Instant Coffee Saturday Edition Issue 8, June 22, 2002 ISSN 1499-5085 |
How to prepare ICSE: do everything last minute
1. what is it if not for fun? because we are all so rich planning ahead is fun precisely when you are working for yourself as deadlines can be moved 2. limit everything to what we don't know professional amateurism means harvesting that new feeling without giving up planning 3. watch a lot of television while working distraction is more important than concentration as this suits our culture 4. work fast; because things have to get done at the last minute if things do not get done on time for tech or other bad reasons do it anyway Instant Coffee send submissions to saturday@instantcoffee.org |
International Coffees 1. He Came From Away Lou Diamond Phillips' Autograph Kate Blessings Lou Diamond Phillips I (Love symbolized by a heart) Instant Coffee (Smiley face with tongue sticking out) on blue lined graph paper |
Mr Brown instant coffee coffee link http://www.getethical.com/cgi/acatalog/Online_Catalogue_Coffee___Cocoa_92.html "Get ethical. What you buy matters". selected links 1.http://www.mobydickonline.org Moby Dick: A novel with 135 chapters, and an epilogue. 220,323 words. A book that starts at its beginning and finishes at its end. Typically, Moby Dick might be read once in a lifetime. It offers the reader words, a story, a world inside the text, in exchange for their attention, and an investment of time. The project, www.mobydickonline.org puts Melville's classic novel online but offers it up in a special 21st Century format: in a continuous feed, each word alone, one word at a time. This is a novel re-presented as an event, one word every 0.05 seconds, the entire novel parsed mechanically for you, once every 72 hours, for a period of one year. Presented in this way www.mobydickonline.org becomes a lonely spectacle, a tale retold for an unknown audience, available worldwide, online, all the time, 118.69 times in total, from June 15th, 2002 to June 15th, 2003. Log on and you can capture moments of its essence, for but a fragment of your busy day, surrendered to poetry. And if you miss it the first time around, just wait, it will come back at you again. By giving Melville's text a new, alien existence as an automatically unfolding thing, www.mobydickonline.org asks the question: What patience does the 21st Century have for the reading of novels? Does the novel in presented fragments make any sense, or is it merely an accommodation of the furious, distracted pace of modern existence? Funded by the Canada Council and the Arts Council of England, www.mobydickonline.org was conceived by Rosemary Heather and developed in conjunction with Platform and Secondary Modern of London, UK. Programming by Bob Murray. www.mobydickonline.org Conceived by Rosemary Heather rosemheather@yahoo.ca Produced by Sheila Lawson, Platform www.platform.dircon.co.uk Designed by Simon Josebury Secondary Modern secmo@dircon.co.uk Launch: Saturday June 15th, 2002, at: CANADA, 55 Chrystie St., 2GF, NY NY, 10002 USA Tel: 212-925-4631 www.basementcanada.com 2. http://www.tekko.ca TEKKO 02 mural.exhibition Curated by: Stephen Crowhurst [typotherapy+design] email. stephen@typotherapy.com The second installment of Tekko is titled "TEKKO 02 mural exhibition". It is confirmed to be held at the Museum of Contemporary Canadian Art (MOCCA) in Toronto on July 12th - August 25th, 2002 exhibiting the work of the following design studios: Buro Destruct (Switzerland) http://www.bureaudestruct.net Volume One (US) http://www.volumeone.com Rinzen (Australia) http://www.rinzen.com Planet Pixel (Germany) http://www.planetpixel.de GWG (Japan) http://www.ghs.net TypoTherapy+design (Canada) http://www.typotherapy.com Mud Pub (Canada) http://www.mudpub.org Conformist (Canada) http://www.conformist.nu Each design studio has created a 9 x 9 foot mural for your viewing pleasure. Tekko 02 Sponsors: print sponsorship - http://www.moveable.com media sponsorship - http://www.shift.jp.org media sponsorship - http://www.instantcoffee.org media sponsorship - http://www.shift.com about TEKKO: The Tekko Exhibitions were established in the year 2000 with the primary goal of creating an autonomous space where graphic designers could exhibit their work and new ideas away from the market place. In order to celebrate design as an aesthetic mode of production, Tekko continues to provide a forum that is removed from its dominant role as a promoter of goods and services by bringing innovative design work into a fine art setting. Part of our goal is to give Canadian graphic designers a push into the international market by creating a forum that places Canada at the center of a global design community. idN Magazine (Hong Kong) championed Tekko 01 "for putting Canadian design on the map." An important point to note is that before Tekko began there were no exhibitions that solely promoted contemporary graphic designers as a creative practice beyond its market value in Canada. We strongly believe that Tekko will be a long lasting exhibition that caters to dedicated designers and design enthusiasts, and will directly contribute and influence graphic design nationally and internationally. The designers and design studios we choose to exhibit and showcase in this unique manner vary from emerging to established, but all participants share a desire to push the limits of graphic design. 3. http://www.etoy.com/daycare we invest social capital into 1'000 children and inject them with a shot of art and experimental lifestyle. contact mailme@etoy.com to arrange an appointment or call TANK4/17: +39 / 011 563 42 19 4. http://www.anthology-of-art.net Aqui les mando de primera fila la publicacion de mi trabajo en internet en el site que está abajo que para que lo vean, si le dan doble click a la imagen la pueden ver en grande. 5. http://www.mnftiu.cc/mnftiu.cc/war.html This is a comic strip presented as a series of webpages which has grown since October, the most recent page posted on May 22nd. It's a bitterly funny cartoon of office workers sitting around discussing the war on terrorism and all the other insanity of the past 9 months. It's funny cuz it's true. And it exemplifies that cursing is an art in itself. - TC Related links: http://www.laweekly.com/ink/01/50/a-babcock.shtml, http://www.nytimes.com/2002/04/21/fashion/21REES.html submitted links 1. http://nova-scotia.tv My name is andrew. A friend of mine told me that you folks will feature web site links if you like them. If this is true, I'd like you to look at our new site.... IC comment: nice video viewing site. less than 10 minutes. wry pop-cult boy humour. 2. http://www.guardian.co.uk/arts/features/story/0,11710,725634,00.html The other superpower - For the first time in decades, American style and culture are facing serious competition - from the land that gave us Godzilla and Hello Kitty. Douglas McGray visits the new Japan. ic supporter links http://www.typotherapy.com http://www.thinoffice.com http://www.easydns.com http://www.techno.ca |
Ten Ten Overview Review: Contemporary Art Theory and Practice by Kate Monro Initial Premiss: To review articles on the web for current popular topics in contemporary art theory and reviews of art practice. Define major and minor topics for each, and analyse if and how they differ from articles culled from my years at art college. Level of Difficulty: 2 (lengthy process, detailed analysis, marginal original content) The Result: After several hours, and finding little or no stunning material, my interest waned and I realized this was a project for another time, if to be continued at all. What is presented here then is the first paragraph and a link to each item collected for analysis - in the category of 'current articles'. I excluded anything it was taking longer than 10 seconds to get to. Level of Difficulty: less than 1 (minimal process, no analysis, no original content) 1. from Postmodern Culture http://jefferson.village.virginia.edu/pmc/current.issue/ - the Johns Hopkins University Press. Practical Politics at the Limits of Community: The Cases of Affirmative Action and Welfare: by Scott Michaelsen and Scott Cutler Shershow As soon as, through the movement of those forces tending toward a break, revolution appears as something possible, with a possibility that is not abstract, but historically and concretely determined, then in those moments revolution has taken place. --Maurice Blanchot We are left with a simple command, and an infinite responsibility. Be just with Justice. --Drucilla Cornell This essay attempts to confront perhaps the most obvious and yet the most difficult challenge of radical social critique: the question of the practical. Both of its authors have been interested for many years in various modes of deconstruction and post-Marxism, and we have attempted, in our separate ways, to expose the limits not only of the historical discourses of economy and anthropology, but even of some of the cherished concepts of contemporary left-wing thought. But our work on multiculturalism, political economy, and cultural studies has brought us to the limit of our own critiques. At this limit, how does one say "yes" to the affirmative? How can we, in the words of the famous Marxist injunction, "prove the truth, that is, the reality and power, the this-sidedness" of our thinking in practice (Marx and Engels 144)? Marxism, Postmodernism, Zizek: by Brian Donahue This essay begins in the midst of the ongoing dilemma posed by late-capitalist society and postmodern culture, namely, whether these remain the ultimate horizon of the contemporary world and whether efforts to resist, oppose, represent critically, or propose alternatives to the "cultural dominant" of postmodernism are merely atavistic. "What's It Like There?": Desultory Notes on the Representation of Sarajevo: by Jim Hicks "What does the earth look like in the places where people commit atrocities?" -- Robert D. Kaplan, Balkan Ghosts In order to begin, I'll have to confess: what follows here will be an essay in the early sense of the term (in other words, I have no idea whatsoever how it's going to come out).[1] I've decided, nonetheless, to make an effort to address--or at least avoid in a somewhat more professional manner--an issue which for me, in the five or so years that I've been visiting Sarajevo, just won't go away. The problem is that I continue to have no real answer to the question that my title poses, the question that, for understandable reasons, I'm asked on almost every occasion when someone finds out I've been spending time in postwar Bosnia-Herzegovina. 2. from Art Commotion http://www.artcommotion.com/ Discussion with Rachel Lachowicz by Michael Cohen Rachel Lachowicz is a Los Angeles-based artist well known for her recontextualization of classic works of art by famous male artists and for her sculptural use of unorthodox material such as eye shadow and face powder. For example, in one of her best known pieces she recast Yves Klein's Blue Venus in brillliant red lipstick. Lachowicz's use of apparently simple means to convey a broad range of issues has lead curators to associate her work with the pared-down minimalist impulse as well as the appropriative strategies of postmodern movements. Her work has appeared in many important venues including the Museum of Modern Art in New York City and most recently in Santa Monica, Calif. at Shoshana Wayne Gallery. Michael Cohen caught up with Lachowicz at her studio in the Los Feliz Hills, where he interviewed her about her artistic methods and her work's ambiguous connections to feminism and patriarchal expression. 3. from Rewired http://www.rewired.com/cgi-bin/rewired_redirect.cgi?year=01&article=1126.html Contact and Impact: Over the Lines by Daniel Listoe Mark Poster, a historian and scholar of new media, recently delivered a talk at the Center for 21st Century Studies at the University of Wisconsin-Milwaukee, entitled “Citizenship, New Media, and Globalization.” Citizenship of the nation-state, Poster says, may well be passing out of existence. The cause is that strange and elusive beast called globalization. So in the coming wake of citizenship, what arena is left for political practice? What cause for Hope? The “Internet” is his tentative and heavily qualified answer. However well considered, this project travels the well-worn trail of exploring the possibilities for an emancipatory politics blooming from the new virtual realm buzzing about some of us. It is a seductive trail. It promises pretty stops. Such is the lie of the lure. 4. from Bomb Magazine http://www.bombsite.com/tocsp02.html Janet Cardiff by Atom Egoyan The first work of Janet Cardiff's I encountered was Whispering Room. I entered a room at the Art Gallery of Ontario where a series of audio speakers mounted on thin metal stands emitted a soft murmur of conversation. As I got closer to each speaker, I could make out individual texts. At certain moments, my movement would trigger a projected image of a young girl in a red dress dancing in the woods. It's difficult to express my excitement in this room. I had the sensation of being in the middle of a film that was still being formulated; that was still in someone else's mind. I was completely overwhelmed by the collision of technological artifacts–speakers, projectors, lights, wires–and narrative abstraction. I found myself drifting through the emotional residue of a personal trauma that was both immediate and distant, visceral yet disembodied. The crowd at the December, 2001 opening of Liz Larner's show at the Museum of Contemporary Art in Los Angeles was enormous. A cord had to be stretched across the entrance to the galleries containing the works, with a museum guard admitting people in carefully regulated numbers in the manner customary at nightclubs. It was a mid-career show, and Larner is immensely popular with young artists, and also with old ones. Both like her work's emotional and intellectual range, including its use of naughty elements such as explosives and heroin; I think it may also be attractive to young artists because among other things it demonstrates that one may move freely between attitudes that in the immediately antecedent era were generally felt to be mutually exclusive. Moreover, Larner's various interests produce outcomes that actually look different from one another, which adds to the other properties (frivolity as well as forcefulness, multiplicity as much as singularity) that make her work attractive to those who, in Sylvère Lotringer's delightful formulation, are Postmodernist not because they worked through Modernism but because they were born after it. Older artists, as usual, are attracted by the sight of someone doing something new. 5. from Rhizome http://www.rhizome.com/cgi/netArtNews2Friend.cgi?action=web×tamp=20020618 You are the Agent of Alternative Reality "Alternative Corporate Reality" (ACR) is a nose-thumbing tactical media project that tricks corporations into using anti-corporate icons in their own ad campaigns. Freelance graphic designers are challenged to download ACR stock photography and use it in ad campaigns for their corporate clients. This ACR stock photography features recognizable project organizer Damian Stephens in various mock-serious power poses. Participating designers then upload samples of their "subverted" corporate work to the ACR site as evidence of their bravado. More of a sly wink than a thrown brick, but every little bit counts when you're fighting the man. 6. from Art Forum http://www.artforum.com/ Hotlist: Manual Labor by Jon Ippolito EXHIBITIONS OF NEW MEDIA tend to focus on the new; as a result, artists working with computers in the '80s who set precedents for today's technologically savvy photographers, video artists, and Net artists often get overlooked. Take Ed Hill and Suzanne Bloom, aka Manual: The duo has been experimenting with digital manipulation since 1985, eleven years after they pioneered montage and text techniques that eerily presage many a Photoshop construction or Flash animation, yet Manual is rarely referenced in articles or shows of new-media art. This summer, Hill and Bloom—who contributed to Artforum in the '80s and early '90s—get their due when a retrospective of Manual's work from the mid-'70s to the present opens at New York's International Center of Photography (June 28–Sept. 1). The show features a hundred photographs, a series of early digital animations, CD-ROMs, and a new three-screen video installation based on Virgil's Eclogues. Critic's Picks New York Los Angeles San Francisco London Berlin Milan Vienna Elsewhere 7. from ARTnews Online http://www.artnewsonline.com/currentarticle.cfm?type=feature&art_id=1150 INSIDE THIS MONTH This June, we highlight some of the trends shaping today’s art world. In a survey of contemporary realism, we examine the many ways that artists are upholding traditional techniques—or updating them. In "Fallen Angles," we describe how artists are tearing up buildings, punching in walls, and constructing edifices meant to confuse the senses. We talk with Cecily Brown, the high-profile British artist whose ambitious, unabashedly gestural paintings are unabashedly about sex. We tour the new (temporary) headquarters of the Museum of Modern Art in Long Island City, Queens. And in a special report, we look at the surreal legacy of Man Ray—and how his estate is being run out of a Long Island auto body shop. The Real Thing?: Inspired by the actual world, by photography, even by film, contemporary realism comes in many guises and defies any single definition By Ann Landi Despite half a century of innovations—through the Sturm und Drang of Abstract Expressionism, the austerities of Minimalism, the theorizing of Conceptualism—realism has steadfastly managed, in one form or another, to hold its own. Painters and sculptors who have eschewed abstraction in rendering their particular take on the visible world have proliferated and thrived, occasionally even generating a movement—photorealism, for example. Now, emerging from the last decade’s polymorphous stew of postmodernism, realist artists are moving back into the foreground (witness the critical and popular success of the recent Gerhard Richter exhibition, with his many photorealist paintings, at the Museum of Modern Art in New York). |
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