Monthly Archives: November 2013

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I am well over half way through my residency here in Athens.  The experience has given me time to reflect and focus not just on the proposed new works I hope to start working on but give me new perspectives on continuing themes within my practice.  The city has given me plenty more new ideas for future works and added to existing ideas, bolstering concerns ongoing.

As I posted recently I attended Urban Lightscapes Symposium which definitely gave me a wake up on certain areas of my practice and again reminded me to consider a wider practice.  This past weekend I started some workshops for the upcoming Sound Tectonics that is happening this coming week.  These workshops introduced both Processing and Arduino which I have used before but allowed me to understand further the benefits of such tools.  The workshops were long but really good and I feel a little more capable with these tools now, even considering future projects using Processing that prior to these I would of tried other methods first.  So I am getting excited for the whole week coming up which should give me new thoughts and ideas as to where I am going with sound within my practice.

The Glitch works I have been working on have started to come together.  I have had to really think before starting these new works of how to order my process.  Considering a language that will allow me to find each sample and know where I found it and where I could use it.  This has meant I have had to label each sample either using a systematic approach of 1-28/A-S or more descriptive BW Slow Fade Whisper Crackles, Silent Double Beeps.  I have attached a test run of a track that I am in the process of putting together based of the image above.  The abandoned airport here in Athens, Ellinikon.  The track uses 12 samples currently of this image mainly Black and White though some colour samples as well.  I have not yet used any effects on these samples so the track is pure Glitch image with only the volume adjusted.  Have a listen and let me know what you think, I will post the track in its next form once I use a bit of artistic license and use effects to manipulate the sounds a little and add some midi samples.



Really drawn to these text works by STEFAN BRÜGGEMANN.  I am not sure whether it is because I feel familiar with his approach or whether I am just quizzical about the sincerity of them.  Having made text works myself and continuing to do so currently they bridge an odd gap in the art world.  A chance to state the obvious whilst also hinting at more.  Whether one should be confrontational or just suggestive I am still at odds with. I do think that BRÜGGEMANN is clear in the intention and decisive in the application.  The meaning though will always be unending as people read what they will.

To see more works check STEFAN BRÜGGEMANN website.



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réclamer – Valentin Ruhry Solo Exhibition

Dates: 16.05.2013 – 02.06.2013

@KM K,

Burgring 2
8010 Graz


01_RUHRY_reclamer_5184 x 3456-13_7845 07_RUHRY_reclamer_3456 x 5184-12_7828-a7deba31 12_RUHRY_reclamer_3456 x 5184-01_7921-af997bf3dsc_2747.jpg__500x0_q85

Earlier this week I had the pleasure of seeing Valentin Ruhry talk about his practice at the Urban Lightscapes Symposium here in Athens.  He talked about his use of light as a medium and how he is still a sculptor yet light is one of the mediums he works with.  Without light do actual works of art exist when the lights are switched off at the end of the day/exhibition.  What is left if the work cannot be seen?  He spoke about how his interest in light works came about by making the unseen visible.  His current show “réclamer” exhibits naked illuminated advertising signs.  The works were made purely to display the form and materiality of these signs without meaning.  Though with such artwork once installed the power of their natural presence prompted discourse around the political meaning these structures and forms invoked.

For me they remind me of the power of no advertising and an urgency to look past what is push in front of our view and daily experience. Rather to look to what is not obvious and seek an alternate perspective on our situation and landscape.

Ruhrys’ website ( provides a resource for his other works and projects.  It is pretty extensive so take your time and have a look through his work.  Here are a few examples of his other works:


forgive_me_2007_ruhry-0f9b48b2 hello_world_02_front-62d6e451 obs_1-0e2ed725 RUHRY-Falsche_Universalismen_2012_24_5283-b542b3ee RUHRY-Position_2012_01_4605-28520eeb RUHRY-radikale_transparenz_2011_01_5361-10a036e0

Beloufa_BleacherHappiness_2013-800x533 Beloufa_Exhibition-view_2013-800x482 Beloufa_HorizontalKnight_2013-800x533 Beloufa_PeoplesPassion_2_2013-800x557 Beloufa_Real-Estate-TBD-1_2013-800x537


Neïl Beloufa is currently showing at François Ghebaly.  His work always fascinates me and hopefully one day I will eventually get to see a show of his in person.  The current exhibition comes with a press release written by Andrew Berardini and is apt for the works that I see being produced by Beloufa.  The press release does what his works do, as though you are double taking or missing a trick.  This engagement brings me back for more and its what makes me like certain works and pass by others.

Here is the release:

Looking everywhere for low-cost, robust quality artwork? Go someplace else.

François Ghebaly isn’t proud to present some of the worst merchandise by Neïl Beloufa. All artwork comes with an “originality” dilemma and so we understand that the lack of originality brings minimal meaning to otherwise invigorating cultural experiences. Keeping that in mind, we can’t offer you a unique solution. This is sub-standard materials and shoddy craftsmanship combined into a truly derivative product.

The product is the problem, the object not worth the effort.

We can pretend of course with half-understood words and derivative ideas. We can write about “critiques of capitalism,” or “the rhetoric of boosterism,” or better “the theatre of consumer desire that penetrates the quotidian, our inner cores.” And if we were feeling exceptionally deceptive, we could insert phrases like “the most significant” or “the leading artist of this generation” and other deplorable superlatives. ███████████████████████████████████████████

Now comes the worst part—while most artworks succeed in their ease of storage, these bulky, unwieldy objects are also difficult to store after use. Beloufa’s work occupies more space while still giving you the least original ideas. While it employs empty gestures and garbled philosophy, it can never be easily dismantled into convenient storage units and impossible to reduce to a single unmuddied brand.

As regards any issues pertaining to repairs and replacements, our services are completely unavailable. As part of our introductory offer, we are asking you to enter a waiting list until you’re allowed to pay.

We want your home to be the cleanest in the neighborhood, so this artwork really isn’t for you. It really doesn’t matter to us!

– Andrew Berardini




My day today was spent at the Onassis Cultural Centre here in Athens.  The Urban Lightscapes symposium organised by the Light Art Collective – BEFORELIGHT the first in three events taking place across Europe.  If you are in Barcelona or Maastricht in the coming months then please go and attend this event was really worth attending with fresh perspectives and inspiration abound.  Here is their outline for the project:

The Project

During the last decade urban lighting concepts have been employed in order to accommodate the needs for commodity and security in urban areas. Exterior lighting has so far been considered only as a technical factor regardless of the social environment and not in connection with the citizens that are directly affected by the way it is used. It has also been noticed that numerous deprived urban areas in Europe tend to be characterised by outdoor low-light conditions, which often make people feel insecure, alienated and frustrated.

In this context, the main object of this project, initiated by the light art group BEFORELIGHT, is to investigate and practically experiment on the relationship between urban lighting and the civil society while trying to encourage dialogue, active participation and creativity.

By bringing together local communities, academic and professional contributors and light artists from around Europe the project’s goal and its concrete outcome is to create participatory light installations in specific neighborhoods of Maastricht, the Netherlands. Such an attempt will also be the result of a multidisciplinary and experiment – oriented process that will previously take place in Greece and Spain through the preparation of a Symposium and a Workshop.  The project’s aim is to encourage local communities to get engaged in actions that bring changes in public spaces and urban environments through the collaboration of artists, designers, scientists and social partners.

Overall, the purpose of the “Urban Lightscapes” project is to become a successful example of interdisciplinary, transnational and cultural cooperation while reflecting on public lighting. The artistic lighting installation aspires to bring changes not only in the chosen areas but also in other European communities that may use this project as a case study for future reference. Last but not least it wishes to be a good example of methodology for other future light installations. The challenge is to change the way citizens perceive open spaces and urban lighting by encouraging them to actively participate in such collaborative projects.

I will post some links tomorrow on some of the artists and speakers.  A lot to take in and digest but really thought provoking concepts and public engagement projects.  For now take a look at the trailer:


If you would like to get involved at the next event in Barcelona here are the details:

Urban Lightscapes Workshop: “Creating participatory light prototypes”.

Dates:  22/10-24/10/2013
Time: 10h00min – 20h00min

IAAC FabLab Barcelona

Beforelight and IAAC Fab Lab Barcelona organize the “Creating participatory light prototypes” Workshop within the European-funded project Urban Lightscapes.

Urban Lightscapes is a European Project focused on the multifaceted study of urban lighting, through an interdisciplinary platform that involves artists, designers and citizens, with utter goal to promote open dialogue and residents’ active participation. Involving three activities: a symposium, a workshop and light installations, Urban Lightscapes aims to change the way citizens perceive open spaces and urban lighting, aspiring to be a successful example of an interdisciplinary and social collaboration with positive influence in public lighting.

The aim of the workshop is to design and fabricate a Participatory light Prototype/lighting Process, promoting users’ participation in creating different light interventions in their neighborhoods.

Every citizen should be able to have a saying in his neighborhoods lighting conditions. The workshop proposes to promote this participation using two Participatory Methods:


1. Customized Design and Personal Fabrication (phase 01)

The user gets involved in the development of a concept for the neighborhood.

Through the design phase users can customize the form, materiality, surface and color of the lighting devices as well as the lighting type and the location of the lighting sources.

Through the fabrication process participants will have the possibility to participate in the materialization of the customized designs. Using CNC fabrication equipment they will have the ability to personally and locally fabricate their designs in a short fraction of cost, in comparison with other methods.


2. Interactive Design (phase 02)

Users will have the ability to program their customized lighting prototypes and choose the inputs that will influence their performance.

Sensors of light and presence are embedded in the prototypes. Through physical computing users will decide when the lighting prototypes will light up and in what color, as a way of visualizing information from the urban environment and as a tool for efficient lighting function.

During the workshop, the use of different light sources-devices as Led stripes, lamps with ordinary lamp holders will be explained , along with different light conditions that they can produce, such as Linear lighting, spot lighting, lighting surface, self illumination etc. The participants will have the chance to use the Participatory Methods in order to apply their concepts for making a “participatory light prototype”.


The Workshop will be hosted at IAAC FabLab Barcelona on Friday 22 November 2013-up to Sunday 24 November from 10:00 to 21:00 and conducted in English.

Attendance will be limited to 25 people, with a symbolic fee of 45 Euros, and could concern designers (urban, industrial, light, textile, etc), architects, engineers etc.

To book a place in the workshop please state your interest until Friday 15 November, in the following 

imagesWOAH today sees the launch of The Wrong – New Digital Art Biennale, the concept and outcome is pretty incredible with such diverse works being shown and with such a broad spectrum of artists.

The Wrong – New Digital Art Biennale

The Wrong – New Digital Art Biennale opens its “online” doors, here at , and in a more relaxed pace, its “AFK” doors in more than ten different cities around the world.

What is The Wrong’s mission? To create, promote and push positive forward-thinking contemporary digital art to a wider audience worldwide through a biennial event that gathers the best selected by the best, while embraces the young talents of today’s digital art scene.

A team of 30 top curators/artists have been working for more than 6 months to feature what they like best in the new digital art world. The biennial is divided into pavilions; virtual spaces in which selected works are exhibited. In total, there are 30 online pavilions, including an “unlimited” pavilion open to public participation and a “meta” pavilion exclusively featuring exclusively the artwork of the curators. More than 300 artists have been invited officially, and have their work featured in the pavilions, and several hundreds are still applying to until the end of the event to participate of the “unlimited” open pavilion. The Wrong is the only free biennial that is fully accessible both to participate and to attend, and everything just one click away.

The Wrong has no theme. Each of the official pavilions has a curator responsible to select its artists. The curators leading pavilions are Jodi, Yoshi Sodeoka, Anthony Antonellis, Rollin Leonard, Lorna Mills, Curt Cloninger, Emilio Gomariz, Eric Mast, Chiara Passa, Max Hattler, A.Bill Miller, Helena Acosta, Peter Rahul, Miyö Van Stenis, Andrew Benson, Emilie Gervais, Rick Silva, Michaël Borras, Sara Ludy, Ellectra Radikal, Giselle Zatonyl, Protey Temen, Johann Velit, Michael Staniak, Gerhardt Rubio Swaneck, Rosa Menkman, Joseph Yølk Chiocchi, Cristina Ghetti, Julia Borges Araña, Guilherme Brandão e David Quiles Guilló.

The open public unlimited pavilion (aka Homeostasis Lab) displays a selection of artwork submissions that artists and general public interested in participating in the event, but who were not invited by any curator, can submit to the two curators assigned specifically to this space . An open call was released early April 2013, and will run until the last day of the event, allowing everyone interested to have a chance to submit their work also during the event. The content of this pavilion will be curated by Julia Borges Araña + Guilherme Brandão and renewed everyday until last day of the biennial.

The curators pavilion (aka META) will open its doors later this month, and displays exclusively artworks generated by the curators. The curators’s pavilion curator, David Quiles Guilló, is also the creative director of the The Wrong, and found guilty of selecting the 30 curators of the biennial. He is the founder and creative director of ROJO®, the art joint responsible for putting this biennale together, from initial ideas to getting everyone on board, to design, production and full media communication of the event, until its last consequences.

In addition, and for everyone who really needs to share a drink AFK (away from keyboard) with their friends, The Wrong curators have selected several art spaces in cities around the world to host The Wrong Embassies, temporary AFK projects, where the physical experience of the digital biennale will take place, featuring live performances, workshops and exhibitions.

At the very end of the biennial, The Wrong Book will be launched, compiling a selection of the best digital artwork submitted by all participants to specifically appear printed in this book. Due to the very nature of the event, we had to think of something amazing, so The Wrong Book’s binding will be done in “random mode”, meaning that each and every copy will be unique. It will be available for orders online on January 2014. More news on this very soon.

The Wrong is, as David Quiles Guilló puts it; “A large gathering of creative individuals, inside a virtual enviroment, speaking the highest form of human communication; ART”.

Please join us like if it was your very first time at;

The Wrong
New digital Art Biennale.

November 1st to December 31st, 2013


Re-post from Lifelounge:

251013115427_monafomadeetMONA FOMA, Tasmania’s annual Festival of Music and Art, is back. We’re fucking excited. You should be too. After having our minds fisted by the gnarly arm of Dark Mofo late last year, we are now slaves to the island beast and its yearly offerings. And the time has come to headily succumb to what, on an embargoed email, reads to be another ball tearing journey to the thumping heart of Hobart. Since its inception in 2009, the five-day, multi-disciplined orgy of art has helped cement Tasmania’s place within Australia’s cultural fabric. Forget apples and biker speed, thanks to David Walsh’s fortress of fantastic, MONA, and the collective mind power of Tasmania’s creative community, Tassie is now all about throwing rad festivals and parties. We actually couldn’t sum the lineup better than the presser itself, so in a nutshell, among this year’s MONA FOMA madness there’ll be “…a dancing robot, a free-styling philosopher, prog-punk space opera, morning meditation, black metal with violins, gender liberationists, ambient electronica, string quartet protest music, a Krautrock pioneer, bluegrass Bach, improvised pipe organ, and the usual Bacchanalian nightclub mayhem of Faux Mo. Oh, and lasers.” Yep. The organised chaos has been orchestrated by Brian Ritchie of Violent Femmes fame, along with MONA senior curators Nicole Durling and Olivier Varenne. It’s all about championing the festival’s “…egalitarian philosophy”, which is basically fancy speak for everyone gets to party as hard as everyone else. The venue for this year’s event will centralise at Macquarie Wharf (MAC1 and MAC2) for the first time and will feature two stages, three orchestra’s, over 200 artists and fuck all sleep. Perfecto. Enough yabbering.

Here’s the lineup. MONA FOMA – JANUARY 15-19



























launch video from MONA on Vimeo.

Tickets go on sale Monday 28 October and will be available from