Beautifully simple work thinking about current browser technologies. If net.art still exists it should be something like this…
A microphone input determines the rate of playback for a sequential set of images. Here, the Wolfe Island Windmills react to the noise of a fan and speed up accordingly. This demonstration was made in Chrome 31 using HTML5 canvas and the getUserMedia() API.
Some new work I’ve been finishing and polishing for quite some time is finally complete. The Distinction Between Here and There, Now and Then is a work about performance that occurred through the internet in two stages and which is presented/documented as a diptych with series of framed artefacts. For a full description and more images see the work’s page on my site.
The work relates back to some of the posts I’ve made here over the last few weeks; works that employ Chinese painters as part of the process of creating the work (e.g. The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl, Copyrights, Tiananmen Square Paintings (20 years later)). I’m looking for more works that do this so if you know of any send me an email through the contact page on the site.
Net Art Implant by Anthony Antonellis is a site-specific curatorial project which employs a NFC (Near Field Communication) chip implanted in the artists hand as a wireless space to store/exhibit work up to 1 Kilobyte in size. Currently the chip stores an animated gif by the artist however the intention is to source the space out to other artists.
As a form of micro-curation, the artwork will be rotated out to exhibit new artists and artworks on a regular basis. Future artworks may come in various file formats such as GIFs, JPGs, MIDI music, or ASCII art. An Android app in development allows for direct download of the GIF from the chip, displays extended information about the artwork, and contains an archive of previously exhibited works.
Tiananmen Square Paintings (20 years later) by Michael Mandiberg is a series of internet commissioned paintings from Chinese painters.
Four years ago, in preparation for a research visit to Shenzhen’s Dafen Painting Village, I requested that roughly a dozen Chinese painters paint a copy of the image of the man standing in front of the tanks during the Tiananmen Square protest on June 4, 1989. I did this partly out an interest in copies and reproductions and partly just to see if I could do it: the image is famous worldwide, but I have since learned it is virtually unknown under Chinese national censorship.
To read more see the artists website.
Originally seen on Networked Performance.
Yesterday I had a chance to see the UBERMORGEN exhibition at Carroll / Fletcher Gallery in London. Not the best exhibition I’ve seen at this gallery, a shame for the gallery who have put on some great shows this year and UBERMORGEN who are interesting artists.
Above: Aram Bartholl’s Wifi router curation/exhibition concept Offline Art exhibiting UBERMORGEN’s net.art.
Above: Deep Horizon by UBERMORGEN.
Above: AnuScan by UBERMORGEN.
The show is a retrospective of sorts of what seems to be about ten years of practice. This is suggested through the exhibition statement; “the Swiss-Austrian-American duo founded in 1999 by lizvlx and Hans Bernhard” and “The exhibition includes two new installations”, however the works aren’t presented very well to give a sense of chronological progression. The first works you encounter when you enter the gallery is the mini-exhibition of net.art on Wi-Fi routers (an exhibition within the exhibition). In these UBERMORGEN’s net.art works, the oldest in the exhibition, have been curated by Aram Bartholl as part of his curation/exhibition concept Offline Art. The idea is interesting because of the presentation but the work itself looks and feels very dated, jarring dramatically with the presentation mode and making it seem as if it’s a gimmick to give extended life to work that would otherwise be less interesting.
Above: CCTV (A Parallel Universe) by UBERMORGEN.
Above: Vladimir by UBERMORGEN.
By far the most interesting works in the show were (V)ote-Auction, “a platform that enabled trading of electoral votes in the presidential race between George W. Bush and Al Gore” and Do You Think That’s Funny? – Snowden Files.
Above: (V)ote-Auction by UBERMORGEN.
The exhibition text in the gallery lacked some of the depth I wanted on the works however the free publication (as a pdf) offered by the gallery is perhaps the most useful text to read. There is also an interesting review of the exhibition on the Furtherfield website.