HUNTING IN THE DARK

http://youtu.be/L_ZWwLKHQnU

Deleuze’s Abecedary: ‘A For Animal’ (English Subtitles) – YouTube.

Van Warmerdam’s short film Met losse Handen (No Hands, 2004) is a nimble, thought-provoking metaphor that can evoke poetic feelings and memories in the observer. Who cannot remember riding a bicycle with no hands down a narrow path on a fine late summer’s day? The subjective film camera invites the viewer to follow its gaze: from the initial close scrutiny of the bicycle to verify the stability of the no-hands ride, followed after a few moments by a look downwards, which then widens into the distance and begins to climb like in a dream, gaining in height like an errant thought in flight. In seemingly complete freedom the camera’s gaze soon circles the trees to the right at a dizzy height, swings to the left as if it were doing a “no-hands” glider flight and finally returns after only a short time to the ground, where it resumes its initial state of concentration, ignoring the surroundings as if engaged in introspection. The film, which is shown in a virtually unbroken loop, appears to be an endless repetition of a cyclical movement, the up and down of which finds a parallel in many things.

via MUDAM: Marijke van Warmerdam.

[youtube http://www.youtube.com/watch?v=l8C4HL2LyWU]

Not I – YouTube.

[youtube http://www.youtube.com/watch?v=m5S3_dmj8BU]

James Turrell is a prominent artist from Pasadena, California who graduated from Pomona College with a degree in perceptual psychology. He further pursued his studies at University of California, Irvine, and ultimately earned a master’s degree in fine arts from Claremont Graduate School. He is the recipient of the Guggenheim and MacArthur “genius” fellowships and has his work featured at the LACMA. Turrell’s work is more than just art, it is truly an immersive experience.

via Light Perception Manipulation: The Future of Architecture | News | Archinect.

Digital art is open, transient, interdisciplinary, multimedia, processual, discursive, concept- and context-dependent, and, in addition, is increasingly oriented toward interaction with the recipient. Within the evolving art genres, virtual art has begun to further dismantle the traditional tableau; this time, in favor of a processual model of art. Interaction, telematics and genetic image processes not only encourage the crossing of boundaries; they also drive the trend toward fusing the perception of the users with interfaces that increasingly assail the entire suite of human senses. There are now immersive works that integrate into virtual art the genres of architecture, sculpture, painting, scenography, theater, film, photography, and even historic image media such as the panorama. The author demonstrates that concepts of immersion that are primarily mediated in a visual form have their own art and media history, a course that comprises various stations before reaching the present time. [more]more

via Media Art Net | Overview of Media Art | Immersion.

By way of an introduction to this issue of e-flux journal, I would like to discuss the changes in our understanding and perception of art engendered by conceptual art practices of the 1960s and 1970s, focusing not on the history of conceptual art or individual works, but rather on the ways in which the legacy of these practices remains relevant for us today.I would argue that from today’s perspective, the biggest change that conceptualism brought about is this: after conceptualism we can no longer see art primarily as the production and exhibition of individual things—even readymades. However, this does not mean that conceptual or post-conceptual art became somehow “immaterial.” Conceptual artists shifted the emphasis of artmaking away from static, individual objects toward the presentation of new relationships in space and time. These relationships could be purely spatial, but also logical and political. They could be relationships among things, texts, and photo-documents, but could also involve performances, happenings, films, and videos—all of which were shown inside the same installation space. In other words, conceptual art can be characterized as installation art—as a shift from the exhibition space presenting individual, disconnected objects to a holistic exhibition space in which the relations between objects are the basis of the artwork.

via Introduction—Global Conceptualism Revisited | e-flux.

scene#2.

GEM; Ja Natuurlijk! – Hoe kunst de wereld redt.

For Croatian artist David Maljkovic, methods of display and the treatment of the exhibition space are central concerns. Considering the architectural configuration of the space a ‘language’ through which to frame, contextualise and re-read the work, Maljkovic manoeuvres his films, sculptures, collages, paintings and installations like props in service of the larger mise en scène. For the artist, ‘Sources in the Air’ – an overview of his practice from the past decade – represents not a collection of works, but a new work in itself.

this is tomorrow – David Maljkovic: Sources in the Air.