Keith Holbrook, Untitled, 2006
10 x 9 inches
Courtesy David Patton Los Angeles
Two years ago, upon moving to Washington, D.C., I had the grand idea that what our country needed most was a new government agency to oversee the integration of art and technology...
A platform is a context, medium or venue for the presentation of people, events, objects or information.
Unitednationsplaza is an ongoing experimental exhibition/educational institution organized by artist Anton Vidokle in collaboration with Liam Gillick, Boris Groys, Natascha Sadr Haghighian, Nikolaus Hirsch, Magdalena Magiera, Walid Raad, Martha Rosler, Jalal Toufic and Tirdad Zolghadr. Nestled in the shadow of romantic plattenbau apartments, unp Berlin (the project’s initial location), is a small square box that sits at the rear of a big box—a giant food retailer.
“In ten days,” as Salon.com writer Steve Kaplan wrote in a recent thread on why people collect, “this culture (or sub culture) will descend in all its sound and fury upon Miami. The attendant rituals of conspicuous consumption, of snubbing and embracing, of preening and prowling, of ‘perilous journeys across the seas separating the small islands’ might even give the Trobrianders pause.
Annually, since 2003, Portland Institute for Contemporary Art (PICA) has assembled a group of artists, musicians and performers under the rubric of “time-based art.” Embracing a broad and multidisciplinary definition of contemporary art, the ten-day Time-Based Art (TBA) Festival consciously strives to erode divisions between “the performing arts” and “performance art.”
I wake under tentacles of vernacular neon. Tense at first. The swell of advertising reads me as the city’s most prehensile appendage. Sleep retracts from my face. I’ve been doubled. Or so I think. I wake in front of the post office. The sun, refracted by glass, breaks me in two. At first I stutter down the entrance window, my skin catching against its Windex film...
The following discussion between artists Chris Kubick and Anne Walsh (who collaborate as Double Archive) and Leslie Raymond and Jason Jay Stevens (who collaborate as Potter-Belmar Labs) took place via e-mail during the latter part of 2007 and the first weeks of 2008.
At Your Service: Escaping the Progress Trap is a selection of informational videos by artists who use recent technological tools for purposes other than what they were designed to do and, in some instances, in direct opposition to their intended use.
This article is the first in a series of robotic objector projects for the home roboticist/anarchist. This design combines the integrated perception and autonomous navigation skills of the human dissident with the efficiency and compact size of a robot specifically adapted to the tactics and terrain of street actions...
It has been ten years since the Institute for Applied Autonomy and the Critical Art Ensemble published “Contestational Robotics,” a manifesto proposing the use of activist-made robotics to create temporary spaces of free expression.
s a medium, the pliability of photography is infinite, as is its ability to pervert reality. At this moment in time, however, this should be a given, not a debate. To document or to desecrate: if this is still a primary question in anyone’s mind, the answer is the theoretical equivalent of blowing wind.
Robert Creeley used to say that the tradition of the traveling poet was resurrected in all its peripatetic romanticism and grit in America in the 1950s and ’60s, a time when movement was a key not only to the poetic imagination but to cultural revolution.