Daniel Rourke visits the Photographers' Gallery in central London and reviews their latest exhibit One Terabyte of Kilobyte Age by artists Olia Lialina and Dragan Espenschied, on THE WALL. Over an eight week period (18 April - 17 June 2013) they feature a non-stop stream of video captures of what they term as the lost city and its archival ruins. A documentation of a past visual culture of the web and the creativity of its users with new pages changing every 5 minutes. The project provides a glimpse into web publishing when users were in charge of design and narration in contrast to the automated templates of Facebook, YouTube and Flickr.
CyPosium was an online event in October 2012 dedicated to the history of online performance. It recovered previously lost history, brought online performers old and new into conversation, and assembled its audience into an ad hoc community.
Esther Belvis Pons' writes about Roger Bernat's experimental theatre work 'Public Domain'. The piece, still on tour, has been performed in public spaces around the world. This audience-centred project invites individuals to participate in an engaging experience that emerges as a sociological choreography. The audience gathers in a public square and they are given a pair of headphones, fulfilling the narrative possibilities of the group using statistical tools.
Michael Szpakowski takes us through Annie Abrahams’ show at the Centre Régional d'Art Contemporain Languedoc-Roussillon in Sète. Annie's work, he says, "has no message, is not confined to any one medium, collaborates in multiple ways, borrows, steals (and gives) and presents us with a set of marvellous and mysterious objects which afford us a spectrum of entirely new pathways to the world, to seeing it, talking and thinking about it".
Yen reviews Dancing Rhinoceri of Bangladesh, an interactive poem by net artist Millie Niss, looking at the interface and reader experience, but also at the text itself, and the complexities of its reading, and at the source of its creation through technology. The Dancing Rhinoceri of Bangladesh, she says, is more than just a poem. As with all electronic literature, it requires more than just literacy to access, understand and appreciate. It is a piece of art, which carries in itself, cultural, historical, political and technological implications and meanings.
Mark Hancock looks at Rob Myers’ Shareable Readymades, which combine Open Source culture with a new perspective on the idea of original and copyrighted artworks. As Hancock discovers, the result is a project that explores our consumerist ideas about owning art, alongside the way the Internet changes our relationship to production and sharing. Artworks are also found to be no longer constrained by time and space. Access to the raw data of the source file might be all that is needed to create them and a new version of art history.
Leila Nadir reviews the show Collect the WWWorld: The Artist as Archivist in the Internet Age which took place recently at 319 Scholes in Brooklyn. The artists in this exhibition are collectors and archivists who, having explored the digital wilderness, have done some weeding in order to plant a garden of cultivated, nurtured, looked-after data.
Rob Myers explores an experimental exhibition by Martin Howse, Ryan Jordan and Jonathan Kemp. As they recrystalise the mineral content of computers with a Ballardian twist in "The Crystal World" at The White Building in London, walking distance of the 2012 Olympic stadium in post-industrial, post-regeneration London.
A show at Nottingham playhouse assembled by curatorial duo 'The Cutting Room' (Clare Harris and Jennifer Ross). Showcasing artists who explore the crossovers between the virtual and physical worlds with pieces in virtual realms, telematic film sets, game systems and interactive environments. The works begin to question the use of modern digital devices and how they enable us to transform and interact within hybrid spaces.
Edward Picot reviews Michael Szpakowski's 12 Remixes, a series of 12 pieces mixing audio and sometimes video, that the artist submitted to a competition every month. Picot carefully analyses Szpakowski's creative method and shows how in almost every instance Szpakowski's remixes have a more resonant and spacious feel than the originals; the sounds are dirtier, fuzzier, more textured; and the rhythms are more complex.
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