Adam Ramona, Christo Kayo & Jack Shoreland's Autoscopia National Portrait Gallery, Canberra, second Online Exhibition: doppelgänger on Portrait Island (Slurl) (link)
quadrapop Lane, Jayjay Zifanwe, & Mab in quadrapop lane's The Future at University of Western Australia in SL® (SLurl) (link)
Lovers Lane Studios artist Glyph Graves' Strangers Also Dance IBM2 (link)
Where would the fine arts be in new media without Australians?
Please take a look at Moggs Oceanlane's post on the Australian grassroots anti-censorship campaign and consider helping to spread the word, if you can. Thanks!
Support Aussies in the latest anti-censorship campaign - slow broad band and filtered content is coming… (link) (click the red x to close the blackout overlay page so you can see her blog, the overlay only appears once)
More news at the Australian-based Metaverse Journal (link)
A brilliant machinima by Sophia Yates of the University of Western Australia (UWA)'s presence in Second Life® (link)
Eva and Franco Mattes aka 0100101110101101.ORG have been asked by Marina Abramović to take part in her project The Pigs of Today are the Hams of Tomorrow, a live laboratory symposium with durational performance works. They will enact simultaneous Synthetic Performances in person and via their avatars in Second Life® at East of Odyssey (SLurl)
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via Helfe Ihnen:
"...Mattes perform 4 days in a row on East of Odyssey and live in Plymouth, GB with their program "I know that it's all a state of mind", a mixture from older and new performances. Jan 21 to 24, 2010." (see poster for schedule - link)
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Plymouth Arts Centre (U.K.): The Pigs of Today are the Hams of Tomorrow Live Laboratory Symposium and Performances The Slaughterhouse, Royal William Yard 21-24 January 2010 (Schedule, brochure and podcast - link)
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From the Brochure Introduction, Paula Orrell, Curator, Plymouth Arts Centre:
Plymouth Arts Centre presents The Pigs of Today are the Hams of Tomorrow, a curatorial collaboration with the Marina Abramović Institute for Preservation of Performance Art. The Pigs of Today are the Hams of Tomorrow will stage, document and discuss groundbreaking international performance art in order to examine and sustain the future of the medium. The Pigs of Today are the Hams of Tomorrow takes place over three days at Royal William Yard with performances by six renowned artists and artist-collectives. It is the first in a series of major offsite projects by Plymouth Arts Centre and the first curatorial project of the Marina Abramović Institute for Preservation of Performance Art.
Marina Abramović has, over four decades and on an international scale, pioneered performance as a visual art form. In advance of Marina Abramović’s major retrospective at New York’s Museum of Modern Art in March 2010, these performances, live laboratory symposium, publication and parallel events ask: how can the presence of the performance, vital and transformative in the here and now, be communicated long after the event? How can live art have a legacy for younger generations if it can no longer be experienced? Most of all, it aims to support the growth and influence of one of our most provocative and radical art forms. The Marina Abramović Institute for Preservation of Performance Art can therefore be seen as the culmination of the artist’s growing interest in the legacy and permanency of the medium into the future, as a curator and educator as well as a practitioner. The nascent institute will open in a newly acquired former theatre in Hudson, New York State. For performance art, it marks perhaps the first truly institutional moment.
The Pigs of Today are the Hams of Tomorrow is a translation of the title of a conceptual piece of writing by Georg Jappe published by KunstForum International in 1978 on the contemporary state of art practice in relation to global political agendas. In the article Jappe reflects on why the rise of capitalism in the West and of communism in the East might have created organisations in Germany such as the Baader Meinhof group and subsequently the Red Army Faction. The perceived repetition of historical mistakes by the state, which motivated the actions of many European Terrorist organizations, is, in Abramović's view, reflected in the current uncritical nature of much of today’s art practice. For Abramović radical thinking and action in the world of performance art are needed to avoid repetitions of the past, and make art relevant to today’s social and political realities.
For The Pigs of Today are the Hams of Tomorrow Abramović is dedicated to an inventive curatorial approach, addressing the key shifts in live art with performances by six renowned artists and artist-collectives. These international artists illustrate the diversity of contemporary performance art. They demonstrate a range of techniques that are key to the medium, including long-durational work, story-telling, virtual worlds, audience participation, sound, the use of the body and hardcore performance predicated on endurance...
Eva and Franco Mattes (a.k.a. www.0100101110101101.org) are pioneers in the Internet-based net.art movement. For the exhibition, the artists stage what they term Synthetic Performances in the virtual world of Second Life. Second Life is an online platform where participants create a parallel reality, with each user represented by an avatar, a digital figure that they can customise and control. Through their avatars, the Italian-born artists will ‘remix’ and freely reinterpret famous works from the performance-art canon, including Yves Klein’s Leap into the Void (1960).
Marina Abramović and Ulay's Imponderabilia 1977 | Eva and Franco Mattes aka 0100101110101101.ORG Reenactment 2007
In a selected space Naked we stand opposite each other in the museum entrance. The public entering the museum has to turn sideways to move through the limited space between us. Everyone wanting to get past has to choose one of us.
This is a freeform art build. When we were given the homestead at Magoo to produce a piece for it we had no preconceived ideas for it, so we tackled it in a manner that we constructed our Burning Life 2009 collaboration, throw a plywood cube prim down and see where it took us. The resulting madness is what you see.
As the build developed, we wanted to include some avatar interaction, and we wanted the work to come alive around the spectator. We hope that in some way we have achieved that. The build encompasses sound, light and movement. The build is foremost about fun, nothing heavy, no deep meanings, just subconscious energy driving us to complete the build in the first 3 weeks of December (we actually extended into the first week of January too, taking a 8 day break over Christmas week).
While discussing where the build was going we often used words like 'mad', 'scribble', 'no idea', 'sketchbook' and 'wtf are we doing'. There is a visual remark about an upcoming Linden Lab policy to charge L$99 per month for listing 'freebies' on it's Xstreet marketplace (Joke: "when is a freebie not a freebie?" … "when it costs L$99") there seems to be religious overtones too, but there is no bible in here.
