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This Place Is Nowhere

12 December 2013, 21.37 | re-post from Radcollector click here for original post.

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This Saturday is the opening of the “This Place Is Nowhere” at the Paul Loya Gallery in Los Angles. The first art show curated by my good friend Gus Cawley this show will feature the work of Corey Smith, Gordon Holden, and Scoph. If you are in the Los Angeles area you should definitely stop by… with this combination of guys it is guaranteed to be a good time. Check out the Facebook event page here. And the full press release after the jump.

 

This Place Is Nowhere
December 14th – January 4th, 2013
Opening Reception: December 14th, 6-10 pm
Paul Loya Gallery is proud to present a group exhibition, This Place Is Nowhere.
This Place Is Nowhere, which features the works of artists Gordon Holden, Schoph and Corey Smith, brings together three artists who take a serious (or not so serious) look at the society that surrounds us. In a “selfie”-saturated world, these artists create works that are provocative and often satirical or
sarcastic remarks on pop-culture and the masses. There is a synthesis of playful curiosity and critique of the contemporary culture which calls the viewer to both internal and external discernment and reflection. Each artist works with mixed media, composing images and materials into a thoughtful perspective.

BIO

Corey Smith
Corey Smith is a multi-media visual artist who currently resides between Los Angeles, Lake Tahoe and Portland, OR. He has been exhibiting his work in galleries throughout the US for over a decade. Smith has been featured in countless print magazines and online sources.

Gordon Holden
Gordon Holden was born in 1985 in suburban United States of America. After graduating from the University of Vermont, never having studied fine arts, he soon discovered that the only way to live in a world that strives for perfection is to do just the opposite. He describes his creations as a collection of things to like and things to
dislike.

Schoph
Originally from Yorkshire in the North of England, Scophe is currently living out of a bag in his studio, travelling and showing his art at successful group and collaborative shows from the UK, throughout Europe and the US.

For more information or images, please contact the gallery at info@paulloyagallery.com

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In todays art world we are blessed to have such interaction on a global scale where you can see and be inspire by work from all corners of the globe.  The only hard part is actually seeing these works in person.  Unfortunately this is an exhibition that I missed whilst overseas which is a shame as it would have been good to see the artworks using glitched technologies.  I am currently working with glitch sampling here in New Zealand and building sound collages from these samples.  The manipulation or creation of works through active errors is interesting.  Removing the artist hands from the direct control always opens new means of understanding and possibilities.

Here is a review of the exhibition re-posted from we make money not art website

Only a few days left to see Glitch Moment/ums at Furtherfield Gallery in Finsbury Park! The show is about glitches or those malfunctions, bugs or sudden disruptions to the normal running of machine hardware and computer networks.

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José Irion Neto, Thoreau Glitch Portrait, 2011. Image Furtherfield

From a video tutorial on how to make your own glitched visuals to screen captures of glitches weaved in black and green, the exhibition shows various approaches by artists hacking familiar hardware and their devices which include mobile phones, and kindles. They disrupt both the softwares and the digital artefacts produced by these softwares, whether it be in the form of video, sound and woven glitch textiles.

It’s a stimulating show for anyone who is already interested in glitch culture. And it’s an eye-opening experience for those who have only vaguely heard of the artistic approach to tech errors. I’m somewhere in the middle. I’d never pass for a glitch expert but over the past few years, i’ve encountered a few artworks that make a creative use of accidents or create them on purpose.

Glitch Moment/ums was curated by Rosa Menkman and Furtherfield. One can’t dream of a more competent curatorial team: Rosa is the editor of The Glitch Moment(um) book (which i can’t recommend enough) and the organizer of theGLI.TC/H festival. Among their many activities, Furtherfield are running one of the most approachable and though-provoking galleries dedicated to practices in art and technology i’ve ever visited.

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Benjamin Gaulon, KindleGlitched, 2012. Image Furtherfield

Because i still have much to learn about everything tech & glitch, i contacted visualist, theorist and curator Rosa Menkman and asked her a few questions about the show and about glitch culture in general:

What does moment/ums – the title of the exhibition – refer to?

The title of the exhibition ‘Glitch Moment/ums’ references ‘the Glitch Moment(um)’ book I released in 2011. In this book I describe how my first encounter with a piece of glitch art came hand in hand with a feeling of shock. What had once been a first person shooter was now a broken, pixelated vortex of confusion (Jodi, Untitled Game, 2006). I was lost and in awe, trying to come to terms with an experience that seemed unforgivable. But finally, these ruins of expected functionality revealed a new opportunity, a spark of creative energy that showed that something new had taken shape. I felt questions emerge; what is this utterance, and how was it created? Is this perhaps …a glitched video environment? But once I had named the glitch, the momentum -the glitch- was gone …and in front of my eyes suddenly a new form had emerged.*

These days I try to understand glitches as a manifold of moment/ums, having their meaning depend on time, discourse and context from which they are perceived. First, the glitch is a break from an expected flow within a (digital) system. Here, it is perceived as an absence of (expected) functionality and often experienced as an uncanny, threatening loss of control. This moment itself then can become a catalyst, with a certain momentum – a power that forces knowledge about actual and presumed media flow, onto the viewer. What was voided of meaning, becomes interpreted and gains new meaning.

But as I wrote in the (Glitch) Art Genealogies catalogue: [the meanings of] these glitches are constantly subject to revision: their language systems emerge, their meanings shift, idioms ossify and standardize into a fashion or genre.
…and then they change again.

The glitch thus heralds a transformative power – a potential to modulate or productively damage the norms of (techno-)culture. To study glitch is to engage a study of the succeeding turns and changes of failure and functionality, revolutions and ossification. A concept represented in Antonio Roberts work ‘What is Revolution?’.

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Antonio Roberts, What Revolution?, 2011

How come something that used to be regarded as a problem has been elevated to a phenomenon that is exhibited online and in art galleries?

I feel that many people have lost the ability to formulate questions – this generation has become good at researching and finding answers or creating new datasets: In university, in the library, or on google (‘the internet’) we are conditioned to find and formulate answers. However, I feel there is a general inability for conceptualizing new questions. Maybe this is because we don’t understand things well enough to be able to formulate the questions we have or because we have been conditioned to see things in a certain way, making it difficult to shift our perspective.

Personally I think that one of the most important roles of art is to create problems that provoke curiosity – the impulse to investigate the limits of what we know and to ask questions. I understand glitch studies as a field investigating dis-functionality that can be co-opted into a desired functionality.

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Melissa Barron, untitled [screencaptures], 2010. Image Furtherfield

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Melissa Barron, numbermunchers from the untitled [screencaptures] series

And because glitch art is so seducing, i’ve also been wondering whether or not it has already been translated into a more mainstream commercial world?

The concept that a glitch can be designed or distributed through standardized glitch software, seems at first maybe a-typical, but has in fact become a more and more common tendency and even important tradition in recent glitch art. More and more ‘new’ glitch art is being modeled after authentic glitches inherent within older media, perpetuating a shift from destabilizing breaks within technology or information-based processes towards a generic and associative display of more or less ‘retro’ effects.

Besides this, mainstream media have a tendency to leach onto any emerging aesthetic and try and capitalize on it.

The biggest loser Australia in which glitches are used as transitions between spy cams that film ‘illegal’ activities of one of the contestants.

The MTV video music awards using glitches to make the sponsors (-Verizon-) look cool.

I actually created a youtube channel in which to collect glitches found in popular culture and media. It’s a very loose collection of snippets of advertisements, movies, videogames and television that use glitch effects for different purposes. I think these forms of glitch are examples of the growing vocabulary of media materialities in which different glitch effects gain meaning beyond their original technological /root. Some day I actually would like to write a dictionary of glitch effects.

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Glitch Art 0P3NR3P0.NET. Image Furtherfield

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Glitch Art 0P3NR3P0.NET. Image Furtherfield

What’s next for GLI.TC/H? Are you planning other exhibitions, publications or events?

GLI.TC/H is the title of a festival I co-facilitate with Nick Briz and Jon Satrom, which has been running for three years now. GLI.TC/H concepts and ideals are based on the free and open sharing of inspirations and theoretical and technological knowledge and maybe even more so on creative community building (DIT = Do It Together), poking and pushing. The GLI.TC/H happenings aim to bring like-error-minded bug collectors together IRL, to engage and share work/ideas/concerns and to foster collaborations.

So whats next? First off… we might be losing our domain in the near future due to “a personal dispute” based over the .tc extension (which is associated with the Caicos Islands). This is why the name of the GLI.TC/H festival might change to GLI.TX or maybe GLI.FK…

Besides this we are working on a GLI.TC/H 2112 READER[ROR} – a publication associated with last year’s festival.

Thanks Rosa!


Nick Briz, The Glitch Codec Tutorial, 2011

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Ant Scott, Beyond Yes and No, 2013. Image Furtherfield

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Antonio Roberts performing at Glitch Moment/ums Opening Event – 08 June 2013.Image Furtherfield

* A slightly re-written paragraph from: Menkman, Rosa. Tipping Point of Failure. Exhibition Catalogue. November 2010.

More photos in Furtherfield’s Glitch Moment/ums flickr set.
Glitch Moment/ums is at Furtherfield, London, until Sunday 28 July 2013. With works by Alma Alloro, Melissa Barron, Nick Briz, Benjamin Gaulon, José Irion Neto, Antonio Roberts Ant Scott and 0p3nr3p0.net.

 

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Heterotopia
Organized by crystal am nelson

October 5 – November 2, 2013
in Marfa, Texas

Opening Reception:
October 5: 2-4 pm
Adobe House Gallery
corner of S. Dean and E. Dallas Streets (enter on E. Dallas)

Featuring work by:
Big Bend Saddlery, C3, Allan deSouza, Justin Hoover, Anna Jaquez, Jason Kolker, Enrique Madrid, Mattie Matthaei, C.M. Mayo, Feather Radha, Andrei Renteria

A Franchise Program winning exhibition.

Marfa, a city whose allure in the art world extends far beyond those who have actually visited, stands alone, geographically and culturally. Located in the Chihuahuan Desert/Big Bend region of Texas, it is a six-hour drive from Austin and three hours from the nearest international airport, in El Paso. The town’s biggest employers are national law enforcement agencies, including the Drug Enforcement Agency and the U.S. Border Patrol, and more than twenty of the best paying jobs in Marfa are with the U.S. Air Force’s aerostat surveillance program. Marfa’s next biggest revenue stream is art tourism, which is serious business despite its remote location and scarce amenities. However, in the public imagination, Marfa is the city Donald Judd built with the backing of the Dia Foundation and a vision of anarchist minimalist utopia.

Certainly this image of the lone artist as pioneer, taming the Wild West with aesthetics is a striking and romantic one, aligned with the aura and history of Far West Texas. But, long before Donald Judd arrived in Marfa, long before the town was named Marfa, people from diverse backgrounds—Apache, Comanche, Spaniards, Mexicans, Tejanos, and Anglo-American pioneering cowboys—built communities on the surrounding arid landscape and laid the foundation for Marfa’s unique cultural enchantments. Unfortunately, in spite of his importance in bringing attention to the remote city, Judd’s legacy has obscured much of this history and what contributes to making Marfa such a compelling cultural capital. How does one begin to reconcile these seemingly disparate and diametrically opposed community elements that are simultaneously autonomous from and interdependent on each other? What happens when contact turns to conflict? Or when divergence transforms into convergence?

Heterotopia attempts to respond to these concerns by redrawing Marfa’s cultural map to illuminate its pre-Judd history and post-Judd impact, highlighting under-recognized subjectivities, and bringing to the fore contemporary cultural production happening on the periphery of the city’s blue-chip art scene. The strategy is to exhibit local traditional, vernacular, and contemporary artists alongside international artists in order to underscore their proximities. At Heterotopia’s core is art representing the Jumano-Apache Indian heritage, Chicano art, and cowboy art, a genre that celebrates the traditional arts and lifestyle in cowboy culture of the American West. The work of international artists will address issues related to the exhibition’s meta-concepts of contact zones and their ever-accumulating pasts, transcultural exchange, and hybridity. Through its installation, the exhibition hopes to decentralize the art-viewing experience by using multiple sites, primarily non-art specific venues throughout the city to introduce visitors to its less-trafficked locations. A commissioned audio file will be provided to assist them in physically and conceptually navigating the sites. Additionally we will program screenings and lectures about Marfa’s unseen scenes and the myths circulating its mainstream identity.

Image credit: crystal am nelson, Welcome to Marfa, 2013

reposted from http://apexart.org/exhibitions/nelson.php



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Dimitri Kozyrev brings together a visual for landscapes that truly explores the potential they contain.  His current work on show at Breese Little Gallery in London at the moment explores real landscapes and those of the mind.  The abstraction of what is there is distorted, twisted amongst the knowns and reference points.  Colliding with vibrant use of colour and graphical composition.  The landscapes feel alive yet hark back to sites of destruction where probably movement has stopped and nature has taken over.  Whilst looking through more work by Dimitri Kozyrev  it was interesting to see the drawings he makes.  These minimal ghost like drawings capture the landscape whilst delivering them as part of a wider blank canvas.  Whilst landscapes are normally large and hard to absorb with one gaze here you can take in a large portion of the landscape but for me it is the inability to take in the blankness, the blurred emptiness that surrounds the drawing.  Incredible work that really does explore elements that I am currently concerned with in my own practice.  If you would like to see more work by Dimitri Kozyrev either visit Breese Little Gallery, Kozyrev exhibition is on till the 1st of June or click here to visit his website

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This new creative platform has sprung up on the radar recently and seems to be doing something a little different in and around Edinburgh.  A coming together of ZZZAP & URSA MAJOR STUDIO the are bring elements together who share similar visions.  Here’s what they have to say for themselves:

“ATA is a brave new creative platform which exists as an evolving digital exhibition space and a series of art / music get togethers.
Island 1 is our first late night event, in the humble surrounds of the Intermedia Project Space.”

Website click here

All-Time Archipelago – Island 1.

FRIDAY 15TH MARCH
INTERMEDIA PROJECT SPACE
EDINBURGH COLLEGE OF ART
9:30 – V LATE / BYOB

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ARTWORKS by

Tasos Gaitanos
Alistair Grant
Becca Howard
Scott McGuigan
Darren Nisbet
Robbie Penford-Baker
Emily Rimmer
Sally Sears-Black
Loren Stuart
Joe Venning

MUSIC

Telfort (live)
Mana Aboda (live)
David-George (live)
ZZZAP Residents


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NEWHAVEN STATION

‘A site for new art works and a new use of space’

Open Install Afternoon: Tuesday 12th March 2013, 12–5pm

Preview: Friday 22nd March 2013, 7–9pm

Exhibition: Saturday 23rd March–Friday 29th 2013

Newhaven Station, 85 Craighall Road, “Bridge No. 12”, Edinburgh, EH6

Newhaven Station is an explorative exhibition into the transformation of space by three Edinburgh-based artists, responding to the North Edinburgh site with new video, sculpture and wall-mounted works.

Richard Taylor, Dickie Webb and Claudia de la Peña, all artists who have previously worked on separate projects, come to together for the first time with works investigating Newhaven Station’s current stasis.

Since its discontinued use as a railway station in 1962 the building has evolved from a carpentry workshop into an abandoned space ripe for development. In its present reality Richard Arnot, the owner of Newhaven Station, has gifted the artist’s use of the station as it nears a final transformation into freelance office space.

The artists will respond to this flux in the station’s use, peeling away layers of history and community, to decipher new avenues in their individual practices and discover journeys as a collective group. Richard Arnot, “As a resident of North Edinburgh I felt this would be an interesting project to support. It’s great to be able to provide much needed space for Richard, Dickie and Claudia, and to see how Newhaven Station might continue to contribute to a steadily expanding cultural scene in the north of the city.”

Holly Knox Yeoman, the exhibition organiser, first realised the potential for the space during Doors Open Day Edinburgh 2012 and has since been working to coordinate an exhibition of artists’ work. Yeoman adds “I grew up round the corner from the building and was always intrigued by its destitute structure. Through Doors Open Day and meeting Richard Arnot, it was fantastic to see the building returning somewhere closer to its former glory. The site-responsive works produced between the artists will hopefully create a welcoming invitation to local people, furthering dialogue surrounding the nature of the building as a forgotten landmark.”

Open Install

On Tuesday 12th March, the doors of Newhaven Station will be open, welcoming people in to the space to meet the artists and enquire into the process in which they are working to create their works and exhibition. Independent curator and writer Kate Grenyer will also be present, observing the creative interactions between the artists, initiating critical discourse beyond the exhibition.

For further information please email – hollyknoxyeoman@hotmail.co.uk

Artist Biographies

Richard Taylor

Richard has produced a new set of work including free standing and hanging sculptures, wall mounted drawings and objects, and floor-based dioramas. Each work will reference the other through a ‘mini-game’ status. ‘Mini-game’ is a deliberate positioning of a certain lost character that finds itself during sessions put aside in the studio. In order to address this status the works, as they are visited and re-visited over a period of time, may look unfinished in their overworked state, require closer inspection and participation, or will only reach completion through site-specific response.

Richard Taylor (b. 1985, Sheffield), a 2007 graduate from Leeds University, is an artist and writer based in Edinburgh. The roots of his ideas start as short stories or small pencil drawings that depict intentions or actions addressing ulterior characterisation or modes of production. Recent projects have seen ideas develop into collaborations, performances, installations and published works. In 2012 Richard exhibited with The Mutual and artist Jennifer Picken at GI 2012; undertook a residency at AWA Gallery in Amsterdam; performed at [STATE] of Uncertainty in Birmingham; and showed work at an open studio event in Chelva, Spain.

Dickie Webb

Dickie’s site responsive approach to Newhaven Station will parallel the building’s transitory state and renovation, creating a heterotopic environment that appears distanced from the here and now.  As considered material choices echo the surroundings, additional frameworks and scaffolds – displaying metaphorical forms, images and panels – will allow the viewer’s imagination to project an experience that is greater than the station’s architecture, transporting them to a place with uncertain boundaries.

Dickie Webb (b. 1979, Oxford) is currently in his final year of Intermedia Art at Edinburgh College of Art and splits his time between New Zealand and the UK. This nomadic life stimulates considerations within present work, questioning our changing relationship with disremembered spaces. Recent projects have included subtle object abstractions using processed materials to create sculptures that sit somewhere between the familiar and imaginary.  He has exhibited work at The Kitchen Gallery, Clermont College, Batavia, Ohio, USA and at The Demarco European Art Foundation, Edinburgh.

Claudia de la Peña

Claudia will create new sculptural pieces that react to the pictorial potential of Newhaven Station. Through a series of site-specific gestures, she considers the symmetry of a more personal artistic intervention alongside the broader re-engagement of this previously disused, yet historically rich, space. This positive renewal is pertinent to her sympathies towards the recycling of found materials, both in function and substance.

Claudia de la Peña (b. 1988, Edinburgh), a 2011 graduate of Fine Art from Duncan of Jordanstone College of Art and Design, is a cross disciplinary artist currently based in Edinburgh. At its core, her work is an investigative tool to create and understand meaningful dialogues between materials, both in physical and symbolic realms. Her practice is often site specific using found, made and raw materials punctuated with photographic elements.

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