Celebrating 125 Years of History

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The National Museum of Singapore has a history that goes back to 1887. It is Singapore's oldest museum but at the same time it is a progressive institution. The museum is the custodian of the 11 National Treasures, and its History and Living Galleries are at the cutting-edge of 21st Century approaches to presenting history and culture. In many ways the institution redefines the museum experience. 

The museum is a cultural and architectural landmark in Singapore. It hosts innovative festivals and events all year round plus thought-provoking exhibitions that bring to light critically important collections of artefacts. 

The National Museum of Singapore re-opened in December 2006 after a three-year redevelopment, and is celebrating its 125th anniversary in 2012.

THE FUTURE: Independent Curation ... a way forward

TAKE NOTE: Independent Curators International (ICI) is producing the Curatorial Intensive: Curating Beyond Exhibition Making, the first short course to offer training to curators on the concepts and logistics of organizing public events, workshops, and other discursive program formats. Topics under discussion will include new formats for durational pedagogical projects and the production of events and curatorial publications, as well as more traditional museum education models. Central to all sessions will be discussions discerning audience and publics, and the consideration of time and space in relation to programming. Recognizing there are few opportunities for professionals to receive practical training and guidance while also working, the Curatorial Intensive is targeted toward self-motivated individuals—working independently or in institutions—who would benefit from a week of intensive conversations around issues and questions that arise for curators. These range from the pragmatics of developing a program and building working relationships with artists, to the theoretical aspects of understanding how to turn a concept into a project and effectively communicate ideas ... click here to learn more

HEADSPACE

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The viewer lies down, on their back, on the gallery floor in order to place their head inside HEADSPACE. It is a listening space. Their body lies outside the space and is vulnerable. Their spacial perception is altered inside and out. In the darkened HEADSPACE the viewer becomes focused on the audio amplified inside the space, undistracted.

In HEADSPACE the passivity of the viewer is challenged, as they are asked to experience the work in a way that they are not familiar with. By positioning the viewer in such a way, they are perhaps uncomfortable both physically and psychologically. There is nothing to see once inside, only listen. The audio input into HEADSPACE will change throughout the exhibition period.

A MUSINGplace ONLINE OUT OF NEW YORK

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Danyel Ferrari

b. Lewiston, ME
Concentration at Hunter: Combined Media
BFA/BA, School of the Art Institute of Chicago, Chicago, IL, 2007

Untitled
Every PDF assigned throughout undergraduate and graduate degrees, partially eaten by termites
50 x 8 x 10”

If one is looking for an exemplar of a rich online exhibition – MUSINGplace –  this would be one even if it somewhat 'translates' the WHITEbox experience to a fairly standard DIGITALexhibit of current cultural production  – but one that is nonetheless rhizomic. 

It is however a richer experience than a print catalogue and again an exemplar for the replacement of so many mediocre, and expensive, hardcopy exhibition catalogues produced at great cost – typically redundant and found in a head, and all unread, in so many curators' offices. 

Reassuringly simple to navigate, THE HUNTER MFA THESIS EXHIBITION online, is worth 'surfing' through and from the site. Its a demonstration of the 'walllessness' of CYBERspace and the limits – mostly unnecessary limits – of imagination so evident in other online exhibition manifestations.

But Hunter College so often sets the pace in so many things. What is quite illuminating to look carefully at the language the institution and its 'students' use to describe their practices etc.

MUSE11/4:11: Shorter Days Longer Shadows

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A MUSE: 11 mins @ 11: 11 am June 11 SOMEwhere

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COLORmuse

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HTML Color Codes
Curated by Carolyn Kane for Rhizome September, 2009

The HTML Color Codes exhibition features a selection of internet based artwork that address the topic of digital color. The central question that the exhibition poses is whether or not artists working with the internet are in fact limited to a “ready-made” color palette –  a premise that many artists working with film, photography, and mass produced, standardized paint sets have assumed. The rationale for this question stems from theories of perception that argue that color is a not ready-made object found in a paint set or machine, but rather it is an experience that results from a complex process of light interacting with the retina and human nervous system. The exhibition begins and ends along a polemic – on one extreme, color is viewed

RHIZOMIC GLEANINGmuse

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RHIZOMIC MUSEUM ONLINE SINSE 1999

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Founded in 1999, the Rhizome ArtBase is an online archive of digital art containing over 2,500 art works. 

Encompassing a vast range of projects from artists all over the world, the ArtBase provides an online home for works that employ materials such as software, code, websites, moving images, games and browsers towards aesthetic and critical ends. Its a whole new museology paradigm.

The mission of the ArtBase is to provide free, open, and permanent access to a living and historic collection of seminal new media art objects. 

As any artist who has worked with technology for more than a few years can verify – things break, browser support disappears, software compatibility changes, links expire, things change. 

Rhizome aims to ensure the longevity of these works – digital cultural production – not only to ensure that years from now an accurate record of this period of creativity and culture exists, but also to enable researchers to interact with and observe these materials in their intended forms – Rhizome is a true museum in a new paradigm.

Mitigating obsolescence while respecting artistic intent is a direct extension of Rhizome's primary mission of supporting and promoting art engaged with emerging technologies. 

Artworks entered into the archive through artists submissions, annual commissions and special invitation. We welcome submissions to the ArtBase – they are reviewed by our curatorial staff on a regular basis.

ONLINE MUSEUM FROM SYDNEY

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THE ONLINE MUSEUM DEDICATED TO: Musings on contemporary art issues from Sydney, Australia. Graffiti, street culture, urban painting, new media art, Second Life, blogging, internet resources, music, film, video & anything else that comes up.

ARTHER STACE'S chalked 'ETERNITY' still exist in the living memory of so many Australians and Sydneysiders. Arthur's life's work, his graffiti, deserves to be engraved in Australia's cultural memory for its endurability, persistence and politeness. Arthur touched so many people's lives in an enduring way albeit so often, very briefly .... click here for more on Arthur

THINGmapping

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Mapping

Cultural Mapping

Deep Mapping

Parish Mapping

Counter Mapping

ALWAYS

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If this is cultural production, where does it belong?

WOLFGANG LAIB’S CULTURAL PRODUCTION

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The German artist Wolfgang Laib and his installations using beeswax, rice and pollen that he collects laboriously by hand poses the question for some ... IS THIS REALLY ART? 

Wolfgang Laib finds spirituality in the simplicity of everyday, organic substances – milk, pollen, beeswax, rice – that provide sustenance or engender life. In 1975 he created his first Milkstone in what has become an ongoing series of elemental works (sculptures?). A rectangular block of polished white marble containing a slight depression on its upper surface, the piece is filled with a thin layer of milk to foster the illusion of a solid form. Though an inert object, this work/installation/performance requires ritualistic participation. 

Laib performs the first act of pouring the milk when the piece is displayed, but after this initial gesture, the collector – or museum staff – must clean and refill the stone each day it is on view. 

Laib displays his laboriously gathered pollen in simple glass jars or sifts it through sheets of muslin directly onto the floor to create large, square fields of spectacular color. He also molds the brilliantly pigmented dust into cones, as in The Five Mountains Not to Climb On. Though intimate in scale and intensely fragile, this hazelnut pollen work alludes to the monumentality suggested by its title. The notion that there is infinitude in the infinitesimal is beautifully manifest in Laib’s spare but highly aesthetic practice. 

More information via Sean Kelly Gallery  

art, art installation, beeswax, installation, pollen