In 1969, Seth Siegelaub, pioneering supporter of conceptual art, organized March
1969 a.k.a One Month, an exhibition that existed only in catalogue form. Siegelaub
invited thirty-one artists to contribute a work; one for each day of the month.
Time-Lapse curators Irene Hofmann and Janet Dees have conceived of a project that
is an homage to Siegelaub’s ground-breaking “exhibition,” updated for today’s virtual,
technological world. March 2012 will be hosted on the homepage of SITE’s website.
Each day during March one work by a different artist will be featured. The participating
artists are an international and intergenerational group currently working with
conceptual, time-based and media-oriented practices.
Axle Contemporary, Daniel Bejar, Martin John Callanan, Beth Coleman + Howard Goldkrand,
Ron Cooper, Matthew Cusick, Faith Denham, Brent Green, Hillerbrand + Magsamen, Jennie
C. Jones, Tellervo Kalleinen + Oliver Kochta-Kalleinen, susan pui san lok, Conor
McGarrigle, Linda Montano, neuroTransmitter, Huong Ngo (in collaboration with
George Monteleone and Or Zubalsky), Paul Notzold, Geof Oppenheimer, Ben Patterson,
Dawit L. Petros, Adrian Piper, Liliana Porter, Postcommodity, Mark Tribe, Claudia
X. Valdes, and Donald Woodman.
Transactions, Centro Cultural de España en Guatemala, La Ciudad de Guatemala
Participan: A-153167 (Anibal Lopez), David Brooks, Martin John Callanan, Nemanja Cvijanovic, Detext, Caleb Larsen, Liz Magic Laser, Julien Previeux, Daniel Seiple & Kunst Re-Publik, Katarina Sevic, Santiago Sierra, Nedko Solakov, Nikola Uzunovski y otros.
Curaduría: Raúl Martínez y Marco Antonini
Entendiendo el arte como otra forma de intercambio, esta exposición explora los procesos invisibles, errores de cálculo deliberados y verdades encubiertas del modelo de producción capitalista. En un momento en que este discurso parece incuestionable, Transacciones ahonda precisamente en las contradicciones y fisuras de nuestro modelo económico, convirtiéndolas en un espacio de trabajo y lucha política.
Los artistas incluidos en esta muestra cuestionan la “lógica” que gobierna los procesos económicos, exponiendo los límites legales y éticos del actual modelo neoliberal a través de lagunas legales y vacíos institucionales. Conscientes de las dificultades de evadir las estructuras económicas, muchos de ellos las adoptan como su hábitat natural y campo de batalla.
Transactions, Centro Cultural de España en Guatemala, La Ciudad de Guatemala
A selection of visual documentation taken of the installation Make the Living Look Dead as part of the touring exhibition Again, A Time Machine at Spike Island, Bristol.
Includes Callanan’s works Letters 2004-2006 and All the people who have ever lived, and will ever live
Chapter 27, of Future Climate Change is from our book Data Soliloquies, pp. 23–43.
In recent years, future climate change has increasingly been recognized as one of the most important issues of the twenty-first century, challenging the very structure of our global society. No longer just an abstruse scientific concern, it prompts difficult choices for both individuals and governments. Moreover, it is of the first importance to those working in disciplines such as climatology, engineering, economics, sociology, geopolitics, local politics, law, and global health.
Though Text Trends, Martin John Callanan deals with the spectacularization of information. Using Google data he explores the vast search data of its users. An animation takes the content generated by search queries and reduces this process to its essential elements: search terms vs. frequency searched for over time, presented in the form of a line graph, 16 of which are reproduced in this book.
Since 2007, Callanan has linked his status updates across social networking sites to display messages in unison. The updates always read “Martin John Callanan is okay“, with corresponding dates to show when they were published.
For the first exhibition at Büro BDP, Callanan has printed all the status updates on a single table sized sheet of roll paper. Using the obsolete technology of a pen plotter, which marks the text onto the paper with a standard writing pen, the text characters have been reproduced with machine precision. After the opening night, the table will gradually revert to it’s everyday use as an office desk.
The 209 updates are displayed sequentially in reserve chronological order on the MINI Museum of XXI Century Art which occupies the window on Emserstraße.
Vernissage & BBQ: Thursday 21 April 2011, 7-11pm.
Show: 22 April – 5 May 2011
Emserstraße 43 / 12051-Berlin
ART, INTIMACY AND TECHNOLOGY
Es Baluard Museu d’Art Modern i Contemporani de Palma
29.01.2011 – 01.05.2011
GAZIRA BABELI, CLARA BOJ, MARTIN JOHN CALLANAN, GRÉGORY CHATONSKY, DIEGO DÍAZ, RAFAEL LOZANO-HEMMER, LAURENT MIGNONNEAU, PAUL SERMON, CHRISTA SOMMERER, CARLO ZANNI.
Inside the immense flow of data exchange, the new technologies have facilitated an interdependency between the spheres of what is private and what is public, between interior and exterior, leading us to reveal, in an increasingly natural manner, our experiences, thoughts and feelings, enlarging the circle of intimacy to the point of sharing our inner life with the invisible, abstract audience of Internet users. Things personal become collective, things belonging to others become our own and intimacy is no longer something that is preserved and kept in our innermost circles, but something that is projected in all directions in an eccentric movement. Thus intimacy turns into extimacy, to use the term created by Jacques Lacan to define the existence, within the most intimate sphere of the I, of a “foreign body”, that which is external to the individual and with which one identifies.
We need to share our intimacy because what we are is defined both by our subjectivity and by what surrounds us. In the realm of digital art, several artists have worked with the new parameters of subject, body, interpersonal relationship and intimacy introduced by the new technologies. Their works enable us to initiate a reflection on the ways in which the mobile phone, e-mails, chats, social networks and instant messaging systems modify, increase or condition our communication with others. They also allow us to consider where the boundaries of our personal space lie, where our “I” ends and that of others begins.
“Extimacy. Art, intimacy and technology” is a group digital art exhibition which puts forward a proposal that spectators reflect on these concepts through the presentation of works by recognised artists from the international scene. Interactive installations, mainly, that involve spectators in what is active participation with the work, which never ceases to be a piece with its own identity, the fruit of the firm artistic background of creators who combine art and technology in their work. In an era in which the user adopts an active role in the diffusion and manipulation of information on the global network (known as web 2.0), in art, too, a change in roles between spectator and work is taking place, with interactive art as the best expression of this new paradigm. The works of some great names from this sphere, such as Christa Sommerer and Laurent Mignonneau, Rafael Lozano-Hemmer or Paul Sermon, for instance, are combined with the creations of promising artists like Gazira Babeli, Clara Boj and Diego Díaz, Gregory Chatonsky, Carlo Zanni or Martin John Callanan. All of them exhibit the multiple facets a concept as complex and at the same time as simple as extimacy can present, from different angles and with diverse intentions.
To celebrate 15 years of ground breaking research in electronic media, the Slade Centre for Electronic Media in Fine Art (SCEMFA) will hold a 14 week exhibition, showing new works from eight internationally acclaimed artists: who use emerging practices to explore electronic and digital media, as both a source and material.
Martin John Callanan, 24 – 30 January
Thomson & Craighead, 2 – 13 February
Tim Head, 15 – 20 February
Simon Faithfull, 22 February – 6 March
Brighid Lowe, 8 – 13 March
Melanie Jackson, 15 – 20 March
Susan Collins, 23 March – 17 April
An exhibition that revolves every fortnight between each artist, acting as a showcase for the best of contemporary art in the UK, and highlighting the Slade’s pivotal role in the history, development and current research in the many varied forms of electronic media.
Tuesday – Friday: 10 am – 5pm, Saturday & Sunday: noon – 5pm
North Lodge, University College London, Gower Street, WC1E 6BT
A Selection of The Web Biennial Revealing The Poetics and Politics of Net Art
20 January – 20 March 2011
Internet has contributed to the transformation and spreading of new forms of art, provided boundless creating, exhibiting and consuming opportunities. Regeneration.011, in this context, is presenting works that deal with freedom of speech and anti-war activism as well as revealing the political and poetical aspects of contemporary net art. Plato Art Space, by this project, aims to draw attention to net art which gained considerable importance in the recent years as an alternative space for contemporary art.
Artists: Magda Bielesz, Alan Bigelow, Immo Blaese, Andrew Chee, Martin John Callanan, Andy Deck, Dimitrios Fotiou, Matthias Fritsch, Genco Gulan, Elli Harrison, Sachiko Hayashi, Anni Holm, Aoghus Kneeshaw, Cardarelli Luigia, Marcello Mercado, Alexander Mouton, Christian Rupp, Evelyn Stermitz, Jurgen Trautwein, Merve Unsal, Nanette Wylde, Jody Zellen, Ricardo Miranda Zuniga.
Curator: Marcus Graf
The exhibition is supported by Plato College of Higher Education (www.plato.edu.tr)
PLATO ART SPACE, Ayvansaray Caddesi, No: 33, Balat 34087 Istanbul-Turkiye
In 2008, traveling by container ship, train and bus, the artist Simon Faithfull made an epic journey from Liverpool (UK) to Liverpool (Nova Scotia). The purpose of this absurd endeavor was to create 181 digital drawings that record the daily details of a journey from the old world to the new. The drawings are etched into the glass facard of Liverpool Lime Street Station and sandblasted into the stone paving.