M

anxieties of influence,
#art, etc


Marina Galperina
journalist / curator / misc
about / clips


managing editor of
ANIMAL New York


twitter: @mfortki





backdoorpharmacist:

Backdoor Pharmacist is now on Tumblr and Twitter

Krist Wood, Iheroir (2009 - 2014)

Krist Wood, Iheroir (2009 - 2014)

Ways Of Something (2014)
Stills: Eva Papamargariti, Tristan Stevens, Erica Lapadat-Janzen

Episode 2, minute #3 by Gaby Cepeda

Curator/artist Lorna Mills:

“I encouraged the artists to update or contradict the material. If we erred, I wanted to err on the side of exuberance, and if it ended up a total clusterfuck, I’d be delighted with that too.” 

58 web-based artists participated in this project. 

Ways of Something”, is a contemporary remake of John Berger’s BBC documentary, “Ways of Seeing” (1972). Commissioned by The One Minutes, at the Sandberg institute in Amsterdam and compiled by Lorna Mills, the project consists of one-minute videos by fifty eight web-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of artmaking after the internet.

The screening at TRANSFER Gallery is based on the first two episodes of a four-part series of thirty-minute films created by art theorist John Berger and produced by Mike Dibb. In the original episode one, voice-of-God narration over iconic European paintings offer a careful dissection of traditional “fine art” media and the way society has come to understand them as art. The second episode is a contentious and sometimes maddening look at the female nude in the western tradition.

The combined work is, in effect, art about art about television about the internet.

Featuring formal, figural and kitsch practices to videomaking, “Ways of Something” is constituted by aesthetically diverse interpretations of Berger’s ideas on looking at art after the introduction of digital media and the internet. Ultimately, it turns the highbrow nature of the original documentary film into a exuberant and disjointed series on how artists understand art today.

Cloaque.mov (2014)

Chris Marker, Level 5 (1997)

Game Plan: Jakub Juszczak talks about Prisoned, a game about depression:

“I didn’t want to get too close to it and so attached to it, because I know that the internet is full of ‘nice people.’ I was pretty sure that a lot of people would not like it, so if I’m super attached to it then it would get even worse for me.

Мама, мама, что я буду делать

Plukanian language

  • Koo — All words, with the following exceptions:
  • Kyu (pronounced kyew) — any profanity
  • Ketseh (pronounced “keh-tseh”, emphasis on the second syllable) — matches (or, rather, the chemicals ordinarily used on Earth for match heads)
  • Chatl — a currency unit
  • Tsak — a small bell worn on the nose to indicate the low social status of the wearer
  • Tentura and Antitentura — two opposite parts of the Universe. Some planets and galaxies exist in Tentura and some (including Earth) in Antitentura
  • Pepelats — an interplanetary spacecraft (from the Georgian word “pepela” for butterfly)
  • Tsapa — a component for different machines. A big tsapa is a very important component for the pepelats. A small tsapa is a component for the gravitsapa; without the small tsapa, a gravitsapa will not work. Tsapa is similar to a very rusty screwnut
  • Gravitsapa — a component for the pepelats which allows intergalactic travel (from ‘gravity’ + ‘tsapa’)
  • Tranklucator — a weapon
  • Visator — compact device, detects difference between Patsaks and Chatlanians
  • Kappa — a button or lever
  • Luts — the fuel used by the pepelats, it is made of water
  • Ecilop — a policeman (“police” spoken backwards)
  • Etsikh — a box for prisoners; also the imprisonment in such box (as a penalty); also the Ecikh is a jail with many such boxes (“Ecikh” is from the Georgian word “tsikhe" for prison, castle). Ecikh with nails is extremely hard punishment.
Kim Laughton talks about his artistic process. 

When satisfied with the composition, I send the file to my render farm. At this stage, a powerful computer simulates the realities we take for granted and after a period of time the image is formed.
The final render was Perfect for display in an online gallery.
The moneyed generally have difficulty finding meaning in digital images; for this audience it may be necessary to send the render to be painted in a Chinese factory. After the transition from pixel to paint everyone is happy and I’ll return to the bank to look for more inspiring scenes.

Kim Laughton talks about his artistic process.

When satisfied with the composition, I send the file to my render farm. At this stage, a powerful computer simulates the realities we take for granted and after a period of time the image is formed.

The final render was Perfect for display in an online gallery.

The moneyed generally have difficulty finding meaning in digital images; for this audience it may be necessary to send the render to be painted in a Chinese factory. After the transition from pixel to paint everyone is happy and I’ll return to the bank to look for more inspiring scenes.

Pointing a Finger at Tepco, Kota Takeuchi. Statement. Related: The Rise of Performance and Intervention in Japanese Contemporary Art 

ART THOUGHTZ: On Beauty, Hennessy Youngman

Sophie’s new column Radicals Of Retrofuturism.
likeapairofbottlerockets:

I’ll be discussing artifacts of the subversive technological past in the context of the world today. This first piece is about a radical 1970’s group called Computer People For Peace, their startlingly accurate predictions and their connections to the Black Panthers. 

Sophie’s new column Radicals Of Retrofuturism.

likeapairofbottlerockets:

I’ll be discussing artifacts of the subversive technological past in the context of the world today. This first piece is about a radical 1970’s group called Computer People For Peace, their startlingly accurate predictions and their connections to the Black Panthers. 

A failed Mountain. David OReilly: 

The way the game is presented publicly allows for it to be more of a discovery for people. It’s like that because I don’t want to oversell the game or create some expectation which may not be met in the eye of the player. The press has tended to focus on what the game’s website says rather than actually play the game.

A failed Mountain. David OReilly: 

The way the game is presented publicly allows for it to be more of a discovery for people. It’s like that because I don’t want to oversell the game or create some expectation which may not be met in the eye of the player. The press has tended to focus on what the game’s website says rather than actually play the game.

GIF extract form Hito Steyerl, How Not To Be Seen. A Fucking Didactic Educational .MOV File , 2013. HD video file, single screen, 14min via Rhizome Hito Steyerl, “Politics of Post-Representation” DIS:

Essentially I think it makes sense to compare our moment with the end of the twenties in the Soviet Union, when euphoria about electrification, NEP (New Economic Policy), and montage gives way to bureaucracy, secret directives and paranoia. Today this corresponds to the sheer exhilaration of having a World Wide Web being replaced by the drudgery of corporate apps, waterboarding, and “normcore”. I am not trying to say that Stalinism might happen again – this would be plain silly – but trying to acknowledge emerging authoritarian paradigms, some forms of algorithmic consensual governance techniques developed within neoliberal authoritarianism, heavily relying on conformism, “family” values and positive feedback, and backed up by all-out torture and secret legislation if necessary. On the other hand things are also falling apart into uncontrollable love. One also has to remember that people did really love Stalin. People love algorithmic governance too, if it comes with watching unlimited amounts of Game of Thrones. But anyone slightly interested in digital politics and technology is by now acquiring at least basic skills in disappearance and subterfuge.

GIF extract form Hito Steyerl, How Not To Be Seen. A Fucking Didactic Educational .MOV File , 2013. HD video file, single screen, 14min via Rhizome 

Hito Steyerl, “Politics of Post-Representation” DIS:

Essentially I think it makes sense to compare our moment with the end of the twenties in the Soviet Union, when euphoria about electrification, NEP (New Economic Policy), and montage gives way to bureaucracy, secret directives and paranoia. Today this corresponds to the sheer exhilaration of having a World Wide Web being replaced by the drudgery of corporate apps, waterboarding, and “normcore”. I am not trying to say that Stalinism might happen again – this would be plain silly – but trying to acknowledge emerging authoritarian paradigms, some forms of algorithmic consensual governance techniques developed within neoliberal authoritarianism, heavily relying on conformism, “family” values and positive feedback, and backed up by all-out torture and secret legislation if necessary. On the other hand things are also falling apart into uncontrollable love. One also has to remember that people did really love Stalin. People love algorithmic governance too, if it comes with watching unlimited amounts of Game of Thrones. But anyone slightly interested in digital politics and technology is by now acquiring at least basic skills in disappearance and subterfuge.

MoMA PS1: GCC: Achievements in Retrospective
On view March 23–September 7, 2014

Consisting of a “delegation” of nine artists, the GCC makes reference to the English abbreviation of the Gulf Cooperation Council, an economic and political consortium of Arabian Gulf nations. Founded in the VIP lounge of Art Dubai in 2013, the GCC makes use of ministerial language and celebratory rituals associated with the Gulf to create videos, photographs, sculptures, and installations that examine the region’s rapid transformation in recent decades.

This exhibition, their first in the US, is presented in the format of a retrospective. The exhibition’s title, Achievements in Retrospective, intentionally plays with the idiosyncratic grammar reflected in bureaucratic Arabic-English translations as well as the kind of international English pervasive at global summits. As a retrospective for a nascent collaborative, the exhibition offers a prospective view, alluding to works that have yet to be made—not unlike the aspirational nature of some projects in the Gulf.

By intentionally focusing on contemporary Gulf culture, the collective seeks, in their own words, to “excavate the undocumented culture” of the region. They make use of the images and objects that circulate in social and political spheres to examine Gulf culture as it unfolds in the present day. The particulars of office environments, markers of achievement, and ceremonial acts become the raw material from which the GCC creates work addressing the very content it employs. Through the guise of an inter-governmental body, the GCC investigates notions of regional and national identity by sharing their achievements with the rest of the world.

GCC delegates are Nanu Al-Hamad (b. 1987, Kuwait City; lives in New York), Khalid Al Gharaballi (b. 1981, Kuwait City; lives in Kuwait City), Sophia Al Maria (b. 1983 Tacoma, WA; lives in London), Abdullah Al-Mutairi (b. 1990, Kuwait City; lives New York), Fatima Al Qadiri (b. 1981, Dakar; lives in New York), Monira Al Qadiri (b. 1983, Dakar; lives in Beirut), Aziz Al Qatami (b. 1979, Kuwait City; lives in Kuwait City), Barrak Alzaid (b. 1985, Kuwait City; lives in Dubai), Amal Khalaf (b. 1982, Singapore; lives in London).