Interview with Constant Dullaart [#geekgirl]
2059: FutureCoast [#geekgirl]
The emotional tenor and imagination of the messages range widely, but the futures aren’t actually that far off. In the FutureCoast world, voice messages are leaking into the present day from futures between 2020 and 2065. And some, like the disappearance of certain flora and fauna, mass political unrest, and water shortages, are incredibly realistic–just go and read the latest IPCC report.”
#Transfield Quits the @biennalesydney [#geekgirl]
[As reported by The Guardian in this article] ‘The chairman of the Sydney Biennale and of its major sponsor Transfield Holdings, Luca Belgiorno-Nettis, has resigned his position with the festival.
Organisers have announced that they will cut all ties with Transfield Holdings and with Transfield Services, a contractor for Australia’s network of immigration detention centres.
“We have listened to the artists who are the heart of the Biennale and have decided to end our partnership with Transfield effective immediately,” organisers said in a statement.
“With deep regret, the board reluctantly accepted the decision of the chair to resign. We gratefully acknowledge the personal contribution of Luca as chair over the past 14 years. We also acknowledge the enormous contribution of the Belgiorno-Nettis family over 41 years.”
Belgiorno-Nettis said in the statement: “I wear two hats: one as chair of the Biennale of Sydney and the other as a director of Transfield Holdings; both organisations conceived by my father and nurtured by my family over many decades. I am deeply thankful to the many friends of the Biennale, and my personal friends who have supported me and the teams throughout my tenure, especially in recent weeks.”’
“Four more artists have withdrawn from the Sydney Biennale…” [#geekgirl]
[From an article at Artshub] “Four more artists have withdrawn from the Sydney Biennale in response to its refusal to sever ties with Transfield. This brings to nine the number of artists who have pulled out of the Biennale because of its partnership with Transfield, which manages the offshore detention of asylum seekers.
Agnieszka Polska, Sara van der Heide, Nicoline van Harskamp and Nathan Gray announced today they would not participate in the prestigious exhibition. They have asked the Biennale to leave their spaces blank so their protest will be obvious.
Last week Libia Castro, Ólafur Ólafsson, Charlie Sofo, Gabrielle de Vietri and Ahmet Öğüt announced they would boycott the Sydney Biennale because they object to sponsorship by Transfield.
‘We withdraw to send a message to the Biennale urging them, again, to act ethically and transparently. To send a message to Transfield that we will not add value to their brand and its inhumane enterprise. Finally, and most importantly, we withdraw to send a message to the Australian Government that we do not accept their unethical policy against asylum seekers,’ the first group of artists said in a statement, which has been endorsed by the additional withdrawing artists.
The boycotts came after a letter, now signed by 37 artists, asked the Biennale to cancel its partnership arrangement with Transfield.”
“The 1,000 Drones Project: an interview with Joseph DeLappe” [#geekgirl]
“Marc Garrett: Could you tell us why you felt it was necessary to do this project even though there is already much media attention out there relating to the use of drones in domestic, military and commercial culture?
Joseph DeLappe: There has indeed been much media attention surrounding the use of militarized drones as a part of US foreign policy. Our drone policies have received much attention yet, as with the coverage of civilian casualties from the Iraq war, the actual human costs of our drone strikes remains rather illusive. Through the work I am doing regarding drones that specifically focuses on memorializing civilian deaths I hope to actualize the estimates of civilian deaths and to call into question the moral issues surrounding such remote killings. You might say that drones have struck a nerve with me. There is something different about drones. They seem to perfectly combine aspects of our worst fantasies of digital technologies, interactivity, computer gaming and war. One might consider them a bit of a “gateway” weapon (the drug reference is of course intentional here). I suspect we have indeed opened a Pandora’s box leading to the further utilization of remote and robotized weaponry that will make our current drone usage seem quaint.”
The Ongoing #Design Impact of the “Unknown Pleasures” Album Cover [#geekgirl]
“The secret life of us” [#geekgirl] [#art]
[From the fabulous Jeanette Winterson in the Guardian] “Modern art has become a media circus; a money-driven, prize-hungry extravaganza, dependent on marketing and spin, which may leave the public with a few extra names it recognises, but that makes everyone cynical about the product.
The word gives it away: product. Art is being treated as a commodity. We doubt that it is special. Dead artists belong to the heritage industry. Live artists belong to the PR industry.
It may be that capitalism will be as successful with art as it has been with religion, absorbing it to the point of neutrality. Capitalism, for all its emphasis on the free market, hates competition – that is, any challenge to its system. Anybody with a smattering of English history knows about the great conflicts between church and state. We know that traditionally there have been been two powers: the material world and the invisible world. God and Mammon…
Don’t be fooled by the way capitalism co-opts art. It pretends to do it for money, but underneath money is terror. Terror that there might be a different way to live. There is a different way, and it’s not a William Morris utopia, or an Omega workshop niche; it’s a celebration of the human spirit. Art reminds us of all the possibilities we are persuaded to forget. Peace or war, we need those alternatives.”
Announcing “Wish4” [#geekgirl] [#elit]
The inspiration for Wish4 came from an article describing how the use of mobile devices right before bed makes the production of melatonin – a substance human bodies produce naturally in order to induce sleep – less likely. This disruption of our normal sleep cycle via our voluntary use of tech designed for ease-of-use led me to ponder the subject of the allure of the digital news cycle – how many of us feel compelled to be perpetually connected, 24/7, to shareable “news”? Wish4 explores the perpetual pull of a user’s desire to be continually digitally connected.
This project takes as its inspiration this perpetual tugging at a user’s consciousness by the digital: each day, for 40 days, I’ll create and post a creative response that will take as its immediate inspiration a headline – or item – drawn from the electronic news cycle of that specific day.
|||This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.|||‘
Broken Manual [#geekgirl]
Created over four years (2006-2010), Alec Soth’s newest book represents a significant departure from his previous publications. Entitled ‘Broken Manual,’ Soth investigates the places in which people retreat to escape civilization. Soth photographs monks, survivalists, hermits and runaways, but this isn’t a conventional documentary book on life “off the grid.” Instead, working with the writer Lester B. Morrison, the authors have created an underground instruction manual for those looking to escape their lives.
It is common for artists to follow up the publication of their books with ‘Special Editions,’ but in the case of Broken Manual, this edition is being presented first. Made in an edition of 300, Soth calls this the ‘Ideal Edition’ of Broken Manual. Each copy of the book is housed inside of another, one-of-a-kind book. These signed and numbered ‘shell’ books are unique and cut by hand. Inside the shell, there is also a small booklet entitled ‘Liberation Billfold Manifest’ and an 8×10” print signed and numbered by Alec Soth and Lester B. Morrison.
Special Editon of 300 copies
Softcover 21 cm x 29.7 cm, housed in its own unique book-safe, with a signed and numbered Alec Soth photograph and a small booklet.
The closing event offers an opportunity for artists to use and misuse the apparatus of the art market to invoke the substance and forms of other artists’ work.“