Group show curated by Jean Bernard Koeman
Opens Friday 19 October at W139 Amsterdam
Featuring Stian Adlandsvik, Frank Ammerlaan, Saar Amptmeijer, Leyla Aydoslu, Sara Bjarland, Sven Boel, Kees Boevé, Antonia Breme, Crystal Z Campbell, Melanie Ebenhoch, Johan Henning, Roderick Hietbrink, Jan Hopf, Jeroen van der Hulst, Saskia Noor van Imhoff, Asger Behncke Jacobson, Katrin Kamrau, Daniel vom Keller, Bram Kinsbergen, Joris Kritis, Linda Lenssen, Mahal de Man, Tim Mathijsen, Sofia Montenegro, Xue Mu, Suat Öğüt, Marc Oosting, Olivia Alders Plessers, Thomas Raat, Daniel Rödiger, Fabian Schröder, Rosa Sijben, Kema Spencer, Edward Clydesdale Thomson, Britt Vangenechten, Kasper de Vos, Amanda Wasielewski, Jonas Wijtenburg, Emile Zile, Felicia von Zweigbergk.
Performance for the last event at NIMk/Montevideo.
Archive, Artist, Audience, Voice, Trust.
October 19, 20.00 Keizersgracht 264 Amsterdam
with JODI, Mark Bain, Justin Bennett, Germaine Kruip, Pawel Kruk, Rosa Menkman, Leonard van Munster.
Media Art is dead. Long live Media Art.
Bill Drummond of the KLF / Timelords / K Foundation was in Amsterdam as guest of the Art Reserve Bank, an alternate currency project based in the Amsterdam Zuidas financial district.
We were The 17, a vocal project that has no audience only participants. A human ring around the financial district where one person after another would scream the word MONEY.
Waiting for the scream to come around, you are left thinking about the pre-crisis office architecture surrounding you, the consensual hallucination that art and banking is, the power of the voice and the trust involved in such a performance. When the scream comes to you it is more of a football chant or rural command, not singing, not melodious. As it passes it feels like the unity of a dance party, solitary individuals united by a moment. The energy of communal experience, a line that passes through acid house, singing in taverns, mosh pits, sport chanting and choirs. The voice – the very first thing and the very last thing.
The White Room was the first ‘grown up’ album I bought. The mythic qualities of the KLF seduced me. Masked pop stars. Sample heavy production. Symbolism and shadow. Read Drummond’s book 45. It’s a self-help text for me, in the same hallowed territory as my viewing of Tarkovsky’s Stalker every six months. Two weeks ago I came across a plastic-wrapped copy of 45 at a small departure lounge shop in Sandakan airport Malaysian Borneo. Sitting amongst Malay fashion and beauty magazines, looking solitary and bemused, it was some kind of omen. I made a photograph of it and took it with me to Amsterdam.
Open Archive Abbotsford
97 Nicholson Street Abbotsford
7pm November 30, 2011
Omer Fast: Dialogue, Reality, Fiction, Documentation, Overidentification, Recreation, Narrative.
Antiphotojournalism: Truth, Representation, Evidence, Distribution, News, Mourning, Humanism.
See them while you can.
NIMk until July 23 – curated by Petra Heck. Foam until June 8. Amsterdam – curated by Carles Guerra and Thomas Keenan.
This week I will be conducting a workshop at the Netherlands Media Art Institute for Video Vortex, an international conference on the politics and aesthetics of online video. Netherland’s Beeld en Geluid archive have opened up their state collection of broadcast media for participants to remix and re-release into orbit.
On Saturday night I will perform a new work, *best*RapidEssayNSFW!!, a live essay-video using prepared and online a/v sources. Caveman VJ’ing. Brutalist effects. Think of millenial dot com crash cult leader monologues, evolution and decay, language and truth, animism and portraiture. Constant Dullaart, Anja Masling and Giorgi Tabatadze are also showing work, Katja Novitskova will be the DJ.
Production still from *best*RapidEssayNSFW!! test.
1. Laibach – Predictions of Fire 1996
In the early 80’s, an industrial rock band named Laibach emerged out of the Yugoslav republic of Slovenia. Incorporating what many took to be fascist imagery in their performances, they shocked this small Balkan republic and, after signing a recording contract with London’s prestigious Mute Records label, went on to shock the rest of the world as well. Laibach was soon joined by a painting group, IRWIN, and theater group, Red Pilot, at the helm of one of the most ambitious and cutting-edge arts collectives in the world. Modeled after a socialist state bureaucracy, and calling themselves Neue Slowenische Kunst (New Slovenian Arts, or NSK), these three groups became the titular heads of a micro-state within the independent republic of Slovenia. NSK recently began issuing its own passports and opened embassies and consulates in Moscow, Berlin, Ghent, Florence, and in the US.
2. Aleksandra Domanovic – Turbo Sculpture 2010
Turbo Sculpture is questioning the emergence of a new kind of public art in ex-Yougoslav republics. The title of the video is a reference to Turbofolk, a popular style of music from the Balkans that freely samples traditional and contemporary sources. A sculpture of Bruce Lee, or of Rocky are politically neutral and common cultural references for the different communities that were at war for over a decade in the 1990s. While the war time Turbo Culture was mostly associated with exaggerated nationalism, almost pornographic kitsch and crime glorification, the post war Turbo boldly contrasts nationalist xenophobia while retaining its stylistic identity.
3. BBC4 – Nicolae Ceausescu, The King of Communism 2003
Nicolae Ceausescu created a unique personality cult in the 1970s and 1980s, transforming communist Romania into one of the strangest regimes Europe has ever seen. Newspapers had to mention his name 40 times on every page, factory workers spent months rehearsing dance routines dressed as soldiers and gymnasts for huge shows at which thousands of citizens were lined up to form the words Nicolae Ceausescu with their bodies. When the Romanian economy and living standards plummeted in the 1980s, the line between theatre and life blurred completely. Ceausescu went on working visits to the countryside where he inspected displays of meat and fruit made out of polystyrene, and closer to home began work on what would have been the largest palace in the world. At the final parade in 1989, workers walked past their leader to the sound of taped chants and applause.
tired of the mirrors, noise and eyes.
tired of prickly, intimate and fleshy human relationships being flattened into ‘friend’-nodes, the erasure of myth by constant visibility and exhausting availability.
what kind of network society do i want to support? a closed compound of willingly data-mined crayons or an open net of chance and unpredictability?
if facebook is the brightly-lit suburban mall of internet communication, i want to be under the bridges; in the torrent-swapping irc channels, small social networks, anonymous message boards and darker locations thriving with their own individual languages and codes.
tired of feeling exposed, of being infantilised, of being farmed.
the incessant ‘now’ of FB started to infect my creative process; making for ‘blip’ attention spans and the enormous appetite of the beast, as Geert Lovink puts it ‘feeding a machine’. I want to think in longer time frames to make deeper work.
tired of feelings of interpassivity and the formless mild angst it instills in me; spectacle 2.0 and the build-your-own-ego-ghetto.
hello friends, goodbye facebook.