Category Archives: Art

Art: Untitled New York

Sydney Hart
NY, USA / Canada
“Untitled New York”, 2009

“Untitled New York” (work in progress) is an ongoing series of photographs exploring the urban fabric of NYC and how its citizens relate to it, from the time I moved to the city in February 2009 to the present. I was interested in documenting the ruptures in an otherwise hyper-efficient network of grids and lines of mass transit; the organic interventions that anonymously comment on the status of these systems, with hints (that may fall on deaf municipal ears) as to how they should be improved. Having moved here in the midst of the economic crisis, I projected the state of the infrastructure as contingent on the self-made financial crisis of Wall st, on the expenses and budgeting of this financial hub now hit at its centre. The disruptions in the urban fabric (caused directly or indirectly by human intervention) were interesting to me as comments on the urban infrastructure’s use, from the people who use it, through indifference, neglect, transgression or facetiousness. In Bushwick, fire hydrants (in parts of Brooklyn called “johnny pumps”) were breached open, flooding the vicinity and making an island of a nearby Mercedes. In the same area, parked cars were used to block off traffic on Sundays, leaving locals the luxury of hanging a huge volley-ball net across two trees, with speaker piles in the middle of the street providing the soundtrack. Do these instances reflect a lapse in municipal amenities? Are the inhabitants of Bushwick merely filling in the gaps of the government’s neglect? Or are they -like the inconspicuous interventions into the grid of the subway with overtly domestic and personal items- necessarily personal and anonymous acts of generosity?”

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Art: Dance With Us

DANCE WITH US (2008)
Source : Nasdaq Yahoo

Fred Astaire danse au rythme de l’économie américaine. Fred Astaire dances to the rhythm of the American economy.

http://incident.net/works/oboro/3.html

Dance with US (2008)
Installation interactive / interactive installation
Vidéoprojecteur, écran LCD , bois, ordinateur, joggle, Director
Programmation / Software:Vadim Bernard
The scene, already employed in Possibles Bodies (2002), is connected to the American Stock Exchange in real time. Fred Astaire dances to the rhythm of the economy: the more volatile the tradings, the more fluid the movements.

Artist:
Born in Paris.
Grégory Chatonsky currently resides in Montreal and Paris.
He holds a philosophy master’s from the Sorbonne and a multimedia advanced degree from the Ecole nationale superieure des beaux-arts in Paris. He has worked on numerous solo and group projects in France, Canada, the United States, Italy, Australia, Germany, Finland and Spain. His works have been acquired by public collectors such as the Maison Europeenne de la Photographie.
In 1994, Chatonsky founded a net.art collective, incident.net, and has produced numerous works, such as the websites of the Pompidou Centre and Villa Médicis, the graphic signature for the Musée contemporain du Val-de-Marne, and interactive fiction for Arte. He has taught at the Fresnoy (national modern art studio, France) and at UQAM’s school of visual and media art.
Chatonsky’s body of work, including interactive installations, networked and urban devices, photographs and sculptures, speaks to the relationship between technologies and affectivity, flow that define our time and attempts to create new forms of fiction.

http://gregory.incident.net/

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Exhibition/Project: Open Sailing

Open Sailing
London, UK

“We are building a floating architecture that evolves like a living organism, a laboratory for techno-social experiments.

“Open_Sailing” aims to design an attractive technological lifestyle to overcome any possible natural and man-made disaster, stimulating people’s ingenuity and sense of solidarity. Be it overpopulation, global warming or energy conflicts, we are living in a time where “Apocalypse” beckons. We need to collectively invent and spread bootstrapping DIY technologies for the forthcoming challenges, not only to survive but to re-invent how we inhabit this planet.

We are trying to create a truly “Open_Architecture”. This is a drifting village of solid and comfortable shelters surrounded by flexible ocean farming units : fluid, pre-broken, reconfigurable, sustainable, pluggable, organic and instinctive. The Open_Sailing_01 is about 50 m in diameter, for 4 persons.

In the process we are developing and testing numerous novel technologies, such as “Instinctive_Architecture”, “Energy_Animal”, and “Life_Cable” within an innovative nomadic ecosystem. The “Swarm_Search_Engine” is a distributed operating system that suggests a general safest location and a form for the overall structure that constantly reconfigures itself in order to provide intelligent distribution of supplies, energy and information. Open_Sailing aims to ask questions about the way we currently inhabit our planet. Can we reach a harmonious dynamic state of interdependence with each other and the earth? Is this the next step for civilization? Will we disassociate our concept of progress with rigid infrastructure and metropolis?”

http://international-ocean-station.org

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Art: Fiona Long – Post Consumer Material Culture

After Day X

After Day X

Fiona Long, London UK

“In my imagined post apocalyptic scenario “After Day X” the resulting population will find objects from our time and wonder what to make of and from them. But what will this archaeology of the future tell us about our civilisation today?”

http://fionalongart.co.uk/archives/post-consumer-material-culture

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Exhibition: Climate For Change

Climate for Change @ FACT, Liverpool

“Climate change isn’t the only hot topic facing the planet. Environmental crisis, food crisis and housing crisis, all against the backdrop of an economic crisis that has been a long time coming. The 21st century has finally hit and there is an energy in the air – how do you respond? Forget the eco-art and bring on local, national and international debates, actions, contexts, struggles and solutions. With Stefan Szczelkun, Eyebeam’s Sustainability Research Group, Melanie Gilligan, Ghana Thinktank Project, N55, Anthony Iles of Mute Magazine, Glenn Davidson and, most importantly, a plethora of local activity and engagement.”

http://climateforchange.fact.co.uk/

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Exhibition: Weak Signal Wild Cards

Exhibition on Futurology in Amsterdam

Weak Signals, Wild Cards – an exhibition and a day of talks and performances.

Opening: 7pm, Friday 26th June 2009
Light refreshments will be served.

Exhibition: 12–6pm, Wed-Sun 27th June–27th July 2009
Talks & performances: 2–8pm, Sunday 28th June 2009

Venue: Shell Kantine, Shell Terrain, Tolhuisweg, Amsterdam, Netherlands

Weak Signals, Wild Cards is a commissioning project and exhibition by the participants of de Appel Curatorial Programme 08/09. Set in Amsterdam Noord, it invites ten artists and a number of speakers from other fields to react to the given plans for the area and conjure a set of alternative futures. The artists have created works for and from their envisioned future contexts, while the speakers will foretell their imagined futures of Amsterdam Noord, from the perspectives of their expertise.

The title of this project uses two terms from futurology. Weak signals form a pattern of phenomena that serves as an indicator of possible future developments. Wild cards refer to events that are difficult to predict but have a high impact. We are not alone in attempting to predict a future: Amsterdam Noord is currently faced with a bevy of visions of its imminent regeneration. The predictions being made revolve dizzyingly around of the ‘Creative City’, which implicates not only artists but an expanded creative subjectivity in its conception of a society made up of self-reliant, resourceful individuals on a constant quest for self-improvement. This combined vision of the future ‘Creative City’ is so strongly anticipated and visualised that one gets the feeling that one could already inhabit the space of this mirage.

Yet the criticality of the current global economic circumstances provides an opportunity to not only to question, but also to remake the foundations being laid. If the conditions on which urban regeneration is based no longer hold fast, it becomes necessary to rethink what other kinds of urban structures, environments, and imagined communities might be possible. What spoken and unspoken social and economic roles are currently presumed to be played by art in the ‘Creative Industries’ and their commissioning processes in city development? In the light of the current economic uncertainty, what other kinds of future communities are possible beyond those envisioned by private property developers? What kind of public artwork would be made for these imagined communities, and under what conditions would it be produced?

http://www.weaksignals.nl

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Film: Crisis in the Credit System

Crisis in the Credit System
by Melanie Gilligan

commissioned by Art Angel, October 2008

“Crisis in the Credit System is a fictional foray into contemporary global market catastrophe, scripted and directed by artist Melanie Gilligan. A major investment bank runs a brainstorming and role-playing session for its employees, asking them to come up with strategies for coping with today’s dangerous financial climate. While diligently pursuing this task, five individuals inadvertently role-play their way into bizarre make-believe scenarios forming disturbing conclusions about the deeper significance of the credit crisis and its effects beyond the world of finance.”

http://www.crisisinthecreditsystem.org.uk/

http://www.artangel.org.uk/projects/2008/crisis_in_the_credit_system

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Film: The Last Days of Jack Sheppard

The Last Days of Jack Sheppard

by Anja Kirschner & David Panos
co-commissioned by Chisenhale Gallery and Centre for Contemporary Arts (CCA)

http://www.chisenhale.org.uk/exhibitions/forthcoming_01.php

The Last Days of Jack Sheppard is a film based on the inferred prison encounters between the 18th century criminal Jack Sheppard and Daniel Defoe, the ghostwriter of Sheppard’s ‘autobiography’, set in the wake of the South Sea Bubble of 1720 – Britain’s first recorded financial crisis.”

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