Field Trip: Duchamp and taste (Discs and perfume)

I consider taste–good or bad–the greatest enemy of art.

-- Marcel Duchamp

Belle Haleine: Eau de Voilette [Beautiful Breath: Veil Water], 1921 (link)

Field trip: Erwin Wurm

The artist as pickled cucumber. This self-portrait, shown in his recent solo-exhibition, says a lot about the artistic strategy of Austrian artist Erwin Wurm. Whether his famous one-minute sculptures, almost immaterial work between sculpture and performance requiring the visitor to follow the artist's detailed instructions, or his deformed cars and bodies: everything's equipped with Wurm's acid sense of humour.
The show is travelling to Bonn, Vienna, Bejing, etc.

Picture: Anger bump, 2007, acrylic, cloth, 156x80x47 cm
Städtische Galerie im Lenbachhaus München
Foto: Erwin Wurm / © VG Bild-Kunst, Bonn

Brooklyn is Watching blog is down up!

The official Brooklyn is Watching blog is undergoing renovation and repairs so it's currently down. It will come back all shiny and new. In the meantime, Jay Newt will be twittering updates on its status here. Big news coming in March!

Jay Newt on Twitter (link)

Update: It's back up!

http://brooklyniswatching.com/

(crossposted)

Brooklyn is Watching: Off Sim by Werner Kurosawa- machinima by Mab

This is Mab's second attempt at Second Life® machinima (her first attempt, Selavy Oh's State of Formation, is still in bits and pieces).

Werner Kurosawa's Off Sim provides a way for Mab and Nebulosus Severine to sit together outside the SIM and contemplate the rotating ephemeral conceptual artscape created by artists on the Brooklyn is Watching SIM at Soup:Push, where anyone can build a temporary installation, art is in constant transformation, and the real art lies in the way the works appear and disappear as the artists collaborate (knowingly or unknowingly) changing the meaning of the immersive space over time much like the game Exquisite Corpse played by the early Surrealist artists.

Familiarities arise and themes emerge, growing and playing off each other as happens in the music used here, a fragment of Bach's Aria from the Goldberg Variations, performed by multimedia enthusiast and artist Glenn Gould in 1981.

www.glenngould.com
www.glenngould.ca

Brooklyn is Watching

(Teleport to Brooklyn is Watching at Soup:Push, walk to the platform in front of the big blue watchtower, sit on the seats you'll find there, and voila, you are orbiting the sim at 512 meters outside it! More than one person at a time can go!)

(crossposted)

Save Oz

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)

The Pigs of Today are the Hams of Tomorrow: I know that it's all a state of mind (live in SL)

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)

~~~~~~

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.

-- Marina Abramović, on Imponderabilia (more)

Eva and Franco Mattes aka 0100101110101101.ORG Reenactment of Marina Abramović and Ulay's Imponderabilia 2007

Eva and Franco Mattes aka 0100101110101101.ORG (link)

Marina Abramović Institute (link)

Opening at Magoo: "There's no bible in here?" Tues. 12 January 2009 2PM SLT

Penumbra Carter and Dekka Raymaker

SLurl (exhibition has ended)

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.

Dekka Raymaker

01.10.10 a wedding

click image for details

SLurl

UPON ARRIVAL PLEASE TAKE THE TELEPORT TO THE CATHEDRAL

(Art:21) Performative Interventions: The Progression of 4D Art in a Virtual 3D World

Eva & Franco Mattes aka 0100101110101101.org Pseudo-Futurist Video Game Improvisation Extravaganza Odyssey 16 Nov 2009

Second Life artists are exploring how to captivate, or use the element of time to interact with an active audience. They have abandoned strict adherence to traditional hierarchies of art and embraced the virtual. In the past fifty years especially, ideas about time have shifted from passive to interactive and, currently, to perceptually immersive, via filmmaking and animation, the theatricality of performance, and virtual reality.

Nettrice Gaskins touches on Fluxus, Second Front, ZeroG Skydancers, RMB City, Bibbe Oh, Cao Fei, ColeMarie Soleil, DanCoyote Antonelli, Man Michinaga, Azdel Slade, echolalia Azalee, Stelarc, CARP, José den Burger, Velazquez Bonetto, Eva and Franco Mattes (among others!)

Read lots lots more on Art:21 (link)

Field Trip: Marina Abramović: The Artist Is Present

MoMA will show a retrospective of Marina Abramović's body of work March 14, 2010-May 31, 2010.


from Marina Abramović's Art Must Be Beautiful 1975, more info (link)

This performance retrospective traces the prolific career of Marina Abramović (Yugoslavian, b. 1946) with approximately fifty works spanning over three decades of her early interventions and sound pieces, video works, installations, photographs, solo performances, and collaborative performances made with Ulay (Uwe Laysiepen). In an endeavor to transmit the presence of the artist and make her historical performances accessible to a larger audience, the exhibition includes the first live re-performances of Abramović’s works by other people ever to be undertaken in a museum setting. In addition, a new, original work performed by Abramović will mark the longest duration of time that she has performed a single solo piece. All performances, one of which involves viewer participation, will take place throughout the entire duration of the exhibition, starting before the Museum opens each day and continuing until after it closes, to allow visitors to experience the timelessness of the works.

Read more at MoMA (link)


Marina Abramović Luminosity 1997, Marina Abramović Archive and Sean Kelly Gallery, New York

"Marina Abramović’s performances, feats of endurance involving self-denial and even self-mutilation, are so influential that MoMA has asked 35 artists to re-create them for an upcoming retrospective—and so provocative that it is building a separate entrance for the show"

Read more at ARTnews (link)

"Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind."

Marina Abramović (Wikipedia) (link)

Also: Marina Abramović: Seven Easy Pieces performed at Solomon R. Guggenheim Museum, 2005 (link)

Brooklyn is Watching: Tuned to AM (Red)

Penumbra Carter captures a slice of Brooklyn is Watching:Push

Dekka Raymaker: Misprint Thursday placed AM Radio's 'How Fast We Fly' shack, Penumbra Carter added a 'Sculptie Horse' by Nomasha Syaka in a doorway, Dekka Raymaker placed the thin red wedge, Oberon Onmura placed red toy taxis and road, Misprint Thursday then placed 'phonesplosion' Solo Mornington placed cannon and target

Update: Maya Paris (link) adds to the Scarlet Wave (you can see her Fillybot in the video above but why not come inworld and experience it for yourself? (SLurl):

Misprint Thursday- AM Radio's "How Fast We Fly" + her own "phonesplosion"
Penumbra Carter- wall + Sculptie horse by Nomasha Syaka
Dekka Raymaker-thin red wedge
Oberon Onmura- road + taxi toys by Arcadia Asylum
Dancoyote Antonelli- Sculptie horses (as above)
Solo Mornington- Tree-ornament-shooting cannon + target
Maya Paris- Fillybots made from same sculptie horses + my fembots
L1Aura Loire- Sizzling frying pans + "Butter's carrot" by Jacqueline Bancroft