"It's kind of crucial for the NEA and arts organizations and artists to start a conversation: qualitatively, what are the differences between live attendance and (experiencing the arts) through media...of having audiences connect with the artist, being in their presence?"
As personal websites become permanent exhibition spaces — viewable online from the comfort of your own deskchair...in a dark room...in your underwear...the question of why one leaves the house for art (or at all) demands evermore scrutiny.
Dusting off the age-old exhibition spaces that once held a monopoly on the programming of culture, Videos Collide will feature a new generation of media artists whose work explores the added value of their own physical presence.
These live-video performance artists will travel from Canada, Berlin, Colorado, and the greater Los Angeles area to contribute to an increasingly relevant exploration of the moving image in real life 3D space.
DOORS: 8PM / SHOWTIME: 8:30 - 10PM
533 South Los Angeles Street, CA 90013
Free admission but donations appreciated
Curated by Megan Daalder & Fei Liu / Site by trytobegood.com
Email us at videoscollide@gmail.com
Jeremy Bailey received his MFA in Video Art from Syracuse University and an undergraduate degree in Visual Studies from the University of Toronto. He is co-founder of award winning artist collective 640 480. His work has been described by filmmaker magazine as "a one man revolution on the way we use video, computers and our bodies to create art". Jeremy lives and works in Toronto, Canada. His work can be viewed, rented and acquired through Vtape in Toronto.
jeremybailey.net
"Mixing artificial and natural, jest and earnest, high and low technologies in an attempt to blur the borders that separate, I promote a sense of totality and oneness of reality. I want to instill a bit of wonder in the lightest possible sense; to tickle a remote nerve ending in the imagination, stimulate atrophied curiosity, and evoke a small remnant of a childlike spark that recognizes that magic can exist when we view the world through playful eyes."
matthewryanbarton.com
Forged out of the post apocalyptic wasteland following the Great Tidal Wave, Los Angeles born artist Ben Bigelow seeks to analyze our culture's reality through bizarre and immersive creations of fantasy. He is currently working on a series that compares different natural disasters to our emotional, cultural and spiritual states. Phantasmagoria exudes out of multimedia installations and videos, where a unique aesthetic follows radical content. Above all the artist is concerned with the immediate experience of art, and what emotional associations this experience lets loose. He has a BFA from Carnegie Mellon University and lives and works in Los Angeles.
benbigelow.com
Megan May Daalder is an instigator of social experiments and a self-styled guinea pig. She has a BA from UCLA's Design Media Arts department, but most of what she knows has been passed down from her radical Dutch ancestors and a Texan pinball wizard. A more detailed audio-visual account of her activities can be found on the internet.
proofsofconcept.com / spacecollective.org/meganmay
Joseph Gillette continues to explore the ocean depths as well as D E E P S P A C E in his Party Food performance series. This show features screwed up music, puppets, poop jokes, and Real Life experience.
prrtyfood.com
Wojciech Kosma lives between Berlin and London, working between art and composition. His artworks and performances are often spatial, sonic, obliquely interactive and poetic, creating speculative aesthetic interventions. He is also currently a PhD student at Goldsmith University in London.
wojciechkosma.com
CV 2007: peed on own shoes. peed on own pant leg. walked at a brisk pace while vomiting repeatedly.
zeesypowers.com
Shana Moulton @ Cinefamily in Los Angeles
The Knife + Danish Theater group HOTEL PROFORMA. Awesome visuals and music.
“It’s kind of crucial for the NEA and arts organizations and artists to start a conversation, which is probably overdue: Qualitatively, what are the differences between live attendance and [experiencing the arts] through media? What are the fundamentals of having audiences connect with the artist, being in their presence?”
The Arts see encouraging news in NEA survey, LA TIMES
December 19, 2009. By Mike Boehm
Some interesting stuff from Variety Evening at the New Museum. Of which our dear Wojceich Kosma was a part of.
Ghostwire for the Nintendo Dsi:
Your portable device is used as a portal to the astral plane, and helps you find and collect ghosts that exist all around you. In your quest you use real tools, such as the built-in camera and microphone, as well as abstract ones like an “EMF tuner” for tracking down the ghosts.
Marc Owens’s augmented reality project “Avatar Machine” puts its users in VR helmets that display the world around them as though they were playing a third-person game, so that their own body is seen from behind. Owens theorizes that “The system potentially allows for a diminished sense of social responsibility, and could lead the user to demonstrate behaviors normally reserved for the gaming environment.” (Avatar Machine (via Beyond the Beyond)
Tangentially related, amusing LA Times article by Berkeley Breathed about exhaustive CGI and blockbuster audience numbness. The headline reads:
BLOWN OUT The Earth is in Peril. Humankind may not survive. And moviegoers…yawn. Hollywood is plastered in pixels. Awe is lost in the flood.
The World Series of ‘Tubing is back for a very special Performa event tomorrow. We’re sharing the bill with JODI.org, which is cool. This is a picture of our stage setup… I think its looking pretty awesome!
Douglas Davis The Last Nine Minutes was presented for German TV’s first live satellite transmission marking the opening of the Documenta VI in Kassel on 24 June 1977 for both a live and satellite audience.
This interview with him is well worth checking out, here are some quotes that I quiite liked:
The virtual is real, the real is virtual. Blending them is our destiny.
Art and life will never marry, but they certainly do have a delicious time in bed.
My instinct is that “the museum of the third kind” (title of an essay I am working on, soon to be finished, based on the Victoria and Albert lecture in 1997) is not going to be created by a set of museum trustees plus staff…But by a lone, mad individual or two, followed by the rest of us.
Wynne Greenwood formerly of Tracy and the Plastics (1990-2006)
From a 2001 essay:
For the past two years I’ve been working on Tracy + the Plastics, a band I started with myself - and myself - and myself. I play the parts of Nikki (keyboards), Cola (drumbeats) and Tracy (singer). Live, Nikki and Cola are included as images in a projected landscape that backs me up and fills me in. Prerecorded music plays through speakers. I sing live and talk to my “band” in between songs. Nikki asks Cola why she puts socks down her pants, to look like a dick or a third dimension? Cola turns to me, Tracy, and asks my advice. “I don’t put socks down my pants,” I say. Cola says she does it to look more real. There’s a history, a reality created by the interaction between the self and the image of the self.
An interview with Tracy goes like this: Q “What does it mean to be Tracy?” A “Tracy means front in some language. When people call TRACY! it’s a call to the front.” In a continuum, the margin exists to the side of the center. If we add dimensions, then the margin becomes back and the center becomes front. A Tracy + the Plastics performance attempts to destroy the inherent hierarchical dynamic of those “spaces” by placing as much importance on the video images (the Plastics) as the live performer (Tracy). The front interacts with the back in a way that emphasizes their equality and the dependence on one another to dismantle their roles and prescribed boundaries.
-wynne greenwood
Artist Matt Barton’s Extreme Animals: The Video Game.
