Sep 8, 2015

Paul Barsch, O. K.’s Time Travels (Back to the Future) 2013.

O. K.’s Time Travels (Back to the Future), 2013  – Paul Barsch

Part of Jurassic Paint 

Participating artists: Joshua Abelow Iain Ball Zoe Barcza Paul Barsch Tom Davis Scott Gelber Sayre Gomez Ann Hirsch Tilman Hornig Martin Mannig Jaakko Pallasvuo Anselm Ruderisch

via Dis Magazine originally via Dorota Gaweda & Egle Kulbokaite via Angelo Plessas

Please enjoy the time and space :)

              

Aug 31, 2015

WE’VE ALWAYS LOVED THE PAST. ESPECIALLY NOW THAT IT HAS BEEN SET FREE BY THE INTERNET… RELEASED FROM THE LINEAR ACADEMIC LENS OF TIME. ISN’T THE PAST SORTA CULMINATING IN THE PRESENT? SO, WE WANT TO LINGER BACK THERE AGAIN FROM THE PERSPECTIVE OF NOW. AFTER ALL, EVERYTHING IS ALWAYS CHANGING ALL OF THE TIME… EVEN THE PAST. Originally posted february 8, 2011.
No. 44 (1968) – Franz Erhard Walther
distance – pause – distance – pause
…   time periods
rhythm –  fatigue –  exertion – rest – introversion – catalysis – transformation
Via Avalanche Issue # 4 Spring 1972
Please enjoy the time and space and consciousness that recognizes it.

              

Aug 29, 2015

The journey in my mind from hearing Fritz describe this and projecting a bunch of imagined scenes in my mind to seeing actual images of the place start to appear on Instagram then Skyping with him… and now to see it here.

Super energized by the complexity and wholeness of this project. I hope to visit!

Part 2 coming through Frieze in Sept. Originally via the Walker Art Center.

              

Aug 28, 2015

Screen Shot 2015-08-28 at 12.08.53 PMScreen Shot 2015-08-28 at 12.08.48 PMScreen Shot 2015-08-28 at 12.08.56 PM Screen Shot 2015-08-28 at 12.08.59 PM Screen Shot 2015-08-28 at 12.09.02 PM

Some nice Franz West vibes via hoolawhoop :) a certain kind of nudity and art has been looking right lately. I believe I may be in the final stages of becoming a hippy… 100%. It’s not nostalgia, it’s more saudade.

From the catalogue: Franz West, ‘Proforma’, Museum Moderner Kunst Stiftung Ludwig Wien, 1996

PURPOSE / URGENCY              

Aug 24, 2015

Urgency is a wretched condition. I hate that. So it’s hard to discuss it here. There are specific sorts of urgency that make sense to me. Familial exigencies, for example. Or, it’s November and New York is getting cold, and there are increasing numbers of people without shelter or food, whom you pass every day as it grows colder. Urgency in ‘the culture,’ on the other hand, seems to be tied to an anxiety about keeping up and not missing out. That mandate might be parsed like this: stay on top of work deadlines, all the while steadily shunting your worker- self in a direction you sense to be ‘upward;’ maintain a passable grasp on current events; register technological shifts, debates of the moment, new books and movies; and follow the doings and opinions of people to whom you grant authority via steady drips of pictures and remarks. These are marketplace feelings. They’re linked to the way that desire and taste and identification are swapped and leveraged. This probably used to be more of a Western metropolitan thing, but digital culture has helped to transubstantiate the market into a gas, it gets to be some kind of Terran atmospheric condition. In terms of cultural urgency, the obvious forerunner was fashion, or what’s become the global fashion system, which compels you to internalize subtle shifts in the atmosphere, and where seduction plus insecurity yields the sense of urgency. It’s banal to observe that fashion is a ‘control structure,’ and that kind of phrase makes it sound doomy when it’s also a source of such pleasure and play, but there it is. Maybe urgency too often boils down to chasing fashion. Then there’s digital culture, which is about staying abreast of new products and current updates, and also achieving the state of being able to tap into your shit at all conceivable times and in all possible places, in order to simultaneously render every facet of your selfhood as accessible and as secure as possible. Which is paradoxical, and more interesting for that. But these anxieties only end up calling The Cloud down upon us. The Cloud represents the air-tight control structure as platinum-certified MBA turd. The dream of the market is that if everything can be reduced to a common currency, i.e. binary code, this allows effortless transmission with no value lost on the conversion, with the aim that anything, virtual or material, may eventually be frictionlessly exchanged for absolutely anything else. But not by you. And then there’s the art world. The urgency that we deserve revolves around knowledge and competition and the pursuit of intellectual trends, but sometimes just worrying over What Are The Wealthy Into, which is a dead end, or What Are The Youth Up To, which elicits a reaction along the lines of: “We ’re pleased to have the sinking feeling that they’re up to something important but unintelligible.” Crowded from behind even as your face mashes up on the out-door. I do believe that the urge to keep up with exhibitions and events, through travel and participation and trade mags, is ultimately a professional, or even a professionalizing, quality. But I don’t see myself as a professional, and I don’t think art is a job.

Seth Price

via Mousse

Please enjoy the time and space.

L’urgenza è una condizione maledetta. La odio. Per questo mi è così difficile parlarne qui. Ci sono tipi specifici di urgenza che capisco bene. Le esigenze familiari, ad esempio. Op- pure, è novembre e a New York comincia a fare freddo, e man mano che la temperatura scende, si vedono ogni giorno sempre più persone senza tetto, né cibo. Oppure capita il contrario: fa un caldo inverosimile a no- vembre, di nuovo. L’urgenza nella “cultura”, invece, sembra più legata all’ansia di stare al passo con ciò che succede senza perdersi nulla. È una missione che si potrebbe espli- citare così: rispettare le scadenze di lavoro e al contempo orientare la propria identità professionale in una direzione che deve es- sere “in ascesa”; mantenersi passabilmen- te informati sui fatti del giorno; registrare i cambiamenti tecnologici, i dibattiti del mo- mento, i film e i libri in uscita; e seguire le azioni e le opinioni delle persone conside- rate autorevoli attraverso somministrazioni costanti di immagini e di dichiarazioni. È la percezione del mercato, che registra i flus- si di scambio e acquisizione dei valori del desiderio, del gusto e dell’identificazione. Probabilmente in passato era un fenomeno più tipico del contesto metropolitano occi-

dentale ma la cultura digitale ha contribuito a trasformare il mercato in un gas, per cui è diventato una sorta di condizione atmo- sferica terrestre. Quando si parla di urgenza culturale, l’ovvia antesignana è la moda, o ciò che è diventato il sistema moda globale, che ci obbliga a interiorizzare i mutamenti sottili nell’atmosfera, e dove la seduzione sommata all’insicurezza produce senso di urgenza. Suona banale definire la moda una “struttura di controllo”: è un’etichetta che la fa apparire oscura mentre è anche una fonte di grande piacere e divertimento, ma tant’è. Forse l’urgenza si riduce troppo spesso a in- seguire la moda. Poi c’è la cultura digitale, che vuol dire stare al passo con i nuovi pro- dotti e gli aggiornamenti, e anche consegui- re una capacità di connessione con le pro- prie menate sempre e ovunque allo scopo di rendere al contempo qualunque aspetto di sé massimamente accessibile ma sicuro. Il che è paradossale, e proprio per questo tanto più interessante. Ma queste ansie non fanno altro che richiamare la “Nuvola” su di noi. La “Nuvola” rappresenta la struttura di controllo ermetica in quanto stronzata certi- ficata dalle massime istituzioni finanziarie. Il sogno del mercato è ridurre qualunque cosa a una valuta unica, per esempio il codi- ce binario, per consentire una trasmissione

facilitata al massimo senza perdita di valore alcuno nella conversione, con l’obiettivo di rendere in futuro qualunque cosa, virtuale o materiale, interscambiabile senza difficoltà con qualunque altra cosa. Ma non diretta- mente da te. E poi c’è il mondo dell’arte. L’ur- genza che ci meritiamo ha a che fare con la conoscenza e la competizione e il persegui- mento di tendenze intellettuali, ma qualche volta vuol dire anche solo preoccuparsi di Cosa Piace ai Ricchi, il che è un vicolo cieco, o Cosa Fanno i Giovani, che suscita una rea- zione del tipo: “Siamo lieti di avere la spiace- vole sensazione che stiano facendo qualcosa di importante ma incomprensibile”. Spin- ti dalla folla che si accalca da dietro con la faccia ormai spiaccicata contro la porta d’u- scita. Credo che l’urgenza di stare al passo con esposizioni ed eventi, attraverso viaggi e partecipazioni e riviste specializzate, sia alla fine una qualità professionale, o addirittura professionalizzante. Ma io non mi considero un professionista, e non penso che l’arte sia una professione.

di Seth Price

via Mousse

Si prega di godere il tempo e lo spazio.

              

Aug 10, 2015

va2015ipop_cover_final_without_spineIPOP catalog_cover23 AfterHoursPreviewParty_insideSo blown away by the International Pop show at the Walker Art Center. If you can’t go, books are always better anyway? Or maybe I’m the only one who thinks that? :)

For me, the exhibit is proof that what I’ve long believed is “truth” is also in fact true: history is a living thing that changes all the time as our knowledge, wisdom and awareness grows. And as our egos grow quieter, our need to control a historical narrative fades and becomes the enemy… then some much more flexible idea of what was and what is starts to emerge. It is always available if we want it.

There is so much amazing work here, and when you’re in the exhibit, the inaccurate partial history of Pop Art that academia and institutions previously shaped and told doesn’t really register that much or even come to mind. I barely even thought of it while I was there. It is a GORGEOUS show. And by the time I got to the Hockney piece near the end, my vibe was way more sensual then semantic (thx JT.)

The book is inseparable from the show but becomes its deep breaths. Designed by our friend Andrea Hyde it’s a beautiful tribute that becomes a platform for this set of ideas to begin teaching again about what really happened… and what is really happening around these ideas, these works, these artists, the collections they emerged from, the past–which is only real in the present–and the life it will all live tomorrow.

Here’s a nice interview about the book with Andrea by Madeline Weisburg.

In the interview they discuss the “objectness” of the book and at one point Andrea says “As I mentioned before, in response to your question about the “objectness” of the book, International Pop needed to feel like an artifact, and the permanence of the book as an object helps the ideas within it feel permanent as well.”

Her using the word permanence made me think about one aspect of the exhibit’s mission: retelling this history in an open and more expansive way. And then I wished that, within the exhibit, there was a list of every single work the curators Darsie Alexander and Bartholomew Ryan had considered including in the show that didn’t make the final cut. Because the nature of a show, a book, and the inherent permanence involved seem to start the whole process of misunderstanding how history works again. 

I would’ve loved seeing an attempt to set the history, the works and the ideas free rather than placing them in a new container. I felt so much joy looking through the Walker’s site at this exhibit and continually coming across a notice that said “This event has passed.”

I mean, every new sentence changes the context of the preceding one right? And what would anything be without everything else? 

Truly one of the best shows and catalogs I’ve ever seen.

So huge congrats to Andrea Hyde and all involved on a truly epic living exhibit.

IPOP catalog_16-17 27 IPOP catalog_40-41 2 IPOP catalog_58-59 IPOP catalog_68-69 IPOP catalog_74-75 IPOP catalog_94-95 IPOP catalog_118-119 1 IPOP catalog_120-121 IPOP catalog_230-231 IPOP catalog_236-237 IPOP catalog_260-261 IPOP catalog_268-269 IPOP catalog_284-285 IPOP catalog_294-295 IPOP catalog_302-303 1

Please enjoy the time and space.

COME FORTH UNABASHED COME OUT UNBUTTONED BURY BELLIGERENCE RESURRECT FROLIC ONLY THROUGH BODY CAN YOU CLASP THE DIVINE ONLY THROUGH BODY CAN YOU DANCE WITH THE GOD IN EVERY MAN’S HAND THE GIFT OF COMPASSION IN EVERY MAN’S HAND THE BELOVED CONNECTION TRUST              

Jun 29, 2015

dh studio 1 dh studio 2

We’ve always loved the past. Especially now that it has been set free by the internet… released from the linear academic lens of time. Isn’t the past sorta culminating in the present? So, we want to linger back there again from the perspective of now. After all, everything is always changing all of the time… even the past. THIS WAS ORIGINALLY POSTED DECEMBER 15, 2011

We love to get photos of our furniture in action.  This is David Horvitz old studio.

deprofessionalize

Indeed.

Please enjoy the time while it is passing us by.

              

Jun 16, 2015

Mooddisorder-e1433854781827

Inspired by Bas Jan Ander’s I’m Too Sad To Tell You, Mood Disorder is a “stock image” made by David Horvitz of himself to look like a typical stock image of depression (using research from his Sad, Depressed, People book and project). It was then put onto Wikipedia’s page for Mood Disorder, after which it became copyright-free and began to be used as a free stock image for depression on cheap websites all over the Web.

via and more at Dis.

Screen-Shot-2014-03-03-at-1.12.34-PM-e1433854810612 Screen-Shot-2014-03-03-at-1.17.18-PM-e1433854826710 Screen-Shot-2014-03-03-at-1.18.16-PM-e1433854861218 Screen-Shot-2014-03-03-at-1.18.49-PM-e1433854888271 Screen-Shot-2015-06-04-at-12.39.10-PM-e1433855050123

Please enjoy the time and space.

              

Jun 8, 2015

IMG_9355 IMG_9360 IMG_9365 IMG_9380 IMG_9393 IMG_9409 IMG_9414 IMG_9447

 

AND A NIGHT – Jordan Nassar at Evelyn Yard in London

For this body of work, Nassar uses needlework and screen-printing to produce a distinctive aesthetic that is informed by his Palestinian, Polish, American heritage and is coupled with, amongst others, the codified traditions of Semitic, Islamic, Slavic and Native American image making.

Developing a visual language with his passion for his heritage in Europe, the Middle East and America, leitmotifs derived from craftworks are computer generated formally using tools such as Adobe Illustrator then meticulously hand-stitched following carefully mapped out patterns. Similar to the modern and contemporary built environment that both conceptually and visually have taken on a more digitally manipulated appearance in recent times, the works in the exhibition juxtapose the systematized semantics of particular stitches and images with the visually arresting and harsh splices that come from the masking and layering of computer design programmes, thus making oblique reference to geopolitical decision-making in many regions throughout the world.

Geometric, pattern-based abstraction has appeared in craft-art from around the world for thousands of years. Image excess and multifarious influences ranging from the New York City blocks, Mesopotamian stone slabs at the Met, Egyptian Hieroglyphics, contemporary advertising to Western abstract artists have created a rich image and symbol pool that informs the visual content of the works that are then translated into symbol-based language and pixelated representational forms.

The resulting works are often complex geometric patterns that reference a range of influences along with Science and the mathematical foundations of repetition and progression. Here a series of screen-prints using heat and light-sensitive inks allow the images to drift between blues, purples, mauves and white, revealing images that express their physical presence in a particular location and environment, whilst fusing the traditions of craft with the western philosophies of minimalism and global abstraction.

Oh-man-oh-man I LOVE this work! Congrats Jordan!

Please enjoy the time and space.