“Ook behoorlijk science fiction is het werk van Haroon Mirza met de spannende titel Adam, Eve, Others and a UFO (2013). In een kleine ruimte staan acht actieve speakers in een cirkel. In het midden verenigen alle snoeren zich tot een UFO (een systeem met allemaal LED-lampjes). De acht lichtjes zijn geprogrammeerd om in een choreografie aan en uit te gaan. Tegelijk komt er geluid uit de box tegenover het betreffende LED-lampje. Elke box komt van een andere leverancier en maakt een ander geluid. Volgens de tekst gaat het Adam en Eva uit de titel over de herkomst van de boxen. Voor mij echter ziet het eruit als een alternatieve ontstaansgeschiedenis. Dit is levend spul: het doet iets, het reageert op elkaar. Ik stel me voor dat als wij naar den beginne terug zouden gaan er zo’n ding op onze rotsige aarde staat, dat alles bedacht heeft. Misschien iets groter en iets complexer, maar ook een levende computer.”—Momentum: as art has to happen now – Gemak | Jegens & Tevens
“Yet the hype about everything “cyber” has obscured three basic truths: cyberwar has never happened in the past, it is not occurring in the present, and it is highly unlikely that it will disturb the future. Indeed, rather than heralding a new era of violent conflict, so far the cyber-era has been defined by the opposite trend: a computer-enabled assault on political violence. Cyberattacks diminish rather than accentuate political violence by making it easier for states, groups, and individuals to engage in two kinds of aggression that do not rise to the level of war: sabotage and espionage. Weaponized computer code and computer-based sabotage operations make it possible to carry out highly targeted attacks on an adversary’s technical systems without directly and physically harming human operators and managers. Computer-assisted attacks make it possible to steal data without placing operatives in dangerous environments, thus reducing the level of personal and political risk.”—Thomas Rid | Forget The Hype about Cyberwar: Hacking Makes the World More Peaceful | Foreign Affairs
“But the decision makers, the CEOs, or the ministers of coal and oil if you narrow it down to just one person, they could all fit on a Greyhound bus or two.”—Just 90 companies caused two-thirds of man-made global warming emissions http://t.co/RcUm6fipbK
“Can we have done with contemporary art? If one can make a living at it, good luck to you. We all have our day jobs. Can we treat the successful artist as just another person with a day job and ask that their real work be something else? Actual art in our time is organizational or not at all. It proposes organizations of resources that partially decommodify while working within real constraints. Contemporary art is just useless things for useless people. Take the hedgies’ money, if you can get it, but never their sense of worth. Our model must be Asger Jorn, who took the money from his collectors and with it funded the greatest avant gardes of postwar Europe.”—Accelerationism | Public Seminar
“Accelerationists like Williams and Srnicek are right to ask that we think at scale again. The enemy certainly is. Philip Mirowski has given us their plan: first, lie about the reality of climate change for as long as it will work. Second, cap and trade to create a new market without changing the commodity form. Third, geo-engineering to counter-act the effects of atmospheric carbon without reducing emissions. Their solution, in short, is more and more of what ails us. There is nothing that they won’t sacrifice to private property, including life itself.”—Accelerationism | Public Seminar
“What calls the vectoral class to account is the now systematic quality of its own disorganization. First but not last on the list: ever rising levels of atmospheric carbon. What will spark a disruption is a leap in food prices, not philosophy or art”—Accelerationism | Public Seminar
“By their rhetoric you shall know them. The talk these days is of disruption, creation, destruction. The old language of the avant gardes and revolutionaries is now the province of Silicon valley publicists. So we need a careful analysis of that language – and we need a new avant garde. Its clear that this is a commodity economy busy cannibalizing its own means of subsistence. It has run out of ideas.”—Accelerationism | Public Seminar
“The new stage of commodification is less about extracting surplus value from labor as extracting surplus information from play. It extracts value by offering information for free, but extracting more information in return – surplus information”—Accelerationism | Public Seminar
“With Durr you become aware of how your brain alters the length of a bus ride, how fast you finish a beer, how time flies by when you enjoy yourself, and drags along when you wait in line at the post office.”—http://skreksto.re/products/durr
A shard from a long stream of thought by Berend Strik about the artist studio:
Berend Strik began exploring the artist’s studio in New York in 2011, and his research has taken him all around the world. Through the studio Berend seeks to decipher the mind of the artist: to understand the dynamic nature of creating art, and to trace the transformation of the artwork. He questions the cultural frameworks of making, viewing and experiencing art.
Seeking to understand the connection between artists from different generations throughout history to the present day, it is Berend’s belief that every artist, whilst representing their own generation, also occupies their own territory within the history of art.
In 2011, Berend photographed an office space that had been Marcel Duchamp’s studio from 1945 to 1966. Duchamp’s secret masterpiece, Étant Donnés, was Duchamp’s last major work. When Berend entered the space that was formerly Duchamp’s artist studio, he was struck by the architecture of the studio, and by how architecture can retain memory, thoughts, ideas and visions.
Berend documents the artist studio using photography. The photograph not only captures physical information but it also holds layers of visual references that Berend draws attention to, with his use of textiles and stitching.
The curator is also part of the artist studio. Juha van ‘t Zelfde came into Berend’s studio at the end of 2012. Together Berend and Juha discussed many possibilities of art, music, technology, architecture, etc. The script of the curator is the studio. The studio is the artist. The audience becomes part of the studio.
Curators have given a different position to the artist’s work. The Biennials, Performas and Documentas moved the artist’s mind more towards society. But did it bring the mind in society? Do artists work with society, or do they work about society?
By making the studio more present, the smaller distance between art and the making of art could create a closer relationship with the viewer. Resulting in a fluid mix of artist and curator within the studio.
Maybe it means that the next step should be inviting the audience in the studio as well?
Today is the opening of Meeting People Is Easy, a studio exhibition by Berend Strik and Juha van ‘t Zelfde at The New Institute http://hetnieuweinstituut.nl
“By contrast with the futurist attempts of utopian modernism that aimed to achieve everything here and now, Majlković’s work has an anticipating aspect that suspends the time and the subject, gradually transporting the protagonists to a dimensions outside of time.”—Sinziana Ravini on David Majlković, in Promises of the past—- Discontinuous History of art in Former Eastern Europe
“From the beginning, it was more a refusal to be an object-producer; I always felt that an exhibition is not just an arrangement of objects but also an act of creation. In 1988, Pierre Joseph, Bernard Joisten and I did a show at Le Magasin called ‘Siberia’, which we displayed in a shipping container. I made two videos, Bernard did silver paintings and Pierre included photographs: the works and the display were one and the same thing. Later, I met Liam Gillick who had come to review a show I had in Nice for Artscribe; we became friends, and the conversations I was having in Grenoble about how to create attention in a space continued. I’m still interested in this idea.”—Frieze Magazine | Archive | My Influences: Philippe Parreno
“Italy’s futurist movement was aggressively nationalist and elitist. Before the first world war, the futurists, led by FT Marinetti, praised militarism and violence. Later, Marinetti influenced his fellow demagogue Mussolini and tried to make futurism the official art of fascist Italy.”—The revolution will not be aestheticised: the top rightwing artists http://gu.com/p/3k6qd
“Every genuine artwork comes from the future, never from the past. Poor art can be recognized by its sentimentality, nostalgia, admiration of the past, in short, by its inability to make the future precise. Instead of competing with documentation and historical work, it is always a matter of giving a form today, here and now, to the formlessness of tomorrow.”—Marcus Steinweg, BACK TO THE FUTURE | 60pages