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| CLICK HERE TO GO TO SOURCE CLICK HERE TO GO TO THE SOURCES SOURCE |
Monday, June 11, 2012
RHIZOMIC MUSEUM ONLINE SINSE 1999
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| CLICK HERE TO GO TO SOURCE |
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.
Sunday, June 10, 2012
ONLINE MUSEUM FROM SYDNEY
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| CLICK HERE FOR THE SYDNEY ETERNITY STORY CLCK HERE FOR THE SITE |
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
Friday, June 8, 2012
WOLFGANG LAIB’S CULTURAL PRODUCTION
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| CLICK HERE TO GO SOURCE |
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
Tuesday, May 29, 2012
Wednesday, May 23, 2012
Critical Museum Musing on YOUtube
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| CLICK HERE TO ACCESS THE SITE |
There is now a whole new discourse relevant to museums that is more inclined to be blatantly and incisively critical. It seems that the sacred cow is dead! This exemplar is funny, troubling and insightful. Well worth a watch!
Sunday, May 13, 2012
MUSEtools
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| CLICK HERE TO BUY AN iPHONE |
- Call a friend who MAY be more help than the labels;
- Take a picture for future reference and/or to send to your friend/s if she/he/they need more information – but remember its uncool to use the flash or to use the images you take for anything other than personal use or research;
- TWEET someone to tell them where you are and what you do not know;
- Consult Wikipedia, the chances are it will be able to tell you what you need/want to know;
- Call up the museum's curator for the collection – but the chances are they'll be busy doing something else;
- Do a GOOGLEsearch as you'll surely discover things the collection manager probably hasn't had the time or inclination to look for;
- Check the WEATHERforecast for Mongolia just for fun and wherever you are because it might be raining outside soon;
- Check the time to see how much longer you can stay in the museum;
- Calculate the dimensions of the exhibit;
- Visit the MUSEUMwebsite to see if it has any additional information or can tell what time the coffee shop opens;
- Record the sound of the place for whatever reason;
Reality Hacking
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| CLICK HERE TO GO TO SOURCE |
Reality Hacking goes pretty much undefined and is perhaps undefinable. As a muse there is much to muse upon and especially why it is:
- that some projects remain as "pending";
- others are"lost"; and
- just who it was who had the wit and wisdom realise the great many projects that have been in the most ordinary and extraordinary places between May 1995 up to the preset.
Saturday, May 12, 2012
The Dutch Are Serious About Cultural Tourism & Their Museums
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| CLICK HERE TO GO TO SOURCE |
17th-century floral splendour at Rijksmuseum Schiphol Following
the 'Dutch Winters' exhibition, the Rijksmuseum annex at Amsterdam
Airport Schiphol now presents another characteristic aspect of the
Netherlands, namely flowers, in the 'Dutch Flowers' exhibition
from 21 March to 25 June 2012. Nine exuberant ‘flower pieces’ from the
museum’s collection that used to adorn the homes of the 17th-century
economic elite are now in full bloom at the airport. Now an everyday item, cut flowers were prized luxuries in the 17th century.Rijksmuseum Schiphol .... Click here to read more
Well if there is any doubt about Mohammad's inclination to visit the mountain then by all means bring it to him at the airport. The Dutch are at the top of the game when it comes to museums and their importance to culture and tourism and visa versa. Also, what a good way to spend time at an airport instead of consuming overpriced 'refreshments' while waiting. Its almost a case of the old being new again with the airport being a destination as well. This exemplar tells us that the dutch a able to talk about their place in the world and proudly.
Rijksmuseum Schiphol is located
on the completely renovated Holland Boulevard between Piers E and F in
the area beyond passport control. The museum is open daily from 7 a.m.
to 8 p.m. Admission is free. The Rijksmuseum Schiphol has a permanent
exhibition of works by Dutch Masters from the Golden Age drawn from the
Rijksmuseum collection. Featuring a temporary exhibition three times a
year, it also offers a contemporary Museum Shop with Dutch Design and
Rijksmuseum souvenirs.
ING is the exclusive sponsor of the Rijksmuseum Schiphol.
Thursday, May 10, 2012
Why is it that the Netherlands seems to be the leader in current museology?
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| CLICK HERE TO GO TO SOURCE The Museum's BLOG |
Museum & curatorial practice as it emerged during the twentieth century is being recast and reimagined – and extensively. The tremendous changes to the status of the object, the ways culture is understood, the ways various 'disciplines' interface, the ways information and education is delivered, alerts us to the inevitable transformation of 'the museum' in its 21st C context – and in consequence the curator’s role, relevance and competences come into question.
A renewed interest for curatorial practice has recently emerged within fields such as architecture along with other fields of study. Research, and in particular, research in museums are taking us into new territory as new understandings of the world and the cultures we live within emerge.
Old(anarchic/outmoded?)perceptions are coming under more intense scrutiny and museums are increasingly looking to engage with their communities of ownership and interest in more proactive ways.
Why is it that the Netherlands seems to be the leader in current museology?
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WEBSITE
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ABOUT 21st C Curating
"Curatorial practice as it emerged during the twentieth century is being extensively recast. The tremendous change in the status of the object, culture, the various disciplines, information and education, implies an inevitable transformation of the curator’s role and competences. A renewed interest for curatorial practice has recently emerged within the field of architecture."
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| CLICK HERE TO GO TO SOURCE CLICK HERE TO GO TO THE HOMEPAGE |
Pick 'N Mix #51:
SNAPSHOT FROM MAY 2012
Posted by Michelle Kasprzak • Thursday, May 3. 2012 • Category: Pick 'N Mix
- An article on curating in China asks who gets to call themselves a curator, and the problems that arise when curators have no knowledge of art history and/or cannot perform as critics; when they are just workers performing bureaucracy "not unlike the security guard at a museum". With comments by curator Hou Hanru, and others.
- Keep in mind the comments from the Chinese artist in the previous article while you read this article in The Atlantic, which is a brief profile of Gulnara Karimova, daughter of Uzbek dictator Islam Karimov, pop singer, jewelry designer, and now (of course!), curator.
- The Guggenheim is embarking on a major project, the "Guggenheim UBS Map Global Art Initiative" to "challenge our Western-centric view of art history" in contemporary art. A laudable initiative, or a cynical exercise to mine new markets for valuable art? These quotes from Jürg Zeltner, the chief executive of UBS Wealth Management seem to answer that question: "As art is becoming more and more of an asset class, UBS is looking to increase our profile in these kinds of special fields of interest" and "More and more we are refocusing our strategy to reach emerging markets, and this project seemed like a perfect fit."
- Want to work with us? We're on the hunt to expand our global team -- check out our call for Curating.info interns and apply before May 9th!
Tuesday, May 8, 2012
Monday, May 7, 2012
Publish or Perish With a Sting in its Tail
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| CLICK HERE TO GO TO THIS CATALOGUE ONLINE Click here to go to blurb |
Some say everyone has a book in them somewhere but they lack the means (the money mostly) to get it out there into READERland. At the end of the day, new 'Information Technologies', and the globalisation of the publication industry, has done nothing to destroy 'the book'. Rather it has democratised books, and the publication of them, in a way that seeps very deeply into all manner of publication manifestations – and in a museum context, catalogues.
The exemplar above would be totally out of reach for a great many artists or museums not so long ago but now well within reach. The academic adage "publish or perish" has a new sting in its tail because the "there is no money" excuse has pretty much dissolved. So much so as a great many curators, academics, et al now have the opportunity to put their money where their mouth is prone to be – but with nothing in hardcopy or online to back themselves up.
Watch out for the replacement excuse "we do not have the time" – it'll often be code for the lack of inclination and at its worst, lack of ability.
The publication options are increasingly voluminous and soon we'll not only be able to go online to do our 'publishing', we'll be able to do it at our local photocopy shop.
Flying below the radar will soon be seen as not only lazy but also unprofessional. We'll be able to expect professionals in the field to deliver. And, what's more the vanity publishing blight can be answered by the phenomena of universal peer review given that detractors can 'publish' as easily, as often and as prominently in their field, as those with whom they wish to take issue.
The critical discourse no longer has gatekeepers that cannot be circumnavigated!
The exemplar above would be totally out of reach for a great many artists or museums not so long ago but now well within reach. The academic adage "publish or perish" has a new sting in its tail because the "there is no money" excuse has pretty much dissolved. So much so as a great many curators, academics, et al now have the opportunity to put their money where their mouth is prone to be – but with nothing in hardcopy or online to back themselves up.
Watch out for the replacement excuse "we do not have the time" – it'll often be code for the lack of inclination and at its worst, lack of ability.
The publication options are increasingly voluminous and soon we'll not only be able to go online to do our 'publishing', we'll be able to do it at our local photocopy shop.
Flying below the radar will soon be seen as not only lazy but also unprofessional. We'll be able to expect professionals in the field to deliver. And, what's more the vanity publishing blight can be answered by the phenomena of universal peer review given that detractors can 'publish' as easily, as often and as prominently in their field, as those with whom they wish to take issue.
The critical discourse no longer has gatekeepers that cannot be circumnavigated!
Ray Norman
Sunday, April 22, 2012
MUSING: The Shared Idea in Reykjavík
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| CLICK HERE TO GO TO SOURCE |
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| CLICK HERE TO GO TO SOURCE |
i8 Gallery Reykjavík info@i8.is
(I)ndependent People Reykjavík Arts Festival 18 May–3 June 2012
www.artfest.is www.independentpeople.is | ||
Reykjavík Arts Festival 2012 announces (I)ndependent People, a large-scale collaborative international visual arts project that will involve many of Reykjavík's exhibition spaces, museums, galleries, and public spaces during the festival season and throughout the summer. Focusing on contemporary visual art from the Nordic and Baltic region, (I)ndependent People asks if and how collaboration can operate in a continual negotiation between contesting ideas and desires, yet allowing unplanned and transformative action. All participating artists are engaged in established or temporary joint ventures, that serve as a dynamic investigation of artistic subjectivity and authorship.
The extensive project brings together 29 artist-collectives with the collaboration of over 100 participants. (I)ndependent People is curated by Swedish curator and theorist Jonatan Habib Engqvist and made possible through exchange and collaborative undertakings between a cluster of museums,galleries, artist-run spaces and institutions.Several projects will be realised during the course of the exhibitions, some with uncertain results. "By putting the 'I' in parenthesis and giving up the authorship of a singular artistic Subject, a specific uncertainty is created and another, hybrid identity is made possible. The in-between state of such collaboration can become a site for social and cultural change.
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Saturday, April 21, 2012
Tony Cragg 2007
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| CLICK HERE TO GO TO SOURCE |
Tony Cragg New York exhibition: Thursday, May 3rd, 2007 Marian Goodman Gallery
Tony Cragg brings a characteristic energy and his experience of material to to inform multiple perceptions, new ways of seeing and thinking. He says he seeks "a relationship with materials and things in the physical world without using preconceived notions of an already occupied language." The collection included sculptures in bronze, stainless steel, stone, and wood which expanded Cragg's vocabulary of "early forms" and "rational beings". Cragg says, "The work I'm making is only possible because of the previous work of three or four months ago and that was only possible because of the work of nine or twelve months ago. Even if its not a linear thing…
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| WEBSITE |
Feathers in 3D
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| CLICK HERE TO GO TO SOURCE |
Moscow based designer Masha Efremenko created a beautiful collection of feather headdresses and came up with a brilliant way to present them, in this 3D video exhibition by Transparent House. Set in what appears to be some heavenly universe, these works of art come to life as the viewer closes in on each model. The production is minimalistic and super dynamic at the same time. A really great product of love.
PARKS: Places to Muse
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MEGAN GARRETT-JONES: "On 18th April 2011, I made a small commitment to walk in a park every day for a year and make a record of the PARK: TIME: SPOT: and VISTA:
I would like to share with you these records, to publicly acknowledge days forgotten or lost, and to make a pledge in your presence. With the launch of the next stage of this project, Advice to Park Users, I will be posting weekly findings from my research online for a year.
Starting with a whisper, a small but urgent imperative to address mental well-being, I would use readily available space provided by the ubiquitous public park for my strategy to be a better person and simultaneously, an artist ..."
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Rate the following statements as follows: 1- Strong agree, 2- Mildly agree, 3- Don’t want to answer, 4- Mildly disagree, 5- Strongly disagree.
a. I may cry when on the phone to utilities companies or unemployment services.
b. The best I feel doesn’t reach the intensity of the worst I feel.
c. I know where some rosemary grows in the vicinity of my home.
d. I have been euphoric over flowers or other type of plant.
a. I may cry when on the phone to utilities companies or unemployment services.
b. The best I feel doesn’t reach the intensity of the worst I feel.
c. I know where some rosemary grows in the vicinity of my home.
d. I have been euphoric over flowers or other type of plant.
GhostNet ART: Meanings and a Message
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| CLICK HERE TO GO TO SOURCE |
The Long Tide exhibition at the Artisan Gallery in Brisbane is a collection of designs and sculptures made from ghost nets - fishing nets that have been left or lost in the ocean.
THE LONG TIDE: CONTEMPORARY GHOST NET ART
IN PARTNERSHIP WITH GHOSTNETS AUSTRALIA AND CURATED BY TASHA FINN
GhostNets Australia, an alliance of 22 Indigenous communities who work together to care for country,
are bringing the devastating effects of ghost nets to the public’s attention with The Long Tide.
This colourful exhibition of artworks woven from discarded commercial fishing nets aims to
introduce this brilliant new genre of contemporary weaving, highlight the work of key artists,
and raise awareness of the environmental impact of ghost nets.
CLICK ON THE HIGHLIGHTED TEXT TO GO TO THE WEBSITES
CULTURALproduction AND the WWW
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| CLICK HERE TO GO TO SOURCE |
www.thisispaper.com is a new international design, architecture and fashion magazine with the latest news straight from the artists and the designers.
Contact info
Email hello@thisispaper.com
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| WEBSITE RATING |
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| http://thisispaper.com/filter/design#Form-Us-With-Love-Slab-Vases |
Sunday, April 15, 2012
Who said science was boring? AND, who said that science is science and art is art and never the twain shall meet?
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| CLICK HERE TO WATCH THE VIDEO ON FACEbook |
From a duck to a skeleton to a robot dinosaur: scientists created this fabulous kinetic sculpture, called On the Move, to demonstrate to children the concept of energy transfer. The Launchpad team at London's Science Museum and Engineered Arts Ltd created this cause-and-effect chain of events in a warehouse in Cornwall. No soft toys were injured in the making of this film.
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| NEW FEATURE: Website Rating |
A SPANISH VISION
Upcoming Exhibitions at CGAC
Santiago de Compostela, Spain
CGAC
De la generosidad. Helga de Alvear Foundation Collection
Curated by Miguel von Hafe Pérez
23
March–17 June 2012
March–17 June 2012
The act of collecting, especially when it stems from a private impulse with a public vocation, is essentially an act of generosity. An act of generosity which entails that the collector understands the work of art as a culturally relevant structure and that it gives way to the creation of discourses that are open to multiple interpretations. Drawn from the Helga de Alvear Foundation collection, De la generosidad begins with a group of works from late modernism that unfold chronologically into two periods: the neo-avant-gardes of the sixties and seventies and contemporary works, specifically those that revise modernity.
Gravity and Disgrace Ep. 1
Curated by Miguel von Hafe Pérez
30
March–1 July 2012
Paraphrasing the title of the exhibit Gravity & Grace: The Changing Condition of Sculpture 1965-1975, held in London in 1993, Gravity and Disgrace Ep. 1 is based on the principle of processual and theoretical instability that characterises contemporaneity to make an observation on the creative moments that represent a world in vertiginous mutation. Thus, the works presented in this first episode of an event that later unfolds into other moments of exhibition, publication, and consideration, originate from practices that question the contemporary conditions of social construction, contrasting the notion of balance and harmony with the most fruitful questions regarding failure as a process, contextual flow as a critical tool, and the revision of the aporias of modernism as basic elements for a broader understanding of the present.
Rafel G. Bianchi. La bandera en la cima
Curated by David G. Torres
30 March–24 June 2012
La bandera en la cima is the first full presentation of the project that Rafel G. Bianchi began in 2007: painting in a detailed manner the fourteen highest mountains in the world, the fourteen eight-thousanders. A feat that in the world of mountaineering is brimming with heroism and which, in its reiteration as an artistic project, betrays the role of the artist involved in an absurd task. In addition to the fourteen final paintings, drawing a comparison between the documentation of mountaineering and the documental strategies of conceptual art, La bandera en la cima also collects the traces of its process through drawings, photographs, films or posters, many of which have been developed in collaboration with other artists.
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| NEW FEATURE: WEBSITE RATING |
Saturday, April 14, 2012
NEW DIGITAL ENTITIES: A new aesthetic ??
- DIGITIZING IDEAS: A Seminar
- COMMON KNOWLEDGE: A Seminar
- 21 and 22 April 2012
- Moderna galerija auditorium, Cankarjeva 15 – Museum of Modern Art plus Museum of Contemporary Art Metelkova - MSUM Tomšičeva 14 SI-1000 Ljubljana, Slovenia T
- www.mg-lj.si
Digitizing Ideas
... Looking at the way the digital media are changing our society, we can observe two main developments: we are faced with increasing control and possibilities for surveillance on the one hand, and on the other, a previously unimaginable amount of freely accessible knowledge, ideas and information on the internet.
In museums, digitalisation processes open new possibilities and obstacles. The results of digitalisation of collections and archives are computed/digital images. They are often considered reproductions, copies of material works, but we should also think of them as completely new digital entities. With such images new aesthetic forms are emerging, entailing new possible interpretations, compositing and perception.
The seminar Digitizing Ideas is organized in the frame of the project Digitizing Ideas: ARCHIVES OF CONCEPTUAL ART PRACTICES. The project is a collaboration between Moderna galerija (Ljubljana, Slovenia), the Museum of Contemporary Art (Zagreb, Croatia), Museum of Contemporary Art Vojvodina (Novi Sad, Serbia) and Museum of Modern Art (Warsaw, Poland).
Speakers: Florian Cramer, Branka Ćurčić, Andreja Hribernik, Gerald Raunig, Laurence Rassel, Aleksandra Sekulić, Richard Stallman
Common Knowledge
Seminar ... The purpose of the seminar Common Knowledge is to encourage reflection on a possible new and different approach to creating common knowledge, more in sync with our time than the prevalent epistemological and institutional models. The seminar will be divided in two main parts, the first one entitled Horizontal Connections, and the second one, Verticality in the Service of Common Knowledge. The first part will focus on the new global conditions and on the fact that we require more equality in creating knowledge under these conditions, and the second one, on the need to redefine institutions so that they can attune themselves to this new situation.
Speakers: Zdenka Badovinac, Bart de Baere, Jesús Carrillo, Charles Esche, Pascal Gielen, Brian Holmes, Vasif Kortun, Rastko Močnik, Georg Schöllhammer, Madina Tlostanova
NETWORKS FOR MUSING
- Margherita Spiluttini und dann (reframing architecture) Camera Austria 21 April–10 June 2012
- Nicole Six and Paul Petritsch View may be denied by cargo Kunstverein Medienturm 21 April–9 June 2012
- ELSEWHERE Christoph Grill, Anna Jermolaewa, Mahony, Micha Payer + Martin Gabriel, Isa Riedl, Jun Yang [rotor] 21 April–16 June 2012
- Tanja Widmann eine von euch Grazer Kunstverein 21 April–9 June 2012
Click on the links to explore the network and visit the institutions online
ENGLISH LANGUAGE VERSION AVAILABLE
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