:: PLAY> @ Agnes.b Cinema
September 24th, 2005
*Premiere Screening this Saturday Sept 24th @ Agnes.b Cinema, HK Arts Centre!
Screening at Agnes.b Cinema in late September (24th & 30th), & Habitus in the month of November (4th & 11th).
PLAY> is a collection of experimental work, aiming to explore the creative potentials of game play in audiovisual form and to reflect upon the intriguing relationships among game, art and contemporary culture. Curated by Ip Yuk-Yiu, featuring artists Cory Arcangel . Jimpunk . Kedy Fan Ho-Ki . Ho Siu-Kee . Hung Keung and more…
more info here
Presenter: HKADC
Co-Presenter: Hong Kong Arts Centre
In Association with:
Bittersweet, Habitus & EmergencyLab
magnum i.p.
July 23rd, 2005the 24hr online performance/happening/blog “magnum i.p.” has now concluded
please visit it in it’s archived form at
http://www.screenfull.net/magnum-i.p/
linkoln + jimpunk
cyber.tender.loving irony
June 29th, 2005Jimpunk, Paris: AcidMissile
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cyber.tender.loving irony
by ibro fooman hasanovic, Sarajevo
AcidMissile by the French artist jimpunk stands out from the other works shown by the project 56kTV. What compelled me to write about this piece is its ‘clean’ approach and the way the artist compiles the elements of his visual language.
The artist describes his work as “a motion painting including sounds,
java scripts, pop ups etc. …as an Internet movie”.
The use of sound, rhythm, movement and colours etc. leads us to the conclusion that there is a strong semiotic side to this work, which though “non-representational†is still important for interpretation.
Symbolic elements used in the work are commercial banners, Google searches, spam, ASCII graphics, chat dialogues, error sounds, electronic music and so on. This assemblage has a very strong visual impact, while the scenario of “action” and its dramatisation make the work dynamic.
It seems to me, that the artist has succeeded in creating a perfect balance between semiotic and symbolic elements, which Julia Kristeva considers as the basis of representation.
Regarding the message (meaning) of this work, the artist perhaps dedicated quite some time to establish a visual effect, which I think is not a minus point at all.
Consumer Society is a society which consumes signs and becomes saturated with the aestheticized images of “Advertising” (in this case with the symbolic elements used in the work).
“This society is no longer based on production, but on representation and seduction” said Jean Baudrillard after all.
The “Aggression†and even more so the irony present in this work and in its concept can be read as an articulation of the “horror†in capitalistic contemporary life.
“There is no document of civilization that is not at the same time a document of barbarism” said Walter Benjamin.
There is something quite barbaric about jimpunk’s AcidMissile, which we can connect with our daily experiences. The use of pop-ups reminds us of jumbo posters, the typography and the titles remind us of the neon light signs/commercials and the performative character of this work reminds us of the worst nightmares happening to us sometimes while surfing the net – especially if one has had the experience of how annoying pop-up’s can be (and if you are like me, you wish, they had never been invented).
I do not know how effectively AcidMissile can light a little bulb in our head exposing the daily dose we get of this nightmare, a nightmare that implants itself spontaneously but very effectively into our consciousness or even into our sub consciousness.
I feel that when you see AcidMissile for the first time it is like driving through Las Vegas.
You are under a big impression of its “greatnessâ€. You don’t really read the neon signs, LED commercials, screens and all its Postmodernist paraphernalia; it’s much too fast. You just relax and enjoy the cruise, but subconsciously the information seeps into your brain. Unfortunately, after a couple of minutes, you are very confused, you don’t know where you are, where you want to go and where you are going. It is dangerous, but then, again, it’s cool.
Maybe this is the best metaphor for AcidMissile, because I think “space†on the internet feels just like that, when you travel through and experience it. I always imagine the net as big highways and roads of information.
jimpunk has created here a well balanced, clean and direct “bombâ€, that puts forward the question of another kind of terrorist threat – not from those terrorists wanting to fulfil their political or religious ideologies, but from terrorists hiding within the capitalistic system, who want to reach their economic goals. These are the terrorists hiding in ourselves, manifested through the information we release on the internet about our own “humble†mortal lives.
And this kind of terrorist threat, our personal one, is perhaps the most dangerous, because we can resist other forms of terrorism maybe, but can we possibly resist our own personal terrorism?
If all creativity is a result of revolt, this work maybe is jimpunk’s revolt. But does it create the need for any kind of a revolt within you?
Another way to conclude this text about the meaning of jimpunk’s work could be as follows:
It’s title – AcidMissile – is composed of
“acid†(: a slang for LSD; bitter sharp taste; critical and unkind, sarcastic…) and of
“missileâ€: object or weapon that is thrown or fired at a target, explosive weapon directed at a target automatically or by means of an electronic device (guided missile).
By combining these two words you get the title for cool, sharp and great art.
——————————————————————————–
ibro fooman hasanovic, Sarajevo.
Born in 1981. Works in the field of video, photogrpahy, drawing and film. His works are generaly comments on identity and history of art. Curently studies at Fine Arts Academy in Sarajevo. Cooks food, drinks votka and from time to time writes.
Jimpunk, Paris
Recent works and participations: 18th Stuttgarter Filmwinter, January 13 16,2005; CYNETart_04areale :: 2003-0153 1n-0ut [meditation]; The Infinite Fill Show, Foxy Production NYC; Festival Ciberart-Bilbao 2004; Simple Net Art Remix (); p0es1s. Digitale Poesie / Digital Poetry Berlin; postartum, long beach, california; tirana biennale 2 new media, (cv see: http://www.jimpunk.com/info/news00.html#festival)
originaly from 56kTV
RHIZOME ARTBASE 101
June 22nd, 2005Rhizome Home
Rhizome ArtBase 101 surveys salient themes in Internet art, a practice that has flourished in the last ten years. The exhibition presents forty selections from Rhizome.org’s online archive of new media art, the ArtBase, which was launched in 1999 and currently holds some 1,500 works by artists from around the world. Featured works are grouped by ten unifying themes and include seminal pieces by early practitioners as well as projects by some of the most pioneering emerging talents working in the field today. Encompassing software, games, moving image and websites, Rhizome ArtBase 101 presents the Internet as a strapping medium that rivals other art forms in its ability to buttress varied critical and formal explorations.
Rhizome ArtBase 101 is currently on exhibition at the New Museum of Contemporary Art. At the Museum, all 40 works are installed on computers and some have additionally been elaborated into installations. Rhizome Members receive half price admission to the New Museum during the run of the show, June 23rd – September 10th. **Please note that as our membership is constantly fluctuating, we will submit an updated list of our Members to the New Museum admission staff each Friday over the Summer. Practically, this means if you become a Member on Tuesday of a given week, your membership will not be noted at the front desk until the following Monday.
For the duration of the exhibition, all 40 works will be available here to the general online public. Many of these works would usually be accessible only to Rhizome Members as they are located within our archives.
DIRT STYLE
Projects described as DIRT STYLE counter the impulse to upgrade. Some works appropriate graphic detritus from the web in gestures that both celebrate and satirize digital pop culture. In extreme animalz: the movie: part I (2005), U.S.-based collective Paper Rad and Pittsburgh artist Matt Barton translated the outdated aesthetic of animated gifs into a sculptural installation exploring the spectacle and emotion we bring to these digital forms and their obsolescence. Here, collages of animated gifs of animals–sourced through Google’s Image search–are surrounded by similarly discarded stuffed animals found in thrift stores. For Rhizome ArtBase 101, their animations are available online, while the whole piece is available only at the New Museum. www.-reverse.-flash-.-back- (2003) is an example of French artist jimpunk’s deconstructed web-based work that makes use of HTML special effects, JavaScript and visual debris from the Internet. In www.-reverse.-flash-.-back-, browser windows–each a different colorful collage–pop up, stutter and careen across the screen, depriving the viewer of control including the ability to exit. In GOODWORLD (2002), New York artist Lew Baldwin uses a unique program to translate any submitted website into an abstracted field of RGB color blocks and decorative syntax. The program takes the most prominent image on a web page and turns it into a magenta abstraction, and transforms the rest of the site into chunks of other websafe colors. GOODWORLD neutralizes the web by draining content and generalizing all websites into aesthetically similar visual fields. Dirt Style works can also express nostalgia by repurposing analog technologies. In Dot Matrix Synth (2003), American artist Paul Slocum reprogrammed a dot matrix printer so that it plays electronic notes in accordance with different printing frequencies. For Rhizome ArtBase 101, Slocum accompanied the printer with an introductory sign that invites visitors to “PUSH BUTTONS TO ROCK OUT.”
— 4lphA.dr4w:ng (s /
June 14th, 2005PC Qtime > 6
only Mac osX – Qtime > 7
PC Alt F4 to Quit
Mac apple Q to close
test PC Qt 6 – Mac osX Qt 7.0.1 – speedWarn:ngConnection
< <<----draw:ng---tag---gr4ffiti---(s)>>>>>>>>>>>>>>>>>>
~1 -popUp window(s and graf(s ==
gu:llotine d4tA – … #2
June 12th, 2005http://www.jimpunk.com/guillotine.d4tA/
PC – Click
Mac osX Qt 7.0.1
AltF4 / appleQ
pict >>> screensho++
|/ #2
(l. m.r…
popup.w:dow.
the w:dow pops Up
/
Il fascino in-discreto dell’errore
May 11th, 2005Screenfull.net
Per una volta i contenuti non scarseggiano. Anzi, sono decisamente troppi. Così tanti che il browser non li contiene e crolla. Sconfitto da troppe immagini, troppi video, troppi link. Due net artisti esplorano l’estetica del collasso. E sfidano il vostro computer…
pubblicato mercoledì 11 maggio 2005
Lo schermo è ipertrofico, sovraffollato, traboccante. Zeppo di scritte, immagini, video e link colorati. La finestra del browser è talmente bersagliata di codice che crasha inesorabilmente. Sconfitta. Abbattuta sotto i colpi di centinaia di istruzioni confuse e sovrapposte. Dell’inevitabile disfatta del programma di navigazione ci avverte prima di tutto un suono, incantato e ripetitivo come uno scratch old school. Seguito da un blocco totale e senza appello.
D’altra parte, il crollo era non solo previsto, ma minuziosamente predisposto, promesso (o forse dovremmo dire minacciato) da Jimpunk e Abe Linkoln, autori del progetto Screenfull. Net artista francese tra i più longevi e fantasiosi, da sempre interessato all’indagine sulle dinamiche e sulle estetiche dell’errore tecnologico, Jimpunk annuncia da subito la propria mission in cima all’home page: “We crash your browser with contentâ€, facciamo collassare il vostro browser per eccesso di contenuti. E alle sue finestre moltiplicate e lampeggianti, agli scroll infiniti, ai link impazziti e agli script schizofrenici si aggiunge per l’occasione l’ironia tutta postmoderna di Abe Linkoln, misterioso artista che marchia le sue operazioni con un logo inconfondibile: un ritratto di Abramo Lincoln in perfetto look punk, con tanto di cresta. Ecco allora mescolarsi sullo schermo sacro e profano, cultura e trash, arte e pettegolezzo: Marcel Duchamp e Paris Hilton, cinema d’autore e telefilm di serie B, Piet Mondrian e Microsoft Windows. Quello che sembra a prima vista solo un frullato casuale di materiale multimediale, si rivela però, ad un’analisi più attenta, una selezione molto personale e paradossalmente accurata, un collage esteticamente caotico, ma non privo di logica.
Una composizione fa pensare più ad un montaggio ragionato che ad un cut-up casuale, fatto di riferimenti che nemmeno il rumoroso affollamento riesce ad offuscare del tutto.
La tanto celebrata capacità degli elaboratori di gestire contemporaneamente testi, immagini e suoni viene qui portata all’esasperazione e al paradosso. Ed è l’eccesso di contenuti -quei contenuti additati da molti come la vera risorsa dello sviluppo economico occidentale- che conduce il software ad una morte inevitabile. Sarebbe fin troppo semplice leggere questo crollo come una metafora dell’ipertrofia informativa della società contemporanea. Meno evidente, forse, ma non per questo meno stimolante, il possibile parallelo con il funzionamento della psiche umana, anch’essa soggetta a crash da sovraccarico.
L’invasione “barbarica†incontenibile di Screenfull ha invaso in questi giorni anche le pagine del blog di Eyebeam, nota istituzione newyorchese che studia, sostiene ed espone la new media art. Sul diario digitale del museo (Re:blog) , che ogni mese ospita un blogger differente, è infatti in azione il virus ultra-contenutistico di Jimpunk e Abe Linkoln che rende il sito poco leggibile, ma molto vitale. Per chi avesse crashato il browser, ma non fosse ancora soddisfatto, è a disposizione anche l’e-book del progetto, scaricabile in formato pdf. Il documento è lungo una sessantina di pagine, ma sarà difficile riuscire a sfogliarlo tutto in una volta prima che si blocchi o si chiuda da sè. In bocca al lupo Acrobat Reader.
link correlati
www.screenfull.net
www.linkoln.net
www.jimpunk.com
www.eyebeam.org/reblog
by Valentina Tanni – Exibart
Screenfull.net: THE BOOK – double, trace, shudder, crash.
April 22nd, 2005RHIZOME DIGEST: 4.22.05
9.
Date: 4.22.05
From: Melinda Rackham
Subject: Screenfull.net: THE BOOK
