The fourth in its ongoing series of e-flux readers, entitled Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art has been launched Tuesday, July 19, in Berlin. Published by Sternberg Press, it is a selection of essays from the e-flux journal about the relationships between art and economics, capitalism and immaterial work, politics and the role of the artists today. The book is presented as an anthology, as usual for this kind of publications, with essays by Franco Berardi Bifo, Keti Chukhrov, Diedrich Diederichsen, Antke Engel, Liam Gillick, Tom Holert, Lars Bang Larsen, Marion von Osten, Precarious Workers Brigade, Irit Rogoff, and Hito Steyerl. Here we would like to quote a brief abstract of the essay by Liam Gillick who also designed the cover of the publication:
Art is a history of doing nothing and a long tale of useful action. It is always a fetishization of decision and indecision—with each mark, structure, and engagement. What is the good of this work? The question contains a challenge to contemporary practitioners—or “current artists”, a term I will use, as contemporary art no longer accounts for what is being made—that is connected more to what we have all become than to what we might propose, represent, or fail to achieve. more…
Here a short q&a with Reed+Rader, the other Green Box project located in Milan.
Could you introduce yourself in a few words to the ones that don’t know you?
We’re Pamela + Matthew. Most people know us as Reed + Rader. We like stuffed animals, cats, gardening and pizza a lot.
How do you describe your work?
We create work that takes advantage of technology. We are mostly known for creating animated gifs in the fashion world, but increasingly we’re trying to push to the next step of interactive installations and more user controlled web platforms. Our main goal right now is to take the user and make then a content director, give them the power and have them no longer just view the work passively. This is a challenge but one we’re up for.
What was the first work you ever made?
One of our first works we made was a story called “Toma”. It really was our breakout work and started a new path of self creation. In this work we took regular still images, but then hand collaged multiple elements in it – from a girl jumping over a open mouthed lion to a girl militant marching with Mister Wubba (www.misterwubba.com). With this story we got our first cover and really started to push us to really do what we wanted to, which was have no rules or boundaries in our work.
During the opening week of the 53rd Venice Biennial in June 2009, THE DOR set up a temporary office at the Istituto Svizzero di Venezia. The office was used for reproducing books and editing the reproductions. The artists Piero Golia and Fabian Marti involved all the staff of the institute and a couple of artist friends. THE DOR scanned, archived and reprinted books that were brought by international visitors, creating a meeting point dedicated to the sharing of rare books such as “Four Basic Kinds of Straight Lines” by Sol LeWitt from 1969, or catalogues as the one of “Documenta 5″ by Harald Szeemann from 1972. We were there and we enjoyed the idea of promoting a creative act, both theoretical and practical, and making it accessible to the public. Of course we also enjoyed the possibility of getting books that were impossible to find elsewhere.
Today THE DOR is still an open project looking for collaborations and more books from collectors, artists, curators and friends in order to expand the digital archive which is still available at:http://blog.the-dor.org/ where you can find and download many interesting books. THE DOR has also been presented by Kunsthalle Zurich in Summer 2009 and at the Swiss Institute New York in the Winter of 2010.
Beck’s launches The Green Box Project, a global fund established to inspire, celebrate and financially support independent talent in art, design, music and fashion.
Over the next three years, Beck’s, through The Green Box Project, will fund and showcase hundreds of projects by individuals with unique creative vision.
Anyone can submit a proposal for funding within the areas of art, design, music or fashion. Each submission will be individually considered and reviewed by the dedicated Green Box team and its Board.
Thirty international creatives from the worlds of art, design, fashion and music have been commissioned to lead the project including Andrew Kuo, Kathy Grayson, Hussein Chalayan and Arne Quinze.
The Green Box Project is co-curated, commissioned and mentored by Nick Knight and Sam Spiegel.
Commissioned work will only ever appear in Augmented Reality; both online and around thirty Green Boxes, that measure two metres cubed, which will appear in specific locations across seven international cities: London, Manchester, New York, Miami, Los Angeles, Rome and Milan.
Using a custom built augmented reality app, available for iPhone, iPad and Android devices, members of the public will be able to look at any of the green boxes through their smart phone to reveal the unique content contained within it.
To experience the Beck’s Green Box Project users must initially download the free Beck’s Key app from the Apple iTunes App Store. Once they have the app on their phone or device they can search for the closest Green Box to them either through the app or by visiting the Beck’s website – becks.com – or the Beck’s Facebook profile – facebook.com/becksvier….
In the video above we introduce to Sage Vaughn, a los angeles-based painter and illustrator, who created a piece for Green Box in Milan in Piazza Marconi near Duomo.
July 21 – h. 8.30 pm
MAXXI Museo nazionale delle arti del XXI secolo – via Guido Reni, 4 A – Rome
A Canadian musician and producer, Sandro Perri is best known under the pseudonym Polmo Polpo with which he has generated a new and personal approach to experimental electronic sounds, developing an organic, abstract and pulsing music, in which basslines, drones, field recordings, acoustic instruments and hypnotic rhythms coexist.
For MAXXIMALISM he will be presenting a live set conceived for the occasion and in which his two principal artistic faces – that of the singer and songwriter (Sandro Perri) and that of the experimental musician (Polmo Polpo) – alternate and dialogue.
Jennifer Teets ’s online exhibition (previously announced in the last issue of Nero) is going to open this night at 7 pm.
You can visit the show at: http://www.neromagazine.it/a_clock_that_runs_on_mud
With ‘muddy time’ contributions by:
Mark Aerial Waller
Asli Çavusoglu/Burak Arikan
FRANCE FICTION (Marie Bonnet, Stéphane Argillet, Eric Camus, Lorenzo Cirrincione and Nicolas Nakamoto)
Morten Norbye Halvorsen
PERENNIAL (Arnaud Hendrickx, Michael Van den Abeele, Richard Venlet)
Tania Pérez Córdova
Fatos Üstek/Per Hüttner
I know it sounds like a sardonic play on words, but I am not kidding. The first time I saw such a thing was at the Cass Technical High School in Detroit in the 1980′s. I found it in a “petrified” classroom. Imagine Kabakov’s ‘School No. 6′ in Texas, but this place was clearly real. In the sense that it was a simulacrum of itself, though it still had functions. You see, a hellish thunder had swept that town leaving its bearings all out of order. Its universe had slowly swapped positions to reveal another agency of thought and mechanics of time. Time working off its own muck. What they called ‘muddy time’. And unlike Kabakov’s mummy classroom, this place didn’t exist to show itself as art. Instead, it classified itself as a realist venture under the conditions of true realist art. Thinking and existing art. And everything I saw there was strangely usurped by its own seemingly well-organized logic.