“Peter Jellitsch & Theodore Darst work within simulated realities and spaces using both analog and digital processes. Both artists observe, process, and transcribe intangible elements onto perceptible representations. Jellitsch is concerned with the physical process of visualizing the invisible virtual structures that are prevalent in everyday life. For his Data Drawings, he uses his studio’s Wifi bandwidth to generate data that becomes the basis of his hand-drawn diagrammatic landscapes. Darst creates imaginative digital environments with their own internal logic, resulting in self-governing visual systems. Collaging fragments of personal narratives through the endless variables of the digital interface, he makes his realm visibly possible to the viewer through his video works and installation.”
Wednesday, 12 February 2014
Tuesday, 11 February 2014
Work from “Gesture/Data” at Pilar Corrias, London.
“Ken Okiishi takes up and troubles the vocabulary of the media that he uses. His works hover over and within the relationships between matter and memory, perception and action of a digitally networked culture. Using video, performance, and installation he creates moments when language and images begin to fall apart. As Okiishi subverts the material claims of the media, the glitches that occur illuminate spaces for the production of something other than what has already been.
For gesture/data Okiishi brings together a new set of HD flatscreen television works and wallpaper. The series gesture/data considers the formal properties and the traces of sources of stored memory, along with the new ways we have of reading memory and images through gestures. The video layer of the flatscreens contain two types of footage, the first being old home VHS tapes of recorded television shows that Okiishi has corrupted further by re-recording over parts of the tape with new digitally broadcasted television. The general breakdown of the magnetic particles in the VHS tapes, combined with the transfer of the footage to USB for playback, has resulted in a glitchy, colour-rich layer of video that jitters between 1990-present. The flatscreens themselves become an abstract support surface that hovers between the VHS footage and the interference paint, which Okiishi applies directly on the screen while the video is playing.
In the second type of video footage Okiishi looks at moments of rupture, in being and language, of a space that is a digital void. The video is a HD recording of a BARCO TV screen running a standard blue void as it fails to register a signal from a media input. As the camera scans over the screen the proto-pixels of the monitor fly out and hover in “honeycomb” formations of various intensities, qualities, and ranges of blue. Adopting the cinematic/video technique of chroma-key or “green screen” Okiishi paints over the blue video in chroma green and blue paints—a gesture that brings the digital void further forward to the support surface of the flatscreen.” – Pilar Corrias
Tuesday, 11 February 2014
Work from Jeune Fille Minimale
“The project is based around the relationship between an eco-Housewife and the waste produced in her daily life. The character in my story is called Jeune Fille Minimale, and is obsessed with using industrial environmental strategies to run her household. The project was inspired by an Internet community of housewives who have adopted the industrial strategy of Zero Waste, ranking their consumption of household goods so as to reduce the amount of waste they produce. The project tells an ecological story, in a way that aims to be as close as possible to reality. Here there is no “green” aesthetic. Instead, I try to place myself in a sort of “dark ecology, “ as theorised by the writer Timothy Morton. “The form of dark ecology is that of a noir film. The noir narrator begins investigating a supposedly external situation, from a supposedly neutral point of view, only to discover that she or he is implicated in it. The point of view of the narrator becomes stained with desire. ( … ) The ecological thought includes negativity, irony, ugliness and horror.” Timothy Morton, The Ecological Thought. The experience of the housewife transports her onto a larger scale than that of her household and her possessions. This sensation is very disturbing, not because this world is exterior and strange to her, but because she realises that she, and her behavior, are integral parts of it. In fact, waste becomes the typical narrative figure of the stranger that is so common to romantic literature. This stranger then becomes even stranger, the more the housewife tries to understand its nature; the more she senses the extent of her own ecology, the more she is drawn to him.
While adopting the same characters, I decided to combine several narrative forms, thus providing myself with a tale on several levels. There is the main story, which is fictional. But this fiction becomes almost documentary, because it includes references to the web community of housewives, which was the initial inspiration for the story. I have copied down notes and comments directly from the forum discussions of the housewives. The Minimale Jeune Fille thus reports the stories of these housewives. I also chose to include myself in this story, giving it an autobiographical aspect. I’ve followed all the housewives’ advices to reduce my own waste. I used any plastic waste that I could not reduce in the production of my own work. I became the eco-Housewife.
In a sense, I’d like my story of dark ecology to speak about the transmission of knowledge. Knowledge and tacit memory are, in part, built up by the transmission of stories. I think that one of the strengths of narratives consist in their ability to modify human behaviours”
Sunday, 9 February 2014
Work from her “COMPANY”.
“The five large collages are printed on long roller blinds, and all combine both digital images and hand-drawn elements. The blinds have been installed spatially in Green is Gold’s exhibition space – a once inhabited apartment – and are thus separated from their original function.
The collages consist of fragmented images of various houseplants collected from online shops, lifestyle blogs etc., whose purpose is to guide us to safe home-design solutions. However the grainy images also evoke enlarged close-ups of the kind of photographic decorations made familiar from franchise coffee shops and restaurant chains or advertising banners from shopping centres and airports. The prints are layered with painterly gestures that, despite their analog quality, seem to reflect the inherent materiality of the digital images.
Whether the severely pruned living room plants are real or fake is difficult to tell. The difference appears insignificant and is perhaps of no consequence since both serve the same purpose: to furnish living spaces with pleasant ambience. The blinds are installed in such a way as to lend the two-dimensional surfaces physical form, which again creates a persistent presence. Something similar applies to the somewhat comical and strenuous soundtrack, which in its cheerful and digitally sounding way attempts to keep the collages company.
With COMPANY Gantriis asks pertinent questions about what keeps who company and vice-versa. What informs the exhibition, as its title also alludes to, is corporate and anonymous design. This aesthetic is the very opposite of the personal, yet it is perhaps exactly what keeps us company in our private and personal spaces.”- Green is Gold
Saturday, 8 February 2014
“In a large room, three tree trunks lie haphazardly in a pile at a slight angle to the wall. They have been stripped of their branches and bark but their roots remain intact, awkwardly protruding into a closed doorway. The trees along with the floor and wall of the museum have been doused with an energetic — if not defiant — series of gestures of brightly colored spray paint. The piece, “I Think This Is a Pine Tree” (2013), by Katharina Grosse at the Hamburger Banhof Museum for Contemporary Art in Berlin was a jolt to my system. Like any discovery of an uprooted tree, Grosse’s piece is familiar, while taking on its own immediate dramatic presence. It contains recognizable elements — gestures evocative of Abstract Expressionism, an application reminiscent of graffiti — but the work is not merely a mix and match of previously explored territory.
“I Think This Is a Pine Tree” delivered a sensation often sought by any visitor to a contemporary art museum. Goosebumps formed on my neck and blood pumped to my limbs causing the urge to run, skip, and jump around in a fight or flight response of viewership. My ego was having none of it. “Come on you’re in a museum. Yeah, you came here searching for this very feeling but play it cool. You are an educated adult for god’s sake! Go read the description, look ponderously at the piece, and start figuring out why it made you feel this way. Spread your response out over time; mix some delayed gratification in with work. Maybe write something about it. Just do not hurdle those tree trunks!”
Traditional Abstract Expressionism is often applied (and I say this as someone who painted in an Abstract Expressionist style for some years) through pushing paint, building on blank canvas and other paint. The physical structure and texture of an Ab-Ex piece is often redefined by the medium itself. Ab-Ex artists have broken the picture plane, cut through the canvas, exposed the stretcher bars, even hacked them up but the plane almost always remains in a back and forth relationship with the medium, even if only referentially or antagonistically. Grosse is not painting outside the picture plane, because there is none. She is using spray paint exactly how it was designed to be used, to paint over something, to move without touching what is painted, free of friction. Spray paint evokes graffiti, but there is nothing approaching image or text in Grosse’s marks, nor is the piece framed by or directly responding to the architecture like graffiti often does. Rather, the floor, the wall, the trees are all fair game in coloring movements. The distinction between these structures is not necessarily ignored nor accentuated by the application of the paint. As a result, “I Think This Is a Pine Tree” manages to be a series of actions, despite its form as an installation, sculpture, and painting…” – Hyperallergic
Friday, 7 February 2014
Work from Berlinische Gallery.
“…Four pieces, 3 sculptural works and one work on paper, whilst the curation of the show seems balanced, the necessity of having four pieces seems perhaps doubtful. The space is rightfully dominated by two large-scale sculptural works titled ‘ Tellurische Kontraktion’ and ‘Tellurischer Riemen’.
Tellurischer Kontraktion greets you on entrance into the space resembling a scrunched up piece of paper, its close resemblance to the everyday object allows us to imagine an aspect of movement and a closeness that is quite unexpected from blackened steel and aluminum. The piece, when unfolded holds the capacity of the exhibition space questioning notions of space and perception. The scale of the work allows the steel to, in itself achieve a successful execution of its own materiality whilst at the same time embodying the materiality and structure of paper.
Behind Tellurischer Kontraktion, commanding attention from the get-go is Teller Riemen, again, blackened steel, but this time the piece stands at a height of 8 meters, supported by a steel rope and an internal frame which gives the piece its form. Again this piece references the everyday object allowing us to imagine how the work would materially function yet in reality removing that function and creating a space in which to look at the formal in another context.” – La Scatola Gallery
Thursday, 6 February 2014
Work from his current exhibition at Petzel.
“In 2007 Guyton showed a series of black paintings made with his Epson 9600 printer and covered the gallery’s concrete floor with a facsimile of his studio’s plywood floor. This time he has made five new works on linen specifically for the gallery’s walls. Using the same digital file from 2007, but enlarged to accommodate a new printer’s increased width, they are printed with an Epson 11880. The ink is UltraChrome K3 with Vivid Magenta. The works are turned on their sides, hung horizontally and stretched to fit the gallery walls. Two of them are jammed in a corner…” – Petzel
Wednesday, 5 February 2014
“In 2012 I approached the European Space Agency with a very ambitious proposal: to produce the most comprehensive survey ever assembled about a leading scientific and space exploration organization. I have contacted ESA at an interesting time in their history when they are looking to establish a more coherent dialogue with the wider public and the arts. Unlike NASA or CERN, ESA do not have an artist residency program. So I was delighted when they agreed to support my endeavor. It is the first time in their history that they have granted an artist exclusive access to all of their facilities, staff, programs, technology, partners, etc. The access I have been granted is unparalleled, even within the framework of the residency programs specified above. This project had an 18-month gestation period and will be launched in early 2014. It documents over 15 separate facilities, located across the world, namely in the UK, Holland, France, Germany, Italy, Spain, Russia, Kazakhstan, French Guiana, etc. These locations range from test centers, robotics departments, jet propulsion laboratories, space simulators, launch sites and launch platforms, astronaut training centers and training modules, satellites and technological components, payload/launcher assembly and integration rooms, etc. I feel fortunate that ESA has recognized, through my proposal, that artists should be entitled to access and engage with space. I was also heartened that ESA welcomed the idea that I may bring with me a critical and artistic perspective. This projects looks, therefore, to engage with ESA and its partners’ programs –the microgravity, telecommunication, navigation, lunar and Mars exploration programs, among others–, whilst also reflecting on the new politics of space exploration as well as the impact of this kind of technological application on our social consciousness. As someone who has always worked in hard-to-access environments, I am interested in the dialogue that these environments can provoke. There are multi-layered challenges for artists working within any established structure – cultural, ethical, legal. In the case of space exploration organizations this can be further exacerbated given the increasing privatization and militarization of space and the constraints that these engagements can activate. My main challenge was, therefore, to develop an approach that was simultaneously descriptive and speculative, and which enabled me to engage with all those I entered in contact with – from scientists to the public. Like a topographer or visual archaeologist I set out to discover and reveal the spectrum of possibilities awakened by the objects and places I visited, consequently, inviting a broader and more intricate experience of its hidden meanings. This project explores the theme of space exploration with a strong sense of perspective, an understanding of the other sector’s operating culture and an unequivocal ability to articulate, critique and engage. The work has a cross-sectoral approach and so it will incorporate a variety of audience driven events such as seminars, exhibitions and discussion forums, scheduled to take place between 2014 and 2018.”
Tuesday, 4 February 2014
Work from her oeuvre.
“We find here a characteristic logic, the peculiar logic of the “inside
out” (‡ l’envers), of the “turnabout,”, of a continual shifting from top to
bottom, from front to rear, of numerous parodies and travesties,
humili- actions, profanations, comic crownings and uncrownings. Mikhail Bakhtin
I have spent all my life with dance and being a dancer.
It’s permitting life to use you in a very intense way.
Sometimes it is not pleasant. Sometimes it is fearful.
But nevertheless it is inevitable. Martha Graham
Can you meet me halfway, right at the borderline?
That’s where I am gonne wait for you
I’ll be lookin’ out night and day
Took my heart to the limit, and this is where I stay. Black Eyed Peas, Meet me Halfway
Meudon, 1912: Serge Diaghilev, impresario of Ballets Russes, in a rage enters the splendid villa on the outskirts of Paris, with one intention: to disturb and forever end the events unfolding in the villa’s surrounding garden. Here, he knew he would find his lover, the dancer Vaslav Nijinsky, almost naked, dancing in the dubious private audience of Auguste Rodin. Diaghilev’s infamous jealousy, history books inform us today, is the reason that only one 19 cm large draft of the bronze sculpture was delivered to posterity. A second, more apocryphal version of the affair, emerged 76 years later in the publication of Jean Cocteau’s diaries. “The statues ended”, the diary states, when Nijinsky in his second meeting with the artist, “turns around and Rodin, fly open, is masturbating.”
The Rodin-Nijinsky connection offers yet a third narrative regarding the relation of desire and art: This time evolving around the sculptor’s relentless, aesthetic quest for sculptural movement and the dancer’s goal to make movement sculptural. This is another story of desire, straining and bending boundaries along the lines of their reciprocal becoming, desiring to possess each other, be like one another, and exploring of the body as tool to unravel the energy, passion and ecstasy common to human experience.
No stranger to this quest, Halina Kliem, in her second solo exhibition at DUVE Berlin, investigates what it means to set oneself up in the midst of the phenomenological divide that is at stake in desire: the obsession with an object or the desire to become that object.” – DUVE, Berlin
via Dust Magazine
Monday, 3 February 2014
Work from his oeuvre
“In a world where technology relegates us to the status of objects observers observed where ordinary experience is so infiltrated with media isolating organic life moments becomes on one hand a keepsake and on the other hand the spectacle of visibility of growth something utterly distanced from tory involment It has been said that one of the functions of art is to critically disrupt the seeming transparency between viewers and objects viewed and Colin Snapp with his series called tc Studies wants to question whether images can preserve the vital presence of what they necessarily represent
These images are derived from video footage of various plant species The artist produced these works by photographing the lcd screen (view finder) of his video camera and printing the image of the 3inch screen at a significantly magnified proportion This process came about as a by product from the Panorama project in which Colin Snapp spent a month filming within national parks Much of the footage ended up being of ors experiencing these national parks through their cameras In a sense the view finder has become a sort of third eye and within these natural landscapes becomes very apparent What might otherwise be doentary realism plain and simple translates into commentary on the contemporary technologies by which we take in the world thus labeling it and reducing it to the status of a commodity”