Pierre Huyghe - Third Memory

The Third Memory

 from: http://www.egs.edu/

"Pierre Huyghe, French artist and filmmaker speaking about reality and virtuality, narrative, projection and memory in a free and open video lecture for the students and faculty at European Graduate School Media and Communication studies department program in Saas-Fee, Switzerland 2008. Pierre Huyghe.

...His two-channel video The Third Memory (1999), first exhibited in a museum context at the Centre Georges Pompidou in Paris and The Renaissance Society in Chicago, takes as its starting point Sidney Lumet's 1975 film Dog Day Afternoon, starring Al Pacino in the role of the bank robber John Wojtowicz. Huyghe's video reconstructs the set of Lumet's film, but he allows Wojtowicz himself, now a few dozen years older and out of jail, to tell the story of the robbery. Huyghe juxtaposes images from the reconstruction with footage from Dog Day Afternoon, demonstrating that Wojtowicz's memory has been irrevocably altered by the film about his life."

Pierre Huyghe. Narrative, Projection and Memory. 2008. 1/7:

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Geography of the Body - Willard Maas - 1943

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Richard Billingham - Fishtank [00:46:40 1998]

"It's not my intention to shock, to offend, sensationalise, be political or whatever; only to make work that is as spiritually meaningful as I can make it—whatever the medium."

—Richard Billingham

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Mike Nelson is chosen to fill the British pavilion at the 2011 Venice Biennale [New Statesman]

From: http://www.newstatesman.com/blogs/cultural-capital/2010/03/british-pavilion-nelson-work

A room of his own

A Psychic Vacuum by Mike Nelson, New York, 2007

It's almost 10 years since the British artist Mike Nelson was first nominated for the Turner Prize (Martin Creed won in 2001 with his Sewell-baiting Work No. 227, the lights going on and off). In 2007, he was again pipped to the post, that year by Mark Wallinger. Earlier in 2001 at the Venice Biennale, I had experienced Nelson's mysterious labyrinthine work for the first time in a disused brewery on the Giudecca entitled The Deliverance and The Patience.

I say experienced because this was literally the case -- opening a small, unremarkable wooden door you were plunged into a series of eery, interconnected rooms, initially unsure whether this was a "found" space, co-opted by the artist, or in fact the work itself. As you progressed through a maze of ever stranger windowless room-sets it became clear that the art was indeed all around you: the enveloping walls making you the unwitting characters within your own ephemeral performance piece.

Here, as in Nelson's subsequent pieces at Tate Britain and elsewhere, there was a sense of recent absence from these rooms, as if their inhabitants had just vacated the space, Marie Celeste-like -- whether it was a dingy sweatshop, a naval-themed bar or a shabby travel agents. Throughout his work, there's always a sense of menace, the feeling that something unpleasant may have happened here, or that someone may have escaped from danger. But there's also something familiar, as if we are intruding on our own half-remembered dreams -- walking down endless corridors, through multiple doors, getting brief snapshots of other lives.

Since first encountering Nelson (and seeing other installations by him), I've found echoes of his work in various, disparate, places: from the obvious similarities of art installations such as Christoph Buchel's vast and disturbing 2007 work, Simply Botiful, in the now demolished Coppermill off Brick Lane, and Polish artist Robert Kusmirowsk's 2009 site-specific deserted World War II Bunker in the Barbican Curve; to the bizarre physical theatre of Shunt in the dank railway arches beneath London Bridge.

Even watching films from the schlocky slasher franchise Saw, its characters stumbling helplessly from derelict room to room caught in a sick killer's game made me wonder if the set designers had ever had a brush with Mike Nelson; while conversely it is now hard for me to think back to the Nelson experience without bringing to mind photos of the real-life horror of Josef Fritzl's keller or Jaycee Dugard's makeshift backyard prison.

Now, neatly, a decade on Nelson has been chosen to represent Britain at next year's Venice Biennale, putting him among such recent luminaries as Mark Wallinger, Chris Ofili, Tracey Emin and last year's Steve McQueen, and giving him a much wider audience. He'll have free rein in the late 19th-century pavilion, formerly a restaurant but converted by the architect E A Rickards in 1909 to showcase British art (organised by the British Council since its formation in 1937).

It's potentially the perfect space for Nelson's site-specific work: already a structure with a mixed past and a distinctive classical Italianate style; already resonant with the ghosts of decades of British contemporary art, the footsteps of thousands of past viewers -- a blank canvas with a history, perhaps. What can we expect? No details yet, but if Nelson creates something as intriguing and and physically expansive as he did back in 2001, this will be the pavilion reconfigured as never before. If you go to the Biennale, I hope you're as equally impressed as I was by his corridors of power.

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Chris Marker - Junkopia [UbuWeb]

http://www.ubu.com/film/marker_junkopia.html

“Chris Marker, John Chapman & Frank Simeone (1981, 6 min)

One day, at the stroke of evening, on Emeryville beach in San Francisco, where unidentified artists, leave, without anyone knowing, sculptures manufactured with items that have washed ashore from the sea.

This includes a short introduction by arte, approx. 1:12 secs long, with the film being around 6 minutes itself....there are 2 intertitles in the film itself, giving the latitudanal and longitudanal co-ordinates of the beach. No subtitles required.”

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Escape Vehicle no.6 (chair in space), Simon Faithfull, 2004, 4min extract

from YouTube description:

“Escape Vehicle no.6 presents the journey of a domestic chair from the earth to the edge of space. The film started as a live event in a disused aircraft testing site. The live audience first witnessed the launching of a weather balloon with a domestic chair dangling in beneath it. Once the apparatus had disappeared into the sky they then watched a live video relay from the weather balloon as it journeyed from the ground to the edge of space (30km up).

Now presented as a video work, the footage shows the chair first rush away from the fields and roads, ascend through clouds and finally (against the curvature of the earth and the blackness of space) begin to disintegrate. The chilling nature of the film is that the empty chair invites the audience to imagine taking a journey to an uninhabitable realm where it is impossible to breath, the temperature is minus 60 below and the sky now resembles the blackness of space.”

Via article from Art Monthly:

AD MEN
Anna Dezeuze on the appropriation of art by advertising
Another day, another example of an ad agency ripping off an artist; this time it is Simon Faithfull who has seen his work remade by the ad men. But what is it about conceptual art that makes it so appealing to advertisers?

'It is because their works are reducible to simple ideas, it has been suggested, that conceptual artists are so easy to "rip off" - indeed, by protecting "expression" rather than "ideas", copyright laws seem to privilege visual appearance over concept.'

(Article not available online)

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Live Jasmine - Depressing Conversation #1 [Porn Negative Space]

• Text: A copy/paste from a Live Jasmine chat, mostly between YouWithMe the "host" and aks000.
• Video: Peripheries of user YouWithMe's adult webcam show hosted by Live Jasmine.
• Audio: Techno/trance-type song playing in background, recorded and molested.
• Sofa: Abstract Expressionist Ikea

Porn Copyright Violation [Porn Negative Space]

Television and fan playing hide and seek.
Text-to-Speech taken from advert posted on Freelancer.com requesting someone to monitor illegal uploads and filesharing of porn.
Video: Porn Negative Space of clip entitled "5062_Von_Halbschwester_entjungfert"

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Maya Deren - Meditation on Violence (1948)

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Campbell's Neuro-Warhol Soup

Food label designed by "neurological and bodily responses"

Mark Frauenfelder

From the Wall Street Journal via Good: Campbell's Soup redesigns a label using "neuromarketing" techniques.

Campbell's New Neuromarketing

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Crash: Homage to JG Ballard - Gagosian Gallery London

Crash: Homage to JG Ballard

Author: Simon Sellars • Feb 12th, 2010 •

Ed Ruscha. Fountain of Crystal, 2009. Acrylic on canvas. 30 1/8 x 36 1/8 inches (76.5 x 91.8 cm).

CRASH: HOMAGE TO JG BALLARD

Press Release
Gagosian Gallery
6-24 Britannia St London WC1X 9JD
t. 020.7841.9960 f. 020.7841.9961

Gallery hours: Tue – Sat: 10:00am– 6:00pm

Thursday, 11 February – Thursday, 1 April 2010

Opening reception: Thursday, February 11th from 6 to 8pm

I have used the car not only as a sexual image, but as a total metaphor for man’s life in today’s society.

JG Ballard

Gagosian Gallery London will present “Crash,” a major group exhibition opening on 11 February 2010, which takes its title from the famous novel by JG Ballard.

Ballard’s novels stand among the most visionary, provocative literature of the twentieth century, with his ominous predictions regarding the fate of Western culture and his insights into the dark psychopathology of the human race. This exhibition is a response to the enormous impact and enduring cultural significance of his work, following his death in spring 2009. Highlighting Ballard’s great passion for the surreal and his engagement with the artists of his own generation, “Crash” includes examples of his specific inspirations as well as works by contemporary artists who have, in turn, been inspired by his vision.

Ballard’s first published short story “Prima Belladonna” appeared in 1956, the same year as the celebrated Independent Group’s exhibition “This is Tomorrow” at the Whitechapel Gallery, which marked the birth of Pop Art in Britain. It was here, and in the work of Surrealists such as Salvador Dali and Paul Delvaux, that Ballard found the seeds of what he called a “fiction for the present day”. With its dystopian depictions of the present and future, its bleak, man-made landscapes and the recounting of the psychological effects of technological, social and environmental developments on humans, his work has resonated strongly among other writers, filmmakers and visual artists. The exhibition “Crash” brings together works by artists tuned to the Ballardian universe, from his contemporaries such as Ed Ruscha, Richard Hamilton, Andy Warhol and Helmut Newton, to younger artists such as Tacita Dean, Jenny Saville, Glenn Brown and Mike Nelson.

The exhibition is organised in association with the Estate of JG Ballard.

List of artists: Richard Artschwager, Francis Bacon, JG Ballard, Hans Bellmer, Glenn Brown, Chris Burden, Jake & Dinos Chapman, John Currin, Salvador Dalí, Giorgio de Chirico, Tacita Dean, Jeremy Deller, Paul Delvaux, Cyprien Gaillard, Douglas Gordon, Loris Gréaud, Richard Hamilton, John Hilliard and Jemima Stehli, Roger Hiorns, Damien Hirst, Dan Holdsworth, Carsten Höller, Edward Hopper, Allen Jones, Mike Kelley, Jeff Koons, Roy Lichtenstein, Vera Lutter, Florian Maier-Aichen, Paul McCarthy, Adam McEwen, Dan Mitchell, Malcolm Morley, Mike Nelson, Helmut Newton, Cady Noland, Claes Oldenburg, Eduardo Paolozzi, Steven Parrino, Richard Prince, Robert Rauschenberg, Gerhard Richter, Ed Ruscha, Jenny Saville, George Shaw, Cindy Sherman, Piotr Uklański, Andy Warhol, Rachel Whiteread, Christopher Williams, Jane and Louise Wilson, Christopher Wool and Cerith Wyn Evans.

For further inquiries please contact the gallery at london@gagosian.com or at +44.207.841.9960.

More information here.

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Exploded Images of Everyday Objects

via Boing Boing:

“Artist Adam Voorhes has created a series of exploded images of everyday objects, including an Etch-a-Sketch, a handgun, a frog, and a rotary phone (my favorite, pictured here. Man, that thing is a tank).”

Link: http://www.voorhes.com/load-exploded.html

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Martin Creed - Sick Film

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We Live in Public [Trailer]

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