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02/05/2017

Celebration

!Mediengruppe Bitnik

Dada. State of the Reference

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Webpage. Based on: Man Ray, The Poet, 1938

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In Dada. State of the Reference, !Mediengruppe Bitnik lets Google evaluate Man Ray’s The Poet by inputing the image into its similar images search. What does the machine see in this piece of art? What’s the state of art as it is determined by one of the most influential knowledge gate-keepers in the world? Man Ray’s The Poet is the input for a recursive images search. Unfortunately the image stream immediately leaves the realm of art. Moving directly to the latest mens hairstyles to Bruce Lee and Vietnamese celebrities, perfect smiles, women with headaches, smiling boys, plastic surgery, celebrities with blond hair, hairstyles for women. The recursive loop ends in its 1321st iteration with an image of a Nespresso machine.

!Mediengruppe Bitnik (read – the not mediengruppe bitnik) live and work in Zurich/London. They are contemporary artists working on and with the Internet. Their practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms.

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02/05/2017

Celebration

Eva and Franco Mattes

Kiki Freelancers Worldwide

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Digital image. Based on: Man Ray, Masque Kiki, 1962

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In Kiki Freelancers Worldwide, Eva and Franco Mattes hired a freelance worker through an online marketplace to paint her face like Man Ray’s Masque Kiki. The Mattes, who have been exploring online economies and outsourced means of production in recent works such as BEFNOED (2013-), Image Search Result (2014-) and Dark Content (2015), here play on the sharp contrast between Kiki de Montparnasse, an icon of female independence and intellectual freedom, and the anonymous online worker. Or, is participation in online cultures that is becoming uncannily similar to a form of exploitation?
Eva and Franco Mattes are an artist duo based in New York. Since the second half of the 1990s, they have explored the impact of technology and the web on society almost nonstop, exploiting the potential of narrative construction, identity theft, simulation and real-world intervention introduced by digital media.

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02/03/2017

Marco Cadioli

DADAclock

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A functioning Pendulum clock for Web and Mobile (for Chrome, Safari, Android, iOS). Based on: Man Ray, Long Distance, 1926

 

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02/02/2017

Rory Laycock

Social Influence

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Digital Collage. Based on: Man Ray, Main Ray, 1935.

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“Culture increasingly demands our attention, whereby the social influencers maintain they grasp over an ever developing platform. With the social presence of the spectator and performer the public has to select and share themselves to now be present”. Rory Laycock

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01/28/2017

Di-Andre Caprice Davis

d A _ r a s e

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Animated Gif. Based on: Club Dada Berlin, 1918 ; Rongwrong, New York, 1917; Man Ray, Cactus, 1943

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01/18/2017

Fotis Begetis

Reconstructing Modernity

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Static 3d render. Based on: Man Ray, The meeting (revolving door), 1916/1942

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“The idea  was to try and reconstruct through parametric and algebraic mathematical modeling some of the forms found on the original Man Ray piece (the central helicoid,for example) and project them in 3d space”. Fotis Begetis

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01/13/2017

Emiliano Zucchini

Voidgram, the absence is the level with zero alpha

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Digital manipulation. Based on: Man Ray, Rayogram, 1924

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“The objects represented in rayogram occur exclusively in their material footprint loses an original identity. In computer graphics, the white and gray checkerboard pattern represents no color, emptiness, absence“. Emiliano Zucchini

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01/10/2017

Nikolas Koroloff

Dada Mosh Under Doors

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Animated Gif. Based on: The meeting (revolving door), 1916/1942

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“40 frames on data coloration and convulsion”. Nikolas Koroloff

 

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01/01/2017

Monthly Feature

Raquel Meyers

dadarchy

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Animated Gif. Based on: Man Ray, Long Distance, 1926.

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Inspired by Man Ray’s stencil Long Distance (1926), dadarchy features PETSCII characters brutalizing dada like a concrete poem. “Raw force shaped in text, flat and brutal. It’s dadarchy time!” PETSCII (PET Standard Code of Information Interchange), also known as CBM ASCII, is the character set used in Commodore Business Machines (CBM)’s 8-bit home computers, starting with the PET from 1977.
 

Raquel Meyers is a Spanish artist based in Sweden who defines her practice as KYBDslöjd (drawing by Type In), a brutalist storytelling about technology and keystrokes where text is used unadorned and roughcast, like concrete. Brutalism has an unfortunate reputation of evoking a raw dystopia and KYBDslöjd evokes an “object of nostalgia”. But nostalgic, retro, obsolete or limited are rhetoric qualities earn by constant repetition. We live in a time where hardware and software become obsolete before most of the users have learned how to use them or disappear into pure functionality. The obedience to standards has made us passive observers and consumers.
Since 2004 Meyers has performed at festivals like Transmediale, Fylkingen, Piksel, Mapping, MFRU, HeK, or Cimatics, at 8bit events like Tokyo Blip Festival and the Playlist exhibition, as well at Liste Art Fair Basel, Xpo Gallery, Click New Media Arts Festival, Alt_Cph, LABoral, FILE and iMAL, among others. In 2016, Meyers has been artist in residence at Le Shadok, Strasbourg, where her first solo show has been organized in collaboration with the Strasbourg European Fantastic Film Festival.

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12/27/2016

Letizia Galli

Long distance 2016

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Computer generated image. Based on: Man Ray, Long Distance, 1926

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“Long Distance 2016 is mine- 90 years later- homage to Man Ray’s work “Long Distance” based on a deformed  binary progression. The title itself has an evoking quality of the very long distance among those times and now days in terms of artistic expressions and indeed everything else”. Letizia Galli

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12/23/2016

Johann Baron Lanteigne

Orb State


 

Audio visual animation. Based on: Man Ray, Main Ray, 1935
 

“Orb State is an immersive trip in a surrealist environment. As we come upon an orb in its natural habitat, we witness its harvesting and ascension to an airy state. Thus portraying an abstract representation of the automation of industrialization by its cold and sequenced aesthetics. The transformation is experienced through a fusion of sound and image resulting from several exchanges between the two collaborators, Faderunner and Johann Baron Lanteigne during the summer of 2015. The visuals are an integration of manipulated video glitch and motion graphics reminiscent of video games from the early 2000’s that were inspired and controlled by the sound. In the same manner, Fade Runner’s fusion of organic sounds and synthetic textures reflects the orb’s unstable state”. Johann Baron Lanteigne

 

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