¡Oye, Mira!: Reflective Approaches in Contemporary Latin American Video Art brings together a selection of artists from Latin America who use video as a tool of reflection and contemplation, exploring relationships of identity to site, history, and memory. These artists play an important role as mediators in the geo-political landscape, seeking to place their work within the context of place/site and the intersection of high culture and daily life. In the featured works, materiality, form, and concept come together in an expression of each artist’s personal values and experience of the world. These range from place-specific issues of social justice and political oppression to the universal concerns of love and family.
Featuring works from Cuba, Mexico, Argentina, Peru, and Bolivia, all created in the last 12 years, the exhibition considers a wide range of approaches to production and display, including the use of the “loop,” narrative structures, sculptural installations/environments, and dialogues with complementary two-dimensional works. Audience participation will also be an integral part of the exhibition through an interactive video lounge and café, and live performances and dancing during the opening reception.
Since the early 1970s, the New Genres Department at the San Francisco Art Institute has been a pioneer in performance, moving image, and installation, and a breeding ground for work at the intersection of the three mediums. As one of the first graduates of the New Genre=s program and now Faculty Director of MFA programs at SFAI, curator Tony Labat, a Cuban native, has been an integral part of the development of New Genres since its inception. He continues to explore cross-disciplinary art production through teaching, curating, and his own practice.
Adobe Books, an independent bookshop and gallery in San Francisco, was confronted with a major challenge in the form of a massive rent increase that threatened to close it’s doors forever. Rather than accept the fate of so many historic independent shops throughout the Mission District (and San Francisco in general) and close down, a group of dedicated members of the Adobe family decided to fight back in the form of a major fundraising campaign through Indiegogo and a series of events in the shop and elsewhere. (There’s a show with the Dodos & Two Gallants on Monday!)
Presented in conjunction with Litquake, Creative Time, and the release of artist/geographer Paglen’s latest book, The Last Pictures, this multimedia performance/lecture attempts to explain to an audience in the distant future, long after the traces of human civilization have disappeared, what happened to the people who built a ring of communications satellites around Earth.
On view now at the Laband Art Gallery at LMU in Los Angeles:
Yamamoto forged a connection to salt while mourning the death of his sister, at the age of twenty-four, from brain cancer and began to create art out of the element in an effort to preserve his memories of her. Salt, a traditional symbol for purification and mourning in Japanese culture is used in funeral rituals and by sumo wrestlers before matches. It is frequently placed in small piles at the entrance to restaurants and other businesses to ward off evil spirits and to attract benevolent ones. Yamamoto’s art radiates an intense beauty and tranquility, but also conveys something ineffable, painful, and endless.
Exhibition organized by the Halsey Institute for Contemporary Art, College of Charleston, Charleston, South Carolina. This exhibition and its programming are made possible by the College of Communication and Fine Arts, LMU Theatre Arts program, LMU Music Department, William H. Hannon Library, the Japanese American Cultural and Community Center, MGS Architecture, and Moon & Associates. The salt was generously donated by Morton Salt (Newark, CA).
Distributed Denial of Service (DDoS) attacks have recently become a mainstream term: A large number of computers overload a server with traffic in the attempt to disable it. A DDoS event can also be coordinated in the vein of Internet art. During the middle of October, jstchilln.org, for a project by Brad Troemel, proposed
“to drain the maximum amount of bandwidth or potentially freeze the website to a standstill […] On November 1st we encourage you to open as many tabs of Jstchillin.org as possible and leave them open all day. In doing so, participants may group together to temporarily remove this website’s existence on the Internet, putting a halt to its undesired effects on our community and the world at large.
A vote was taken to decide what website to ‘visit.’ What happened?
I had been following thejogging after discovering ‘Perfo Rmanceart‘, a Facebook user who conducted interesting and obnoxious online experiments like spamming the Guggenheim Museum’s Facebook page with links. thejogging was a stream of interesting experiments so when I saw the above page I went into my RSS reader and recorded the site’s final moments:
This kind of experiment interests me because it pushes the boundaries of Internet freedom and Internet art in a very public and well-documented way. In light of the DDoS attacks between Tumblr & 4chan and the more politically-motivated attacks against Paypal & Mastercard in response to their stance towards Wikileaks, this project is extremely interesting. Below is a bit more about this work:
The artist’s statement at the beginning of the project
A chronology of events and an essay written post-project: ‘Notes on Assembly’
Brief interview with the artist, Brad Troemel, 12/2010.