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la Galerie Derouillon a pris des allures de jungle avec l’exposition personnelle d’Annabelle Arlie, qui a peuplé pour l’occasion l’espace de la galerie d’une forêt tropicale composée notamment de singes et oiseaux exotiques. Cette jungle est pourtant bien sage, pour ne pas dire complètement immobile et silencieuse : les perroquets et autres primates sont muets, montés sur des pattes en plastique et prothèses artificielles, les soudant de part et d’autre de l’espace. Les animaux sont réduits à n’être que leurs propres portraits 2D, de même que la forêt, compressée en tapisserie murale.

Annabelle Arlie représente la nature comme si elle n’existait déjà plus. Derrière la main de l’artiste, on imagine un univers de transhumains qui recréent de manière artificielle un trans-environement, où les technologies sont utilisées pour compléter et recréer les éléments de la forêt tropicale. Cette incrustation de la technique dans la nature révèle un paradis d’or perdu : faune, flore et traditions sont statiques, inactivables. Leurs sens et significations ont été oubliés, comme en atteste le métier à tisser, miniature et accroché au mur, ou encore ce qui apparait être des sièges en rotin, suspendus au plafond.

Entre l’exposition et ses publics, la temporalité diffère ; l’artiste se fait archéologue du futur en recomposant images et souvenirs d’un monde qui est déjà anéanti et transformé. Muséographe anticipatrice, Annabelle Arlie questionne de fait la mise en exposition des éléments du passé. Si la mise en scène est réalisée avec soin –comme ce perroquet trônant dans un coin du plafond de la galerie- le sens s’est quant à lui perdu au sein de cette immobilité froide. Nous évoluons alors dans une véritable banque d’images, sans queue ni tête, ces dernières étant construites à l’aide de supports en plastique et extensions technologiques. La temporalité du visiteur serait celle des prémices de la décrépitude de nos environnements et traditions. La perte de sens commence quand, par exemple, les images d’espèces d’animaux en voie d’extinction, s’ils ne sont pas d’ores et déjà disparus, survivent par le biais de leur utilisation à des vues publicitaires. Ces portraits d’espèces rares et spécifiques circulent en effet dans le monde entier, par le simple fait qu’ils ont été choisis comme image de marques pour représenter des cartouches d’encre. Comble du sort, l’encre contribue justement à l’extinction de ces espèces : la production d’une seule cartouche consomme plusieurs millilitres ou litres de pétrole, et une fois usagées, elles deviennent des déchets aux composants toxiques pour l’environnent et nocifs pour la santé. Le monde est RGB quand l’image devient indépendante de son propre sens originel.

orna Mills, reknown for her visionary, animated GIFs, a genre that has become increasingly popular, was invited by Mary Meixner to present her GIF/screensaver at Screensaver Gallery, a dedicated online venue conceived by Barbora Trnková & Tomáš Javůrek. The authors are artists who are mostly active in the digital scenario. The Screensaver Gallery can be downloaded from the screensaver.metazoa.org website and installed onto your computer.  They will be available in App stores soon. The Screensaver Gallery is part of an experimental programme for the development of these forms of creativity. As far as its destination is concerned, the idea is to expand it to public areas, festivals and academic contests so that the gallery can develop into social responsibility in an attempt to aid a positive transformation of our cultural revolution. Digital art has, in fact, become a part of creative custom and is both object and subject of new aesthetics formulation that is increasingly compounded. Lorna Mills GIFs have already made their way onto the market as well. Her work was in fact featured by the Transfer Gallery at New York’s as part of the Moving Image Art Fair. Animated Gif can be viewed in fact as one of the possible evolutions of photography.

Angelo Azzuro, Enrico Boccioletti’s solo show at #0000FF, opened right in that final magic hour moment of summer and marked the definite closing of the gallery.

#0000FF was a non commercial online gallery, operating under the guise of a facebook fan page, devoted to promoting the work of upcoming new media and net art artists. After two years of running and 14 shows, the project has exhausted its potential (that of a gallery operating in a social media confinement) but I hope it has contributed its two cents to the discourse about online/emerging curatorial practices and net art. 

I’m so very thankful to and I have the utmost respect for all the artists the gallery has represented. A full list of names and links follows. They are the most integral part of #0000FF. 

Helen Adamidou, Anthony Antonellis, Kim Asendorf, Stella Atzemi, Jeremy Bailey, Enrico Boccioletti, Laura Brothers, Jennifer Chan, Daniel Chew, Chris Collins, Device, Jasper Elings, Manuel Fernández, Lauren Francescone, Emilie Gervais, Lewis Den Hertog, Charalambos Kourkoulis, Julien A. Lacroix, Kim Laughton, Rollin Leonard, Guthrie Lonergan, Claudia Maté, Panos Michael, Lorna Mills, Kimmo Modig, Nicolaich, Peristeri On, Esteban Ottaso, Jaakko Pallasvuo, Dimitris Papadatos, Eva Papamargariti, Mitch Posada, Bunny Rogers, Allan Schaffer, Hugo Scibetta, Pablo Serret De Ena, Sossoon, Loïq Sutter, Sebastian Thewes, Borja Uve, Saoirse Wall, Angela Washko, Warran Wright, Graham Young, Δεριζαματζορ Προμπλεμ Ιναυστραλια.

I’m also very grateful to netartnet.net, Triangulation, O Fluxo, Art F City, DressLab, The L Magazine, The Goethe Institute and many more websites who featured the gallery and helped to spread the word.

Ways Of Something

Net Art collaborative project curated by Lorna Mills is a reinterpretation of the landmark British 1972 documentary on reading art, ‘Ways Of Seeing’.

The second episode (concerned with the woman in art) makes its debut at the Transfer Gallery in Brooklyn on September 6th. For each 28 minute episode, an artist was assigned one minute of the original narration to produce visuals for. All the work was organized online.

Here is a sample clip put together by gabycepeda from the latest episode:

‘Ways of Something’, is a contemporary remake of John Berger’s BBC documentary, “Ways of Seeing” (1972). Commissioned by The One Minutes, at the Sandberg Instituut in Amsterdam and compiled by Lorna Mills, the project consists of one-minute videos by fifty eight web-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of artmaking after the internet. The screening at TRANSFER Gallery is based on the first two episodes of a four-part series of thirty-minute films created by art theorist John Berger and produced by Mike Dibb. In the original episode one, voice-of-God narration over iconic European paintings offer a careful dissection of traditional “fine art” media and the way society has come to understand them as art. The second episode is a contentious and sometimes maddening look at the female nude in the western tradition. The combined work is, in effect, art about art about television about the internet.

“Ways Of Something,” Screening + Discussion, Episode 1: Daniel Temkin, Rollin Leonard, Sara Ludy, Rhett Jones, Jaakko Pallasvuo, Dafna Ganani, Jennifer Chan, Rea McNamara, Theodore Darst, Matthew Williamson, Hector Llanquin, Christina Entcheva, V5MT, Marisa Olson, Joe McKay, Carla Gannis, Nicholas O’Brien, Eva Papamargariti, Rosa Menkman, Kristin Lucas, Jeremy Bailey & Kristen D. Schaffer, Giselle Zatonyl, Paul Wong, Alfredo Salazar-Caro, Sally McKay, RM Vaughan & Keith Cole & Jared Mitchell, Andrew Benson, Christian Petersen, Faith Holland, Jennifer McMackon; Episode 2: Kevin Heckart, Geraldine Juarez, Gaby Cepeda, Angela Washko, Emilie Gervais, LaTurbo Avedon, Lyla Rye, Mattie Hillock, Antonio Roberts, Georges Jacotey, Daniel Rourke, Sandra Rechico & Annie Onyi Cheung, Yoshi Sodeoka, Alma Alloro, LoVid, Andrea Crespo, Ad Minoliti, Arjun Ram Srivatsa, Carrie Gates, Isabella Streffen, Esteban Ottaso, ZIL & ZOY, Hyo Myoung Kim, Jesse Darling, Tristan Stevens, Erica Lapadat-Janzen, Claudia Hart, Anthony Antonellis, 7pm-10pm, TRANSFER Gallery, Brooklyn. (All Images Courtesy Lorna Mills)

Information about Transfer Gallery and the screening can be found here

Hässliche Kunstkritiker on Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living (1991), 2014

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How do you feel today?

TRANSMOJI gives you the opportunity to transport your emotional waste directly into the Transmediale “After Glow” Art Hack Day exhibition in Berlin.

For a little e-waste protection fee you are allowed to create an Emoji composition to be played back as audio intervention during the exhibition. Your composition will be recorded with your audience and uploaded to YouTube. To close the e-waste cycle you will receive a notification Email with a link to your personal video.

It’s time for emotions.