new Glowlab site
After several months of work on the new Glowlab site, we're about to launch it. Just a few more tweaks here and there and you'll see a brand new site, maybe tomorrow or in the next few days...we can't wait to show it to you!
Twenty proposals for imagining the future
Sala Rekalde presents The Invisible Insurrection of a Million Minds: Twenty proposals for imagining the future
\\ reverse engineering \\
\\ reverse engineering \\ is a project by Rüdiger Schlömer of mapping paint stains left on painter's shirts. Schlömer describes the project as "a range of scientific and artistic methods dealing with stains or comparable visual information in a semantic context, are applied to interpret the stains, to extract and reconstruct any (context-specific) information contained in it."
standing on wood chips
For How Scandinavian of Me, "artist Lars Vilhelmsen has been photographed in the tourist snapshot style in front of some important non-Scandinavian sights including Anne Frank's house in Amsterdam and sights in Malaysia, Berlin, and Iran. The web-photo album has aesthetic antecedents in British artist Gillian Wearing's photographs as well as the tradition of lawn gnome snatch-and-snap." [via Rhizome]
From the artist's site: "How Scandinavian Of Me shows a work of art in questions of investigation and formed like the artist in the part as 'tourist' with the same recognisable objects, the white T-shirt and 'how scandinavian of me', standing bare-feeted on the small heap of danish chipped bark."
MUG on Maps
From antiques to Google, Manhattan User's Guide offers a list of the best resources for NYC Maps.
One Block Radius Mentioned in The Village Voice
"The Last Days of Loserville" reminisces about the Bowery area while lamenting the current gentrification trend. One Block Radius is mentioned as a "psychogeographic portrait of a single Bowery block" that Marci Reaven, director of Place Matters, described the project as having the ability to "instill a sense of what we're losing".
Mondays at Resonance FM
Resonance 104.4 fm hosts Monday afternoon Shadow Walking from 1:30p-2p in London. The show is hosted and created by Viv Corringham through a process of going on "other people's "special" walks, repeated and sung by [Corringham]. Someone takes me on a walk that is in some way significant to them, and I record us walking together. Later I walk it alone, improvising vocally as I go. The two walks are edited together to make these programmes. "
march 5 - april 2, 2005
opening reception: saturday, march 5, 6-8 pm
"Swarm," an exhibition of new works by Diana Cooper will be on view from March 5 until April 2, 2005. This will be Cooper's fourth solo exhibition at Postmasters, her first after a year-long residency at the American Academy in Rome in 2003/2004.
"Sometimes I feel as though I am making flowcharts for an imaginary world. My mind is like a fiIter constantly translating the world around me. Everything catches my eye: bright orange traffic cones meandering between the street and the sidewalk; an enormous building sheathed in black mesh from top to bottom; duct tape adhering a handwritten sign to a newly polished subway tiled wall. These are all urban works in progress, part of the transitory, the ephemeral, and the makeshift. These are the environments we inhabit everyday."
Diana Cooper's works cannot be easily categorized; she engages in a unique practice that combines drawing, painting, sculpture and installation. Although essentially abstract, these unabashedly handmade visual hybrids suggest a narrative of cause and effect in which apparent chaos and randomness develops inherent logic, or conversely, orderly structures turn paradoxical.
"Digital, biological and medical systems are our life support but they can fail us too. In their complexity they become unstable and fragile. I am interested in how you can start with a logical structure and through sheer repetition and excess create something that unravels and stops making sense. Fragility is important to me because it underscores our own vulnerability. Like the makeshift improvisations on existing systems my work is fragile and grows organically."
Cooper's works are made from unorthodox but commonly available materials, such as foam core, felt, corrugated plastic sheeting, numbered map pins, acetate, Velcro, neoprene and pom poms. They incorporate her own photographs as building elements - a development inspired in part by the elaborate instruction manuals that she has been making since 1998 to accompany her installations.
"I want to transform materials and insinuate them into unlikely contexts. I want to create the sense that they don't quite belong but at the same time that they do. Often I like to make something be what it shouldn't be: scotch tape holds up a felt construction, plastic and pipe cleaners frame a heap of pom poms or a delicate felt-tip marker doodle covers an enormous canvas. I want the work to be both vital and vulnerable, like an ice cream cake in the sun."
Two new works included in this show, "Orange Alert (USA)" 2004-05 and "Swarm" 2003-05 make specific reference to real world events. "Orange Alert (USA)" refers to the US terror alert color code instated by the Bush administration after September 11, 2001. In "Swarm," one of the central free-standing structures were partly inspired by US barriers used during political protests in 2003.
In a recent review of Cooper's work in the Los Angeles Times, Christopher Knight wrote:
"Think of Diana Cooper's wall reliefs as visualization of the way a computer virus might work: Havoc occurs through precise channels of organization, manic energy merges with exacting control and data seem to wobble between ferocious and benign. The structure of her art is a hybrid of machine regularity and human caprice. In fact, maybe this is also what logic looks like - carefully composed yet far messier and more random than we assume."
Diana Cooper's works have been shown extensively in Europe and the US. In 2003-04 she was a recipient of the Rome Prize as well as an artist-in-resident at the Center for Drawing at the Wimbledon School of Art. She has recently had solo shows at the Center for Drawing in London and at the Carl Berg Gallery in Los Angeles. She has participated in group shows at the Museum St. Gallen in Switzerland, the Drawing Room in London and the Brooklyn Museum. In addition, she has shown at Hales Gallery in London, Galerie Anne de Villepoix in Paris and Galerie Staub in Zurich. In the United States Cooper has exhibited at P.S. 1 Contemporary Art Center and Sculpture Center in New York, Contemporary Arts Center in Cincinnati, Tang Museum at Skidmore College, New York, Rice University Art Gallery in Houston and numerous other institutions.
Postmasters Gallery, located in Chelsea at 459 West 19th Street (corner of 10th Avenue), is open Tuesday through Saturday 11am to 6 pm.
the installation views of the show will be posted online by March 7
Barry McGee, a street artist from San Francisco, is having his first European museum exhibition at Museum Het Domain Sittard. "Things Really Are Getting Better" is a series of drawings in pencil and ballpoint pen depicting faces in grotesque and/or psychedellic expressions. I do not know if there are installations at this exhibit, but in the past McGee has utilized many urban decay objects or urban demolition situations as reference for his work.
From 22 January to 28 March Museum Het Domein is presenting the first European museum exhibition by Californian artist Barry McGee (born in San Francisco in 1966). The artist has compiled a publication with the same title to accompany the exhibition.
T w i s t
Barry McGee became involved in San Francisco's graffiti world in the mid-1980s, while still an 18-year-old high school student. There he found an immense stage and an even larger audience for his 'illegal' creations, long before he made his entrance into the art world. Since then, under the name 'Twist', he has left his signature (or 'tag' as it is known among graffiti artists) all over the world. After studying painting and graphic art at The San Francisco Art Institute, he has developed - alongside his illegal street art - a body of work that is entirely interwoven with graffiti, yet is separate from it. He finds his inspiration in chaotic city life, which is dominated by the most diverse images, from advertising posters and signs to political propaganda and the slogans opposing it. He is also utterly fascinated by the contrast and tension between inner cities and suburbs, between well-to-do neighbourhoods and slums. In his museum work McGee specifically tries to emphasise what is individual and hand-crafted in an impersonal urban landscape increasingly crowded with corporate logos, trademarks and advertisements.
Over the years, McGee has developed a number of elements which recur in varying combinations in all his installations. To begin with, there are panels covered with colourful geometric patterns which adorn the walls in great abundance and leave a shimmering sensation on the retina. His installations are also populated by large numbers of unwholesome-looking men with faces drawn in a style that was formerly cartoon-like and is now almost psychedelic. The faces, made up of fine pencil or ballpoint lines, have gaping mouths, glistening long hair and grotesque bags under their eyes.
Recently, overturned car wrecks have started to appear in his exhibitions, as dying machines just barely able to flash their lights and emit a last puff of exhaust. Like the wax figures of youths doing illegal or improper things in corners or cubicles, they add to the feeling of excitement, of unexpected and alienating events, of vitality and illegality that typifies the graffiti world. Another new element is the use of robots: sawn-off silhouettes of McGee characters whose monotonous motions depict the act of graffiti-spraying. Their mechanical stiffness, however, makes it quite clear that this is not reality, but a museum version of it.
McGee makes abundant use of the various elements in his installations, often adding more new drawings, panels covered with geometric patterns and so forth on the spot. These are then grouped or bundled into large clusters, or sometimes even piled up, like the television sets showing animated versions of his work. McGee always starts with unpredictable chaos, which allows chance, time pressures and decisions by assistants to play as important a part in the creation of the installations as the artist's own ideas and dexterity. This may well be as close as he can get to the working methods of the graffiti artist. In any case he wouldn't want it any other way.
B i o g r a p h y
Barry McGee has previously exhibited in the San Francisco Museum of Modern Art (1998) and the UCLA Hammer Museum in Los Angeles (2000), at Deitch Projects in New York (1999 and 2001), the 49th Biennale in Venice (2001), the Fondazione Prada in Milan (2002), the Deste Foundation in Athens (2004), John Kaldor Projects in Melbourne (2004) and elsewhere. His tags can also be found in public spaces in most of the cities where he has exhibited.
The publication Things are really getting better is a 178 page full-colour picture book, including images of the exhibition in Museum Het Domein and older works. Order the book by sending an email to [email protected], ISBN 90-75883-005.