Review | hyperlink thinking -...

Generated on 2021-08-11 12:36:14

Result #1

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE IS NOT A MARXIST ACCOUNT for an era of unprecedented political polarization. This is a criticism of the form of representation, but also of the moment in which we live, and of the role social media play in this context. The media are not only intermediaries for the dissemination of information, but also the forces that generate and render the public aware of what is going on in the world. These are the issues raised by the exhibition, which takes as its point of departure the bot-tropolis, a distributed, open-source, collaborative, collaborative system for creating new images of the world, including that of the internet. This means that it is not only the images themselves that make visible the media system they represent. It is the way the images are circulated that makes them unavailable to the public. This is what artist and curator Marlene Kwadevich has done in this installation. In the gallery, she has presented a work called Is This a Bitch, 2014–. The work consists of a video projection that invites the viewers to enter a video projection space and to play with a bit of live action: a beat from the 1980s techno anthem by the British electronic duo A-LTRA, a deadpan laugh by the Brazilian artist Félix Parra, and an electronic voice-over. The video, a loop of the sound of a woman walking, is projected on the wall. The video follows a similar process in the video installation Thats A Shame, 2014–, in which a video follows a woman in a club. In the video, the actress plays the role of the public. She plays the role of a bitch, the entire video is a bitch-eye critique of the art world, and the video criticizes the scene.

Result #2

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE: Art and Technology, 2000–2010As is well known, the art world is a bellwether of communication environments. The twentieth-century artistic avant-garde has, to its credit, been making a concerted effort to communicate with the outside world—to create a world of individual, collective, and communicative value. Since its inception, the work of this group of artists has been increasingly critical of the modes of communication, and has sought to articulate the vernacular as a source of new forms of communication. Hence, artists such as Gabriel Orozco and Steve Keisters have been identifying the signifier of language as technology. Their work has often used the language of the Internet and its changing usage as a means of questioning the state of communication and the nature of the individual. Although this group has not, to date, been included in the Whitney Biennial, which typically honorates emerging artists, this show was a welcome opportunity to view the work of such artists, who, although marginalized in contemporary art, continue to have an effect on the landscape of post-digital culture. The curators, Kevin Parker and Sarah Greenough, understood this artmaking as an ethical endeavor, and, therefore, as a form of political engagement.In the face of the ever-increasing demand for artistically mediated art, the curators of ART and TECHNOLOGY, curated by Sarah Greenough and Kevin Parker, selected a remarkably comprehensive exhibition that explored how technologies are used to perform various kinds of social action. The exhibition is intended to provide a historical framework for art that addresses social issues such as terrorism, environmental destruction, and racial injustice, as well as for a more personal, everyday dimension. The curators seem to be aware of the extent to which technologization is bound up with politics, and they express this intent in their use of a diverse range of media, including photography, video, and installation.

Result #3

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE is about language, says Jean Tinguely, a participant in the 2010 Venice Biennale. The Artist in the Window, a recent exhibition at the Palazzina de Arte Contemporanea, was an attempt to locate the practice of the artist as a means of comprehending the world. Tinguely's text-based works are assemblages of materials that are not identifiable but that, through their shared existence as objects on the wall, become symbols of the disquietude of the anonymous text-based artist. The point of a text is to be a text, to be a letter, a letter of a letter. Tinguely's art is to embody those letters, to articulate those icons, and to name them, with the help of a manual reading, the meaning of each. In the artist's place, the viewer becomes a participant in the process of becoming. The artist, in turn, becomes a system of signs, a signifier of a language-mediated world.The works on paper on display (all Untitled, 2009) were, like the pieces on view, not designed to be taken seriously. They are not the only works that need to be. The artist's hand is an essential part of them. Their surfaces are not meticulously painted; rather, they are exposed. The paintings are not hand-rendered but drawn. The text-based works are not made of letters and numbers, but of words, as in the previous generation of works that evoke a world of symbols and numbers. Tinguely uses the works' printed nature to speak about the power of a certain type of writing. The prints' texture and light create a vivid image that is both physical and painterly. And then, of course, the works' status as written symbols is not apparent from the surface of the paper. By way of an analysis, the images are embedded in the works' surface, and the text is not.

Result #4

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE is a tradition in the work of Carsten Höller, Jeffrey Deitch, and Rirkrit Tiravanija, among others. It was the epitome of an art that was not the product of a singular time and place, but rather was the product of an abstracted time and place. The tradition of the image, the image-as-a-subject, was a reflection of the increased visibility of the human body, the great bulwark of social recognition. The artist/critic Höller, the most persuasive of the group, was one of the first to bring the body into the exhibition space, as a reproach to the power of art. His work embodied the change in the work of the 1980s in that it juxtaposed images of the body with ones that refer to the human body, as in the works of Robert Smithson, René Magritte, and others. The images of the body that were on display, which often showed a human figure, were rendered in a formal style that was simultaneously abstract and poetic. The works of Höller, Cai Guo-qiang, and Ingar Dragset, among others, explored how representations of the body can be used to achieve a dialogue between the body and the world. These works made use of the techniques of digital technologies to transform photographs and other graphic media into an abstraction that combined the abstract and the concrete. They also used the body as a means to interrogate our experience of the body, both public and private, and to question the limits of the body as a natural and most accessible sign of human contact.Höller has always been fascinated by the way in which human bodies connect with the environment, and with the way in which they communicate with each other. A substantial part of his work has been devoted to the problematics of human relationship. His work has been marked by a personal mode of abstraction and a critical and conceptual approach to the body.

Result #5

hyperlink thinking - one thing leads to another that leads to another... among collections of people a bot-human collection researchers and artists being provoked by images and their contexts fabulation from "bot accounts" "likes" as a commodity contact with enigmatic addresses as the politicization of our system "not understand already understanding" how to behave in the face of what is not known speculative thinking - speculative answers human decentering in the creation of "realities" social networks as a weapon/tool information world war algorithmic unconscious anonymous bot collection available on the internet "it's about us and we don't even know it's happening" DISCUSSION OF IMAGE: In general, the situation is good. According to the German press, more than seventy thousand tourists visited the city of Cologne alone. The city is not renowned for its tourist trade, but the population is already an intensely involved social body. The artist Manuela Ruediger has made art to encourage a more participatory, open, and critical approach to photography. The focus of her exhibition was the creation of a community of artists. In addition to her own photographs, she presented a group of the work of ten artists from different countries. Ruediger has participated in numerous art events and has done photojournalistic work in places such as the Catalan town of Ceuta, in which the artist was born, and in Paris, where she is currently based. The work of these artists, who are all male, is usually made accessible to the public.In the gallery there were ten small black-and-white photos taken by Ruediger herself, taken in the vicinity of the Cologne cathedral, which features in the distance and at the center of the action. They are titled Sherrie Levine, Michael Joo, and Ralph Jepsen (all works 1990) and can be seen at different times, next to a large palm tree, in a landscape of cars and police. Two are presented with the same kind of formal structure: the white, middle-class apartment, the cherry-tree-like house, the place where the tourists are gathered. In these works the private and the public are the same. The images do not suggest that any particular art is being done. The intent is that there be a sense of communal connection, a sense of coherence, and a certain kind of intimacy. They are not, however, proffered as demands for participation or for contributions, but as requests for a common space. To the contrary, the work seems to signal a desire for social interaction.