Oh! Exploitable
rawfunction
We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art, We Will Not Watch Any More Boring Art. ok john, let'go discover something different.
Lossless challenges
Lowless
Lossless challenges the representational nature of photography by re-ordering the digital photograph, using Processing and a custom QuickSort algorithm. The majority of photographs are now stored as pixels, where each pixel is a representation of specific values of color, brightness, saturation, etc.
Our works are re-ordered and removed from their previous context while still being an accurate representation of every single pixel in the original image. This process allows the image to function as a unique object and set of information rather than an object devoid of its own context.
In this process, the image now functions conceptually as a collection of visualized data rather than a mechanical/digital reproduction of reality. The action of re-organizing the photograph makes tangible the traditionally transparent functioning of the medium.
You may submit an image for sorting to the following email address:
lossless.processing@gmail.com
When submitting an image, you agree that the image may be used for exhibition or sale.
Jordan Tate + Adam Tindale
In Still Life – John Baldessari
In Still Life
In Still Life 2001-2010 invites you to create your own still life by arranging any or all of the 38 objects onscreen.
“When someone completes their own still life using In Still Life 2001-2010 it becomes their own artwork,” says artist John Baldessari. “It’s not mine. It’s theirs. Still lifes are about the fleeting things in life. Each object has a symbolic meaning attached to it. My interest in still lifes goes back to beginning art courses and having to endlessly paint from them. There was always a room where the instructors stored all the props. And the one prop I hated was the cow skull, which an old instructor of mine, a Georgia O’Keeffe fan, used to always trot out. But of course the typical objects are things like the guitar, the wine bottle, the loaf of bread, which are not so interesting. Even now it’s very hard for me to look at one of those typical Braque or Picasso still lifes and not want to rearrange it! I just want to make it a little more upbeat, a little more dynamic and less static. I chose Banquet Still Life (1667) for the original In Still Life because I wanted to use a typical 17th-century Dutch still life. The lobster is the most important object in the painting. I’m just anticipating everyone trying to make the lobster dance.”
Eva and Franco Mattes
Traveling by Telephone
Avatar's portraits
Steve Or Steven Read
eBay TV
Ongoing series of collected photographs from eBay.com depicting televisions for sale. To market the sets, the eBay sellers also used found images. In particular I enjoy the complex interactions of the 2-dimensional screen image, its display device as a 3-dimensional product/subject, a 4th dimensional surrounding environment, your computer browser screen (the 5th dimension), and so on.
Robin Hewlett & Ben Kinsley
Street With A View introduces fiction, both subtle and spectacular, into the doppelganger world of Google Street View. On May 3rd 2008, artists Robin Hewlett and Ben Kinsley invited the Google Inc. Street View team and residents of Pittsburgh’s Northside to collaborate on a series of tableaux along Sampsonia Way. Neighbors, and other participants from around the city, staged scenes ranging from a parade and a marathon, to a garage band practice, a seventeenth century sword fight, a heroic rescue and much more…
Street with a view
Nikolaus Gansterer
The Bureau of Found Appropriations / Département des Sourires
“The Bureau of Found Appropriations / Département des Sourires” is a work which is part of a long-term study on strategies of appropriation and forms of production (and reproduction) in Asia. My main attention is directed towards differences, misinterpretation and errors committed in the process of translating and copying cultural commodities. How can an image be read, used, interpreted, unterstood without knowing its cultural context?
In 2008 I stayed with Matthias Meinharter for three months in southern China working on the art/film project Chinese Whispers in Dafen – the copy capital of art. There, approximately up to 10,000 painters live, work and are specialized in copying work in specific styles by a wide range of masters of historical and contemporary oil-painting. Annually, more than five million paintings are produced at assembly lines, usually copies of masterpieces.
The reason why this use of imitations strikes western societies as a serious cultural difference has to do with a strong historical correlation between painting and calligraphy: in China a good copy is often considered as a reward and honour to the technical and compositional skills of the initial inventor and master. Memorization is taught as the manually repeated imitation of an original; hence gaining knowledge is based on a culture of transcription. Therefore the terms of originality and authorship are culturally coded. By regarding these gaps with their potential shifts of meaning as a source of inspiration I started compiling a growing collection of images reflecting on cultural practices, identities and authenticities.
Concept & photos: Nikolaus Gansterer
Materials: Found images and paintings, reproduced as a limited edition of postcards
Venue: Vooruit, Ghent. Curated by Eva de Groote.
Year: Since 2008
The Eden Experiment
The work is a form of re-installation according to experiments conducted mainly in the 60ties and 70ties to examine the influence of music on the growth of plants. In an intricate test arrangemnet the experiment is started to raise an ‘evil’ and a ‘good’ plant only by sonic irrigation. Two identical model organism (Arabidopsis thaliana) are confroted with a cantata by Johann Sebsatian Bach and a song by the death metal band the Peversists.
The mouse ear cress (Arabidopsis thaliana) is a small flowering plant that – due to fact that its genetic sequence is completely deciphered – is world widely used in life science. By listening to the sound piece the visitors become part of the experiment and part of complex relational system on the edge of art, life science and cultural studies. Large wall maps display crosslinks between the evolution theories and the cultural development of heavy metall music.
The visitors are invited to directly experience the experiment by entering the set up and listening to the acoustic process. The ‘Eden Experiment’ confronts us with a dubious complex system of scientific theories about the influences of sound on living organism and ironically addresses issues of genetic manipulation and reproductive technologies by questioning the imaginary threshold between nature and culture, religion, art and civilization.
Watch video of the performance lecture: Harvesting the Tree of Knowledge (12:00), 2008
Year: Since 2007
Material: Arabidopsis thaliana, wall maps, sound piece (death metal, classic music), lighting and irrigation system, timer, fertilizer,…
Dimensions: ca. 600 x 400 cm
Aram Bartholl
Google Portrait Series
Four Google self-portraits commissioned by Microwave Festival, Hong Kong, 2009.
Each code represents a visual enryption of a search on ‘Aram Bartholl’ in a specific language on Google.
A Google Portrait is a drawing which contains the Google URL search string of the portrayed person in encoded form. Any camera smart phone is capable to decode the matrix-code with the help of barcode reader like software. The result points the mobile phone browser to a search on the portrayed person’s name at Google.
A large number of people can be found by name on Google today. Everyone who is working on a computer and uses the internet regularly can be found on Google. Even people who don’t use computers can be found sometimes because their names appear in ‘old’ media (i.e. books) on the net.
‘Egosurfing’ is a popular way for a user to find out what websites and information Google returns on his/her name search.
How many hits does Google show on my name? Am I popular? Do I want to be found at all? Who writes about me? What do people find out about me when they google my name? Am I in concurrence to other persons with the same name? Do I rely on the results Google shows me on a person’s name? In which way do I relate to someone which I only known by Google results?
Tweet Bubble Series ‘Loud Tweets’ from aram bartholl on Vimeo.
Emilie Pitoiset
Art. 432-3
Art. 432-3 contient 365 véritables virus distincts à envoyer ou à installer pour tous les jours de l’année.
/ Like a calendar, the CD contains data with 365 viruses to send each day of the year.
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