public art

CfPP: Gewächshaus Erinnerung – a project by thon&beuse

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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

Surveillance, Performance and New Media Art

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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

Transient Spaces – The Tourist Syndrome

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Lecture by Magdalena Taube and Krystian Woznicki

26.01.2010, 20:30 h

Where exactly is paradise? Where is home? Who are the explorers? Who gets discovered? In today’s world, there are no clear answers to these questions.

In modernity the world was defined by way of a geographical outside, paradisal lands located beyond the networks of European expansion. The outside functioned as a counterpart that gave structure to the inside and helped shape its boundaries. In the early 21st Century this classical outside is disappearing and the world, at least in its previous form, is imploding and reforming.

The journey has already begun.

Magdalena Taube (Berlin, literary scholar) and Krystian Woznicki (Berlin, cultural critic) have published the digital mini-feuilleton, berlinergazette.de, since 1999.

\BOOK\ byproducts: On the Excess of Embedded Art Practices

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byproduct examines artist’s projects whose artfulness lies in building micro-worlds within other non- artworld systems. While parasitically reliant on the socioeconomic structure and symbolic order of other dominant systems, these artworks ­ or “byproducts” — exploit loopholes, surpluses, and exceptions in order to affirm individual agency and complicate the mechanisms of their dominant “host.” As pivots or turning points between art and other sectors, these works function as carriers for meaning across disciplines.

While responding to 20th century precedents that investigate the relationship between artists and industry, ‘Byproducts’ suggests these outlines and vocabulary for evaluating relevant analytic criteria such as the outcome, duration, retention of a critical voice, assimilation or reconciliation, etc. As a book responding to the emergent genre of ‘interventionism’ in contemporary artists’ practices, byproducts shifts focus away from the artist’s singular, anarchic gesture and instead towards the integration of art into everyday life.

read more:

http://www.rev-it.org/projects/byproducts.htm

No Territory: AnarchoArtLab at The Living Theater

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http://www.livingtheatre.org/
Sunday January 17th, 8pm – Midnight @ THE LIVING THEATER
No Territory: The AnarchoArtLab will respond to the news that our home and a brave New York institution, The Living Theater, will shutter its doors in 2010. This multi-media, interdisciplinary event will plumb the varied meanings of territory, property, ownership, and the individuals right to movement, thought, and expression in an “Ownership Society.”

The golden age was the age when gold didn’t reign; the cause of all wars, riots and injustices is the existence of property, happiness is hanging your landlord!

The wind is turning. The economy is wounded — we hope it dies! Amnesty is an act in which the rulers pardon the injustices they have committed; the state’s magnanimity to those offenders whom it would be too expensive to punish.

Abolish alienation! Obedience begins with consciousness; consciousness begins with disobedience! First, disobey; then write on the walls!
– graffiti, Paris, 1968

AnarchoArtLab is a collective of new-media, visual artists, performers, musicians, dancers and genre benders in residence at The Living Theatre. Each month we create a LIVE, collaborative, multi-media art experience that is both immersive and participatory. We welcome you to come for an hour or experience the entire evening.

Artists include but are not limited to: Glass Bead Collective, David Tully, Grady Gerbracht, John Loggia, Adriana Varella, Z-Collective, James ChrisBunny! Fields, Michele Cappello, Takashio Hisayasu, Miles Pflanz and Jackie Connolly, Parker Miller and English.

Art and Its Cultural Contradictions, Joshua Decter

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 http://www.afterall.org/journal/issue.22/art.and.the.cultural.contradictions.of.urban.regeneration.social.justice.and.sustainability

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What is at stake when artists, architects, curators, organisers and other cultural producers facilitate bricks-and-mortar change, on the ground in cities, with citizens, communities and institutions? How do we test the interrelationships between the practices of artists and urban policy makers? What is the metric that we might utilise to determine effectiveness? And what do we mean by effectiveness? Critical effect? (Or, for that matter, critical affect?) The putatively emancipatory outcome generated by some kind of new situational knowledge? Or, is it a question of generating ambiguity, per se, as a means of problematising hegemonic political, economic and cultural formations?

read more…

Aftermath: Vogelsang Intervention

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Public Events• Kunsthochschule für Medien Köln• Filzengraben 2 & 12, 50676 Köln

Aftermath: Vogelsang Intervention
Panel Discussions• Aula In Deutsch and English

Monday November 16th 19:00h Aula
Remembrance Culture and Public Space
moderated by Julia Scher with Astrid Wege, David Stoop, Christine Threuter
Susanna Schoenberg, students
Vogelsang was a Hitler elite school. Can this site ever be reclaimed? The newly named vogelsang ip, Internationaler Platz, stakes a claim against the Nationalism that exploded into a hate industry for 12 long years. What is the shape and consequence of their new program?
Can this place be a place for contemporary art or humanitarian public praxis?

Tuesday November 17th 19:00h Aula
Remembrance Culture and Art
moderated by Julia Scher, with Barbara Hess, Kasper König
Susanna Schoenberg, students
At what moment does art, self-conflict, and the conflict of the state, converge? How have artists and critics dealt with the struggle over the possession of narrative itself? What are some of the evolving critical approaches to artworks that enter “dark sites”?

Wednesday November 18th 11:00h room2
“Further discussion- War and Peace and Recycled Landscapes”
Student panel

Exhibition glas moog Nov. 16-18th
“Aftermath: vogelsang intervention”
(closing party) November 18th•18- 20 h
“Aftermath” refers to an event space here and now, in the aftershock of just having returned from Vogelsang. Some first document scenarios, cut on tape and written in chalk.
Daniel Ansorge, Auriel, Peter Conrad Beyer, Christine S. Thon und Lars H. Beuse, Florian Egermann, Eva und Artur Holling, Aino Korvensyrjä, Theresa Krause, officinevida, JiHyun Park, Nicholas Pelzer, Evamaria Schaller Franziska Windisch, Irena Wolf, Roshanak Zangeneh