RE: [spectre] The Dot Masters
The Dot Master series http://c6.org/thedotmasters A series of stencils for gallery exteriors. Graffiti is an act of vandalism. Does making the subject of that criminal damage an image of merit question its classification as a crime? Can beauty be is used to damage property? If that image is subsequently vandalized which is the greater crime the decoration of a white wall or the vandalism of the image? Ahh the curatorial choices? http://c6.org __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] curatorial department restructuring at MoMA
Date: Mon, 16 Oct 2006 14:22:16 +0100 Sender: Curating digital art - www.crumbweb.org [EMAIL PROTECTED] From: Sarah Cook [EMAIL PROTECTED] Subject: curatorial department restructuring at MoMA just in case anyone missed this in the New York Times recently... there is a post on Steve Dietz's blog yproductions about it as well: http://www.nytimes.com/2006/10/03/arts/03arts.html?ex=1161144000en=1da62bf29b4db251ei=5070 http://www.yproductions.com/WebWalkAbout/archives/000803.html - NYT: October 3, 2006: The Museum of Modern Art announced yesterday that it had created a new curatorial department to focus exclusively on the growing number of contemporary artworks that use sound and moving images in gallery installations. The media department, once part of the department of film and media, will deal with works that use a wide range of modern technology, from video and digital imagery to Internet-based art and sound-only pieces, said Klaus Biesenbach, who was named chief curator of the new department. Mr. Biesenbach, who has been a MoMA curator since 2004 and the chief curator of P.S. 1, the museum's Queens affiliate, since 2002, said that works relying on media techniques and ideas of conveying motion and time had become much more prominent over the last two decades at international art fairs and exhibitions.'And it's even more visible now,' he said. 'I think artistic practice is evolving, and so museums are evolving as well.' The creation of the new department brings the number of curatorial departments at the museum to seven. The other six are architecture and design, drawings, film, painting and sculpture, photography, and prints and illustrated books. - thus: Barbara London's job title has changed to Associate Curator, Department of Media. Film remains its own department. And there is no sense yet of where media art projects that aren't moving-image or gallery-based, will go. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] open call netporn seminar
Open Call for Contributions Internet Pornography Seminar Dates: June 1 2 2007 Location: Paradiso, Amsterdam Organized by: Institute of Network Cultures and Paradiso in collaboration with Katrien Jacobs and Matteo Pasquinelli http://www.networkcultures.org/netporn The Institute of Network Cultures and Paradiso would like to invite you to send in your work for the second international seminar and exhibition on internet pornography. This edition will focus on topics as (gender)identity, social and ethnic minority groups, politics and censorship. The seminar will take place in Amsterdam on June 1 2 in 2007. We are currently looking for people who are working on this subject and would like to present their work to an international audience. If you are a theorist, artist, researcher, producer or in another way engaged in the field of netporn, we encourage you to send in an abstract of your work. Seminar program The event will take place on Friday June 1st and Saturday June 2nd. On both days there will be opening lectures by keynote speakers. After the keynote lectures, both days will be filled with clusters of presentations and lectures concerning one of the four seminar themes. In the evening of the second day there will be an extensive artistic program with screenings and performances. Exhibition A two-day exhibition will be held at the seminar venue. In this exhibition ten artists get the opportunity to show their views on the subject of pornography, sexuality, technology and the human body. It will include different kinds of media art like installations, net.art and video art. Seminar topics The seminar has four main themes as focus points for the presentations: -The revolution of alt pornography: in what way has alternative and do-it-yourself pornography democratized porn production? What are the reactions of the commercial industry? How does it influence our perception of porn? -Porn niches and trans gender: stereotypical social divisions with groups like hetero, gay, transsexual and transgenders seems to matter less and less. What new revolutionary identities are arising, are old patterns making way for a larger network of sexual possibilities? -Globalization of porn and the influence of ethnic minorities: this session wants to define the way various ethnical groups make use of the possibilities of porn. What are the ways in which they shape their own sexuality, using of new technologies? -Politics of netporn; censorship, new rights and nightmares: Porn is subject of repression (censorship) as well as progression (emancipation, liberalization). Where do we draw the line? What are the newly aqcuired rights that we already got out of this still expanding subject? The first seminar made it possible for people to meet each other and exchange views on a topic that is still controversial. It resulted in a broad overview of developments in the field of netporn. With the second edition there will be a more in-depth look and sharper focus, based on the four themes that are provided. Significant dates: Deadline for submission abstract (250 words) and biography (100 words): 30 november 2006 Submit to: [EMAIL PROTECTED] Acceptance notification: 21 december 2006 Further enquiries: [EMAIL PROTECTED] Organizers: Institute of Network Cultures Paradiso Katrien Jacobs Matteo Pasquinelli Location: Paradiso - Amsterdam __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Remind
http://www.bopsecrets.org/SI/Chtcheglov.htm FORMULARY FOR A NEW URBANISM IVAN CHTCHEGLOV (GILLES IVAIN) Sire, I am from the other country We are bored in the city, there is no longer any Temple of the Sun. Between the legs of the women walking by, the dadaists imagined a monkey wrench and the surrealists a crystal cup. That¹s lost. We know how to read every promise in faces the latest stage of morphology. The poetry of the billboards lasted twenty years. We are bored in the city, we really have to strain to still discover mysteries on the sidewalk billboards, the latest state of humor and poetry: Showerbath of the Patriarchs Meat Cutting Machines Notre Dame Zoo Sports Pharmacy Martyrs Provisions Translucent Concrete Golden Touch Sawmill Center for Functional Recuperation Saint Anne Ambulance Café Fifth Avenue Prolonged Volunteers Street Family Boarding House in the Garden Hotel of Strangers Wild Street And the swimming pool on the Street of Little Girls. And the police station on Rendezvous Street. The medical-surgical clinic and the free placement center on the Quai des Orfèvres. The artificial flowers on Sun Street. The Castle Cellars Hotel, the Ocean Bar and the Coming and Going Café. The Hotel of the Epoch.(1) And the strange statue of Dr. Philippe Pinel, benefactor of the insane, fading in the last evenings of summer. Exploring Paris. And you, forgotten, your memories ravaged by all the consternations of two hemispheres, stranded in the Red Cellars of Pali-Kao, without music and without geography, no longer setting out for the hacienda where the roots think of the child and where the wine is finished off with fables from an old almanac. That¹s all over. You¹ll never see the hacienda. It doesn¹t exist. The hacienda must be built. All cities are geological. You can¹t take three steps without encountering ghosts bearing all the prestige of their legends. We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors. These dated images retain a small catalyzing power, but it is almost impossible to use them in a symbolic urbanism without rejuvenating them by giving them a new meaning. There was a certain charm in horses born from the sea or magical dwarves dressed in gold, but they are in no way adapted to the demands of modern life. For we are in the twentieth century, even if few people are aware of it. Our imaginations, haunted by the old archetypes, have remained far behind the sophistication of the machines. The various attempts to integrate modern science into new myths remain inadequate. Meanwhile abstraction has invaded all the arts, contemporary architecture in particular. Pure plasticity, inanimate and storyless, soothes the eye. Elsewhere other fragmentary beauties can be found while the promised land of new syntheses continually recedes into the distance. Everyone wavers between the emotionally still-alive past and the already dead future. We don¹t intend to prolong the mechanistic civilizations and frigid architecture that ultimately lead to boring leisure. We propose to invent new, changeable decors. * * * We will leave Monsieur Le Corbusier¹s style to him, a style suitable for factories and hospitals, and no doubt eventually for prisons. (Doesn¹t he already build churches?) Some sort of psychological repression dominates this individual whose face is as ugly as his conceptions of the world such that he wants to squash people under ignoble masses of reinforced concrete, a noble material that should rather be used to enable an aerial articulation of space that could surpass the flamboyant Gothic style. His cretinizing influence is immense. A Le Corbusier model is the only image that arouses in me the idea of immediate suicide. He is destroying the last remnants of joy. And of love, passion, freedom. * * * Darkness and obscurity are banished by artificial lighting, and the seasons by air conditioning. Night and summer are losing their charm and dawn is disappearing. The urban population think they have escaped from cosmic reality, but there is no corresponding expansion of their dream life. The reason is clear: dreams spring from reality and are realized in it. The latest technological developments would make possible the individual¹s unbroken contact with cosmic reality while eliminating its disagreeable aspects. Stars and rain can be seen through glass ceilings. The mobile house turns with the sun. Its sliding walls enable vegetation to invade life. Mounted on tracks, it can go down to the sea in the morning and return to the forest in the evening. Architecture is the simplest means of
