oddtag's posterous

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      12 Jun 2008

      Pop art remix

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      txt: Andy Warhol - Wikipedia
      Warhol's work from this period revolves around American Pop (Popular) culture. He painted dollar bills, celebrities, brand name products and images from newspaper clippings - many of the latter were iconic images from headline stories of the decade (e.g. photographs of mushroom clouds, and police dogs attacking civil rights protesters). His subjects were instantly recognizable and often had a mass appeal. This aspect interested him most and it unifies his paintings from this period. Take for example Warhol's comments on the appeal of Coke: "What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it." The Philosophy of Andy Warhol: (From A to B and Back Again), 1975
      video: Bill O'Reilly Flips Out — DANCE REMIX - levmyshkin on youtube.com [youtube=http://www.youtube.com/watch?v=5j2YDq6FkVE]
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      7 Jun 2008

      Mixed media

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      txt: Mixed media - Wikipedia.org
      Mixed media, in visual art, refers to an artwork in the making of which more than one medium has been employed. There is an important distinction between "mixed media" artworks and "multimedia art". Mixed media tends to refer to a work of visual art that combines various traditionally distinct visual art media. For example, a work on canvas that combines paint, ink, and collage could properly be called a "mixed media" work - but not a work of "multimedia art." The term multimedia art implies a broader scope than mixed media, combining visual art with non-visual elements (such as recorded sound, for example) or with elements of the other arts (such as literature, drama, dance, motion graphics, music, or interactivity).
      video: Mixed Media With Suzi Blu: Byzantia and LuLu gets a haircut - suziblutube on youtube.com [youtube=http://www.youtube.com/watch?v=zepDd0dz3Gk]
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      4 Jun 2008

      iGoogle art

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      link: iGoogle - Introducing artist themes for iGoogle Introducing artist themes for iGoogle: Now you can put the work of world-class artists and innovators on your personalized Google homepage. txt: Google: art - www.artworldsalon.com
      Most of the custom themes are from the hands and keypads of web designers and animators whose names few gallery-goers would recognize. Many are from Asia (but no Murakami here). Then there’s Coldplay, Beastie Boys, Lance Armstrong, and Mark Morris. Lesson? Though Google’s developers are clearly not trying to draw an all-inclusive map of global visual culture here, what if their selections are, in fact, faithful to what our society understands under the rubric of “artists”? Is Koons the best choice for this virtual Noah’s Ark?
      img: Lily Franky (リリー・フランキー)'s theme for iGoogle
      One of Japan's best-selling writers, Lily Franky is the author of the novel Tokyo Tower:Mom, Me and Sometimes Dad and the illustrated book Oden-kun, the subject of an animated series. He is also an illustrator and actor. www.lilyfranky.com
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      27 May 2008

      The idea becomes a machine

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      txt: Sol LeWitt - Paragraphs on Conceptual Art, Artforum, 1967
      In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.
      link: Paragraphs on Conceptual Art - DDOOSS video: One letter from sol lewitt - joaoleonardo1974 [youtube=http://www.youtube.com/watch?v=JJOGFpjmtig]
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      26 May 2008

      Venice Biennale 2009 - Biennale Venezia 2009

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      txt: Biennale Arte 53. Esposizione Internazionale d’Arte
      Si svolgerà dal 7 giugno al 22 novembre 2009, nelle tradizionali sedi dei Giardini e dell’Arsenale, nonché in vari luoghi della città, la 53. Esposizione Internazionale d’Arte della Biennale di Venezia. Le date sono state fissate dal Cda della Biennale, presieduto da Paolo Baratta. Direttore del Settore Arti Visive della Biennale è, come noto, Daniel Birnbaum, con lo specifico compito di curare la 53. Esposizione Internazionale d’Arte.
      It will take place from June 7 to November 22 2009 in the traditional locations of the Gardens and Arsenale, and in various places in the city the 53 Venice Biennale International Art Exhibition . The dates were fixed by the Board of the Biennale, chaired by Paolo Baratta. Director of Visual Arts Sector of the Biennale is, as you know, Daniel Birnbaum, with the specific task of curating the 53 International Art Exhibition.
      img: light shopping - oddtag on flickr.com
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      22 May 2008

      re:public Refusés in Venice

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      txt: re:public - www.ibrida.org
      Re:public. “Re” as reply and “public” as public. The reply of the public. More than 100 artists, that were not admitted to the last Colletiva Bevilacqua La Masa, will face the public’s judgement in a open, clear and clean, confrontation. The public will be invited to leave a comment about the expositions and the works to create a direct confrontation that will stimulate the debate. This will be a personal growth for the audience and the artists. There will be no captions. No prepared commentary. Images of the works with the comments will be published on www.ibrida.org. Ibrida & Associazione Momos presents re:public, Refusés! The answer is public 28th May – 15th June 2008 Bacini dell’Arsenale di Venezia, Tese di San Cristoforo. Every day. From 10.00 to 13.00/ from 15.00 to 19.00 Free admittance. The Vaporetto stop- Celestia. You can take Vaporetto 41, 42 (from Ferrovia you can change vaporettos at Fondamente Nuove), 51, 52 (is a request stop). The entrance is 100 meters from the stop on the left. For the opening day and for handicapped people the entrance will be placed in the CAV building near Bacini stop (Vaporetto 41, 42). Opening day: 28th of May 2008 at 18.00
      ---------------------------------------- re:public Refusés! comunicato stampa [it]
      Ibrida & Associazione Momos presentano re:public Refusés! La risposta è pubblica, 28 Maggio – 15 Giugno 2008, Tutti i giorni. 10.00-13.00/15.00-19.00,Ingresso gratuito. Bacini dell' Arsenale di Venezia. Tese di San Cristoforo. Fermata Celestia. Vaporetto 41, 42 (dalla Ferrovia cambio a Fondamenta Nove). Vaporetto 51, 52 (fermata a richiesta). Ingresso dalla passerella a sinistra dopo cento metri. Per il giorno dell’inaugurazione e per spettatori diversamente abili accesso dall’ingresso CAV nei pressi della fermata Bacini . Vaporetto 41, 42. Inaugurazione il 28 Maggio 2008, ore 18.00.
      Ibrida & Associazione Momos www.ibrida.org ibrida.info@gmail.com img: jam-packed refuse bin Jan the manson on Flickr.com
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      19 May 2008

      Moving through the unknown

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      txt: Can You Become a Creature of New Habits? By JANET RAE-DUPREE on www.nytimes.com Published: May 4, 2008 Brain researchers have discovered that when we consciously develop new habits, we create parallel synaptic paths, and even entirely new brain cells, that can encourage a way to innovation.
      “Getting into the stretch zone is good for you,” Ms. Ryan says in “This Year I Will... .” “It helps keep your brain healthy. It turns out that unless we continue to learn new things, which challenges our brains to create new pathways, they literally begin to atrophy, which may result in dementia, Alzheimer’s and other brain diseases. Continuously stretching ourselves will even help us lose weight, according to one study. Researchers who asked folks to do something different every day — listen to a new radio station, for instance — found that they lost and kept off weight. No one is sure why, but scientists speculate that getting out of routines makes us more aware in general.” She recommends practicing a Japanese technique called kaizen, which calls for tiny, continuous improvements. “Whenever we initiate change, even a positive one, we activate fear in our emotional brain,” Ms. Ryan notes in her book. “If the fear is big enough, the fight-or-flight response will go off and we’ll run from what we’re trying to do. The small steps in kaizen don’t set off fight or flight, but rather keep us in the thinking brain, where we have access to our creativity and playfulness.” [...] “You cannot have innovation,” she adds, “unless you are willing and able to move through the unknown and go from curiosity to wonder.”
      video: Street Art and the Battle for Public Space [blip.tv ?posts_id=683873&dest=-1]
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      15 May 2008

      Multiversity in Venice

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      link: www.sale-docks.org
      Media_httpoddtagfiles_kjfgs
      txt: MULTIVERSITY, or the Art of Subversion 16, 17 and 18 May 2008 S.a.L.E. DOCKS VENICE www.sale-docks.org multiversity.sale@gmail.com
      The event “Multiversity, or the Art of Subversion” is the fruit of a joint effort between Uni.Nomade and S.a.L.E. (Signs and Lyrics Emporium), between a trans-territorial network of militants and researchers carrying out a critical analysis of the themes of contemporaneity and a self-managed space, called S.a.L.E. docks, born a few months ago in Venice so as to intervene on a practical level in the world of cultural production. A world which, not only in Venice, has affirmed itself as preferred area for current capital valorisation processes. In fact, if we concentrate on contemporary art, this undoubted importance can be seen on at least three levels. The first is the central role which immaterial assets and knowledge, creativity and affections, relational and communicational talents assume for contemporary forms of production: artistic production cannot get away from this centrality. The second is the relationship between cultural production and the metropolis where the interlacing between town-planning and architecture, fashion and design, art and literature, in that productive social space par excellence – the urban basins – becomes on the one side a crucial element in the process of subjectification through which are built the multiplicity of forms of life which inhabit it, to the other decisive factor for defining the strategic positioning of each metropolitan area in the economic competition between global cities. The third is the relationship between the art market and the financial capital: at a global level, banks and multinationals are the among the main investors in a sector which today seems to be the only one to have not been even slightly touched by the crisis which has overrun the world system of money circulation. What we are now seeing is a complex capturing system, which capital has brought into play in the multiple flow of informal cultural production, from the appropriation of the ability to cooperate of individual intelligences and individual ways of life, to ensure the valorisation of what has been defined as the “symbolic collective capital”. The complexity of these dynamics depends on a double mechanism of exploitation, where the first aspect is made up of the barriers of intellectual property and from each further moment of private appropriation of general social knowledge, while the second is the parasitic rapport which is established towards the creative production by those speculative interventions occurring in the body of the metropolis, there where state and private institutions, large events and art fairs, and cultural zones and meta-zones are established. Where S.a.L.E.’s experience wants to immerse itself critically, what the Multiversity event has decided to face, is called “culture factory”, that is the place of valuation of cognitive capitalism, but it is only so in the measure in which it, before anything else, the place of creative subjectivity, of the expression of the multitudes, and consequently, the space of a face-to-face between creative freedom and autonomy of cooperation on the one hand, and the system of dominion and exploitation of this productive force on the other. In this light, Multiversity, will present, discuss and compare, with the most advanced European and global experiences, the first results, although partial, of an enquiry on the city’s job insecurity linked to contemporary art and intangible work. Here the main question is to understand widespread behaviours and the methods of intervention which could change a social composition, already central in the forms of contemporary production, in a political composition. Examined also will be the core issues of the role of university training on the one side, and the communication network on the other side, played within the most complex organisation of the work of the “culture factory”. An indispensable requisite for this discussion is the comparison around contemporary art understood as a “wider social institution”: from the historical-artistic events which drove art in the post-war period from the transcendental space of medial specificity to the social space with its relationships of strength, to the relationships established between art, social movements and cultural activism outside of any avant-garde rhetoric, to the methods of capture by the institutional artistic system and by the financial ciruits of a vast heritage of critical thought and conflicting ways of life. For these reason, the Multiversity event will be organised into three seminar sessions: 1. Art and activism This means problematizing historical events and contemporary forms in the interlacing between art and activism. Some of the questions to start off the discussion will be: Which road was travelled to reach the conception of the work as transcendental to a conception of the same as object, process or dynamic able to intervene within man’s space-time and subsequently, within social processes? How did we go from a judgement of the work based on a topography of its material characteristics to one based, instead, on the analysis of its function, or even its efficiency in social terms? How does it function today, in this post-Ford era, activist art? What, once all avant-garde rhetoric is abandoned, is the position of art and artists with respect to movements? 2. Art and the market: between creative freedom and financial capture This second point must necessarily move from gathering date on the size of the art market and its relationship with financial capital. Art is taken here as an example of paradigmatic value because of the extreme paradox which affects it: if artistic work expresses a maximum level of creative freedom, at the same time it is subject to maximum fixation within the financial capital. 3. Art and multitude: for the survey into social composition, conflicts and organisation of live work in the “culture factory” This session will examine the core of the relationship between singularity and multitude, and between individual production and construction of the common. There are two research plans which will proceed in parallel. The first is historical-artistic and concerns the attempts which, starting in the 60s, were developed by artists in response to the rhetoric of the individual genius, up to the current platforms of collective production tied to the affirmation and diffusion of social hacking. The second plan concerns the survey into social composition of precarious workers which has grown around the culture industry’s drive. From the students in the training circuits to temporary workers in the cooperatives for logistics and stage design, trainees, networkers, project consultants, freelancers, to that global class of artists and professionals intent on becoming an integral part of the international art system. In all this wide social galaxy, we will need to investigate the material conditions of life and work, needs and aspirations, desires and possible assertions. . All this to get to the key point: how to transform this social composition into a political composition? PROGRAM 1) FRYDAY 16 ore 17 Art and Activism. Marco Baravalle, Claire Fontaine, José Pérez de Lama (Osfa), Brian Holmes, Marko Stamenkovic. ore 21 Performance: Margine Operativo. 2) SATURDAY 17 ore 9.30 Art and Activism (second session) Marco Scotini, Giovanna Zapperi, Judith Revel, Maurizio Lazzarato. ore 14 Art and Market. Chiara Bersi Serlini, Anna Daneri, Matteo Pasquinelli, Pier Luigi Sacco, Angela Vettese. ore17.30 Hans Ulrich Obrist ore 18 Art and Moltitude. Antonella Corsani, Adam Arvidsson ore 21 Performances VS Music 3) SUNDAY 18 ore 9.30 Art and Moltitude (second session) Antonio Negri, Alberto de Nicola, Gigi Roggero, Pascal Nicolas le Strat ore 18 Massimo Cacciari One lesson on: “One: Number 31” by Jackson Pollock “Brodway Boogie-Boogie” by Piet Mondrian Will participate to the discussion during the seminar: Beppe Caccia, Octavi Comeron. Andrea Fumagalli, Cristina Morini, Margine Operativo, Sandro Mezzadra, Alessandro Petti. During the days of the seminar till June 16, S.a.L.E. will host a selection of works by: Claire Fontaine, Marcelo Exposito, Andrea Morucchio, Lab. Cartografia Partecipata. Info and program updating: www.sale-docks.org
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      11 May 2008

      The Venice Factory

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      Gondolas full of tourists. In the background the renovation works' scaffolding of the Punta della Dogana de Mar (also known as Punta della Salute). Project: architect Tadao Ando, $$ François Pinault Foundation, Palazzo Grassi. img: The Venice Factory - oddtag on flickr.com
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      11 May 2008

      The Art Factory

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      txt: Pinault, Ando et Cacciari lancent la Pointe de la Douane
      Hier après-midi, devant la presse internationale et les autorités locales, François Pinault, président de Palazzo Grassi a présenté, avec Tadao Ando, le projet architectural du futur centre d'art contemporain à la Pointe de la Douane. En présence du maire de Venise, Massimo Cacciari, ils ont annoncé l'iminent début des travaux afin d'assurer une ouverture du site à l'occasion de la prochaine Biennale d'art contemporain, en juin 2009.
      txt: Manifesto - Aurora Street associazione culturale
      The bell tower clock strikes seven in the evening. In the central hall of the Venice Museum darkness falls, shrouding the blackened remains of what was once the main square of our city. This is where our ancestors met to do what the inhabitants of every city do in their main squares: stroll, meet with friends, converse and maybe even enjoy an ice-cream while sitting at one of the many square’s Caffès, letting their thoughts dance to the notes of the small orchestras. Today it seems that the aim of the Museum is to reproduce that atmosphere of past times for visitors with the same effective suggestion as a washed-out photograph fixed on the tombstones of people who have been buried.
      img: Punta Dogana e Santa Maria della Salute - Catching Flies on flickr.com
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  • oddtag's posterous

    #contemporary #change #future @Venice area (Italy)

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