INCUBATORACCELERATOR An Art in General New Commission Curated by Kristen Chappa Storefront Project Space
This week in the INCUBATORACCELERATOR are Gareth James, Tobias Madison and Jeff Nagy.
Previous artists in the series included KAYA (Kerstin Brätsch and Debo Eilers), Cara Benedetto, Rachel Rose, and John Russell.
Time without becoming is the text of a lecture Quentin Meillassoux gave at the Middlesex University in May 2008. He makes a summary of the arguments he employed in After Finitude to overcome correlationism from the inside and to dismiss philosophies of becoming, such as absolute idealism and vitalism. In particular, he explains the specificity of his “speculative materialism” by supporting the thesis of the reciprocal exteriority of matter and mind. In her contribution, Anna Longo challenges this perspective taking into account the issue of the genesis of the transcendental in Gilles Deleuze’s philosophy.
Three virtual shapes rendered by an unseen animator attain sentience. This project considers the building of thought and improv comedy.
Commissioned by Dia, Daniel Lefcourt’s web project, Modeler, focuses on systems of signs and interferences. The starting point is a grid composed of grayscale stock images of industrial objects and spaces, a seemingly infinite dataset suggestive of what Lefcourt deems “The pleasure of sameness and repetition.” Extending from his current body of work, which emphasizes observation and detail, Modeler invites the visitor to investigate the complex nature of virtual perception.
Daniel Lefcourt was born in New York, and received his MFA from Columbia University. Over the past ten years, he has had solo exhibitions at Taxter & Spengemann in New York, Campoli Presti in Paris, Sutton Lane in London, and White Flag Projects in St. Louis, Missouri. His work has been included in numerous group exhibitions, including First Among Equals at ICA Philadelphia (2012); Reel to Real: Photographs from the Traina Collection at the de Young Museum in San Francisco (2012); Knight’s Move at Sculpture Center in Long Island City, New York (2010); Subject Index, Malmö Konsthall, Malmö, Sweden (2008); and The Gold Standard, at MoMA P.S.1, Long Island City, NY (2006). Lefcourt is an assistant professor of Foundation Studies at the Rhode Island School of Design. His solo show titled Modeler is currently on view at Mitchell-Innes & Nash in New York until June 29, 2013.
Clement Valla is an artist working with computer programs that reveal hidden processes and mechanisms embedded in everyday algorithmic systems. Along with working with Daniel Lefcourt for this Dia commission, Valla has collaborated with architects, designers, scientists, and archaeologists, in developing novel uses to digital technologies. His work has been exhibited internationally, and he recently had a solo exhibition at Mulherin + Pollard Projects in New York. Valla is an associate professor of Graphic Design at Rhode Island School of Design.
Anicka is in conversation with intellectual property/anticompetition lawyer and contemporary-art collector Thomas Alexander. They raise a glass to joke-writing techniques, condiment wars and so much more…
Chrome Ribena Projects 79 Walker st. New York, NY 10013
FOR IMMEDIATE RELEASE
Douglas Houses: Puke In The Bus Till June 11th – 27th
In conjunction with Chrome Ribena Projects and HALMOS, Art in General is pleased to present Douglas Houses’ Puke In The Bus Till, a New Work commissioned and executed specifically for the HALMOS street-level vested residency combinator.
Retreating ahead of the vicious short-circuit of local direct action into spot-prices gofundme embezzled in Houses’ previous works, Peaky Buzzkill turns its gaze and a fortiori that of any audience radically, paralyzingly inward, ostracizing community collectively. The title alludes to the moment this unevoked and uneducable unity passes from a transfixed but clandestine popular praxis into the inverse of an infallible emetic administered to Litch Bank of ATMs, specially adapted for SoMaMo fog drone and otherwise difficult to reterritorialize, refusing to deepen the field of vision to the goods on display within, which nevertheless do exist and exert a certain occult attraction. Like cortically-enhanced lichen screening vitrine of worker enactment, Houses scripts a vertical engagingly open to the merest reader but endurable for all.
Although they multi-platform the Crypto-Babadook Slashfic of Houses’ previous ecodurational lend-lease program Edible Arrangements (2012) and Incredible Arrangements (2014), the custom-framed and -glazed panels execute logic-chop my choice is predetermined Puke In The Bastille welcomes the specificity of co-incubated exhibitors help into extreme relief, thriving on proximate synergy but utilizing a system of tubing to come there subtweet.
Check back this space for updates.
THE POLITICAL ECONOMY OF SOCIAL CREATIVITY
The book published by F/SUW in cooperation with MayFly Books gathers papers based on presentations at the conference Labour of the Multitudes? Political Economy of Social Creativity, organized in Warsaw in October 2011. It includes contributions by renowned thinkers and artists, including Luc Boltanski, Neil Cummings, Diedrich Diederichsen, Isabelle Graw, Massimiliano Tomba, Stevphen Shukaitis, and Martha Rosler, among many others.
The title Joy Forever refers to the false promise of a common happiness, constantly played out by the proponents of the creative class and creative economy – the very promise that since Romanticism has been ascribed to art itself, a vow which remains unfulfilled. The aim of F/SUW’s publication is to scrutinize the false promises of distributed creativity as an ideology of cognitive capitalism. The authors devote themselves to critical examination of the structural links between art, creativity, labour and the creation of value under contemporary relations of production. Some of them do not stop at a critical diagnosis but go further, reflecting upon potential alternatives to the status quo.
The book covers more than the issues of a narrowly understood art world, despite the fact that it pays a lot of attention to them. Art is conceived here as a social lab, where innovative ways of organizing of labour, socializing both for labour and through labour, as well as different types of production, speculation, generation and accumulation and appropriation of value are experimented with and tested.
From 2006 to 2007 Mauss and Okiishi collaborated on One Season in Hell, an artwork titled after a web-based mistranslation of Arthur Rimbaud’s infamously untranslatable poem Une Saison en Enfer (1873). For One Season in Hell, the artists used now-outmoded word-for-word translators—better known as machine translators—to generate a fragmented version of the opus.
Derived from One Season in Hell, Mauss and Okiishi’s Dia commission investigates the complexities of virtual communication and the variance of meaning in transliterated language. Rather than unraveling an authored text, however, Poetry as not, with singing positions the visitor as poetic generator in which a user’s type is translated into disjointed text and, at times, audible song. Balancing structure and abstraction, while eschewing the fluid speech of today’s statistically based translators, Poetry as not, with singing transmutes the inputted text by a set of irrational rules. The users’ actions are recorded to generate an ever-expanding epic poem, and image clusters drawn from Google trigger a visual stratum for the performative wordplay. Mauss and Okiishi worked in collaboration with Dutch programmers and designers De Gebroeders van Leeuwen to create Poetry as not, with singing.
An Art in General New Commission
Curated by Kristen Chappa
Storefront Project Space
Exhibition: May 16, 2015 – June 27, 2015
Halmos is pleased to announce INCUBATORACCELERATOR, a New Commission by Art in General. Utilizing the AiG Storefront Project Space, Halmos will co-opt the Silicon Valley notion of the “incubator” or “accelerator” as a mode of art production. The storefront will be adapted as a space to develop work on a daily basis, where past and future Halmos contributors will be invited for discussion, work, and window display design. Art in General’s storefront will serve to display the visible output of the incubator, rotating on a bi-weekly basis with presentations created on-site.
Areas of inquiry during Halmos’ residency will include the future of publishing in the age of the internet, Block Chain publishing, texting the future, walled gardens, publishing objects, and digital object libraries. Participating artists, either in-person or via cloud hosting, will include Cara Benedetto, Gareth James, KAYA (Kerstin Brätsch and Debo Eilers), Tobias Madison, Jeff Nagy, Rachel Rose, and John Russell.
We are told our lives are too fast, subject to the accelerating demand that we innovate more, work more, enjoy more, produce more, and consume more. That’s one familiar story. Another, stranger, story is told here: of those who think we haven’t gone fast enough. Instead of rejecting the increasing tempo of capitalist production they argue that we should embrace and accelerate it. Rejecting this conclusion, /Malign Velocities/ tracks this ‘accelerationism’ as the symptom of the misery and pain of labour under capitalism. Retracing a series of historical moments of accelerationism – the Italian Futurism; communist accelerationism after the Russian Revolution; the ‘cyberpunk phuturism’ of the ’90s and ’00s; the unconscious fantasies of our integration with machines; the apocalyptic accelerationism of the post-2008 moment of crisis; and the terminal moment of negative accelerationism – suggests the pleasures and pains of speed signal the need to disengage, negate, and develop a new politics that truly challenges the supposed pleasures of speed.
Collaboration with Metahaven & Mathew Dryhurst. Released on RVNG Intl.
For my debut album Movement, I communicated an intimacy with my laptop. It is my instrument, memory, and window to most people that I love. It is my Home.
The ongoing NSA revelations have fundamentally changed this relationship. I entrusted so much in my device. To learn this intimacy had been compromised felt like a grand betrayal. Is everything done privately on my laptop to be considered a public performance?
In “Home”, I address that invisible audience. It is a love song for prying eyes (an agent / a critic), and also a break up song with the devices with which I shared a naive relationship. There is something dramatic, teenage and vulnerable to this sensation – our relationships with these interconnected devices are still so young, so naive.
As a culture, we are in a process of accelerated, and reluctant, maturation. We are attempting to reconcile the great emotional power of these technologies knowing that the more we welcome them into our lives, the more power they have to destabilize and hurt us.
The video for “Home” provides a visual counterpart to Holly’s uneasy relationship with the NSA agent. The NSA spying on our network may have been tacitly known from reports going back as far as 2002, but the aesthetics of this surveillance were not so known. Code names, acronyms, icons and graphics from a shadow world designed to never be publicly exposed.
For “Home,” we created a data rain of these NSA symbols. The video sees Holly from two angles; one where she is facing the camera, singing, another where she is being photographed and appears as if under surveillance. This track grasps a balance between vulnerability and control.
Capital Drawing Group grew out of a Marx reading group originally proposed at Occupy London’s Bank of Ideas. When that building was shut down and its occupants evicted, the reading group moved to the Royal Festival Hall where it continues up to the present. Our collective project to illustrate Capital is a response to the economic and political forces that dominate out lives today, as described so vividly by Marx. The ongoing work is to be understood as a reading and as a resource. Users of this site are free to copy and use our images for educational purposes. Commercial use of the images is prohibited.
In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera—a mutant configuration of two geneti- cally discrete solo works—was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and arrives as PAN’s inaugural offering of 2015. Both artists, as the art historian Alex Kitnick notes in his text accompanying the release, have a demonstrated interest in sound and its material effects; Hecker’s acute, algorithmic computer music is noted for impacting the very molecular infrastructure of its listeners, while Leckey’s work across performance, sculpture, and installation takes up transcendence and the occupation (or animation) of new bodies and modes of being.