Estelle Hanania & Christophe Brunnquell

Estelle Hanania & Christophe Brunnquell:


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all images © ESTELLE HANANIA and CHRISTOPHE BRUNNQUELL
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A few days ago, a new exhibition opened at Paris’ 12mail gallery, documenting the work of ESTELLE HANANIA and CHRISTOPHE BRUNNQUELL.
ESTELLE HANANIA is a French photographer who quickly gained recognition after her graduation in Fine Arts in 2006. Since then, her photographs have appeared in Vice, The Wire, Exit, Sang Bleu and Capricious, among others, and she has been commissioned by fashion brands including Maison Martin Margiela, Opening Ceremony, Issey Miyake and Zucca. In 2008, she began her ongoing collaboration with CHRISTOPHE BRUNNQUELL, a compulsive artist, always working on some drawings, sculptures and crazy pieces 24 hours a day.
Ambiguous scenarios of violence, dramatic states of mind, and wild glees, their photo-performance projects bear witness to an extraordinary radicality.

Akihiko Miyoshi

Akihiko Miyoshi:









Akihiko Miyoshi

Work from his oeuvre.
“Throughout my career I have been exploring the intersection between art and technology most frequently dealing with issues surrounding photographic representation. My works often reveal the conventions of perception and representation through tensions created by the use of computers and traditional photographic techniques.
The photographs included here are of mirrors, paper, and tape taken with a large format camera as they attempt to unpack the structural mechanics of photographic representation by creating formally abstract pictures that are undeniably photographically real. While the images allude to abstraction the photographic nature of the images are emphasized as the image plane is selectively focused and blurred through the use of depth of field. The usually referencelessness nature of abstraction is contradicted by the presence of minute details captured by the use of a large format camera such as dust and scratch marks found on the surface of the mirror which makes the images very ‘real’ and photographic.
In other words these images have a duality (and tension) of being simultaneously abstract and extremely photographic.
Further, as with many of my other works the photographs also expresses my interest in the role of digital technology in photography and its aesthetic. The choice of red, green, and blue tape is based on the three primary colors that constitute a pixel. From a far the tapes can be seen as the pixels glowing on the computer screen. While they are made using primarily traditional photographic methods, they reference the new aesthetic that seems to be emerging as a result of the use of digital tools and technologies. The photographs always depict a silhouette of the hidden artist affirming the complex nature of authorship in the digital world.” – Akihiko Miyoshi

Esther Stocker

Esther Stocker:

Esther Stockers Arbeiten entwickeln ein Eigenleben. Ihre Installationen aus geometrischen Formen, aus Raum und schwarz-weißen Kontrasten interagieren mit dem Betrachter. Er betritt das Kunstwerk und wird gleichzeitig Teil von ihm. In dieser veränderten, verfremdeten und ungewohnten Kulisse wird die menschliche Eigenschaft der absoluten Kontrolle in Frage gestellt. Stocker provoziert mit ihren Arbeiten optische Täuschungen und hinterlässt so einen Eindruck der Machtlosigkeit zwischen Realität und Illusion zu unterscheiden.
‘Stocker’s works provoke uncertainties in the viewer, putting their sense of control into constant doubt, via the perception ‘games’ in her paintings and in the space installations. It is not too far an extension to see a parallel between the Blanchotian author, who is powerless to shape or dominate their work – as a consequence of which the act of ‘creation’ is an illusion – and the man who thinks – equally illusorily – to have dominion over the world. The limit of man – Stocker teaches us – is his veil of certainty and control. As the artist herself asserts ‘Control is always what we do not have. This is the human condition.”

Death Grips Go Into GIF Retrograde, Reinvent the Music Video Again

Death Grips Go Into GIF Retrograde, Reinvent the Music Video Again:

 
A piece of music is heard by everyone differently; that’s a big part of the idea even. Pop music in the 21st century does amazing work, however, of micromanaging music into something as unfree as possible; you might say that industry turns music into a technology. But, at the same time, and at an even steeper curve, technology is blowing music up and out, making it even more free and unstuck, whether that’s making unique compositions from sunlight laying on a field or putting super-advanced production tools in the hands of basically any jerk with a computer. Sadly, the good stuff is mostly the domain of the underground. Jacob Ciocci, who you may know from Extreme Animals, recently did a video project of sorts for post-future rap-noise trio Death Grips called RETROGRADE that’s a cross between a soundboard, a video, and an alien “something else.”
Motherboard’s sister site the Creators Project talked to Death Grips last week, and it’s worth a read. The group explains RETROGRADE as such:

It’s an infinite GIF sampler. There are 109 loops that you can start and stop at will. Depending on the number of loops you trigger and the way you time them, an infinite number of visual/audio combinations are possible.

It’s inspired by Mercury being in retrograde right now (until April 4, 2012). The piece is an expression of the infinite/fractal nature of every moment in time. When creating music, we are sticking/unsticking ourselves to endless time snakes—the idea that the smallest/tiniest of moments contains everything in the universe—Progress/becoming UNSTUCK.

RECOMMENDED READING: An Essay on the New Aesthetic

RECOMMENDED READING: An Essay on the New Aesthetic:

Maps TD via The New Aesthetic

The "New Asthetic" is a term coined by James Bridle, and collected on Tumblr, further shaped by Matt Jones' comments on "sensor-vernacular" and the "robot-readable world." It is an investigation in the ways that imagry for and from machines has become a popular visual culture of its own, even shaping behaviors (as Tom Armitage asks, "How long before, rather than waving, or shaking hands, we greet each other with a calibration pose"?) If that is still confusing, perhaps Bruce Sterling might better explain the "New Aesthetic."
In "An Essay on the New Aesthetic," Sterling begins discussing the SXSW panel on the New Aesthetic, which included Bridle and Rhizome editor Joanne McNeil, in addition to Ben Terrett, Aaron Straup Cope, and Russell Davies. From there he explains, in almost a manifesto of sorts, just where these influences came from and where it is going:

Look at those images objectively. Scarcely one of the real things in there would have made any sense to anyone in 1982, or even in 1992. People of those times would not have known what they were seeing with those New Aesthetic images. It’s the news, and it’s the truth.
Next, the New Aesthetic is culturally agnostic. Most anybody with a net connection ought to be able to see the New Aesthetic transpiring in real time. It is British in origin (more specifically, it’s part and parcel of a region of London seething with creative atelier “tech houses”). However, it exists wherever there is satellite surveillance, locative mapping, smartphone photos, wifi coverage and Photoshop.
The New Aesthetic is comprehensible. It’s easier to perceive than, for instance, the “surrealism” of a fur-covered teacup. Your Mom could get it. It’s funny. It’s pop. It’s transgressive and punk. Parts of it are cute.
It’s also deep. If you want to get into arcane matters such as interaction design, computational aesthetics, covert surveillance, military tech, there’s a lot of room for that activity in the New Aesthetic. The New Aesthetic carries a severe, involved air of Pynchonian erudition.
It’s contemporary. It’s temporal rather than atemporal. Atemporality is all about cerebral, postulated, time-refuting design-fictions. Atemporality is for Zenlike gray-eminence historian-futurist types. The New Aesthetic is very hands-on, immediate, grainy and evidence-based. Its core is a catalogue of visible glitches in the here-and-now, for the here and for the now.
It requires close attention. If you want to engage with the New Aesthetic, then you must become involved with some contemporary, fast-moving technical phenomena. The New Aesthetic is inherently modish because it is ferociously attached to modish, passing objects and services that have short shelf-lives. There is no steampunk New Aesthetic and no remote-future New Aesthetic. The New Aesthetic has no hyphen-post, hyphen-neo or hyphen-retro. They don’t go there, because that’s not what they want....

Daniel Temkin

Daniel Temkin:

Daniel Temkin makes still and interactive pieces stemming from different forms of miscommunication, often built as uneasy collaborations with the computer. I'm featuring two of his projects which are related with glitches and errors produced by the use of basic softwares such as Photoshop. The first one is called Glitchometry, Daniel describes; each image begins as one or a few black squares or circles. They are sonified -- imported into an audio editor. Sound effects are added to individual color channels, as if they were sound, transforming the image. Because the tool is used in an unconventional way, there is no immediate way to monitor the effect. The image manipulator has a sense of what each effect does, but no precise control over the result. It is a wrestling with the computer, the results of which are these images. See more;

Glitchometry

(recommend click images to enlarge)

Dither Studies

"A collaboration with Photoshop. I give the program an impossible task: to draw a solid color or gradient with a palette of incompatible colors, thus exposing the dithering algorithm's complex, seemingly irrational patterns. These are exhibited as large-scale prints, or on screen."

Daniel only used the indexed color mode from Photoshop to make this series, see the full series here.  Then "Dither Studies" were released under Creative Commons and since that time, other artists have created remixes and their own work using this technique, such as Phil Stearns, who is creating textiles of his Dither pieces, and has shown variations of them on London bus-tops.

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“No Great Discovery Was Ever Made Without a Bold Guess (Time Machine)”, 2012 by Gabriele De Santis. Electric torch, crystal object, wood plinth.

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“Plot Fill XII”, 2008 by Daniel Lefcourt.

Dev Harlan

Dev Harlan:

‘Dev Harlan is a multidisciplinary artist whose hybrid practice combines the physical and the virtual with the use of sculpture, light and projection. As a self educated Artist, Designer and CG Director, Dev’s uniquely identifiable aesthetic language and reductionist approach place his work at the forefront of a new mode of media arts practice.’

All images © Dev Harlan | Via: Beautiful Decay

erin mulvehill

erin mulvehill:













underwater photo series by erin mulvehill

(title unknown)

(title unknown):



»If You Leave, Walk Out Backwards, So I’ll Think You’re Walking In«, 2012. A site-specific sound installation by Hannah Weinberger.

The Speed Book by Aram Bartholl

By the way in few days there will take place an interesting event related with "The Speed Book". Eyebeam has announced for April 12 from 6PM–8PM that it will host the official US 'The Speed Book' launch party of Aram Bartholl's first artist monograph. The event, which occurs in tandem with eteam's project launch, will feature:  Aram in town from Berlin introducing and signing the book. Brad Troemel, will give a talk about "Creative Destruction", based on his essay he wrote for 'The Speed Book', and Lindsay Howard, Eyebeam's Curatorial Fellow, in conversation with Aram.

On the other hand, more things I like from Aram; his light installations which are very impressive. Since he started with his TV-Filter then he brought the same grid/pixel concept to other pieces such as PaierPixel, Random Screen and 0,16.  (The final visual result from) All this works seem to be created using high technology, but like I said before they have been created following a very simple process, and tools, but behind of them there is a great idea and study of the light, structure and movement. Few weeks ago he presented at  his solo exhibition at [DAM] Berlin his latest light installation called 3x3. This piece is made from common objects such as wooden board, sheet metal, arcylic glass, colored film, wire, bicycle wheel and candles which are the major part of this piece because light and movement are produced by them (candles).






The title of The Speed Book comes from other of the great projects by Aram Bartholl, The SPEED SHOW, an exhibition format which can take place in whatever Internet-cafe around the world. As Aram says "you only need to go to an Internet-cafe, rent all computers they have and run a show on them for one night. All art works of the participating artists need to be on-line (not necessarily public) and are shown in a typical browser with standard plug-ins. Performance and life pieces may also use pre-installed communication programs (instant messaging, VOIP, video chat etc). Custom software (except browser add-ons) or off-line files are not permitted.

Any creative physical modification to Internet cafe itself is not allowed. The show is public and takes place during normal opening hours of the Internet cafe/shop. All visitors are welcome to join the opening, enjoy the art (and to check their email.)"

Since Speed Show started in 2010 there have been around 30 different shows, you can check all of them here. Even Triangulation Blog with its piece Interactive Triangulation was part of one titled Awareness of Everything curated by Lindsay Howard.