terça-feira, janeiro 31, 2012

Reverse Television



"Reverse Television" was created in the mid-1980's by video artist Bill Viola. The 30-second portraits were about portraiture and the idea of a person staring at the viewer (as the viewer stares at the TV screen). Conceived of as a "micro-series," the work features 42 30-second portraits of television viewers in their living rooms. The portraits appear very formally composed, with attention paid to composition, lighting, and color. The viewers sit quietly, only occasionally making a slight shift in position. No external sound score has been added, so that the only sounds heard are sync sounds that have been heightened. These sounds include viewers' clothing when they move, swallowing, and background noises, such as traffic outside the viewer's home or a dog barking in the distance.

The portraits were all of people from around the Boston area; all were shot in their own living room (or TV room). It was intended that these portraits would appear during programming breaks one at a time with no indication to the viewer of what they were. They were to appear often, so that a viewer who might not recognize what he or she saw once would gradually see more than one and become intrigued.
Series The New Television Workshop originated at WGBH, a public broadcasting station in Boston, Massachusetts, in 1974 to support the creation and development of experimental video art. This experimental programming included dance, drama, music, performance and visual arts on video and film. As early as 1968, WGBH was committed to the development of video art through residency programs, with artists such as Nam June Paik, and the "Rockefeller Artists-in-Television" project. Many of these early works (pre-1974) were broadcast both locally and nationally.

As an umbrella for arts related programming, the Workshop included "Artist's Showcase, " "Frames of Reference, " "Dance for Camera, " "Poetry Breaks," and "New Television," as well as acquired arts programming. Individual works were created for "Visions," a series produced by WNET (New York), and "Alive From Off Center," a series produced by KTCA (St. Paul - Minneapolis). The Contemporary Art Television (CAT) Fund was co-founded by the Workshop and Boston's Institute for Contemporary Art (ICA) in the 1980's, to commission works by video artists. In 1993 the Workshop ceased production at WGBH.

floating world

Photo by Darien Bates | Preston Martin, left, and Black-Eyed Susan in John Jesurun’s “Stopped Bridge of Dreams.”

If Italo Calvino, Douglas Adams and William Gibson had gotten together, maybe become a little drunk, and decided to pull a literary all-nighter, the resulting collaboration might have had something of the flavor of John Jesurun’s “Stopped Bridge of Dreams.”

Read More | By CLAUDIA LA ROCCO (Published: January 30, 2012) - NYTimes

mood

Arash Ashkar

melancholic america




© All photographs from the permanent collection of Norman Rockwell Museum

Norman Rockwell’s rosy illustrations of small town American life looked so photographic because his method was to copy photographs that he conceived and meticulously directed, working with various photographers and using friends and neighbors as his models.

segunda-feira, janeiro 30, 2012

just starting and being 'covered' already!!!

east village boys





BIG ART GROUP, GENERALLY TAKING OVER

out there: 'no mona lisa'


I am magnum mouthed
honey snatched
my flavor changes constantly
No Mona Lisa
I stroll like a sailor
bullets pass thru me and I keep moving.
No Mona Lisa
I don't hang around
but if I have it for you
you are lucky
you can take it to the track
you can take it to the bank
you can deposit it
No Mona Lisa
No sidelong glance
no rolling eye
supposition, preposition
have no place in my communication.
When I talk
you know exactly what I mean.
Mona Lisa has no mouth,
no cunt,
she stops at the waist.
I hate that bitch!
My head turns from side to side
My brain, mouth and cunt all work.
No Mona Lisa
I can't be displayed, restored
or evaluated.
No Mona Lisa
I read the writing on the wall behind me.
No Mona Lisa
I don't preview.
No Mona Lisa.
No auction.
No rebate.
No Mona Lisa
I don't discount, price down or go on sale.
No Mona Lisa
When I'm in love I stay wet all the time!
Mona Lisa has no mouth, no cunt, she stops at the waist.
I hate that bitch!
No Mona Lisa
No side long manipulation.
I never had a father.
I never learned how to be that kind of whore.
You need a daddy to practice that kind of stalking.
You need a daddy.
I never apprenticed to my mother.
I wasn't well for that center of attention and protection.
I was nobody’s angel.
nobody’s princess.
nobody's baby.
I grew wild, uncultivated, ungroomed, unprotected,
To a position of power
I'm a loner. You are lucky.
I know what you want, when you want it, how you want it.
I deliver without a sermon.
My religion has no pope, no choir, no hope
I'm a loner. You are lucky.
No Mona Lisa
I never learned how to simmer contentedly.
I boil over continuously.
Hot sweet syrup between my legs
When I am in love I stay wet all the time!
No Mona Lisa
I cannot be catalogued or dissertated
I cannot be viewed from a different angle,
a different perspective.
I cannot be seen in a different light.
Mona Lisa has no mouth! No cunt! She stops at the waist!
I hate that bitch!
Mona Lisa sits.
I stand
two lightening bolts in my fists
a crescent moon over my cunt.
No Mona Lisa
I cannot be swayed, rehung or framed.
I don't need special lights, special glass
or a smoke free environment.
No Mona Lisa
No refracted light, no insurance.
I am no collector's item.
no curators pet.
I am no one's voyeur, no one's witness.
I cannot be replicated, calendared
or placed on coffee mugs.
No Mona Lisa
I am 3D
You can touch me.
I touch back.
I bite back, spit back, talk back.
No Mona Lisa
No Gioconda smile
No Mona Lisa
I tell you the truth.
I am ruthless.
You are lucky.

acquaintances


Black-Eyed Susan

terça-feira, janeiro 24, 2012

is telepresence a "hole in space"?

In 1980, artists Kit Galloway and Sherrie Rabinowitz created a “Hole in Space” by linking bigger-than-life displays in New York and LA with a satellite feed. It was the mother of all video chats — they showed that size and bandwidth matter in communicating presence and emotion. For three days, the installation brought together people from across the country in a way they had heretofore never experienced.

"I am none of the above." (Lynn Hershman Leeson)

DEEP CONTACT (1984-9), interactive video still

Hershman Leeson has recently noted: ‘According to a national [US] database, there are several people in the United States named Lynn Hershman. For example, Lynn Hershman was born November 14, 1949, in Connecticut and died February 19, 1976. Lynn Hershman also lives in Rancho Palos Verdes, California; Manteca, California; and Phoenix, Arizona. I am none of the above.’ It might be said that the artist’s project has been in part aimed at unhinging our tendency (in the art world and beyond) to think we know who an artist/individual is and what kind of expression is properly connected to her through the shorthand of her name.

Enacting a perpetual process of virtual becoming, Hershman stages the self as both simulacral and embodied. LH←→RB: they exist as the interrelated sides of one Möbius strip of selfhood.

read more here

perfume genius - preview

Meredith Monk - Interdisciplinary since the 60's

Meredith Monk, '16mm Earrings', 1966, performance, still. Courtesy the artist.

The first work to interrogate this style was her solo performance 16mm Earrings, made when Monk was 23 years old. Describing it as a personal breakthrough in terms of how it shaped her later work, 16mm Earrings is a matrix for Monk's practice: a heady collision of sound, film, dance and voice. Working with various fragments and fictional scenarios - including a reading of Wilhelm Reich's text 'The Function of Orgasm' (1940); a series of 16mm films projected onto Monk's body and onto customised screens; a rendition of 'Greensleeves', slowed, looped and expanded; and a paper effigy of Monk that burns at the climax of the performance - 16mm Earrings comprises of an eccentric and personal syntax of gesture and image, where the former attempts to physicalise the latter.

Last night at LaMaMa, Monk talked about her career and how that career became so close to the LaMaMa Theatre and together, amongst other movements and artists (Monk being one of those avant-garde generation of artists at the time), helped shape the world of Performance Art as we know it. She talked about the needs and the impulses that led her to make such a different range of works, since thinking how to abolish the usual and common place of the spectator, to re-thinking the use of the voice as a tool and mean to achieve other results such as sculpture, installations, performances, choreographies, happenings... New York was the place where "painters were making sculptures, sculptors were writing poems, poets began to write plays, musicians were making movies, etc..."; everything was happening at the same time and it was a matter of life or death, things had to be done.
Amongst many other things a revisiting some of her early works the talk ended with the news of a new generation of artists wanting to "save" and "revisit" Monk's vocal's pieces in a new work that contains remixes and re-interpretations of some of her famous works. Is this a prelude to what contemporary art is turning into? Make it commercial, make it big, revisit the abstract and misunderstood work of the past and turn it into new-hype-avant-garde masterpieces?

'No to spectacle no to virtuosity no to transformations and magic and make-believe no to the glamour and transcendence of the star image no to the heroic no to the anti-heroic no to trash imagery no to involvement of performer or spectator no to style no to camp no to seduction of spectator by the wiles of the performer no to eccentricity no to moving or being moved.'
From 'No Manifesto', 1965, reprinted in Yvonne Rainer, Feelings are Facts, Cambridge, MA and London: The MIT Press, 2006, p.263.

sexta-feira, janeiro 20, 2012

RIP | Etta James

stopped bridge of dreams



Stopped Bridge of Dreams - DIR. JOHN JESURUN
@ LA MAMA - ELLEN STEWART THEATRE

quarta-feira, janeiro 18, 2012

segunda-feira, janeiro 16, 2012

the parade ends

Passing through the exploding streets,
since the pipes are ready to give out
passing around the buildings, we need to dodge,
since they are falling onto us,
between the hostile faces scrutinizing and sentencing us,
between the closed establishments,
closed markets,
closed movie theaters,
closed parks,
closed cafés.
Exhibiting already dusty signs (justifications) occasionally,
CLOSED FOR REFORMS,
CLOSED FOR REPARATION.
What kind of reparation?
When will this alleged reparation, alleged reform end?
When at least
will it begin?
Closed... closed... closed...
everything closed...
I arrive and open the innumerable locks, run up the improvised stairwell.
There she is waiting for me.
I discover her, remove the canvas and contemplate her dusty and cold
dimensions.
I get rid of the dust and caress her.
With the slightest brushes from my palms, I clean her back, her base, her
sides.
I feel desperate, happy, at her side, before her,
I run my hands over her keys, and rapidly, everything is set in motion.
The ta ta, the jingling, the music starts, little by little, already much
faster,
now, at the greatest velocity.
Walls, trees, streets,
cathedrals, faces and beaches,
cells, mini-cells,
giant cells,
starry night, naked
feet, pine groves, clouds
hundreds, thousands,
a million parrots
piano stools and a vine.
Everything shows up, everything arrives, everyone comes.
The walls expand, the ceiling disappears and, naturally, you float,
you float, float ripped apart, swept along,
elevated,
taken, transported, eternalized,
saved, for the sake of, and
for this miniscule and constant cadence,
for this music,
for this incessant jingling.

Reinaldo Arenas

opening this week

[Daily: 2012-01-13]


La MaMa E.T.C. presents STOPPED BRIDGE OF DREAMS by John Jesurun

running for the oscar - again - Tilda Swinton


finally Melancholia

Photo by Christian Geisnaes

Still playing in Angelika Film Center down in West Houston the new Lars Von Trier movie. Kirsten Dunst and Charlotte Gainsbourg (+ Charlotte Rampling) are the women locked in his vision of the end of the world.
The whole movie runs in a very slowly pace - caution: not to watch if you're tired -, a pace that is not as full of tension as in some of his other movies (remembering Dogville and Antichrist), but a pace that lacks tension, a pace that makes the minutes grow into hours, and the whole movie into an endless wait for the the 'end of the world'.
Once again women are taken as the main responsible for catharsis... women and children, the signs of innocence once again turned into signs of a devilish fever that is present in the world.
The title is pretty much the feeling of the movie, and for that matter is probably - once again - well thought and structured, even though you might want to have patience to watch or not.
Comparing to all different 'ends of the world' that everyone has already seen, Melancholia approaches it in a way where Charlotte Gainsbourg has not left at all her character in the previous movie and on the second part of the movie she keeps fighting an inner feeling of fear. A fear that turns out to become true in a very poetic and melancholic way. A feeling that sets around ten minutes after the movie starts and that grows until the end. Peacefully.

brooklyn in the 80's



Directed by Noah Baumbach (2005)

Under the Radar Festival, Alexis - A greek tragedy



The dialogues keep multiplying and echoing, contracting and expanding, blurring and zooming into focus. In the raw and resonant “Alexis. A Greek Tragedy,” one of the opening works in the Under the Radar festival of experimental theater, conversation is hardly limited to the words exchanged by the actors on the stage of the Ellen Stewart Theater at La MaMa.
read more here



MOTUS
Devised and directed by Enrico Casagrande & Daniela Nicolò
with Silvia Calderoni, Vladimir Aleksic, Benno Steinegger, Alexandra Sarantopoulou
with the collaboration of Michalis Traitsis, Giorgina Pilozzi, assistant director Nicolas Lehnebach

quinta-feira, janeiro 05, 2012

starting the goodbyes

BODY PRESSURE

Doing Bruce Nauman's 'Body Pressure' on New Year's Eve

Body Pressure

Press as much of the front surface of
your body (palms in or out, left or right cheek)
against the wall as possible.
Press very hard and concentrate.
Form an image of yourself (suppose you
had just stepped forward) on the
opposite side of the wall pressing
back against the wall very hard.
Press very hard and concentrate on the image pressing very hard.
(the image of pressing very hard)
press your front surface and back surface
toward each other and begin to ignore or
block the thickness of the wall. (remove the wall)
Think how various parts of your body
press against the wall; which parts
touch and which do not.
Consider the parts of your back which
press against the wall; press hard and
feel how the front and back of your
body press together.
Concentrate on the tension in the muscles,
pain where bones meet, fleshy deformations that occur under pressure; consider
body hair, perspiration, odors (smells).
This may become a very erotic exercise.

Bruce Nauman, Body Pressure, 1974, (c) 2002 Bruce Nauman /Artists Rights Society (ARS), New York

quarta-feira, janeiro 04, 2012

still from last year!

segunda-feira, janeiro 02, 2012

January... i hope!



On January 26 at Radio City Music Hall in New York City, Antony Hegarty and Antony and the Johnsons will debut a "large-scale concert and performance event" titled "Swanlights". Commissioned by the Museum of Modern Art, "Swanlights" will feature music from all of Antony's albums performed by a 60-piece orchestra, with symphonic arrangement by Nico Muhly, Rob Moose, and Maxim Moston. The performance is "envisioned as a meditation on light, nature, and femininity," according to a press release.

common people

domingo, janeiro 01, 2012

happy new year


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