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.
For too long, the Earth has been used to ground thought instead of bending it; such grounding leaves the planet as nothing but a stage for phenomenology, deconstruction, and other forms of anthropocentric philosophy. In far too much continental philosophy, the Earth is a cold dead place enlivened only by human thought—either as a thing to be exploited, or as an object of nostalgia. Geophilosophy seeks instead to question the ground of thinking itself, the relation of the inorganic to the capacities and limits of thought. This book constructs an eclectic variant of geophilosophy through engagements with digging machines, cyclones and volcanoes, secret vessels, nuclear waste, giant worms, decay, hell, demon souls, subterranean cities, black suns, and xenoarcheaology, via continental theory (Nietzsche, Schelling, Deleuze, et alia) and various cultural objects such as horror films, videogames, and weird Lovecraftian fictions, with special attention to Speculative Realism and the work of Reza Negarestani. In a time where the earth as a whole is threatened by ecological collapse, On an Ungrounded Earth generates a perversely realist account of the earth as a dynamic engine materially invading and upsetting our attempts to reduce it to the ground beneath our feet.
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…
Halmos is proud to announce the beta launch of Library Stack.
Art’s increasing tendency to take form as digital objects has inadvertently resulted in its mediums being regulated by proprietary and closed systems. Amazon, Apple and Barnes & Noble collectively control 95% of all digital ebooks for which buyers are given a license in place of ownership. With the move to licensed content public libraries must negotiate terms with each publisher for access to ‘content streams’ with little or no say with regard to individual titles. Under such systems, libraries are unable to access the works of independent art publishers and artist-produced content made in digital formats. Furthermore, the titles cannot be cataloged by the library database network, thus fencing digital publications solely within the closed domain of commercial interests.
In an effort to expose digital art content to Library databases, Halmos has initiated Library Stack – a card file of eBooks, Video, Audio and Apps focused on art and culture. Currently in the beta launch stage, Library Stack has developed a digital access port in accordance with the Open Archive standards set forth by the OCLC WorldCat database. In this way Library Stack provides data references to otherwise closed works and makes the titles indexable to the 72,000 libraries that use the OCLC system. Additionally, Library Stack is beginning work with publishers to initiate a public lending program, providing direct media access to library patrons. Development has begun with ebook lending and will expand to other media in the future.
Real Flow is an ongoing collaboration between Diann Bauer, Victoria Ivanova, Christopher Kulendran-Thomas and Suhail Malik. We do R&D of finance and art.
Real Flow offers tailor-made financial solutions for contemporary art by crossing the now wholly permeable and artificially-maintained barriers between art’s markets, markets in general, and art’s flexible and porous semantics. Re-engineering the artwork’s commodity form, this venture tactically integrates art into its diverse channels of exhibition, circulation, and marketization. Financialization’s futurity is operationalized by Real Flow to reconstitute art’s future present and open up new vistas through and beyond capital.
The first iteration of it as a project is the inaugural exhibition at K. (formerly P!) at 334 Broome st NY. It opened on March 1st.
The changing future is difficult to predict. But, for all the unknown complexities exposed through economic crisis, one thing is increasingly certain: our planet has become fully engulfed by the volatility of finance and its constant state of risk. This hegemonic order is no longer driven by objectives of progress or development but rather by the management of the perpetual present of risk-opportunity.
The process of sublimation whereby capitalism melts ‘all that is solid… into air’ requires a phase transition. Many biological systems are continually poised close to a critical point where numerous interacting components can tip the system’s organization from one global state to another. As a species, we are evolving past Cartesian confinement. Our bodies no longer define our limits. Technological upgrades on human senses pave the way to new dimensions of evolutionary adaptation so that tangibility can transcend Earth-bound experience.
The ocean may reconnect us with primordial fluidity, yet it is air that offers the ultimate realm of possibility. Air reconstitutes power from body-wielding mechanisms to morphable energy. Unhindered by the viscosities of liquid, air overcomes terrestrial friction towards a future more sublime than capitalism can afford.
Beyond liquidity is air. Beyond capital is our future.
Real Flow ia a collaboration between Diann Bauer, Victoria Ivanova, Christopher Kulendran-Thomas and Suhail Malik for R&D of finance and art.
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.
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.
Halmos is pleased to announce the launch of The Familiar Stranger – an edition of time pieces by Tauba Auerbach
Modified Casio watch and operation manual with original text by Tauba Auerbach. Produced in an edition of 200 – each able to display its unique edition number.
Available now at www.halmos.us.com/product/the-familiar-stranger/
I think about time — all the time. I think about its elasticity and its asymmetry. I’ve always had a fraught relationship with this “familiar stranger” as J.T. Fraser aptly called it…
The Familiar Stranger is a study in chronobiology – a field of research that first emerged from the subterranean world of cave explorers in the 60s and 70s. Deep underground, devoid of external cues, the biological experiences of time proved to be elastic and subjective. Auerbach’s watch is designed to reproduce “cave time” with the display of a spinning cycle adjustable to match the wearer’s own biological rhythm.
Tauba Auerbach’s work addresses principles of math, physics, language and logic and works in a wide variety of media, including sculpture, weaving, photography, book-making and musical instrument design. She has designed a number of typefaces, including a set of new mathematical symbols which are currently in use. Auerbach’s work is included in the collections of MoMA, the Whitney Museum of American Art and the Centre Pompidou among others. Her most recent solo exhibition, The New Ambidextrous Universe took place at the ICA London. She is represented by STANDARD (Oslo), and Paula Cooper Gallery, New York.
Philosophical Chemistry furthers Manuel DeLanda’s revolutionary intervention in the philosophy of science and science studies. Against a monadic and totalizing understanding of science, DeLanda’s historicizing investigation traces the centrality of divergence, specialization and hybridization through the fields and subfields of chemistry.
The strategy followed uses a series of chemical textbooks, separated from each other by fifty year periods (1750, 1800, 1850, and 1900), to follow the historical formation of consensus practices. The three chapters deal with one subfield of chemistry in the century in which it was developed: eighteenth-century inorganic chemistry, nineteenth-century organic chemistry, and nineteenth-century physical chemistry. This book creates a model of a scientific field capable of accommodating the variation and differentiation evident in the history of scientific practice. DeLanda proposes a model that is made of three components: a domain of phenomena, a community of practitioners, and a set of instruments and techniques connecting the community to the domain.
Philosophical Chemistry will be essential reading for those engaged in emergent, radical and contemporary strands of thought in the philosophy of science and for those scholars and students who strive to practice a productive dialogue between the two disciplines.
CITIZENFOUR is a real life thriller, unfolding by the minute, giving unprecedented access to Edward Snowden as he hands over classified documents providing evidence of mass indiscriminate and illegal invasions of privacy by the NSA.
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.