Showing posts with label Remix culture. Show all posts
Showing posts with label Remix culture. Show all posts
7.10.15
14.10.12
Erarta Galleries Presents Revision DNA By Andrey Gorbunov @ London, Berkeley Square - 9 October to 17 November 2012
Erarta Galleries London is delighted to present Revision DNA by Andrey Gorbunov. Marking a break with his earlier more painterly approach to image making, Gorbunov’s new work questions the relationship that links art and science and our lives with technology, asking if it is possible to assume that we are dealing with two opposing factors. On the one hand, the positive and confirmed structure of scientific knowledge and the ordered binary coding of the internet, and, on the other, the intuitive nature of art produced by the irrationality of biological man. Where science is to be considered the product of pure rationalism, the result of procedures amply verified, the search for unequivocal truths, certain and impossible to confute, Gorbunov asks if this rationalism translates to the virtual world of the Internet? Are our verifiable virtual constructs of self more real than our physical bodily being, and should the Internet be evaluated as a product of mathematics and science or as an organism growing and evolving under its own initiative?
Observing the monumental canvases of Gorbunov we can immediately and easily understand his vision of contemporary life and culture. The virtual world has become an integral part of each of us, similar to a new dimension influencing our social and biological rhythms. It is impossible to imagine the world without computer technologies today; everyday we immerse ourselves more and more deeply as network chats supersede actual human interaction and our Facebook and Twitter profiles grow. Not only have our moods, but also our lives, started to depend on the number of comments and “likes” our virtual egos successfully amass. Thus, contemporary culture is not a culture divided between ‘ars’ and ‘scientia’, or life and technology, but rather it is conflated into a ‘technoculture’ – a hybrid where diversity and quantity prevails over genuine identity. Gorbunov adopts a focused vision of the relationship between art and science, life and virtual life: No longer are we dealing with opposites in a dialectical vision, a view which appears more than ever superseded, but with complementary, interacting and intersecting aspects of a futuristic civilisation.
Observing the monumental canvases of Gorbunov we can immediately and easily understand his vision of contemporary life and culture. The virtual world has become an integral part of each of us, similar to a new dimension influencing our social and biological rhythms. It is impossible to imagine the world without computer technologies today; everyday we immerse ourselves more and more deeply as network chats supersede actual human interaction and our Facebook and Twitter profiles grow. Not only have our moods, but also our lives, started to depend on the number of comments and “likes” our virtual egos successfully amass. Thus, contemporary culture is not a culture divided between ‘ars’ and ‘scientia’, or life and technology, but rather it is conflated into a ‘technoculture’ – a hybrid where diversity and quantity prevails over genuine identity. Gorbunov adopts a focused vision of the relationship between art and science, life and virtual life: No longer are we dealing with opposites in a dialectical vision, a view which appears more than ever superseded, but with complementary, interacting and intersecting aspects of a futuristic civilisation.
The Virus paintings that make up the exhibition Revision DNA draw a parallel between biological and computer viruses, and Gorbunov highlights the similarities between man and the internet, both living entities that grow and change daily, and both vulnerable to infections. Scanning the QR codes in the paintings will reveal information about notorious computer viruses, but all computer specific terms have been removed – the affect of these viruses is human. Ironically, QR codes may become the malicious points of infection for future viruses, as reading the codes puts the privacy of the user at risk by “attagging” the identity of user. Though science has recognised the truths of nature, it had abstained from modifying them for instrumental aims, but in contemporary technoculture, in genetic engineering and biotechnologies, the object of scientific research is no longer sacred and untouchable, the essence of truth, but an object that can be manipulated and transformed, by means of experimentation by those studying it. Similarly, in the macrocosm of the Internet, and our engagement with it and use of it, Gorbunov questions the balance of power – who is using whom and to what end?
Contact: Beth Morrow Tel: +44 (0) 20 7499 7861
E-mail: beth@erartagalleries.com
Andrey Gorbunov
Andrey Gorbunov is a graduate of the Nizhniy Novgorod Art College and St. Petersburg’s esteemed Mukhina Art Academy, where he now teaches in the monumental and decorative painting departments. Gorbunov has exhibited extensively throughout Russia and his paintings can be found in private collections in Russia, the UK and the USA.
Erarta Galleries: London | New York | Zurich | St Petersburg
8 Berkeley Street, London W1J 8DN.
8 Berkeley Street, London W1J 8DN.
5.7.12
Cinezoïque - The Movie Time Line (Stefania Rota, It, 2011)
Cinezoïque is the present Era, in which the Cinema leaves the screen and invades any surface. Cinezoïque is an installation of 21 meters, a timeline, a walk through the history of Cinema where the path of the viewer joins the path of the actors. Here invades the screen, sliding from side to side along the course of time. Some have asked me to post the list of films that appear in the video. Below I write it, who wants to guess them alone or to remain mysterious no one reads them :) 1903 - Le chaudron infernal - Georges Méliès 1915 - Nascita di una nazione (The Birth of a Nation) - David Llewelyn Wark Griffith 1920 - Il gabinetto del dottor Caligari (Das Cabinet des Dr. Caligari) - Robert Wiene 1927 - Metropolis - Fritz Lang 1939 - Il mago di Oz (The Wizard of Oz) - Victor Fleming 1941 - Quarto Potere (Citizen Kane) - Orson Welles 1942 - Casablanca - Michael Curtiz 1943 - Dies irae - Carl Theodor Dreyer 1956 - Il pianeta proibito (Forbidden Planet) - Fred McLeod Wilcox 1958 - Vertigo - Alfred Hitchcock 1963 - Otto e mezzo - Federico Fellini 1968 - Teorema - Pier Paolo Pasolini 1968 - Il prof. dott. Guido Tersilli primario della clinica Villa Celeste convenzionata con le mutue - Luciano Selce 1972 - Il fascino discreto della borghesia (Le charme discret de la bourgeoisie) Luis Buñuel 1973 - La Montagna Sacra (La montaña sagrada) - Alejandro Jodorowsky 1977 - Star Wars - George Lucas 1980 - Dune - David Lynch 1981 - Christiane F. noi, ragazzi dello zoo di Berlino (Wir Kinder vom Bahnhof Zoo) - Uli Edel 1982 - Blade Runner - Ridley Scott 1986 - Labyrinth - Jim Henson 1987 - Il cielo sopra Berlino (Der Himmel über Berlin) - Wim Wenders 1998 - Lola corre (Lola Rennt) - Tom Tykwer 1999 - Matrix - Andy e Larry Wachowski 1999 - Essere John Malcovich (Being John Malkovich) - Spike Jonze 2004 - Io, robot (I, robot) Alex Proyas 2005 - Memorie di una geisha - Memoirs of a Geisha - Rob Marshall 2006 - L’albero della Vita (The Fountain) Darren Aronofsky 2009 - Agorà (Ágora) Alejandro Amenábar 2009 - Parnassus - L’uomo che voleva ingannare il diavolo (The Imaginarium of Doctor Parnassus) Terry Gilliam
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13.9.11
Richard Hamilton (1922.2011) remix Marcel Duchamp's Large Glass
The Bride Stripped Bare by her Bachelors, Even (The Large Glass) 1915-23, reconstruction by Richard Hamilton 1965-6, lower panel remade 1985
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http://www.tate.org.uk/servlet/ViewWork?workid=4029
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7.6.11
Variations on the Cross: Bach as icon of modernity. LaiBACH - Kunstderfuge - Contrapunctus 15, Canon per Augmentationem in Contrario Motu
Se oggi il nostro Dio è la Tecnica, anche nelle sue varianti ridondanti come l'elettricità o l'elettronica, allora J.S.Bach è l'icona della modernità e l'Arte della Fuga il suo canto sublime. Le variazioni sul simbolo della Croce non sono altro che l'ennesimo omaggio della Remix Culture all'abbandono del mito dell'Origine e alla forza della Ripetizione Differenziata. Non esiste più l'Originale bensì variazioni di variazioni come nelle 33 Diabelli Variations di Beethoven, o nel leitmotif del Ring nel Das Rheingold di Wagner, o nella piccola frase di Vinteuil nella Recherche di Proust. Buona parte dell'Arte Contemporanea non è che remix, variazioni, canoni cancrizzanti, ritmi non retrogradabili, personaggi ritmici e paesaggi melodici, soggetti relazionati e contrappunti ambientali, narrative parallele...
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7.5.11
Partitura (software) + Telefon Tel Aviv (soundware)
Partitura is a custom software to generate realtime graphics aimed at visualising sound. The term “Partitura” (score) implies a connection with music, and this metaphor is the main focus of the project. Partitura aims to create a new system for translating sound into visual forms. Inspired by the studies of artists such as Kandinsky, Paul Klee, Oscar Fischinger and Norman McLaren, the images generated by Partitura are based on a precise and coherent system of relationships between various types of geometries. The main characteristic of this system is its horizontal linear structure, like that of a musical score. It is along this linear environment that the different classes of abstract elements are created and evolve over time according to the sound. Partitura creates endless ever-evolving abstract landscapes that can respond to musical structures, audio analysis and manual gestural inputs. It is an instrument that visualises sound with both the freedom of spontaneous personal interpretation/improvisation and at the same time maintaining the automations and triggers of mathematical precision. Partitura defines a coherent language of its own for the creation of new contemporary abstractions. It is within this system that Partitura creates worlds that expand from a single dot to multiple galaxies, from minimalism to complexity, from rigid to elastic, from solid to liquid, from angular to smoothness, from tentative to boldness, from calm to agitation, from slow to fast, from desaturated to saturation, from dark to lightness, from predictable to unpredictability. Literally ‘everything’ and its opposite... just like a musical flow.
quayola
2.5.11
Hexstatic - Guerrilla Gig March 2005
Hexstatic performed a series of unlicensed “guerrilla gigs” in the streets of London on March 10, 2005 as part of promoting their single Distorted Minds. They loaded up their equipment in a van and performed a 30 minute set projected on the wall of a local building in each of three sites that they had previously scouted out. The crowds of a couple hundred people each were generally well behaved and the brevity of the performances meant that Hexstatic were on their way to the next location before the police arrived. They escaped with only a single parking ticket
24.4.11
Naomi Kashiwagi: Gramophone & 78rpm DJ
Naomi Kashiwagi, 29, is based in Manchester where she also works as a student co-ordinator at the Whitworth Gallery. She makes art by reinventing obsolete or everyday technologies, including a performance piece which involves DJing using a wind-up gramophone and 78rpm records.
"I have 200 records made from shellac – the brittle material used before vinyl – ranging from jazz to classical, and I'm fascinated by the potential sounds that can be extracted through playful reappropriation. My performance,Wind-Up, involves gramophone turntables and 78rpm records. I place electrical tape on the records to create an additional tactile layer. This creates unexpected percussive discordances, harmonies and locked grooves. I'm always bewildered by the extraordinary sounds within these 80-year-old records. The gramophone has to be wound up to maintain the tempo. It requires physical skill and attention from the user to keep several records playing at once. The sound is surprisingly rich and clear, bespeckled with wonderful dusty grooves. It is an intuitive and experimental process, as I don't know how it is going to sound, but that's all part of it. I first performed in the acoustically impressive Great Hall in Manchester Central Library in November 2009, in what is supposed to be a silent space. The sounds were accentuated and distorted by the rotunda. I have performed in other unusual places, including the Victoria Baths in Manchester. I can easily crank my turntables up outside anywhere as they are wireless technologies. For headphones while DJing I use a contraption I invented – the gramoscope – which is a stethoscope with the chest piece replaced with an ear trumpet. It enables me to hear clearly enough to beat-match. I've also used the gramophone to draw – I manually engrave the records with the record needle, to produce subtle, deep marks that echo the existing grooves. (...) "
Interview by Kirsty Styles
"I have 200 records made from shellac – the brittle material used before vinyl – ranging from jazz to classical, and I'm fascinated by the potential sounds that can be extracted through playful reappropriation. My performance,Wind-Up, involves gramophone turntables and 78rpm records. I place electrical tape on the records to create an additional tactile layer. This creates unexpected percussive discordances, harmonies and locked grooves. I'm always bewildered by the extraordinary sounds within these 80-year-old records. The gramophone has to be wound up to maintain the tempo. It requires physical skill and attention from the user to keep several records playing at once. The sound is surprisingly rich and clear, bespeckled with wonderful dusty grooves. It is an intuitive and experimental process, as I don't know how it is going to sound, but that's all part of it. I first performed in the acoustically impressive Great Hall in Manchester Central Library in November 2009, in what is supposed to be a silent space. The sounds were accentuated and distorted by the rotunda. I have performed in other unusual places, including the Victoria Baths in Manchester. I can easily crank my turntables up outside anywhere as they are wireless technologies. For headphones while DJing I use a contraption I invented – the gramoscope – which is a stethoscope with the chest piece replaced with an ear trumpet. It enables me to hear clearly enough to beat-match. I've also used the gramophone to draw – I manually engrave the records with the record needle, to produce subtle, deep marks that echo the existing grooves. (...) "
Interview by Kirsty Styles