zondag 31 juli 2011

Tracey Moffatt - Nice Coloured Girls (1987)

Nice Coloured Girls (1987) was written and directed by Tracey Moffatt, an Australian Aboriginal artist working in film, photography and video. It is an unusual film in that it is quite different to the documentaries and realist dramas of contemporary Aboriginal filmmakers and to ethnographic documentaries of the past. Moffatt has set out to counter dominant representations, to challenge the notion of what constitutes an Aboriginal film and to explore how representations throughout history have constructed her identity and that of her race. In doing this, she draws attention to the means by which history itself is constructed and also, how film constructs meaning. Unlike the bulk of films about Aboriginal people which are set in the outback and portray Aboriginals in a community environment, the setting for Nice Coloured Girls is primarily the urban landscape and shows the central characters, three Australian Aboriginal women, in their element.



Tracey Moffatt - Nice Coloured Girls (1987)
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zaterdag 30 juli 2011

The Labster

This newsreel captures the bizarre life of the lab hipster, also known as the labster.

The Labster (05:12)
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vrijdag 29 juli 2011

Chris Woebken - Bat Billboard, 2010

Chris Woebken - Collaboration work with Natalie Jeremijenko
This project describes an interactive billboard creating novel social interactions between bats and humans. The habitat uses the structure of a billboard and provides luxury housing for bats, addressing the environmental health emergency faced with New York bats known as White Nosed Syndrome.

Bats, together with birds, are our chief pollinators and with their “seed rain” rival humans in their imprint on the terrestrial ecosystems. Bats manage mosquito populations more cost-effectively (up to 20 000 mosquitoes can be devoured by a single bat and is then turned into potent rose fertiliser), all sans nasty uncontainable poisons. Bats are the insect control super-force.
environmental healthclinic

batbat 2010(02:41)
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donderdag 28 juli 2011

Andrew Gordon

"Andrew Gordon is a bit of a troubadour. And in true vagabond style, his art is real life. I think he heard the joke 'What did the masochist say to the sadist?' 'Punch me.' How did the sadist reply? 'No' and made it a visual reality. OK, there's a beacon of hope in there too; lucid living ain't dead yet."
Sarah Werkmeister
source: artist site

woensdag 27 juli 2011

Alize Zorlutuna

Alize Zorlutuna is a Toronto-based artist and writer who works with a diverse range of mediums. Incorporating textiles, found objects, wood, metal, performance, video projection, and audio, her work draws upon her experience as an individual living between cultures. Negotiating multiple perspectives simultaneously, this embodied liminality informs her creative practice; manifesting in explorations of interstices. The desire to activate interstices where differing perspectives, emotions, and physical entities meet, and the meanings created in those meetings rests at the heart of her work.
source: artist site


Fill, 2007 (03:30)
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Performance for Hello Beach on Toronto’s Ward Island. Approximate duration 4 Hours.

dinsdag 26 juli 2011

Tamar Meir - Potemkin 2010

Potemkin. 16 mm B&W stop motion Dir: Tamar Meir DP: Boaz Freund Music: Yuval Semo 2010. New Academic Building. Cooper Union

In a bubble amid trouble

Potemkin 2010(02:14)
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maandag 25 juli 2011

translab[4]: algorithm & code / vi. visual aesthetics in early computing (1950-80)

In the early 1960s digital computers became available to artists for the first time
(although they cost from $100.000 to several millions, required air conditioning, and therefore located in separate computer rooms, uninhabitable 'studios';
programs and data had to be prepared with the keypunch, punch cards then fed into the computer;systems were not interactive and could produce only still images).
The output medium was usually a pen plotter, microfilm plotter (hybrid bwn vector CRT
and a raster image device), line printer or an alphanumeric printout, which was then manually transferred into a visual medium.
translab[4]: algorithm & code / vi. visual aesthetics in early computing (1950-80)

Stan Vanderbeek and Kenneth Knowlton-Poemfield no.2 (05:49)
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zondag 24 juli 2011

Peter Gallo

A partial inventory of Peter Gallo's materials would include dental floss, toothpicks, a towel, string, wire, French vermilion oil paint, buttons, toilet paper, spackle, bric-a-brac, a bedsheet, picture frames, amateur sculptures, and patterned fabrics. These are usually mixed with snippets of found text or references to figures of cultural authority, either scrawled onto surfaces, collaged, or laboriously constructed as sculptures that allude to the likes of Spengler, Nietzsche, Kant, Pasolini, and Mondrian. His output becomes a kind of pantheon of gravitas--or, in its use of vernacular text, antigravitas made vital by the intensity of Gallo's scribbles and his disinterest in pictorial nicety.
2005 Artforum



zaterdag 23 juli 2011

BOY’S FLESH – Short movie by Vidio.Atak

An army of beauties, crazy druid, strong males, head-banging transvestites, bizarre drug, sexy princess and a big buckett of blood for a shamanic rock’n'roll ceremony hidden behind a free-fight competition leads to massacre.

do you really need something else?

Directed by the ViDiO.ATaK (Ripit, Rko, Toff, Nohista and Tzii)

BOY’S FLESH – Short movie by Vidio.Atak (11:02)
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vrijdag 22 juli 2011

Mass Ornament (2009)- Natalie Bookchin

Mass Ornament is a video installation in which hundreds of clips from YouTube of people dancing alone in their rooms are edited together to create a large dance with waves of synchronized movement. The dance recalls historical representations of synchronized mass movements of bodies in formations, from the Tiller Girls and Busby Berkley, to Leni Riefenstahl, as well as to Siegfried Kracauer’s 1927 essay on the mass ornament.
Natalie Bookchin

Mass Ornament (2009)- Natalie Bookchin (07:12)
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donderdag 21 juli 2011

Tetsushi Higashino - Roof on the Roof/Roof vs Me

A documentary of performance includes two video works about a roof. "Roof on the Roof": The roof picked up at the roadside is installed on the roof of the studio. A work in collaboration with Joe Stevens. "Roof vs Me": Time to say good-bye to my dear roof has come. In the end, one-on-one for real with the roof. (October 11 & 14, 2008 / IASK National Art Studio Goyang, Korea) April 24, 2008: An abandoned blue roof was found at the roadside in the neighboring town from my studio, IASK National Art Studio Goyang, Korea. June 26, 2008: The roof was brought to my studio. October 11, 2008: The roof was installed on the roof of the studio. October 14, 2008: The roof was destroyed.

Tetsushi Higashino (very slow PDF loading!!!)


Roof on the Roof 2008(07:28)
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Roof vs Me 2008(01:47)
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woensdag 20 juli 2011

Das Paradies - Cornelius Kolig

Kopulierende Menschen, Vaginen, Penisse. Vergoldete Scheiße. Kruzifixe, Liebesgeräte, Sexmaschinen, Flugbretter, Tod, Angst, Vergänglichkeit. Das Paradies, jedenfalls jenes von Cornelius Kolig, ist voller Tabubrüche. Von seinem Schlafzimmerfenster aus hat er übrigens den besten Blick auf sein Paradies, in dem Vulgäres den Göttern gleichgestellt ist, der Saustall neben dem Pantheon liegt.

Keine Hierarchien: Das, ja genau das ist das Paradies. Dreißig Jahre, seit 1979, hat er in Vorderberg, seinem Kärntner Geburtsort an der österreichisch-italienischen Grenze, daran gebaut; auf 6000 Quadratmetern gruppierte er Sixtina, Kuhstall, Wandlungstisch, Rauschgarten, linke und rechte Niere um schöne, duft- und schlingpflanzenbewachsene Innenhöfe und einen Rauschgarten. Sein paradiesisches Gesamtkunstwerk hat die Form eines Schädels. Die ins Jenseits transformierte Glückseligkeit, ein Hirngespinst im Hier und Jetzt.

“Alle Religionen haben die Verheißung vom Paradies, um die Menschen über das Problem der Endlichkeit hinwegzutrösten. Auch die Künstler machen nichts anderes, sie wollen über die tatsächliche Lebenszeit hinaus existieren. Man will nicht sterben. Das ist der Antrieb für die Kunst.”

Cornelius Kolig, geboren im September 1942, verheiratet mit einer Medizinerin, Vater einer Radiologin, Maler, Objektkünstler, Fotograf, Videokünstler, Gesamtkunstwerker - und Enkel des Kärntner Malers Anton Kolig.
Andrea Schurian


"Lieber denken als glauben" (Interview: Julia Kospach)

dinsdag 19 juli 2011


Naissance à Dallas en 1991, à l'hopital Golden Fancis invention du Potem et de la Balolle pour fuir l'utérus de la rage Fondation avec Buck de Francis, de CRUDU, le temple de la Nècre... 2001: Création de CRACKPOTBREAKER et début de la chute.
nombreuses expositions, puis cascade dans une sacoche. utilisation des tunnels du code pour relier la moelle développement de la Nècrétique en utilisant de la bande magnétique. Décés en 2004, puis résurection par l' adhésif production de lymphe jetée sur de la braise se lie d'amitié avec le collectionneur Rachid Data achat d'une machette et d'une bouteille de cognac disparition en 2009 dans la cave du Divine Madness
crudu.org - Simon Scanner

cul de sac (2004) 5'55 hd
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maandag 18 juli 2011

Núria Güell - Value #1 2007

Núria Güell - Value #1 2007
installation (photographic documents + video in monitor) The work is structured in two parts. The first one is a video showing how the phrase “The day of tomorrow” is tattooed on my right foot bottom. The second one was a everyday documentation made
using a scanner of the wear that suffers the tattooed phrase, as a result of the daily walking rubbing. The documentation process ends when the only text left is “day of”, which will remain printed forever due to its location on the foot.
The leaning of temporal horizon to the future is a feature of the western civilization. This tendency to project our lives toward the day of tomorrow influences our way of living the present time. I understand the inculcation of this value as a way of controlling the subject.
nuriaguell.net/projects/04 (PDF)

Value #1: The inculcation 2007 (10:11)
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zondag 17 juli 2011

We Were Feared

Urban Struggle tells the tale of notorious Southern California punk club the Cuckoo’s Nest. In the early 1980s, the Costa Mesa venue hosted seminal punk and hardcore bands from The Ramones and The New York Dolls to local heroes like TSOL, The Circle Jerks, Fear and Black Flag. The club was the first to have a slam pit and was a magnet for cops and punk haters. The fact that it shared a parking lot with a honky tonk didn’t help.

This 1981 video has long been out-of-print, but a new documentary, We Were Feared, which covers the same scene and bands is soon to be released by Endurance Pictures. Consider this a long teaser.


We Were Feared (40:04)
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