POSTER making

De tentoonstelling is het resultaat van een onderzoeksperiode naar het format ‘poster’. Uitgangspunt daarbij was het onderscheid dat de Franse cultuursocioloog Michel de Certeau maakt tussen ‘strategie’ en ‘tactiek’ in zijn boek uit 1980 ‘L’invention du quotidien. Vol. 1, Arts de faire’ .In zijn boek betoogt de Certeau dat de kloof tussen de homogeniteit van de grote wetenschappelijke, politieke of filosofische verhalen en de heterogeniteit van dagdagelijkse praktijken onoverbrugbaar is. Deze kloof is niet van voorbijgaande aard, maar is de essentie van wat we moderniteit noemen: een intrinsiek gespleten gebeuren, een onophefbaar problematisch en tegenstrijdig proces waarin naar uiteenlopende antwoorden wordt gezocht op de problematisch geworden relatie tussen beeld en wereld, taal en daad.

via POSTER making do : laatste week | Nieuws.

YouTube – Een rare zondsondergang (1-6)


In 1991 maakten Ali Haselhoef en Inge Willems Een rare zons- ondergang. Toen te zien op Kunstkanaal, nu op de wereldwijde kijkbuis. Gesprekken met de toppers van toen. Een tijd van voor het internet. Denken deed men in guldens. En dat allemaal in de smaak analoge video. Prachtig tijdsdocument (must see!)

Met o.a. Bart Domburg (nieuwe oude meester), Paul Groot, Servaas, Frans Haks (Groninger museum), Rob Scholte, Frank Reijnders, Adriaan van der Have (Torch) en Gerald van der Kaap (virtueel artiest).

Gestalten – Lo-Res Film: Carsten Nicolai

Carsten Nicolai is one of the most renowned artists working at the intersection of art and science and infamous for his minimalist approach. Having exhibited internationally at Documenta X and the Venice Biennale, he is also an active musician working under his music alias Alva Noto and has staged performances with Ryuichi Sakamoto at the Guggenheim NY to the Centre Pompidou in Paris. This week, Gestalten is releasing his new book Grid Index, the first comprehensive visual lexicon of patterns and grid systems. A reference book for designers, visual artists, architects, researchers, musicians and mathematicians, Nicolai has discovered and unlocked the visual code for visual systems into a systematic equation of grids and patterns. We met Carsten in his studio in Berlin Mitte to talk about grids, books and music.

via Gestalten – Lo-Res Film: Carsten Nicolai.

Sylvia Stone – The Void and the Field | Nieuws

Ze is voor de helft vergeten, maar nog volledig in de hedendaagse kunst aanwezig: Sylvia Stone, geboren in 1928 en was in de vroege jaren zeventig van grote invloed op het idee hoe een sculptuur tegenover de ruimte staat en er mee handelt. Doordat er bijna geen documentatie van haar is te vinden, is het niet anders dan in de vergetelheid te raken. Maar toch nog geen reden tot klagen, want wie zelfs in de vriendelijke tweedelige bundeling van Taschen terecht komt is eigenlijk nog niet vergeten. Op pagina 1112 van het 2e deel ‘Sculpture, From Antiquity to the present day’ staat ze totaal niet ongelukkig tussen de nog lang niet vergeten grootheden als Richard Serra, Frederick Sandback en Walter De Maria. Maar toch is haar ‘Crystal Palace’ uit 1971-72, een totaal uit plexiglas vervaardigt werk het enige wat ik van Stone ken.

via Sylvia Stone – The Void and the Field | Nieuws.

Rhizome | Multiple Views

Artist Dan Graham (born 1942) has embraced a wide range of media and genres including film, video, performance, installation, architecture (he collaborated with Jeff Wall in 1989 to build Children’s Pavilion), women’s magazines (Figurative—made in 1965 and reproduced in Harper’s Bazaar in 1968), and rock music (where he has collaborated with musicians such as Glenn Branca and Sonic Youth). Graham is well known for his documentary Rock My Religion (1982-84), a fifty-two minute video that explores the religious and spiritual tendencies underlying the American obsession with rock music. In the exhibition catalog for Don’t Trust Anyone Over Thirty, Diedrich Diederichsen claims that this video is “one of the most important texts on the theory of rock music.” Rock My Religion, as well as many other of these interdisciplinary projects are included in Graham’s current solo show, Dan Graham: Beyond, at the Whitney Museum of American Art in New York City.

via Rhizome | Multiple Views.

compost and height

If we consider the layers of a compost heap as strata, then the foremost layers can be seen to be the beginning of a process. This commencement however, is a significant distance from its purpose. To return again from the height to the collective earth, binding with loam to create stronger roots and utilising the inevitability of decomposition. The point in time becomes displaced, the interoceptive becomes the exteroceptive as the compost creates a horizon that has no discernible boundary. The growth stems from indeterminacy. It is an ‘open’ situation, in movement. A work in progress.

via compost and height.

Displaced Sounds » About

The basic idea behind Displaced Sounds is to focus on the hidden influences, implications and possibilities of sound. We feel these elements are under-documented in our visual culture however it’s clear that we live in a world inhabited and surrounded, some say polluted, by sound. We are losing and neglecting our ability to hear and listen because we’re so busy with tuning things out instead of tuning in.

via Displaced Sounds » About.

History of the camera

The first photograph was taken in 1814 by Nicéphore Niépce using a sliding wooden box camera made by Charles and Vincent Chevalier in Paris; the photograph though was not permanent and it faded. Niépce built on a discovery by Johann Heinrich Schultz 1724: a silver and chalk mixture darkens under exposure to light. While this was the introduction of photography, the history of the camera can be traced back much further. Photographic cameras were a development of the camera obscura, a device dating back to the Book of Optics 1021 of the Iraqi Arab scientist Ibn al-Haytham Alhacen,[1] which uses a pinhole or lens to project an image of the scene outside upside-down onto a viewing surface.

via History of the camera – Wikipedia, the free encyclopedia.

Peter Campus Image and Self – Features – Art in America

London When I was young I made myself aprisoner of my room. It became part of me, an extension of my being. I thought of the walls as my shell. The room as a container had some relationship to the imaginary space inside a monitor . . .—Peter Campus, conversationwith Barbara Nierhoff, 2003 1

Warren S. McCulloch, a scientist, physician, philosopher and poet, was one of the 20th century’s greatest and most versatile minds. In 1952, after 12 years of research in psychiatry and neurology, McCulloch turned his formidable skills to problems of neurophysiology, mathematics, cybernetics and the mechanics of logic, joining the Research Laboratory of Electronics at M.I.T. He became a key person in the new field of cybernetics—the study of complex systems, especially communication systems, in living organisms and technology. At M.I.T., along with his team of J. Letvin, W. Pitts and H. Maturana, he studied the visual system of the frog and discovered that the eye has an active role in organizing and interpreting visual information before it is sent to the brain: in short, that knowledge is a part of perception. Their groundbreaking paper was titled “What the Frog’s Eye Tells the Frog’s Brain,” and it was published in 1959.

via Peter Campus Image and Self – Features – Art in America.