagement and embodiment come to the fore. This special issue of Surveillance & Society presents papers and works that examine the complexities of surveillance in new media and performance art.

http://surveillance-and-society.org/ojs/index.php/journal/issue/view/Performance/showToc

SFAI Hosts Mierle Laderman Ukeles: Ann Chamberlain Distinguished Fellow in Interdisciplinary Studies

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The San Francisco Art Institute is pleased to welcome New York City–based artist Mierle Laderman Ukeles as the inaugural Ann Chamberlain Distinguished Fellow in Interdisciplinary Studies.

A major intervention in feminist performance practices and public art, Mierle Laderman Ukeles’s 1969 manifesto Maintenance Art: Proposal for an Exhibition argues for the intimate relationship between creative production in the public sphere and domestic labor—a relationship whose intricacies and ramifications she has been unraveling, in one form or another, ever since. Starting in 1977, she became artist-in-residence (unsalaried) at the New York City Department of Sanitation, a position that enables her to introduce radical public art as public culture into a system serving and owned by the entire population. Recent permanent commissions include Percent-for-Art Freshkills Park Project in New York City (formerly the world’s largest municipal landfill), Danehy Park in Cambridge (Massachusetts, USA), and the Maine College of Art in Portland (Maine, USA). Current and recent temporary exhibitions include performances and installations at the Barbican Art Gallery in London, the Montalvo Arts Center in Saratoga (California), the Contemporary Jewish Museum in San Francisco, the Museum of Contemporary Art in Los Angeles, Creative Time in New York City, the Tel Aviv Museum of Art in Tel Aviv (Israel), and the 2007 Sharjah Biennial in Sharjah (United Arab Emirates). She has completed six “work ballets” that involve workers, trucks, barges, and hundreds of tons of recyclables in cities across the globe. Laderman Ukeles is a Guggenheim Fellow and a recipient of many grants and fellowships from the NEA and the New York State Council on the Arts.

San Francisco Art Institute (SFAI)
800 Chestnut Street
San Francisco, CA 94133
800 345 SFAI / 415 749 4500

Monday, May 3 – Wednesday, May 5, 2010

http://www.sfai.edu/ladermanukeles