Bonus video: Cat birthday
Curated by Alix Desaubliaux and Hugo Lermechin
Layer is a collective exhibition hosted by Atelier Quatrepourcent as an extension of The Wrong. Unlike other links associated with The Wrong which contain artworks that are accessible/experienced online, Layer requires a download from a Mega file share link. There is no information about the file’s content; it is unclear whether it is a folder of the video files included in the exhibit, a simulation of a walktrough of the exhibit, a documentary, etc. Not sure if it’s intentional or not, but I like the minor anxiety induced by having to download an unknown file from the Internet since the intrusion between “safe” browsing and “unsafe” downloading feels in keeping with the exhibit’s stated aim to explore parallel multiplicity through distinct, but entwined realities. I also like how it trangresses between concepts of “shared” and “private” experience.
The file is a virtual gallery built in Unity. It’s interesting to experience the artwork in its “native” digital environment, but also to “own” the artwork or experience through ownership of the simulation files. The commitment to the rectangular format for the video/gif art displays works well as an imitation of screens and the works’ physical iterations. But it also makes me curious about how the spatial freedom of digital environments can be pushed so that artworks can be presented without the limitation of the rectangle. It reminds me of a talk by a video game designer (can’t remember his name) who was trying to make a game that could erode a player’s awareness of the screen through intense sensory immersion to induce a quasi-spiritual experience. He was interested in not only exploring the relationship between digital and physical realities, but also in the potential for a new reality emerging from their fusion and friction. I’m not really sure where I’m going with this thought, it just came up.
Curated by Andreu Belsunces
It’s an interesting idea to showcase literary thought alongside visual works with a treatment of the writing as something alive, not stagnant. I like this elevation of critical thought to a conspicuous position since critical theory or academic dialogue is so often obscured behind elitist circles in art, despite occupying a space of equal value to actual artworks, especially in contemporary practice.
The writings posted so far are interesting, however, I do wish that the site was more adventurous with format. It currently feels a little too much like a online journal or grad student directory, and the rigidity feels at odds with the stated goal of active discourse. Like, it’s cool that the conversation is continued through other formats like live talks, but when those experiences occur in isolation (lacking record, such as video or transcript shared online), then the flow of thought becomes discontinuous or disjointed. But maybe I’m just projecting my personal grievances about the inaccessibility and poor record-keeping of niche critical conversation in general.
A webpage that is anonymously edited by ten unknown artists.
It’s a very simple, but effective execution based on the concept of anonymity. I like the conceptual compactness, and the webpage itself is a neat display of web programming. I like the optimism of its productive and collaborative take on anonymity, especially since so much discussion about anonymity seems to be pretty cynical or grim.
Net.art was based on the foundation of online communications and graphics, emails, texts, and images–among artists, enthusiasts, and technoculture critics–who were interested in sharing and trading ideas. Rachel Greene speaks about the exploitation of characteristics of the internet, like immediacy and immateriality. Net.art can be accessible in ways that other art practices may not reach. Basically “internet enabled anyone wired to communicate on equal ground, across international boundaries, instantaneously, everyday.” Internet started out advertising for personal histories and online communities. Net.art is not only a form of using these codes to create internet art, tell stories, it also includes hacking. Using the internet to create art, interactive elements became more available to net.artists. Net.art was responding to the drastic shift in technology and the accessibility across the board. Net.art is rooted in each of us, as far back as the first email we’ve sent, the first Skype call or chat. The early days of net.art, art may not have been the initial intent in the 90’s, however, over this time the experimenting with using the internet, code and exchange of ideas, fueled net.art’s fire. Net.art is used to start conversations around politics, social concerns and personal stories. What I find interesting is the intermingling of a darker use of the internet. History shows these net.artist’s pushing the internet for things out of the norm and out of the comfort zone of the “main-stream.”In doing this, to me it raises thoughts about the trust put into these individuals and the amount of power we hand over for the convenience of online banking, for example. The history of net.art is rooted in our beginnings of the internet. And over time the exploration of the internet has brought forth a wealth of knowledge available at our finger tips. Not only is it important to be cognitive to how we choose to contribute to net.art, it’s equally important to keep current on net.artists of our day.
Here’s the tutorial I used. One thing they don’t mention is that when you get to the step where you save your final video, it doesn’t give you a default file name (ex. “Untitled”). You have to type both the name you wish to use AND the extension the original video was in(ex. .mpeg4, .avi, .mov, etc…). Otherwise it will prompt saying it did not save successfully.
In the early ’90s a digital paperdoll system called Kisekae Set System (KiSS) was popular among casual net users. The KiSS software used the aesthetic language of Asian comics for young girls, and enjoyed widespread popularlity amongst that demographic. There was also a subset of KiSS content that catered to mature tastes, enabling users to apply erotic manipulations to the girlish figures.
Using the KiSS system to generate images, I want to explore the mediation of information oversaturation through channels of convenience into easily digestible forms. Inspired by the absurdity of government bureaucracy co-opting the visual language and culture to inoffensively package political policy, I have used the innocent KiSS figures to repackage grim modern news stories, such as misogynistic hieararchical effects on Japanese economic and population decline (lovely robot), police violence (local news), modern slavery in South Korea (angel island), and the marginalization of foreign spouses in South Korea (bride).
The adorableness of the news presentation mimics the “soft” reception and soft presentation of uncomfortable news content. Such as the commodification of solidarity around a tragedy into simple hashtags on Instagram and Cafepress t-shirts printed on demand, or the flashy oversimplification of complex issues by major news media into emotional buzzwords.