αρχω Round 2 : Human Resolution (Arcadia_Missa for PAMI)

Wednesday, 19 September 2012

humanres

αρχω Round 2 : Human Resolution (Arcadia_Missa for PAMI)

The work in this show was initiated from the αρχω ‘archive’ concept used by Arcadia_Missa for their PAMI exhibition-event series in 2011.  Considering the continued ubiquity of online content-creation, and ones’ corporal navigation through digital forms, it pulls together artists who experiment with intimacy created by technology and who acknowledge ‘self’ as content from which moving image is formed.

This five-day exhibition includes works from many international artists, by and via Tight Artists Net Gang, an interactive performance and installation, Human Resolution by Harry Sanderson (aka Your Body is a Temple/YBT), and a special Skype® event with Greek artist Angelo Plessas followed by a George Kuchar screening.

TANG has invited a selection of artists (who use tightartists.com) to create specific artworks to be hosted live on their sites and installed in the gallery, alongside a unique video piece by TANG founders Mary Rachel Kostreva and Adam Harms.

“Tight Artists Net Gang or TANG is a community of trill artists going creatively ham on the net at all times. tightartists.com is a space for artists to compile and share their work.  Structured as a social networking site, the community is an open artist collective where users are able to create galleries that contain HTML customizable pages that can be "liked" and commented on. The users are also able to utilize CSS and Javascript when creating a page.  Unlike other popular social networking and image sharing sites, TightArtists.com does not limit its users to a single image or video, but encourages them to create full multimedia experiences.” (TANG)
 
Accumulatively the work presented by TANG offers an experience for how, often as a co-producer when engaging with artists’ work, you can get the most out of your online experience.  Just as their website itself, the TANG installation for this exhibition aims to reclaim the space of web 2.0 and social sharing.  Gallery visitors will be guided through a user experience designed by each artist to create their own Internet based art hosted on TightArtists.com 

Focused on gauging out a productive and reciprocal experience, the TANG presentation not only sits well within PAMI as an example of expanding and breathing an extended lifeline into moving image, but, within the Open Office, also contends with the notions of production and playbook culture in a direct and utilitarian way.

The TANG installation recognises language in its socially networked form and integrality in online art.   Amorphous and aphoristic messages jostle for attention within the usually rapidly flicked through design of web pages; an interactive essay begs for your input, games, exercises and collage sessions all not only harness common url visual forms, but also play out a conversational dynamic with the viewer as do social networking platforms - within a social networking platform. 

The virtual aesthetic product, moving on screen and through web space, is predominantly independent from creator and free to be recontextualized anywhere online.  It is often the context that the virtual artwork sits within that provides a set of references, or an abstract reading of the work.  Both TANG and Harry Sanderson create spaces where viewers are invited to become part of context and thus the artwork itself.

Harry Sanderson his previously shown at SPACE and performed at the Barbican (for LuckyPDF).  Like TANG, the final activation of the work comes directly from the viewers’ interaction with it.  With his work for αρχω Round 2 it is a corporal and experiential space he offers.  Unlike TANG (and their proposition for viewers’ usership and productivity within encounters with Tight Artists), Sanderson is questioning if we can reclaim our bodily experience with technology post Internet, as the digital forms we encounter become more pervasive, commonplace, and less tactile.  Again, Sanderson is an artist who pushes the definitions of ‘moving image’.  He harnesses contemporary 3D cinema experiences to create virtual objects, by adapting open source software.  For Human Resolution he will be combining his video/holographic works with 3D scanning technology (customised with sine waves-sound effects); to produce an interactive moving image installation involving scanning & realtime playback, and video/hologram overlaps.  As TANG invites you to be a producer with them online, Sanderson asks that you complete the digital products offline.

Harry Sanderson (YBT) has continually presented deft technological skill (often considered the reserve of corporations) and palpable fabrication of the technologies and artworks.  His construction of a hologram from everyday raw materials not only allows the viewer to use his works, but also makes the mechanics of the illusion as apparent to the viewer as possible.

“In drawing on online tutorials, scams, forums, and demonstrations to form the basis of the exhibit, the works draw on the internet as a mine of information, whilst also realising that for the most part it functions primarily to intensify desire and obscure the human cost of resolution and immediate connectivity.

The work takes as its starting point the increasing proximity of devices to our bodies, and how this has given rise to a certain ambiguous kind of dehumanisation being imposed upon us by technologies that continue to shape the character of our real-world experiences, while they themselves remain flat and alienating in their fundamental nature and effect.

The glyph of the internet is increasingly human shaped.

Human Resolution (HR) is a work in 3 parts that concerns itself with interior/exterior structure, and the ways in which technology maps, translates and mediates lived experience and our sense of self as it relates to distinctions between the internal and external world.

Human Resolution refers to a conversation regarding the drive for higher and higher resolutions, and the notion that manufacturing a screen of method of image display oneself would ensure that the viewer encounters something that is visibly composed of human contact - rather than abstracted by hierarchies of supply and consumption.

In using holographic projection and 3d scanning, the aim is to produce an image of self that is abstracted and disembodied. It is intended as a container for identities that it continually fails to acknowledge.

All of the components in the show represent a situation where what is considered the ‘physical’ is subjected to a process of forced unification under the remit of universal knowledge or access.” (HS)

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ANGELO PLESSAS’ SILVER COUCH DROP IN CENTRE UTILIZES SKYPE® AND PERSON AS A CONSTANT MOVING IMAGE SOURCE.  AT A_M ONLY OPEN SATURDAY 22nd BETWEEN 7.30PM AND 8.30PM!!

Come by to The Silver Couch Drop in Centre to chat to artist Angelo Plessas (based in Athens) via Skype®.  Bask in silver and be in video at A_M.  Be placed and photographed on the silver couch in his apartment (part of an ongoing project of Plessas’ - angelosays.com).  Ask what you wish, be interviewed by the artist, perhaps confide in each other.

THEN, immediately following the Silver Couch Drop in Centre (Saturday 22nd September 8.30pm) :
From Studio 8 and the SFAI film class of 2007, Arcadia Missa and James Early present a Saturday night feature, George Kuchar's The Ghost of Dr Foo!
Late evening film screening of George Kuchar's 2007 film, The Ghost of Dr Foo.  Expect dildo-cam, male concubines and cameos from PAMI locals James Early and Rhianon Morgan-Hatch.

John Hill of LuckyPDF: "This is one of the reasons I like James."

George Kuchar, underground filmmaker died last year aged 69, famous for working with 'no-talent actors, plotless plots, and themeless themes'.  His early films reveal compassionate self-portraits that uncover the internal conflicts of sexual oppression and the frustrated loneliness of life behind the camera.  His D.I.Y. attitude gave many underground filmmakers the confidence to pick-up a camera, inspiring directors like John Waters and David Lynch.  Since 1971 his infamous San Francisco Arts Institute film class was his cauldron for corrupted visions:

On day one of George Kuchar’s film-making class in San Francisco we piled into the back of a Van and rinsed the $200 budget on worthless crap from china-town and thrift stores in the mission.  Four weeks on and I'd wasted every-Friday morning watching indulgent video-diary-style home movies, a now familiar format on Youtube, of George in some sordid motel, with his cats or friends.   I was so pissed-off!  I'd come all the way to SF to be taught how to make bad movies...

If you can't beat them you might as well join them, its fair to say I had never considered myself a prude until I met George!  George's unstoppable pestilence and childish arrogance became infectious, I relaxed into the west coast lifestyle, we played like kids with the perverted minds of adults, and we started to have REAL fun.  Throwing away dreams of perfect tracking shots, every Friday became an anarchic "party".  We were well and truly exploited by George in the making of his next epic, and we were loving it!  Produced in studio with classic Hollywood scores blaring out so loud no one could think, his dynamism and energy left an apocalypse trail.  He was careering headlong in a blinkered black hole of shooting and editing, and taking us all with him, he had a hell-bound duty to depravity on videotape.  All the while he spun legends, in thick Bronxite, of the greats in whose shoes we were playfully marching, such as Courtney Love and Nick Cage.  Though George cared little for his own name or reputation, I think he was genuinely indifferent, he romanticised Hollywood and his films celebrate the studio tradition of 50's Cinema, both as tributes and irreverent pastiche to Orson Welles et al.  It was a once in a lifetime privilege to meet George, he had the personality-changing potency of acid, he was impenitent in his self-absorbed wilfulness, yet hugely generous with his experience, his films are an acquired taste yet highly addictive, bitter, hilarious.  I'm proud to join the legions of filmmakers and artists who say that they're inspired/affected by George Kuchar. (JE)

 

PAMI is an initiative to highlight moving image artwork, made by an international selection of artists, in a five-day programme of exhibitions and events across Peckham. It runs from 19-23rd September with an opening celebration on the evening of the 19th.

Tight Artists Showing for αρχω Round 2 (Arcadia_Missa for PAMI)
Mary Rachel Kostreva
Adam Harms
Nicole Killian
Hunter Payne
Mike Francis
Blinking Girls (Sarah Weis and Emilie Gervais )
Joel Cook

Artists