Five works accessioned to The Achive of Digital Art (Database of Virtual Art) documents the rapidly evolving field of digital installation art. This complex, research-oriented overview of immersive, interactive, telematic and genetic art has been developed in cooperation with established media artists, researchers and institutions. The web-based, cost-free instrument – appropriate to the needs of process art – allows individuals to post material themselves. Compiling video documentation, technical data, interfaces, displays, and literature offers a unique answer to the needs of the field. All works can be linked with exhibiting institutions, events and bibliographical references. Over time the richly interlinked data will also serve as a predecessor for the crucial systematic preservation of this art of our time.
The Pin Board Project opens with Martin John Callanan. It is an attractive exhibit that makes so much sense right now. and it is so clear and frank and simple and has such a nice taste. This exhibit has no rubbish in it – it doesn’t have anything at all really. It is okay. We know it’s okay because Martin told us. We hope the work in this show will leave you alone more or less and only grab your mind. which is okay. But no experiences. we hate experiences in art. We prefer to experience things in real life.
Pin board project
space is everywhere
The Pin board project is organized by Angus Braithwaite, Benedict Drew, Rudolf Reiber and Julia Tcharfas who are reasonably modish and quite friendly group of artists. The project is currently situated in studio 5 at the Slade School of Fine Art, which is located on Gower Street in London. The Pin board constructed by Angus (and fucking beautifully I might add), was assembled from Benedict and Julia’s recycled art works and can quite seamlessly fit into any institution or space and can appear in almost any locations in the future. The exhibitions will alternate biweekly starting on Thursday, November 20. 2010, each show chosen by the artists that preceded it. Thus the project will curate itself really. and maybe have something new to offer each time, and maybe something interesting even.
Finally an art space that is like a momentary revelation one has passing something unexpected on the sidewalk. or a quick glance of the eye of a nice stranger. or a pleasant high. It is like everything radical that’s happened in New York in the 70’s and in other symbolic places. An encounter that you are not sure whether it is or isn’t a work of art and you want to steal it. and you can. because they are just ideas. And it doesn’t matter what you decide to do with your ideas. which you can just think about. or use. or throw away. And everything is always a reproduction including this text: which is like the one I read in an art magazine by Gregory Battcock. But I shouldn’t talk about that because I should focus on the art. and it’s okay in this case because it’s good art.
And another thing about this project is that perhaps it isn’t an art space but a space for ideas that are not intended to be any more than ideas. As such they are pretty much invisible. which in itself is a good idea. We’ve suspected. for some time now. that art perhaps can be integrated in our daily lives and now it is. Therefore there’s nothing that can be damaged and we don’t have to worry about lighting and hole filler.
Martin John Callanan is okay
Wednesday 24th November 2010 – Tuesday December 7th
Studio 5, Slade School of Fine Art, Gower St. London
This collection of art works focuses on the theme of surveillance/being watched. More and more these days, our governments know where we are, what we’re doing, and sometimes even what we’re planning to do. As curator, I feel that being under nearly constant watch is a violation of our right to privacy, and therefore I have brought together these art works to show both the irony of and scariness of being under a microscope.
Fylkingen’s journal Hz started as a non-virtual journal after its predecessor Fylkingen Bulletin from ’60s. Since 2000, Hz moved to the Internet and has become an Internet journal, one of the few in Sweden. From the second issue in 2003 it also includes Net Gallery, where international Internet art works are presented.
Fylkingen is a non-profit art organization in Stockholm. Established in 1933, it is the oldest forum for experimental music and intermedia art in Sweden. Throughout its history Fylkingen has been the driving force in the Swedish art scene to introduce and promote unestablished art forms, the examples of which include the music of Bartók and the video works of Nam June Paik as well as electro-acoustic music during the ’50s. Our members today consist of leading composers/musicians, performance artists/dancers, visual artists, etc.
Utilizing possibilities the Internet brings, Hz intends to be an international web journal. By dealing with aesthetic discussions relevant to our time through Hz, Fylkingen is hoping to continue its tradition of playing the role of cutting-edge interface between the artists of Sweden and those abroad. Hz also fulfils informative source of Fylkingen’s activities to none-members both nationally and internationally, thus contributing to increasing interests to Swedish culture and art activities abroad.