Hidrazone - Digital Arts Reviews & News

http://www.carrollfletcher.com/

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In Anonymous, untitled, dimensions variable – an exhibition with a daily changing title – artist-provocateurs Eva and Franco Mattes aka 0100101110101101.ORG disrupt the safe environment and conventions of the art gallery. In a compelling cacophony of facts and fictions, performances are held in videogames, images are appropriated from random personal computers, a webcam suicide is simulated, fake sculptures are attributed to revered artists and potentially toxic artifacts sit next to stolen fragments of precious artworks and a hacked arcade game. Eva and Franco Mattes’ first exhibition in London explores the unfolding narratives and unforeseen consequences of their interventions and subversive hoaxes in physical and virtual space.

Every day throughout the exhibition, Eva and Franco Mattes will change the title of the show to emphasize the evolving, participatory nature of their works. The titles will be made public in the gallery space and on this blog, both platforms are open to the audience’s comments and feedback.
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http://www.p3exhibitions.com/

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1001 TV Sets (End Piece)’ features 1001 cathode ray tube TV sets of all ages and conditions, filling the massive Ambika P3 subterranean space. The TVs had been tuned to different analogue stations that played randomly in a cacophony of electronic signals. The signals gradually reduced between 4 and 18 April 2012, as the final analogue signals were broadcast from London’s Crystal Palace.
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Quay Arts in Newport is hosting an exhibition in September 2011 of moving image and sculptural works with a “beyond media” theme where archive, glitch, scratched and recycled content takes a life of it’s own.

In order to compliment the work of the three invited international artists Ian Helliwell, Rosa Menkman and Anders Weberg we are seeking to programme additional work that explores themes of flicker, occult and cut-ups in video, sound or sculpture. Additionally, writers with completed submit short articles, poems, fragments and manifestos on these themes are invited to submit.

Submission:

VIDEO/AUDIO Please send work via an emailed link to Dropbox (www.dropbox.com) (with TELENESIA-SUBMISSION in title)

Video in Standard Definition 720 x576 Pal QT DV Codec 48khz 16bit audio

CV and Artists Statement and details of previous exhibitions in Pages/Word

Short statement that the work is your own and you give permission for work to be exhibited as part of TELENESIA.

WRITING Please send work as attachments and include

CV and and details of previous publication in Pages/Word

Short statement that the work is your own and you give permission for work to be published as part of TELENESIA.

The exhibition will be supported by an ongoing web presence as well as a printed catalogue with support from Arts Council England.

Email: juliankonczak@gmail.com

http://www.haunchofvenison.com/en/#page=london.current.eve_sussman

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Inspired by the Suprematist’s quests for transcendence, pure space and artistic higher ground whiteonwhite:algorithmicnoir was created on an “expedition to unravel utopian promise” with a small crew, one American actor and local actors hired en route. The fictional location is named – in a nod to Alphaville – City-A. The place (which often resembles 1973) is the result of the obliged, ironic marriage of the opposing political forces of the twentieth century. In actuality City-A is a conflation of many places encountered during the artists’ journey from mid century modernist planned living systems to the Norman Foster sci-fi baubles requisite in every ‘future-opolis’.

The protagonist of the story, Mr. Holz, is obliged to take a job in City-A, a dystopian metropolis, where everything is rendered just beyond his control. The filmmakers have also ceded a level of control to what they refer to as ‘the serendipity machine’ – a computer that runs custom-built software that edits the film in real time, live as you watch. Hence every viewing is different. The machine culls scenes from a server loaded with 2637 video clips, creating suspense through unexpected juxtapositions. The implied narrative is communicated through voiceovers, wire tapped telephone conversations and snippets of a job interview between Mr. Holz and his prospective employer, Mr. White. It becomes evident that the character is controlled by a city and the code he is working on, as the course of the story is controlled by the code that edits the film.

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http://www.lissongallery.com/#/exhibitions/2011-02-15_haroon-mirza/