tag:www.hanne-mugaas.com,2008://1 2008-11-16T20:00:53Z Hanne Mugaas Movable Type 3.31 tag:www.hanne-mugaas.com,2008://1.288 2008-11-16T19:07:28Z 2008-11-16T20:00:53Z

Secondary Market Josh Blackwell, Ballets Russes, 2005. Courtesy the artist. Coming soon....!...

Secondary Market
Josh Blackwell, Ballets Russes, 2005. Courtesy the artist.
Coming soon....!]]> tag:www.hanne-mugaas.com,2008://1.286 2008-11-12T23:15:03Z 2008-11-12T23:16:01Z

tag:www.hanne-mugaas.com,2008://1.252 2008-08-09T11:39:00Z 2008-08-13T16:36:00Z

I co-organized this screening series with Associate Curator Barbara London in conjunction with her exhibition Looking at Music. This is the first part of several upcoming screenings during the Fall at MoMA. During September and November the Arthur Russell...

I co-organized this screening series with Associate Curator Barbara London in conjunction with her exhibition Looking at Music. This is the first part of several upcoming screenings during the Fall at MoMA. During September and November the Arthur Russell documentary directed by Matt Wolf and a documentary about the Black Mountain College of Art will be screened, among others. MoMA, August 18–December 31, 2008 Music was at the forefront of interdisciplinary experimentation in the 1960s, when the mixing of media really took off, and musicians led the way in developing new working methods. This screening series, presented in conjunction with a series of early media and related drawings, prints, and photographs in the Media Gallery, examines the radical role of music in the early development of media art, and includes documentary and experimental films, and music videos. 9 Evenings: Theater and Engineering Growing interest in the new technologies generated by the rapid developments of the early 1960s led several artists to collaborate with Billy Klüver and his fellow engineers at Bell Laboratories. In late 1965 Klüver and Robert Rauschenberg formed Experiments in Art and Technology (E.A.T.), a project that provided artists, dancers, and composers with access to new technology and presented the resulting works to a wider audience. Ten invited artists—John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor, and Robert Whitman—worked for ten months in collaboration with thirty Bell Laboratories engineers and scientists to develop custom technical equipment. The new equipment was then featured in a series of performances presented in October 1966 at New York City's 69th Regiment Armory. This program presents two of the live events, which were faithfully reconstructed through original documentary film and sound materials. Reconstructions of the remaining seven performances will be shown in subsequent months. Variations VII. 1969. USA. Directed by John Cage. 41 min. Bandoneon! 1969. USA. Directed by David Tudor. 41. Monday, August 18, 2008, 6:00 p.m., Theater 2, T2 Wednesday, August 20, 2008, 8:00 p.m., Theater 2, T2 Wavelength. 1967. USA. Directed by Michael Snow. Snow's groundbreaking structural film consists of a single, forty-five-minute-long tracking shot through the length of a room, accompanied by slowly-increasing sine tones. As the camera moves forward, one registers the passing of several nights and days. (When carefully studied, the movement is revealed to be individual passages edited together.) The frame ultimately closes upon the far side of the room, where a photograph on the wall shows the unsettled surface of the sea. 45 min. Crossroads. 1976. USA. Directed by Bruce Conner. Music by Patrick Gleeson, Terry Riley. Shown in slow motion from twenty-seven different angles and accompanied by Riley's electric organ score, a 1945 atomic-bomb explosion at Bikini Atoll attains a haunting beauty. 36 min. Monday, August 18, 2008, 8:00 p.m., Theater 2, T2 Scorpio Rising. 1963. USA. Directed by Kenneth Anger. A precursor of the music video, this short documentary-style feature contains no dialogue, and rapidly intercuts images against a score of slyly selected pop tunes. Decried as too explicit upon its release, Scorpio Rising looks into the homoerotic world of bikers, focusing on leather-wearing bad boy Scorpio (Bruce Byron). A controversial hit on the underground circuit, the film went on to influence a generation of popular filmmakers. 30 min. Flaming Creatures. 1963. USA. Directed by Jack Smith. Sound by Tony Conrad. Described by the artist as "a comedy set in a haunted music studio," this carnal, polysexual explosion of the filmic terrain caused an uproar upon its release. The film is lauded by many as the most radical and influential film experiment to emerge from the 1960s. Distributed by Canyon Cinema. 43 min. Wednesday, August 20, 2008, 6:00 p.m., Theater 2, T2 Art and Music in Popular Culture Dominatrix, "The Dominatrix Sleeps Tonight". 1984. USA. Directed and produced by Beth B. Choreographed by Barbara Allen. Streetwise Records. One of the great electronic dance numbers of the 1980s. Approx. 4 min. The Cars, "Hello Again". 1984. USA. Directed by Andy Warhol, Don Munro. Produced by Vincent Fremont for Andy Warhol Studio. Elektra Records. Warhol also appears in this music video as a bartender. 5 min. Toni Basil, "Over My Head". 1984. USA. Directed, choreographed, and produced by Toni Basil. Chrysalis Records. 4 min. Laurie Anderson, "Sharkey's Day". 1984. USA. Directed and produced by Laurie Anderson. Warner Brothers Records. Video and music produced by multimedia artist Anderson, with art direction by Perry Hoberman and video photography by Dean Winkler. Approx. 5 min. Sonic Youth, "Tunic (Song for Karen)". 1990. USA. Directed by Tony Oursler. The song and its video, directed by artist Tony Oursler, are about singer Karen Carpenter and her anorexia. Approx. 7 min. NJS. 2001–02. USA. Directed by Seth Price. NJS Map uses animated diagrams to lay out the historical development of one period in pop music, the short-lived but influential genre known as "New Jack Swing." Approx. 3 min. Ugly Yelp. 2000. USA. Directed by Olaf Breuning. Excitable youths are filmed acting out sequences from various horror movies on a jittery hand-held camera; as a Death death Metal metal soundtrack urges them on. 5 min. A Little Thought. 2000. USA. Directed by Rodney Graham. 4 min. File Under Sacred Music. 2003. USA. Directed by Iain Forsyth, Jane Pollard. File Under Sacred Music is a "remake" of an infamous video documenting a 1978 performance by The Cramps for the patients at California's Napa Mental Institute. 5 min. Hip Hop Guangzhou. 2003. China. Directed by Cao Fei. Workers are lured away from their daily chores and activities by the captivating rhythms of American-style hip hop. 3 min. You Are My Sister. 2005. USA. Directed by Charles Atlas. Atlas's video interpretation of a song by Antony and the Johnsons. Approx. 4 min. Oh No, Hey, It Had No Feelings, Beat and Perv. 1999. USA. Directed by Aida Ruilova. The artist creates short video loops out of discrete sounds—a breath, the screeching sound of a vinyl record being scratched, a muttered phrase. 7 min. Apple GarageBand Auto Tune Demonstration. 2007. USA. Directed by Cory Arcangel. Arcangel renders Jimmy Hendrix's infamous Woodstock performance of "The Star-Spangled Banner" unrecognizable using Apple's off-the-shelf pitch-correction software. 3 min. Program Approx. 59 min. Thursday, August 21, 2008, 6:00 p.m., Theater 2, T2




Semina by Wallace Berman. Aleph by Berman is screening at MoMA as part of Looking a Music.


Eight Short Films Aleph. 1958–76. USA. Directed by Wallace Berman. Berman uses Hebrew letters to frame a hypnotic, rapid-fire montage that captures the go-go energy of the 1960s. Aleph includes stills of collages (created using a Verifax machine, a precursor to the photocopier) depicting a handheld radio that seems to broadcast signs, symbols, and diverse mass-media images. Infinitely shuffled, these images allow the viewer to construct his or her own set of interpretations. The transistor radio, the most ubiquitous portable form of mass communication in the 1960s, exemplifies the democratic potential of electronic culture and serves as a metaphor for Jewish mysticism. Distributed by Canyon Cinema. 10 min. Scotch Tape. 1959–62. USA. Directed by Jack Smith. 16mm Kodachrome footage shot on the rubble-strewn site of the future Lincoln Center. The title arises from a piece of scotch tape that had become wedged in the camera gate. Distributed by Canyon Cinema. 3 min. Stockhausen's Originale Doubletakes. 1964–94. USA. Directed by Peter Moore. The film documents the U.S. premiere of Originale, a happening by German composer Karlheinz Stockhausen, at the second annual Avant Garde Festival of New York. Performers included Nam June Paik, Charlotte Moorman, Jackson Mac Low, and Allen Ginsberg, among others. Distributed by EAI. 30 min. Digital Experiment at Bell Labs. 1966. USA. Directed by Nam June Paik. Paik created this starkly minimal experiment in digital imaging using Bell Labs' pioneering research facilities; in the film, numbers and shifting dots appear on a black background. Distributed by EAI. 4 min. Straight and Narrow. 1970. USA. Directed by Beverly and Tony Conrad. A stroboscopic film of unusual intensity by the makers of the classic strobe film, The Flicker. Although it is printed on black and white film, the hypnotic pacing of the images will cause most viewers to experience a programmed gamut of hallucinatory color effects. Through the intermediary of rhythm, the maximal impact is drawn from the simplest of images: straight horizontal and vertical lines. Distributed by LUX, London. 10 min. Violin Power. 1970–78. USA. Directed by Steina. The artist is first seen in footage from the early 1970s, playing the violin and singing along to The Beatles' "Let It Be." As succeeding segments trace a chronological progression, Steina experiments with layers of imagery and time. Connected to various imaging devices, the violin becomes an image-generating tool, creating abstract visual transpositions of sound and vibration. This unconventional self-portrait is a study of the relationship between music and electronic image. 10 min. Migration. 1976. USA. Directed by Bill Viola. Viola describes this film as "a slow, continuous journey through changes in scale, punctuated by the sounding of a gong." 7 min. Winter Wind. 2004. USA. Directed by Andrew Deustch. An electro-acoustic sound composition. 7 min. Program 81 min. Thursday, August 21, 2008, 8:00 p.m., Theater 2, T2 ]]> tag:www.hanne-mugaas.com,2008://1.251 2008-08-09T11:29:19Z 2008-08-09T12:14:21Z

CORY ARCANGEL (US) - performance NILS BECH with Bendik Giske and Anders Smebye (N) - performance and installation ROBERT RAUSCHENBERG and E.A.T. - screening Organized by Hanne Mugaas Henie Onstad Art Center, Norway August 31, 2008 Cory Arcangel: Bruce...

CORY ARCANGEL (US) - performance NILS BECH with Bendik Giske and Anders Smebye (N) - performance and installation ROBERT RAUSCHENBERG and E.A.T. - screening Organized by Hanne Mugaas Henie Onstad Art Center, Norway August 31, 2008 Cory Arcangel: Bruce Springsteen Glockenspiel Addendum "The Ghost of the Future of Rock and Roll" – PopMatters "This is the kind of brazen scheme that most folks dream up over bong-hits only to sober up and abandon" - Pitchfork "The potential to wreak small but significant mischief on rock history" - The Wire "Hyperminimalist" - Artforum "In 2006, on a whim, I decided to go uptown to Sam Ash music store, buy a Glockenspiel and record glockenspiel parts for the songs on Bruce Springsteen's Born to Run record that did not already feature that instrument. Most everything I have ever made has been ignited from a similar semi-destructive whim. A certain idea, most often against my better judgment, mixes with my slight OCD, and I can't stop thinking about it until it is completed. Some people count their steps on the way to work...I do this" - Cory Arcangel Nils Bech in concert. Link. Robert Rauschenberg and E.A.T.: Open Score In 1966 ten New York artists and thirty engineers and scientists from Bell Telephone Laboratories collaborated on a series of innovative dance, music and theater performances, 9 Evenings: Theatre & Engineering, held at the 69th Regiment Armory, New York City, in October 1966. The artists included are John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman. From Rauschenberg's notes on Open Score: More info here. Thanks to Julie Martin, Producer, and Barbro Schultz Lundestam, Director. ]]> tag:www.hanne-mugaas.com,2008://1.241 2008-03-21T13:42:45Z 2008-03-21T13:43:07Z

tag:www.hanne-mugaas.com,2008://1.240 2008-03-19T22:54:36Z 2008-06-13T21:53:31Z

BAD BEUYS ENTERTAINMENT CHARLES BROSKOSKI OLIVER LARIC ANNIKA LARSSON LARS LAUMANN GUTHRIE LONERGAN HAYLEY AVIVA SILVERMAN MICHAEL BELL-SMITH DAMON ZUCCONI The project is now online! All videos in yellow titles were chosen by me. Link here. Curated by Hanne Mugaas,...

The project is now online! All videos in yellow titles were chosen by me. Link here.
Curated by Hanne Mugaas, as part of a project by Where + Wherefore. Also includes projects curated by Nick Weist, Summer Guthery, Montgomery Knott, and Lumi Tan Launches online May 15, 2008 Screening at Monkeytown, Brooklyn, NY, June 5, 2008 Sponsored by Vimeo
]]> tag:www.hanne-mugaas.com,2008://1.239 2008-03-19T22:28:47Z 2008-05-08T15:59:06Z

RICHARD ALDRICH FIA BACKSTROM JOSH BLACKWELL CHARLES BROSKOSKI MARCEL DIONNE IDA EKBLAD LINA VISTE GROENLI PAUL-AYMAR MOURGUE D'ALGUE ANDERS NORDBY JOHANNES P OSTERHOFF ULRICH WULFF Curated by Hanne Mugaas http://www.artsince69.com/...

http://www.artsince69.com/]]> tag:www.hanne-mugaas.com,2008://1.237 2008-03-06T14:25:36Z 2008-03-06T14:35:18Z

January - February 2008 - Conversations NY Arts Magazine Willy Wonka Inc. is a collaboration between artists Ida Ekblad, Anders Nordby, and others. Together they make artwork, run a gallery and artist space, and curate. They describe what they...

January - February 2008 - Conversations NY Arts Magazine Willy Wonka Inc. is a collaboration between artists Ida Ekblad, Anders Nordby, and others. Together they make artwork, run a gallery and artist space, and curate. They describe what they do as art, utilizing the role of the artist, curator, gallerist, or collaborator as needed. Hanne Mugaas is an independent curator who was born in Norway, is based in New York, and is a frequent collaborator of Willy Wonka Inc. Hanne Mugaas: How did Willy Wonka Inc. start and develop? Willy Wonka Inc.: In 2005, we curated the exhibition With Us Against Reality or Against Us! (the title referring to Bush`s With Us or Against Us politics). A lot of people came to see the show—the opening was literally a riot. Our goal was to make room for and inspire a different art scene in Norway. We showed young American, European, and Russian artists, among them Dutch artist Erik Van Lieshout’s paintings and a huge installation by Norwegian artist Bjarne Melgaard. He had been thrown out of his flat in Berlin and he brought its entire contents: cases and piles of his artworks, huge paintings, personal photographs, books, custom-made sofas, and sculptures. In the aftermath of the show we got some great reviews and several offers to curate similar shows at other institutions, but we realized we were not tempted by this idea at all. The maximal, intense, colorful, energetic, and sexual content made us—weirdly enough—drift into the doldrums, a search and craving for depressive, almost ascetic art and music. Ida went on to make a solo exhibition around the act and art of suicide and Anders performed Dérives around Amsterdam before we collaborated again on projects in Los Angeles, Amsterdam, and Oslo. HM: You are artists, curators, collaborators, and gallerists. You simply take on the role that is the most appropriate for each project. Your attitude loosens things up, critiquing the “seriousness” of art. An example is the exhibition you recently curated in Zurich, The Corny Show, a.k.a. The Art is in the Heart. WWI: Yes, we do not think that there is such a big difference between the different roles. That said it might be easier for us to do some kind of weird projects like going to San Francisco to live with one of the members of The Cockettes, whereas a curator would probably choose to live in a hotel and keep a distance from their subjects. We have always loved to do research in many different fields like art, film, and music, and different projects come out of this research, whether they be video screenings, dance nights, our or other people’s works—it doesn’t matter. In the end we consider it all to be part of our art project, and we always have to function as artists because even if we are not showing our personal artworks, we want to present the works in a special way, we want to draw, design, and produce the invitations, posters, books, and zines made in relation to the different projects ourselves. HM: Tell us about your research and interests at the moment. WWI: Apart from classics like Paul Thek and Marcel Brouthaers, we are very inspired by everything that The Cockettes and The Angels of Light were connected to, like the films of Alejandro Jodorovsky, Steven Arnold, and Michael Kalman. The fashion design of the late Kaisak Wong who did costumes for Luminous Procurecess and who hung out with The Cockettes in the 60s. The music of one of our best friends and Willy Wonka Inc. associate Nils Bech, who is working with his first solo album and always sends his recent studio results by email (http://www.youtube.com/watch?v=AQIiRhmItt0), as well as Soft Machine, Cornelis Vreisvijk, Augustus Pablo, Ariel Pink and John Maus, The Residents, Skip Bifferty, Bob Trimble, Charles Manson, Jem Targal, Boredoms, etc. In Oslo we are fond of visiting old museums like the Folk Museum, The Viking Ships, and The Arctic Museum with their gloomy air and old-fashion style. HM: Your current project is an upcoming exhibition in Oslo of The Cockettes, the psychedelic drag queen group which was active in the 60s and 70s in San Fransisco. You are also working on a Cockettes book. The project is happening because you went to Los Angeles in 2006, where you met Rumi Missabu, one of the members of the group, who became a friend. Can you tell us more about how this came about, and about the recent trip you made, staying at Rumi’s house in Berkeley? WWI: The first time we met Rumi Missabu was on a screening of Gregory Pickup’s Pickups Tricks at The Yerba Buena Center of The Arts in San Fransisco. We had read about the Cockettes and were fascinated by their oeuvre and legacy. Rumi invited us to his house in Berkeley and that is how we started to work on this show. It is quite incredible that their work has been exposed as little as it has. Somehow it feels like what they did is still a precious secret. We went back to Berkeley and stayed with Rumi this summer. We watched lots of underground videos, listened to old casettes from The Cockettes’ shows, and rummaged through his extensive archives of Cockettes-related photography, original posters, and paraphernalia. Rumi has an encyclopedic memory when you ask about people or art or shows from back in time. We also got to meet Cockettes and Angels members Sweet Pam, Tahara, Harlow, Billy Bowers, Jilalah, and Fayetta Hauser, who all kindly opened their homes to us and talked about their work and showed us their archives. HM: You are soon leaving Norway to go to Los Angeles, to spend three months at the Mountain School of Art. Will you start up a Willy Wonka Inc. space while you are there? WWI: Maybe we should set up a booth at Venice Beach and sell airbrushed Troll sculptures? Link to NY Arts here.]]> tag:www.hanne-mugaas.com,2008://1.235 2008-03-03T22:45:47Z 2008-03-03T23:01:52Z

Art in General, New York, January 12, 2008. Part of the 10th Anniversary Video Marathon, organized by Hanne Mugaas. Dan Sandin, Nam June Paik, Steina and Woody Vasulka, Matthew Schlanger, Jim Wiseman, and Bill Etra represent a generation of...

Art in General, New York, January 12, 2008. Part of the 10th Anniversary Video Marathon, organized by Hanne Mugaas. Dan Sandin, Nam June Paik, Steina and Woody Vasulka, Matthew Schlanger, Jim Wiseman, and Bill Etra represent a generation of pioneers who explored video and moving image synthesis. These artists developed hardware instruments as technological advancements in an era of idealism and utopian views of communication, where video and television were regarded as the ultimate new creative medium, able to elicit widespread cultural and social change. At the screening, their work was shown alongside that of a new generation of artists returning to hardware-based video instruments, like Billy Roisz (NTSC), noteNdo, Jon Satrom, Paul Slocum, Karl Klomp, and LoVid. Departing from their predecessors, the latter set approaches technology with personal and global nostalgia as well as a romantic infatuation with the media-generating object. Inspired by noise, extreme music, glitch and hacker culture, as well as the fragility, unpredictability, and limitations of technology, they choose to work with decades-old electronic components for personal aesthetic reasons and as a reaction to the dominance of technology and media in mainstream culture. ]]> tag:www.hanne-mugaas.com,2008://1.234 2008-03-03T22:27:36Z 2008-03-03T22:41:41Z

Art in General, January 12, 2008. Part of the 10th Anniversary Video Marathon, organized by Hanne Mugaas....

Art in General, January 12, 2008. Part of the 10th Anniversary Video Marathon, organized by Hanne Mugaas.]]> tag:www.hanne-mugaas.com,2008://1.233 2008-03-03T22:17:15Z 2008-03-03T22:27:20Z

Art in General, New York, January 10, 2008. Part of the 10th Anniversary Video Marathon, organized by Hanne Mugaas. The lecture by writer and curator Ed Halter took its starting point from the work of Washington, DC-based Jeff Krulik,...

Art in General, New York, January 10, 2008. Part of the 10th Anniversary Video Marathon, organized by Hanne Mugaas. The lecture by writer and curator Ed Halter took its starting point from the work of Washington, DC-based Jeff Krulik, maker of the legendary video Heavy Metal Parking Lot. In his talk, Halter addressed the utopian hopes and mundane realities of public access television, the question of fandom and subjectivity, underground VHS bootlegging as proto-file-sharing, criticism of art and comedy, and the challenge of defining the term "artist", and in particular, "video artist". Jeff Krulik's website here.]]> tag:www.hanne-mugaas.com,2008://1.232 2008-02-20T20:49:35Z 2008-05-10T21:53:55Z

ART SINCE THE SUMMER OF '69 at the DARK FAIR at SWISS INSTITUTE in New York FIA BACKSTROM OLAF BREUNING CHARLES BROSKOSKI DAMIEN CRISP MARCEL DIONNE EVAN GRUZIS DENNIS KNOPF PAUL-AYMAR MOURGUE D'ALGUE HAYLEY AVIVA SILVERMAN ULRICH WULFF Curated by...

Curated by Hanne Mugaas and Fabienne Stephan.


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DARK FAIR Presented by the Milwaukee International Opening, March 28, 6 PM This subversive and experimental miniature art fair will take place without the use of natural or electric light. An international selection of galleries and artists will display work custom to these conditions, using candlelight, flashlights, oil lamps, work that glows in the dark, light sculpture, battery powered film and video, and unplugged performances. In this cavernous underworld of exchange, visitors will experience art in completely new ways: featuring shadowy bar booths, dimly lit VIP chill-out zones, peddle-powered film projectors and gramophone DJ's. In addition to custom booths there will be space available for individual artist projects, screenings, and performances including an indoor sculpture garden. Dark Fair participants include:. Air de Paris, Paris Angstrom Gallery, Dallas/Los Angeles B'LING, New York Galerie Guido W. Baudach, Berlin Marianne Boesky, New York Gavin Brown's Enterprise, New York CANADA, New York China Art Objects, Los Angeles Club Nutz/General Store, Milwaukee Zach Feuer, New York James Fuentes, New York Golden Age, Chicago Green Gallery, Milwaukee Jack Hanley Gallery, San Francisco/New York INOVA, Milwaukee KS Art, New York Karma International, Zurich Leo Koenig inc, New York Maureen Paley, London Galerie Micky Schubert, Berlin Other Gallery, Winnipeg Art Since the Summer of 69, Stavanger/Berlin PictureBox, Brooklyn Espacio Provisional, Havana/Miami The Suburban, Oak Park White Columns, New York Willy Wonka, Oslo Hiromi Yoshii, Tokyo Website here.]]> tag:www.hanne-mugaas.com,2007://1.193 2007-12-17T18:34:30Z 2008-05-10T23:05:45Z

MEDIUM COOL ART IN GENERAL'S 10th VIDEO MARATHON January 10-12, 2008 Sixth Floor Galleries Art in General 79 Walker Street New York NY 10013 tel. 212 219 0473 www.artingeneral.org info@artingeneral.org Organized by Hanne Mugaas Art in General's 10th Video...

MEDIUM COOL ART IN GENERAL'S 10th VIDEO MARATHON January 10-12, 2008 Sixth Floor Galleries Art in General 79 Walker Street New York NY 10013 tel. 212 219 0473 www.artingeneral.org info@artingeneral.org Organized by Hanne Mugaas Art in General's 10th Video Marathon explores the current state of video art, situated in-between institutionalized 'Video Art' and the work emerging from the flow and dynamism of the Internet. Taking the title of Haskell Wexler's film of 1969, which suggested a critique of Marshall McLuhan's distinction between 'hot' and 'cold' media, Medium Cool suggests that video is an idea rather than a technology – as an umbrella term for a particular set of practices, it promises democracy while at the same time threatening to reduce images to information. Through screenings, lectures, and a dedicated website, the Marathon looks at a range of video practices, including early experiments within the media itself, while dealing with issues of video distribution and copyright, the making of (art) history and legacy through moving images, and the general impact of technology on contemporary culture. In keeping with this tenth anniversary of the Video Marathon, the screening Transitional Objects, curated by Thomas Beard, looks back on the past decade of electronic art as a way of thinking about a medium that has remained in flux—politically, aesthetically, and technologically—since its inception, while Artist Looking at the Camera, curated by Hanne Mugaas and Fabienne Stephan, includes the work of artists who use the medium to explore the creation and distribution of facts and history. The Marathon opens on Thursday 10th January with a lecture by Ed Halter, and ends on Saturday 12th with Art Since 1960 (According to the Internet) an event by Hanne Mugaas and Cory Arcangel, and Flipped Chips, an event curated by the artist collaborative LoVid.
EXHIBITION:



Artist Looking at Camera An exhibition curated by Hanne Mugaas, with Fabienne Stephan Ongoing on the evening of January 10, and during January 11 and 12 The exhibition Artist Looking at Camera highlights artists who use the tools of re-enactment, appropriation and moving image manipulation to question how history is produced and how facts are modified and reinforced through distribution. Lene Bergs’ video The Man in the Background explores art and propaganda during the Cold War. Focusing on the undertakings of the Congress of Cultural Freedom (1957–1967), Berg's approach calls into question what is defined as a "liberal conspiracy" and what is otherwise deemed a successful state sponsored cultural effort carried out by a power intelligence agency. The video Champions is a “self-portrait” of the artist group Bad Beuys Entertainment. Living in the suburbs of Paris, and working with issues of identity and media, the group hired actors ,dressed them up in tracksuits, and made them pose in front of the camera. The video seeks to problematize the stereotype image expressed through media of the troubled and violent young man from the Parisian suburb. Iain Forsyth and Jane Pollard’s video Walking after Acconci references the seminal video work Walk-Over (Indirect Approaches), made in 1973 by performance artist Vito Acconci. By working with Plan B, a sharp-tongued young MC, Forsyth and Pollard has updates the script and re-shoot the video, liberally adopting the style and aesthetic of contemporary urban music videos.. Guthrie Lonergan’s video Artist Looking at Camera is a compilation of video clips from Getty Images, the results of the search line ‘artist looking at camera’. The video exposes the cliché of commercial imagery, and how moving images are standardized into formats before being distributed to the consumer. Also commenting on online imagery is Anders Nordby, who in Digital Balaklava (All Rites Reversed) explores the paradox of exhibitionism and privacy online through a compilation of images found on the web. The images depict individuals conducting illegal actions, but with their faces digitally erased, visualizing the paradox that the digital erasure can be reversed to reveal the individual’s identity. Commenting on the current situation of digitalization and copyright, Annika Larsson’s video Pirate was filmed on May 1, 2006 during an action by the Swedish anti-copyright movement (Piratbyran and the Swedish Pirate Party) in Stockholm, Sweden. Discussing issues such as ownership of culture, and the nature of art and creativity is Nate Harrison’s The Amen Break, which narrates the history of the "Amen Break," a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music -- a six-second clip that spawned several entire subcultures. Ida Ekblad explores the imagery of nature channels and magazines. Through poetic constallations of imagery and text, she is in the video National Geographics commenting on the fact that nature is increasingly arranged and experienced through media. Haris Epaminonda’s video Turmoil V is based on re-shot excerpts of film and television footage – principally the Greek soap operas and kitsch romantic films from the 1960s that used to fill up Sunday afternoons in the artist’s Cypriot childhood – which she then subtly reworks. In Bach-Gould-Hahn Sascha Hahn offers a kaleidoscopic montage of existing visual material, thematically arranged in thirty ‘chapters’ (a direct reference to the thirty key variations of Bach’s Goldberg Variations) providing a broad associative inventory of decisive moments in contemporary cultural production. Steven Sutcliffe’s Come to the Edge is rooted in his interest in archival footage, audio and film. Through a process of association, added imagery and music from different sources, the video leads to a reassessment of the construction of meaning in-between imagery and sound. Lars Laumann’s Book Store Scene examines hidden meanings in popular imagery, in this case the Zucker brother’s 1984 comedy Top Secret!, where the original footage is recorded backwards in one of the scenes, as the filmmakers thought that English language played backwards sounds like Scandinavian.
SCREENING:

Transitional Objects Screening curated by Thomas Beard Ongoing on the evening of January 10, and during January 11 and 12. Transitional Objects looks back on the past decade of electronic art as a way of thinking about a medium that has remained in flux--politically, aesthetically, and technologically--since its inception. Whether the subject is dimestore psychics or the return of the repressed, new loves or old regimes, all seven works raise the question: whither video? And where have you been? Artists include Eileen Maxson, Michael Robinson, Jennifer Montgomery, Jennet Thomas, Bobby Abate, and William E. Jones.
EVENTS:

January 10, 6.30: Regarding Jeff's People A lecture by Ed Halter This lecture takes its starting point from the work of Washington,DC-based videomaker Jeff Krulik, maker of the legendary video Heavy Metal Parking Lot, and many other works. Topics addressed include the utopian hopes and mundane realities of public access television, the question of fandom and subjectivity, underground VHS bootlegging as proto-file-sharing, criticism of art and comedy, and the problem of current definitions of the artist, more particularly the video artist. Watch a clip from Heavy Metal Parking Lot here.

January 12, 6.00: Art Since 1960 (According to the Internet) A project curated by Hanne Mugaas and Cory Arcangel, performed by Cory Arcangel For this event, Mugaas and Arcangel have sorted and collected video from the Internet in order to discern where art and art history on the web is situated right now. The findings will culminate in a video screening presented with a live directors commentary. Without the guidance of institutions and armed only with the ability to crudely search through text, the Internet's version of art history only slightly differs from the academic version. For instance, on the Internet, actual artist videos are placed next to user generated karaoke remakes. The control systems that normally govern the systematization of art is dismantled by search algorithms and whims of home users. The intention of this event is to explore how art production and histories are changed by the growing use of the Internet as a platform and resource.


January 12, 7.00: Flipped Chips A screening and lecture by Lovid Curated by interdisciplinary artist duo LoVid, Flipped Chips includes single channel videos as well as clips by artists from around the world who custom make their own hardware video instruments. Dan Sandin, Nam June Paik, Steina and Woody Vasulka, Matthew Schlanger, Jim Wiseman, and Bill Etra represent a generation of pioneers who explored video and moving image synthesis. In an era of idealism and utopian views of communication, where video and television were regarded as the ultimate new creative medium, these artists developed hardware instruments and other image processing technologies as a way to reflect widespread cultural and social change. Their work will be shown alongside that of a new generation of artists who have returned to hardware-based video instruments, such as Billy Roisz (NTSC), noteNdo, Jon Satrom, Paul Slocum, Karl Klomp, and LoVid. Departing from their predecessors, the latter set approaches technology with personal and global nostalgia as well as a romantic infatuation with the media-generating object. Inspired by noise, extreme music, glitch and hacker culture, as well as the fragility, unpredictability, and limitations of technology, they choose to work with decades-old electronic components for personal aesthetic reasons and as a reaction to the dominance of technology and media in mainstream culture. Website A website with an online exhibiton and material relating to the project will be available from January 11. URL: www.hanne-mugaas.com/videomarathon
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Hanne Mugaas is an independent curator based in New York, where she is currently assisting Associate Curator Barbara London in the Media Department at the Museum of Modern Art. At the MoMA, she recently organized the screening The Artist and the Computer. Mugaas' recent independent projects include the screening Extended Animation: Digital Effects, Corporate Logos and Style, at Gallery F15 in Moss, Norway; the exhibition Paris was Yesterday, at La Vitrine in Paris; and The Copy and Paste Show, for Rhizome at The New Museum of Contemporary Art in New York. Fabienne Stephan is a curator, born in Switzerland, based in New York. Recent projects include the exhibitions Early Works (co-curated with Marilyn Minter and Matthew Higgs) for White Columns, and New Works, Aloïs Godinat for Artist Space in New York. She is currently Director of the gallery Salon 94. In 2006 she was an Associate Producer for Laurie Simmons, and she co-curated Anime!, a screening series of Japanese animations at the Museum of Modern Art (MoMA) in NY. Thomas Beard is a writer and curator of film and electronic art. From 2005-2006 he was Program Director of Ocularis, a non-profit media arts organization based in Brooklyn. Prior to that he served as a programmer at Cinematexas, and has organized screenings and exhibitions at such venues as Aurora Picture Show, MassArt Film Society, the New York Underground Film Festival, Pacific Film Archive, and the Museum of Modern Art. He is also the editor of Live Cinema: A Contemporary Reader, which will be published next year by San Francisco Cinematheque. Ed Halter is a frequent contributor to the Village Voice and a curator of film and media. His writing has appeared in Cinemascope, Arthur, The Believer, the New York Press, Out Magazine, Millennium Film Journal, Kunstforum, indieWIRE, Filmmaker, Vice, Rhizome, Computer Gaming World, Cinemad, Paper and elsewhere. From 1995 to 2005, he programmed and oversaw the New York Underground Film Festival, and has curated for venues such as the Museum of Modern Art, Eyebeam, the Brooklyn Academy of Music, the Flaherty Film Seminar, and Cinematexas. He is a visiting assistant professor in the department of Film and Electronic Arts at Bard College, and has lectured at Harvard, Yale, NYU, and other schools. His nonfiction book From Sun Tzu to Xbox: War and Video Games was published by Thunder's Mouth Press in 2006. Cory Arcangel is an artist and performer who works with early computers, the Internet, and video game systems. He is best known for his Nintendo game cartridge hacks, and his reworking of obsolete computer systems of the 1970s and '80s, such as the Commodore 64 and Atari 800. Arcangel often works with the art collective/record label Beige, a loosely defined ensemble of artists and programmers who work collaboratively in digital media. Beige has produced videos, Web projects, and albums of electronic music, as well as modified Nintendo video game cartridges. Arcangel is also a member of the collective Radical Software Group (RSG). LoVid (Tali Hinkis and Kyle Lapidus) overwhelms the senses with their new media performances, videos, objects, and installations. Touring the US and Europe extensively, LoVid has performed, exhibited, and lectured at The Neuberger Museum, The Butler Institute of American Art, PS1, Evolution Festival (UK), The Kitchen, RISD, Massachusetts College of Art, Kansas City Art Institute, Chicago Art Institute, University of Wisconsin, Futuresonic Festival (UK), The New Museum of Contemporary Art, Ocularis, The Happy Lion, and Institute of Contemporary Art London among many others. LoVid has been part of the artist in residence program at Eyebeam, Harvestworks, iEAR, Alfred University, and Stevens Institute of Technology, has received grants and awards from Experimental TV Center, NYSCA, Foundation for Contemporary Arts, and Greenwall Foundation, and are a free103Point9 transmission artist. ----------------------- Art in General's Video Marathon is made possible by the New York State Council on the Arts, a state agency and The Experimental Television Center's Presentation Funds program, which is supported by the New York State Council on the Arts and mediaThe Foundation. Additional support is provided by the Office for Contemporary Art Norway (OCA). ]]> tag:www.hanne-mugaas.com,2007://1.170 2007-08-04T16:49:09Z 2007-08-06T11:27:25Z

An event produced by PopRally at MoMA. Co-organized with Sarah Cooper and Sonya Shrier. Tuesday, July 24 | 8:00–11:00 p.m. The Museum of Modern Art In conjunction with MoMA's Automatic Update exhibition, PopRally presents an evening of live performances,...

An event produced by PopRally at MoMA. Co-organized with Sarah Cooper and Sonya Shrier. Tuesday, July 24 | 8:00–11:00 p.m. The Museum of Modern Art In conjunction with MoMA's Automatic Update exhibition, PopRally presents an evening of live performances, art, and music with Paper Rad, featuring Cory Arcangel and special guests. Influenced by 1980s mass media and pop iconography—from Garfield to Gumby to Trolls—Paper Rad (Jessica Ciocci, Jacob Ciocci, and Ben Jones) playfully combines found footage from TV and the Internet with original animations to create utopian, rainbow-filled environments that elicit nostalgia for the throwaway technology and images that have permeated the last two decades. This event will feature performances by Ben Jones, Cory Arcangel, Slow Jams Band, and DJ Jazzy Jexxx. The artists create a psychedelic landscape where viewers can, at their whim, tune in, tune out, revel, and reflect on the ways in which the "new-media era" of the recent past has changed the way we comprehend art, music, and culture. ]]> tag:www.hanne-mugaas.com,2007://1.169 2007-08-04T16:08:01Z 2008-05-10T22:38:51Z

BERNADETTE CORPORATION DARA BIRNBAUM PIERRE BISMUTH CHARLES BROSKOSKI CURATED BY HANNE MUGAAS Gallery F15, Moss, Norway September 1 - November 11, 2007 Extended animation; digital effects, corporate logos and style. The screening includes artists who are using digital editing and...

BERNADETTE CORPORATION DARA BIRNBAUM PIERRE BISMUTH CHARLES BROSKOSKI CURATED BY HANNE MUGAAS Gallery F15, Moss, Norway September 1 - November 11, 2007

Extended animation; digital effects, corporate logos and style. The screening includes artists who are using digital editing and animation tools as part of their practice in order to manipulate popular entertainment and iconography, mimic corporate design, or visualize technology's impact on contemporary imagery. From Bernadette Corporation's use of computer software to Pierre Bismuth's montage of found cinematic material; from Dara Birnbaum's exploration of the cartoon character Wonder Woman through linear editing to Charles Broskoski's digital customizations, the artists in the screening utilize repetition, movement and abstraction as analytical tools to visualize the mechanisms of technology, entertainment and culture.
BERNADETTE CORPORATION Logo Film 1996. 5:10 min. Color, sound. The B.C. Corporate Story 1996. 7:03 min. Color, sound. Logo Film and The B.C. Corporate Story examine the sorts of propaganda that a corporation might distribute internally to communicate an over-arching mandate or vision to its workers in order to boost morale. Bernadette Corporation twists these intentions and provides a document that underpins and deconstructs the existing material. Write the artists: "An early self-portrait of Bernadette Corporation and an in-house film whose purpose was to inspire and motivate members of the New York-base artist collective cum underground fashion label. Corporate propaganda for a subculture-obsessed youth market." Sony Corporation, Disney Corporation, Time Warner Corporation, Beatrice Corporation, Bernadette Corporation. Since 1994, the anonymous, international group of artists known as Bernadette Corporation has explored strategies of cultural resistance and détournement, appropriating contemporary entertainment modes for their own experimental purposes. From the New York-based BC fashion label and the magazine Made In USA to the collectively-authored novel Reena Spaulings (Semiotexte, 2005) and videos starring the likes of Sylvère Lotringer and Chloe Sevigny, Bernadette Corporation's projects amount to a critique of a global culture that constructs identity through consumption and branding.
DARA BIRNBAUM Technology/ Transformation: Wonder Woman 1978. 7 min. Color, sound. Appropriating imagery from the TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman's symbolic transformation into super-hero. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative, playing on the psychological transformation of a television product. In her videos, Birnbaum applies low-end and high-end video technology to critique and deconstruct the power of mass media images and gestures to define mythologies of culture, history and memory. Birnbaum was born in 1946 in New York, where she currently lives and works. She has exhibited extensively worldwide, and her work is in the collections of Centre Pompidou in Paris, San Fransisco Museum of Modern Art (SFMoMA), and Generali Foundation in Vienna, among others.
PIERRE BISMUTH Coming Soon 2006. 15 min. Color, sound. Coming Soon comprises a single screen video montage of the last segments of actual film trailers. The video is embodied in the iconic phrase 'Coming Soon,' which is typically used to announce the release of a film. By repeating this language, Bismuth presents a paradox to the viewer, as the words create an expectation that will never be fulfilled. Bismuth is known for his manipulation of cultural products; feature films, newspapers, and magazines. Creating videos, musical compositions, drawings, and collages, he mines acoustic and visual perception and the structure of narrative. Using a variety of devices to track and document the ways we work, he compiles an ongoing study of the frequently overlooked peculiarities of memory, comprehension and interpretation. Pierre Bismuth was born in Neuilly-sur-Seine, France in 1963. He has recently exhibited at Witte de With in Rotterdam, Mary Boone Gallery in New York, Kunsthalle Dusseldorf, Istanbul Museum of Modern Art, and Kadist Art Foundation in Paris. He won an Oscar for collaborating on the idea and screenplay for the feature film Eternal Sunshine of the Spotless Mind. He lives and works in Brussels and New York.
CHARLES BROSKOSKI Infinity x 10 2006. 10:50 min. Color, silent. For Infinity x 10, Broskoski has written a computer program to play the ‘Infinity and Beyond’-scene of the movie 2001- A Space Oddyssey 10 times over with a 5 second difference between each instance. 2001- A Space Odyssey was one of the first movies to use computerized special effects. For the original ‘Infinity and Beyond’-scene, animation techniques were used to mimic the journey through space. Working with Stanley Kubrick was Douglas Trumbull, who produced the ‘Slit-Scan Effect’ where basic cinematic techniques were mixed with computer and video sciences. Broskoski visualizes how computer technology is currently all-embracing popular entertainment, and further explores the possibility to distort and manipulate. Charles Broskoski was born in New York in 1982, where he currently lives and works. He founded and is still part of Supercentral.org. ]]>