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Lesia Khomenko Self-portrait (2013)
‘Absolute painter Lesia Khomenko in her work “Self-portrait” of the year 2013 presents painting process by means of animation. The work has several levels of interpretation: life observation, Lesia’s sleep imitation game with her daughter, eye contact with the viewer, self-portrait as a classic form of art and in the end destruction of material object – the painting, which served as a screen for seven minute animated video.’
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Böhler & Orendt THE CARRION CHEER, A FAUNISTIC TRAGEDY (2018)
‘The spirits of extinct animals are emboldened through technological means to sing a song of forgiveness to humans, the ultimate cause of their demise. Animations are illuminated & projected onto screens of mist.’
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Lorna Mills Ethereal Imperial 1-6 (2018)
‘Lorna Mills is a Canadian net.art and new media artist who is known for her digital animations, videos, and GIFs. Mills has done work in other mediums such as installations. Her work explores how “the notion of public decency is anachronistic” Her use of GIFs are gathered through the dark net which includes 4chan, pornfails, and Russian domains. She currently lives and works in Toronto, Canada.’
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Charlie White Sabrina (2013)
‘Created in 2013, Sabrina is one of five music videos created for Music For Sleeping Children, the experimental pop music collaboration of artist Charlie White and Mercury-nominated electronic musician Bryan Hollon of Neon Neon. Working in tandem, White and Hollon transformed White’s immersive interviews with American teen girls into carefully articulated narrative dance tracks. Each track of Music for Sleeping Children captures the voice and spirit of a different American teen girl, from the privileged and popular sixteen-year-old “Georgia” musing on the importance of being pretty and liked, to the sultry and complicated fifteen-year-old “Isabelle” recalling her melancholy crushes of freshman year, to the neurotic and impatient sixteen-year-old “Sabrina” planning her life down to the last detail while fearing failure at every turn.’
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Bill Domonkos Dying is Fun (2011)
‘In search of the sublime, Mr. Fireman spends most of his time conducting radical experiments of self-obliteration, an ecstatic process in which he puts himself into a hypnotic trance, mentally deleting parts of his body. Inspired by Vladimir Nabokov’s “The Original of Laura”, his incomplete final novel. Evoking a sense of time and nostalgia, the film uses archive film footage which is manipulated, reconstructed and combined with newly created digital animation, special effects and sound, provoking new ideas and experiences.’
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Carla Gannis The Runaways (2010-11)
‘In the realm of the algorithmic mind anything is possible and virtual me can teleport within seconds to an exotic tropical island or to a snowy winter wonderland, but what are the implications of a real woman running down the middle of a rural highway, not yet denatured, on an icy morning, quite possibly imperiling her life? Once digital entertainment value is added, a kaleidoscopic sky and a 3D avatar, thinner and faster than she, do we really care?’
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Universal Everything Emergence (2018)
‘Emergence is a VR open-world art experience, visualising patterns of human behaviour and exploring the individual and the collective. It immerses the player in a crowd of thousands, against a changing canvas that is at varying points wondrous and intimidating, realistic and fantastical.
‘You control one solitary, glowing avatar amongst a mass of autonomous strangers, each of whose movements react to your own. As your pace and directions influence others as both individuals and as a whole, you essentially become the choreographer of the crowd.
‘The crowd’s movements are programmed to simulate intelligent behaviours (including avoidance, following and mimicry), reflecting the seemingly endless ways that humans act in group settings. Viewed from above, these movements create mesmerising patterns against the landscape. A shaft of light beckons you – each time you reach the light, this landscape shifts, along with its soundtrack, gravity, atmosphere and mode of movement.
‘Emergence doesn’t dictate a goal. There’s no fixed succession of tasks that lead you to ‘completing’ the game. The experience instead is a powerful challenge to the player’s perception. Are you a leader inspiring a devoted following, or a defenceless figure overwhelmed by the encroaching horde? Emergence compels you to adjust to each transformation in your surrounding environment – all the while bringing you face to face with the primal desire to maintain your individual identity while being part of a crowd.’
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Tala Madani Various (2015)
‘Tala Madani’s animations, deadpan and brushy scenes of fictive ritual usually centered around groups of men, create a grotesquerie populated by dichotomies. Figures simultaneously innocent and nefarious, furtive and self-aware, or comical and violent float through a hazy pastel palette that seems to shine light through the vulgar comforts of bonding. Obliquely referencing Madani’s Iranian-American nationality, her work skirts formal and political lines to expose the slithery nature of creating an image.’
Hospital (2015)
Wrong House (2015)
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Okkult Motion Pictures Various (2017-2020)
‘Each GIF/video delivers a different message and is based on footage excerpted from vintage/out of copyright/public domain videos.’
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Dariia Kuzmych Acceptance (2014)
‘In the project by Daria Kuzmych ‘Acceptance’, the instruments of study of motion are simultaneously а video installation, а text and a drawing on a wall. The subject matter is the own walk of the artist, marked by a consequence of an automobile crash – lame right leg. The aim is to accept herself completely through the aestheticization of the defect. And this means to accept the way, predestined to you from birth, wherever it may lead. Even if you have to limp it, not just walk. Because acceptance is gratitude. I am leaving my cane for the whole time of exposition in Detenpyla gallery and all this time I will walk without it, thus continuing my experiment on myself in an attempt to eliminate my defect.”‘
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Birgitta Hosea Out There in the Dark (2013)
‘Artist and animator possessed by the spirit of Gloria Swanson’s performance in Sunset Boulevard (1950).’
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Tsang Kin-Wah The Fifth Seal – HE Shall Deliver You Up To Be Afflicted And Killed As HE Was (2011)
‘Chinese contemporary artist Tsang Kin-Wah is working on an ongoing project called ‘the seven seals’. the series of seven digital video installations uses texts and computer technology to project Tsang’s thoughts on various issues of the day.’
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Myriam Thyes HEROIC VIRILITY (2019)
‘Myriam Thyes is a new media artist from Switzerland and Luxembourg, living in Dusseldorf, Germany, and in Zurich, Switzerland.’
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Carla Gannis Selfies (2016)
‘My selfie series began one year ago as a search, turning my gaze upon myself (and my electronic devices) to see what I might find there. I felt vulnerable at first, speaking more directly through my own voice, and using myself as a character in the digital narratives that seem to be my most natural form of expression.’
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Ina Conradi Quantonium (2016)
‘Animation and Programming Mark Chavez, Music Tate Chavez. An audio reactive interpretive work that explores the idea of ‘an element which does not exist when not observed’’
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Wang Sishun Truth (2014)
‘For this exhibition, Wang Sishun drove from Beijing to MadeIn Gallery in Shanghai. The scenery on the road became his canvas, he released his « flame » as a creature, destroying and creating new landscapes, natural and social.’
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Chiara Passa Still Life (2019-2020)
‘“Still life” analyses the processes of the nature by investigating the relation with it and what is represented in art nowadays as still life. The VR artwork puts in question what is really dead in nature and what is still alive in history of art, by speculating on landscapes, paintings and objects, and so creating through the virtual reality an object-oriented space formed by a vibrant still-life environment designed all around the spectators. I designed each piece to behave and transform beyond its own functionality, according also to the Object Oriented Ontology philosophy.’
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Yves Netzhammer Adressen unmöglicher Orte (2012)
‘Netzhammer’s animations make uncomfortable watching. They are populated by expressionless androgynous figures that encounter animals, objects, each other and occasionally grisly fates. Characters alternate between determining agents and collateral damage. They travel in through mutating environments, where gravity and mass are meaningless. Even the surface of their bodies is not sacrosanct as hands are shown delving inside torsos. The animations appear to possess a cold and emotionless surface, punctuated by painful events: an image of paper cutting a tongue can make one wince.’
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Sun Xun IMG 3661 (2015)
‘Sun Xun’s works often highlight the absurd incongruities between authorised histories and personal recollections, and are particularly concerned with how history can be manipulated, interrogating the differences between official narratives presented by public agencies, politicians and the media — and more marginalised accounts that stem from ordinary people’s experiences.’
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Zack Dougherty Untitled (2009)
‘The Portland-based digital artist takes a simple sculpture and turns it into eternally repeating images, transforming pristine busts into psychedelic moving pictures. These switch so rapidly that eye and brain need some time to grasp the lightning evolution of the picture.’
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Mark Leckey GreenScreenRefrigeratorAction (2010)
‘GreenScreenRefrigeratorAction shows a shiny black Samsung smart fridge pondering its existence and mingling with like objects. In a scientifically-charged description that concerns its inner workings, the fridge’s anguished, robotic first person voiceover renders audible its inner life and its potential dreams. As we create increasingly smarter objects, Mark Leckey predicts a world in which things become sentient, start communicating, and alter our environment into new digital ecosystems.’
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John Gerrard Various (2011-13)
‘In Infinite Freedom Exercise (near Abadan, Iran), a virtual camera circles the dusty seaside landscape in southern Iran, recording a figure dressed in non-nationalized army fatigues. This actor performatively mimics the prescribed gestures of mortar release in an evolving sequence. Burning Oil Fields joined the work in 2013 and represents these fires.’
Infinite Freedom Exercise (near Abadan, Iran) (2011)
Burning Oil Fields (near Abadan, Iran) (2013)
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Stas Orlovski Wildflower (2013)
‘Animated projection over charcoal, ink, transfer and collage on the wall.’
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James Kerr Various (2019-2020)
‘bonjour. Ce sont des collages en GIFs, principalement des peintures de la renaissance. merci!’
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Allison Schulnik & Scott Walker Mound (2011)
Film by Allison Schulnik. Cinematography by Helder K. Sun. “It’s Raining Today” written by Scott Walker.
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Cory Arcangel I Shot Andy Warhol (2002)
‘I Shot Andy Warhol probably isn’t meant as video art, per se. Presumably it works best as an installation consisting of the actual reprogrammed cartridge running in a real NES console on a television; then you could actually play it. You could pick up the ZapperTM shoot Warhol, the Pope and Colonel Sanders yourself.’
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Younes Rahmoun Zaytouna (2015)
‘Younès Rahmoun typically begins an artwork by collecting numbers, shapes, and objects from his surroundings. He then uses repetitive, familiar gestures to manipulate these elements and give form to everyday, ephemeral, or barely visible activities, such as praying, rolling dough, and breathing. His religious beliefs and his identification as a practicing Muslim also inform his work. He repeatedly employs numbers that are significant in Islam, such as seven and ninety-nine, and chooses to orient his installations in the direction of Mecca. His artistic practice cannot be reduced to, or fully explained by, his religious beliefs and their attendant symbolism. His longstanding interests in Buddhism, meditation, and Sufism are equally visible, as are the basic shapes and materials of everyday life: cones, cylinders, grids, and spheres and light, brick, jute, and earth.’
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Francesco Vezzoli The Return of Bruce Nauman’s Bouncing Balls (2006)
‘In The Return of Bruce Nauman’s Bouncing Balls, Vezzoli abandons the conceptual coldness of the original work to present a slick video based on the canons of pornographic filmography starring Brad Rock and his the infamous American gay-porn testicles.’
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Stan Vanderbeek Science Friction (1959)
‘This film uses stop motion animation of still photographs to convey images of politics and science in the nuclear era. Everyday items and people are projected upwards – many in the form of rockets – followed by iconic structures, such as the Empire State Building, the US Capitol, the Washington Monument, the Eiffel Tower and the Kremlim, being rocketed skyward as visual representations of that race into space.’ — Ray Cathode
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Benjamin Forster Various (2010-12)
‘A Written Perspective: Using a custom text detection algorithm, footage from around the Joondalup Shopping City has been processed. Everything that is not determined a word is erased. This custom algorithm does not look for known letters, but rather in an attempt to avoid anglocentrism checks for properties common to the written word across all cultures. Inscribed (Ko Aye Aung): Inscribed (Ko Aye Aung) is an explicit analogy of the process of degradation and loss that has been occurred by Ko Aye Aung. I do not know Ko Aye Aung. If it was not for Amnesty I would not even know his story. All knowledge of him was provided to me as a simple digital profile. Dot pointed and only nine hundred and eighty two words accompanied by a small portrait. His is a story that is singularly unique, however at the same time multiple and all too common. His is a story we never truly know, we never hear about, we are all distant from. Computer Watching Television: The result of a simple computer vision system watching television.’
A Written Perspective (2012)
Inscribed (Ko Aye Aung) (2011)
Computer Watching Television (2010)
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LuYang DOKU_HELL (2022)
‘Long before Hollywood’s rediscovery of body horror, Chinese artist LuYang was articulating these concerns in the digital realm. LuYang’s LuYang DOKU series (2020–) depict AI-generated avatars undergoing grotesque mutations, bodies warping and melting in a virtual landscape. These digital works extend horror into the realm of the cybernetic, where the body is no longer a physical construct but a mutable, disposable entity.’
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Eddo Stern Crusade (2002)
‘Crusade – a mechanical windmill desktop spins on its axis looping a posse of medieval avengers and a MIDI sample of Led Zeppelin’s “Kashmir”.’
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p.s. Hey. ** Adem Berbic, I think sex in general has become more crystal heavy over time. I was in fairly intensive therapy for a few years in the ’90s, and it helped a lot, even though, while it was happening, I thought, How is this possibly helping? Strange stuff. Kind of magical. ** Carsten, I think it’s strange and I suppose telling or something about the German ‘Sluts’ ban, but it doesn’t really bother me. What can you do. It sucks much more for the publisher, like you said. I have no idea if just the German edition is Indexed. In my experience and observation, petitions very rarely have any impact on a situation at all. They seem to be more about giving signers the feeling that they’re doing something. I don’t think I’d want to watch ‘Last Tango’ again. Even at the time it mostly seemed to me like an excuse to let Brando act his heart out. ** Fionn, Hi. All the texts are found and come from the sites. I edit them sometimes, and I mix and match them, but I never write them. Nice: the stun-locked observation. I doubt I’ll ever look at tickle fetish stuff without thinking about that again. He was in ‘Almost Famous’? I didn’t know that, but then I’ve never watched it. Huh. Thanks! ** Steve, If that government agency gave specific reasons, I don’t know them. But I assume there are all kinds of reason in ‘The Sluts’. I haven’t reread it in ages. Weekend … I have my biweekly Zoom film/text club on Sunday. So I’ll be watching a film called ‘Pavement Butterfly’ (1929), assigned by David Trinidad, and reading an essay by Camille Paglia, assigned by Jack Skelley. Otherwise, ‘RT’ just got accepted by a very cool Italian festival, and I have to send them a bunch of stuff. Wow, that French show sounds great. I don’t think I’ve ever seen live Matching Mole footage. Everyone, Steve has posted a 1972 episode of the French TV show POP 2 on the Internet Archive. It features 2 songs performed by Matching Mole (with a Robert Wyatt interview), as well as 5 songs from Lou Reed, John Cale & Nico’s acoustic performance at the Bataclan.’ Nice, thank you. I hope Lynch’s ‘Dune’s’ occasional charms get a warm welcome from you. ** laura w., France has a sometimes very vocal Catholic minority that can get quite assertive about morality issues if something tweaks their beehive attitude. They’re the only reason weed isn’t legal here and probably never will be, for instance. And unlike in the US, literature is still taken seriously by the populace, so books with outre content are considered potentially dangerous. That makes sense about the medication questioning. There are other ways to steady oneself, obviously. Continue thinking carefully, I think. The ‘Sluts’ thing is already drifting into my memory bank, and I’m fine. So if I don’t have a fun weekend, that’ll entirely be my fault. I hope yours counts. ** HaRpEr //, Yes, a friend of mine set up a Zaireeka listening session years ago with all the requisite equipment and spatial design, etc. It was fun. I wish I’d been stoned. I haven’t tried the new Arca yet. Okay, will do, and you have a great weekend with and without Arca’s input. ** Thom, When I was in high school, I was in a briefly-lived psych-folk band called Changing Horses, so yeah. Tam Skot, nice. When I was in high school, my closest arty druggie friends and I all gave each other nicknames based on song titles or lyrics by beloved bands of that era. I was named The Singing Cowboy from a song by the band Love, and I can’t remember why, seems weird. Okay, I will listen to ‘Slide’ this weekend. Thanks, exciting. Whoa, and thanks for the link to you doing ‘Witches Hat’. I’ll cue that right up once I push ‘Post’. Nice choice. Everyone, Want to hear Thom sing and play his version of the great Incredible String Band song “Witches Hat”? I’ll be so bold as to answer for you: you do. It’s here. Thanks a whole bunch for that, man. And all luck needed with the EP and the zine dropping. ** Right. This weekend you get a rangy but also focused thematic post if you’re so inclined. See you on Monday.
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