Dec 22, 2005
Dec 21, 2005
Dec 20, 2005
Dec 19, 2005
Dec 15, 2005
blog_glob
"The rapid rise of the blog phenomenon has dramatically influenced politics over the past few years, and now blogs are changing how the art world communicates. Interactive sites, which are devoted to contemporary art and offer news, reviews, gossip, and links, have made art openings as easy to follow as the stock market. The freedom of the blog format also allows "citizen critics" to weave social commentary and personal anecdotes with spontaneous photographs, videos, and relevant links.
In New York, some art journalists have left print to become prominent bloggers. Tom Moody's site is chock-full of photos, artwork, and funny commentary about new media art. James Wagner, who runs ArtCal with his partner and fellow art-blogger Barry Hoggard, defines his own mix of politics and art criticism on jameswagner.com. Overseen by the artist Joy Garnett, NEWSgrist melds art and activism for the digerati. John Perreault's Artopia is notable for its un-bloglike reviews — long, thorough, and full of entertaining tangents.In LA, art.blogging.la provides a miscellany of West Coast commentary and traveling reports from fairs and blockbuster shows.
San Francisco's hybrid ezine/blog Fecal Face hits readers with loads of video and an inexhaustible link list. The prolific and peripatetic Tyler Green writes Modern Art Notes from DC but files reports from across the country and often dialogues with other blogs, such as Iconoduel, out of Chicago. Down south, Miami-based newcomer the Next Few Hours offers a local perspective on the city's burgeoning art scene, and collector Erik Schneider covers notable museums and galleries in Atlanta.Although this form of instant criticism is still very much an American phenomenon, the blognosis for international art blogs is good.
You can catch different accents on the Sydney-based site the Art Life and Diary of an Art Pimp, out of Melbourne, as well as the UK's Londonist, Things magazine's blog, and Art in Liverpool, the last of which showcases events and opportunities from this future cultural capital. Meanwhile, Artforum's Scene & Herd has become the must-read gossip column of high-profile international shows. (JK) "
via artkrush
In New York, some art journalists have left print to become prominent bloggers. Tom Moody's site is chock-full of photos, artwork, and funny commentary about new media art. James Wagner, who runs ArtCal with his partner and fellow art-blogger Barry Hoggard, defines his own mix of politics and art criticism on jameswagner.com. Overseen by the artist Joy Garnett, NEWSgrist melds art and activism for the digerati. John Perreault's Artopia is notable for its un-bloglike reviews — long, thorough, and full of entertaining tangents.In LA, art.blogging.la provides a miscellany of West Coast commentary and traveling reports from fairs and blockbuster shows.
San Francisco's hybrid ezine/blog Fecal Face hits readers with loads of video and an inexhaustible link list. The prolific and peripatetic Tyler Green writes Modern Art Notes from DC but files reports from across the country and often dialogues with other blogs, such as Iconoduel, out of Chicago. Down south, Miami-based newcomer the Next Few Hours offers a local perspective on the city's burgeoning art scene, and collector Erik Schneider covers notable museums and galleries in Atlanta.Although this form of instant criticism is still very much an American phenomenon, the blognosis for international art blogs is good.
You can catch different accents on the Sydney-based site the Art Life and Diary of an Art Pimp, out of Melbourne, as well as the UK's Londonist, Things magazine's blog, and Art in Liverpool, the last of which showcases events and opportunities from this future cultural capital. Meanwhile, Artforum's Scene & Herd has become the must-read gossip column of high-profile international shows. (JK) "
via artkrush
Dec 13, 2005
Dec 12, 2005
Dec 8, 2005
Dec 6, 2005
Dec 5, 2005
archives
read about this lecture at IASPIS.
reminded me of one of the romanian archivers.
and of mika taanila's "future is not what it used to be".
"Today Kurenniemi is obsessively devoted to preserving his own consciousness. He continually records an audio diary, shoots video, and takes at least 20,000 photographs a year. This accumulating mass of documentation is then regularly fed into a computer, storing the record of his existence, his mind and consciousness in digital bytes, thus creating a reconstruction of his life, a "virtual persona," to be premiered in July, 2048."
reminded me of one of the romanian archivers.
and of mika taanila's "future is not what it used to be".
"Today Kurenniemi is obsessively devoted to preserving his own consciousness. He continually records an audio diary, shoots video, and takes at least 20,000 photographs a year. This accumulating mass of documentation is then regularly fed into a computer, storing the record of his existence, his mind and consciousness in digital bytes, thus creating a reconstruction of his life, a "virtual persona," to be premiered in July, 2048."
Dec 4, 2005
post national day
noticed it today.
maybe he or she also hanged special lights so that the wonder could be seen by night also.
maybe he or she also hanged special lights so that the wonder could be seen by night also.
Dec 3, 2005
Dec 2, 2005
like it
bubbleproject. via stefania
reminds me of another contemporary artist that i like.
erick beltran, who works with public space.
one of the things he did was to print posters with only a small text:"j'accuse" so that people on the street could write whoever, whatever they were accusing for whatever they were accusing.
like this one better for the simplicity of his action.
in an interview he was saying that art in public space should give voice to those who don't have one.
reminds me of another contemporary artist that i like.
erick beltran, who works with public space.
one of the things he did was to print posters with only a small text:"j'accuse" so that people on the street could write whoever, whatever they were accusing for whatever they were accusing.
like this one better for the simplicity of his action.
in an interview he was saying that art in public space should give voice to those who don't have one.
Dec 1, 2005
national day
received by mail.like it.publish it.
a text by dragos platon
" Nu sarbatoresc nimic pe 1 decembrie pentru ca in copilarie nu stiam prea multe despre forma unei tari. Nici nu ma gandeam ca forma unei tari poate intruchipa ceva anume. Ca toti ceilalti copii de varsta mea, am ramas surprins sa aflu ca Romania are forma unui peste sau a unui buchet de flori.
Putin mai tarziu entuziasmul a disparut o data ce am realizat ca "pestele" este orientat spre stanga, chiar daca suntem obisnuiti cu descifrarea lucrurilor de la stanga la dreapta. Cu sa fara o functie simbolica la mijloc, "pestele" orientat spre stanga, inoata contra curentului si la o analiza detaliata, are gura usor intredeschisa si botul alungit. Pana aici n-ar trebui sa ne ingrijoreze nimic avand in vedere ca pana si pastravii inoata deseori contra curentului si se decurca foarta bine.
Daca luam in calcul si a doua ipoteza, ca Romania ar avea forma unui buchet de flori, deducem rapid ca acesta are o anumita inclinatie ce te face sa crezi ca destinatarul a uitat sa-l ridice.
Nu sarbatoresc nimic pe 1 decembrie pentru ca nu ma incanta ideea ca Romania ar avea o anumita forma, asa cum nu ma incanta nici ideea conform careia Italia are forma unei cizme, in ciuda popularitatii.
Nu-mi place ca steagul tarii "ascunde" trei culori principale plasate pe verticala.
Nu sarbatoresc nimic pe 1 decembrie pentru ca este o zi cenusie, friguroasa, un inceput de iarna sau un sfarsit de toamna tarzie. Nu sarbatoresc nimic pe 1 decembrie pentru ca ceilalti isi sarbatoresc ziua nationala in lunile calduroase de vara. Nu sarbatoresc nimic pe 1 decembrie pentru ca mi se spune la televizor "tu esti Romania" si apoi, in pauza publicitara, cineva o parodiaza pe Marina ca "a plecat la cules in Spania"; daca schimb canalul trebuie sa ma prind in hora si sa-mi intampin oaspetii cu paine traditionala si sare...o fuziune "ideala" între brand, traditie si PR.
Nu vreau sa mi se spuna ca sunt negativist, dar ma intreb pana la urma ce "ingrediente" contine brandul de tara si ce fel de legitimitate au acestea?
Sau poate sunt negativist, dar am o idee de spot publicitar: o incapere bine luminata cu mai multe actiuni...o femeie speriata care culege capsuni printre picioarele unui taraf agitat, un fotbalist ce faulteaza o gimnasta aflata in offside....un parinte zambaret care calca cu grija alaturi de enoriasi printr-o duzina de biserici in miniatura, si reprezentantul segmentului dezorientat al societatii, stand pe o canapea, cu un pelican pe umarul stang; si ca sa nu distrugem ceea ce deja incercam sa construim, spotul poate rula doar in cercuri restranse.
Nu stiu daca sunt simplu dar nici simplist, si daca vreau sa gasesc un raspuns trebuie sa ma intorc in timp, in urma cu 12 ani, atunci cand cumparam de la tarabe poze cu Jean-Claude Van Damme. Nu existau inca reviste occidentale pe piata si cineva a stiut sa speculeze acest lucru. Printre blugi, aur si dulciurile gasite in Turcia acel cineva cumpara si o revista in voga, multiplica cateva poze facute pe postere, si noi copiii ne inghesuiam apoi la tarabe, in fata acestor poze alb-negru, cu celebritati de care nu auziseram mare lucru.
In ce ma priveste, tentativele ridicole ale anilor 1992-1993 reprezinta unul din raspunsurile vagi al propriei identitati. Este una din formele ce s-a perpetuat tot mai mult si continua sa ma afecteze.
Si nu este nicidecum forma unui peste sau forma unui buchet de flori...
Nu sarbatoresc nimic pe 1 decembrie pentru ca nu putem convinge pe nimeni cu imagini de manastiri colorate intr-un spot publicitar, ca apoi pe Euronews sa vedem cadre cu exorcizarile de la manastirea Tanacu. Nu putem convinge exteriorul cu imagini de manastiri pline de mister intr-un spot publicitar, si in cotidianele locale sa lansam campanii de restaurare a acestora. Nu putem amagi pe nimeni cu performantele gimnastelor cand lotul deja s-a desfiintat; cel putin nu acum, si nu in aceasta forma.
Nu sarbatoresc nimic...in schimb o sa fac altceva pe 1 decembrie...o sa numar steagurile amplasate pe Bulevardul Unirii si apoi o sa-mi imaginez ca sunt un aristocrat, ce vorbeste aiurea despre viata, cu miscari lente, si cu un pahar de apa minerala in mana."
a text by dragos platon
" Nu sarbatoresc nimic pe 1 decembrie pentru ca in copilarie nu stiam prea multe despre forma unei tari. Nici nu ma gandeam ca forma unei tari poate intruchipa ceva anume. Ca toti ceilalti copii de varsta mea, am ramas surprins sa aflu ca Romania are forma unui peste sau a unui buchet de flori.
Putin mai tarziu entuziasmul a disparut o data ce am realizat ca "pestele" este orientat spre stanga, chiar daca suntem obisnuiti cu descifrarea lucrurilor de la stanga la dreapta. Cu sa fara o functie simbolica la mijloc, "pestele" orientat spre stanga, inoata contra curentului si la o analiza detaliata, are gura usor intredeschisa si botul alungit. Pana aici n-ar trebui sa ne ingrijoreze nimic avand in vedere ca pana si pastravii inoata deseori contra curentului si se decurca foarta bine.
Daca luam in calcul si a doua ipoteza, ca Romania ar avea forma unui buchet de flori, deducem rapid ca acesta are o anumita inclinatie ce te face sa crezi ca destinatarul a uitat sa-l ridice.
Nu sarbatoresc nimic pe 1 decembrie pentru ca nu ma incanta ideea ca Romania ar avea o anumita forma, asa cum nu ma incanta nici ideea conform careia Italia are forma unei cizme, in ciuda popularitatii.
Nu-mi place ca steagul tarii "ascunde" trei culori principale plasate pe verticala.
Nu sarbatoresc nimic pe 1 decembrie pentru ca este o zi cenusie, friguroasa, un inceput de iarna sau un sfarsit de toamna tarzie. Nu sarbatoresc nimic pe 1 decembrie pentru ca ceilalti isi sarbatoresc ziua nationala in lunile calduroase de vara. Nu sarbatoresc nimic pe 1 decembrie pentru ca mi se spune la televizor "tu esti Romania" si apoi, in pauza publicitara, cineva o parodiaza pe Marina ca "a plecat la cules in Spania"; daca schimb canalul trebuie sa ma prind in hora si sa-mi intampin oaspetii cu paine traditionala si sare...o fuziune "ideala" între brand, traditie si PR.
Nu vreau sa mi se spuna ca sunt negativist, dar ma intreb pana la urma ce "ingrediente" contine brandul de tara si ce fel de legitimitate au acestea?
Sau poate sunt negativist, dar am o idee de spot publicitar: o incapere bine luminata cu mai multe actiuni...o femeie speriata care culege capsuni printre picioarele unui taraf agitat, un fotbalist ce faulteaza o gimnasta aflata in offside....un parinte zambaret care calca cu grija alaturi de enoriasi printr-o duzina de biserici in miniatura, si reprezentantul segmentului dezorientat al societatii, stand pe o canapea, cu un pelican pe umarul stang; si ca sa nu distrugem ceea ce deja incercam sa construim, spotul poate rula doar in cercuri restranse.
Nu stiu daca sunt simplu dar nici simplist, si daca vreau sa gasesc un raspuns trebuie sa ma intorc in timp, in urma cu 12 ani, atunci cand cumparam de la tarabe poze cu Jean-Claude Van Damme. Nu existau inca reviste occidentale pe piata si cineva a stiut sa speculeze acest lucru. Printre blugi, aur si dulciurile gasite in Turcia acel cineva cumpara si o revista in voga, multiplica cateva poze facute pe postere, si noi copiii ne inghesuiam apoi la tarabe, in fata acestor poze alb-negru, cu celebritati de care nu auziseram mare lucru.
In ce ma priveste, tentativele ridicole ale anilor 1992-1993 reprezinta unul din raspunsurile vagi al propriei identitati. Este una din formele ce s-a perpetuat tot mai mult si continua sa ma afecteze.
Si nu este nicidecum forma unui peste sau forma unui buchet de flori...
Nu sarbatoresc nimic pe 1 decembrie pentru ca nu putem convinge pe nimeni cu imagini de manastiri colorate intr-un spot publicitar, ca apoi pe Euronews sa vedem cadre cu exorcizarile de la manastirea Tanacu. Nu putem convinge exteriorul cu imagini de manastiri pline de mister intr-un spot publicitar, si in cotidianele locale sa lansam campanii de restaurare a acestora. Nu putem amagi pe nimeni cu performantele gimnastelor cand lotul deja s-a desfiintat; cel putin nu acum, si nu in aceasta forma.
Nu sarbatoresc nimic...in schimb o sa fac altceva pe 1 decembrie...o sa numar steagurile amplasate pe Bulevardul Unirii si apoi o sa-mi imaginez ca sunt un aristocrat, ce vorbeste aiurea despre viata, cu miscari lente, si cu un pahar de apa minerala in mana."
Nov 30, 2005
Nov 29, 2005
news from billboart
news from billboart.
CORPORATE IDENTITY
got it via mail.
funny it's not on their website yet.
worth taking a look anyway.
CORPORATE IDENTITY
got it via mail.
funny it's not on their website yet.
worth taking a look anyway.
Nov 28, 2005
some
pics from yesterday.
discovered a new small place and the music was just perfect.4 hours.
feeder announced the event as: "and a swell session on sunday at ARTJAZZ with Mr. Tavi Scurtu (drums) from BRIGADA ARTISTICA URBANA (B.A.U.) Timisoara, from 20:00. This guy is easily one of the most skilled, talented, diverse and fastest drummers around. He plays like a metronome for hours (!!) fusing everything from jazz to funk, around drum&bass to whatever."
indeed.
best drummer i've ever heard plus vexxu = speechless.
discovered a new small place and the music was just perfect.4 hours.
feeder announced the event as: "and a swell session on sunday at ARTJAZZ with Mr. Tavi Scurtu (drums) from BRIGADA ARTISTICA URBANA (B.A.U.) Timisoara, from 20:00. This guy is easily one of the most skilled, talented, diverse and fastest drummers around. He plays like a metronome for hours (!!) fusing everything from jazz to funk, around drum&bass to whatever."
indeed.
best drummer i've ever heard plus vexxu = speechless.
Nov 26, 2005
raw designs
beautiful objects.
took some pics.
what is it what is it?
well this one is a mixed tape.3 cd's.great music too.
took some pics.
what is it what is it?
well this one is a mixed tape.3 cd's.great music too.
Nov 24, 2005
mini gallery?
catelan's newest project. wrong gallery_the smallest in new york.
reminds me of the minigallery project.it consisted of a box conceived as an exhibition space.
the first minigallery is done by ioana nemes.
vlad nanca's home gallery presented it in february 2004 and after that it travelled to iasi where it was showed in 2 places.
reminds me of the minigallery project.it consisted of a box conceived as an exhibition space.
the first minigallery is done by ioana nemes.
vlad nanca's home gallery presented it in february 2004 and after that it travelled to iasi where it was showed in 2 places.
Nov 18, 2005
Nov 14, 2005
HC4
"Yes, it smells like ink again! Hardcomics has the honour of inviting you on Thursday, the 17th of November, at the Hardcomics 4 launch party. "Poveste despre eu!", by Alexandru Ciubotariu, will be available to see, look inside, buy, be signed or whatever, along with some nice music, wine and good company, on Dr. Staicovici 26. To make sure you won't be missing it, you need to know this: we'll start by 7 o'clock PM. See you there.
Love!"
HardcomicsCrew
Love!"
HardcomicsCrew
Nov 9, 2005
kitsune
one of the artists i like is showing work in budapest.
"It seems that the specificity of Penalva’s work lies in the exuberant application of written and oral texts. Tracing the visual and verbal evidences he, as an artist, guides his viewers through and thus makes them aware of the role they play as interpretators, of the subjectivity of their approaches and of the necessarily fragmentary nature of reception.
The group of works in the exhibition creates for one another the context in which the viewer will inevitably raise the question of authenticity after a while. Listening to and reading these stories one seems to arrive at the next page of a collection of short stories rather than perciving the static images of an exhibition space. The question is then whether these stories are true and if yes, to what an extent? Unlike reading a novel where you would not ask Who is this Madame Bovary actually?
The way Penalva uses various references to visuality and the history of representation makes the viewer aware once again of the culturally determined and coded nature of the „gaze”.
“If it looks like Kurosawa it does so because you hear the language of a Kurosawa film. But if I were to use the same image with the voices of Swedish actors, Bergman would be your cultural reference and you would immediately identify it as unmistakably Swedish…” (Joao Penalva)"
"It seems that the specificity of Penalva’s work lies in the exuberant application of written and oral texts. Tracing the visual and verbal evidences he, as an artist, guides his viewers through and thus makes them aware of the role they play as interpretators, of the subjectivity of their approaches and of the necessarily fragmentary nature of reception.
The group of works in the exhibition creates for one another the context in which the viewer will inevitably raise the question of authenticity after a while. Listening to and reading these stories one seems to arrive at the next page of a collection of short stories rather than perciving the static images of an exhibition space. The question is then whether these stories are true and if yes, to what an extent? Unlike reading a novel where you would not ask Who is this Madame Bovary actually?
The way Penalva uses various references to visuality and the history of representation makes the viewer aware once again of the culturally determined and coded nature of the „gaze”.
“If it looks like Kurosawa it does so because you hear the language of a Kurosawa film. But if I were to use the same image with the voices of Swedish actors, Bergman would be your cultural reference and you would immediately identify it as unmistakably Swedish…” (Joao Penalva)"
Nov 7, 2005
Nov 4, 2005
found
received the layout by mail few days ago. so i went this morning and took a pic on the location.
advertising agency who bought the billboard and every now and then change the image.
this one is football.
like it.
advertising agency who bought the billboard and every now and then change the image.
this one is football.
like it.
Nov 3, 2005
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