The fact is that the world is divided between users of the Macintosh computer and users of MS-DOS compatible computers. I am firmly of the opinion that the Macintosh is Catholic and that DOS is Protestant. Indeed, the Macintosh is counter-reformist and has been influenced by the ratio studiorum of the Jesuits. It is cheerful, friendly, conciliatory; it tells the faithful how they must proceed step by step to reach -- if not the kingdom of Heaven -- the moment in which their document is printed. It is catechistic: The essence of revelation is dealt with via simple formulae and sumptuous icons. Everyone has a right to salvation. Umberto Eco Mac History Image held here
Parafacts and Parafictions: Helguera, and Blachly & Shaw
EFA Project Space, New York, Wednesday, February 10, 6:30- 8 pm
Presented in conjunction with the exhibition Companion, on view through March 13, 2010
Art historian Carrie Lambert-Beatty offers a definition of the term ‘parafiction’, a term used to describe an emergent genre of artwork that plays in the overlap between fact and fiction: “Like a paramedic as opposed to a medical doctor, a parafiction is related to but not quite a member of the category of fiction as established in literature and drama. It remains a bit outside. It does not perform its procedures in the hygienic clinics of literature, but has one foot in the field of the real.” If a ‘parafiction’ operates in that space between fictional and real, alongside this term we might position a second: a ‘parafact’—an artwork that more stringently draws from the real—but a ‘real’ whose narrative is so curious, exquisite, or implausible so as to call into question its own veracity. Pablo Helguera, and Jimbo Blachly & Lytle Shaw’s performance-presentations engage both of these tacts. In so doing, the artists raise questions about the function of truth and fiction—its bearing on knowledge, ethics, or aesthetic transformation..
Companion is an exhibition of artworks contextualized with the source that influenced their creation. Using the EFA Studios Program as a curatorial foundation, Companion culls together cultural projects that draw inspiration from references mined from history, culture, and science.
Projects by: Tom Bogaert, Cui Fei, J. Blachly & Lytle Shaw, Pablo Helguera, Sarah Oppenheimer with Edward Stanley, Karina Skvirsky, Yuken Teruya, Saya Woolfalk with Rachel Lears, plus special screening of Margaret Mead & Gregory Bateson’s ‘Bathing Babies in Three Cultures’ (1951)
Curated by: Marisa Jahn for REV-
For more information on this exhibition, please visit here
MODERNOLOGIES: Contemporary Artists Researching Modernity and Modernism
Museum of Modern Art, Warsaw, 12 February – 5 April, 2010
With works by Anna Artaker, Alice Creischer/Andreas Siekmann, Domènec, Katja Eydel, Ângela Ferreira, Andrea Fraser, Isa Genzken, Dan Graham and Robin Hurst, Tom Holert with Claudia Honecker, Marine Hugonnier, IRWIN, Runa Islam, Klub Zwei (Simone Bader and Jo Schmeiser), John Knight, Labor k3000 (Peter Spillmann / Michael Vögeli / Marion von Osten), Louise Lawler, David Maljkovic, Dorit Margreiter, Gordon Matta-Clark, Gustav Metzger, Christian Philipp Müller, Henrik Olesen, Paulina Olowska, Falke Pisano, Mathias Poledna, Florian Pumhösl, Martha Rosler, Armando Andrade Tudela, Marion von Osten, Stephen Willats, Christopher Williams, with many other artists in the film programme.
Curated by Sabine Breitwieser
Assistant curator: Magdalena Lipska
A younger generation of artists is again increasingly addressing the legacy of modernity and modernism and the failure of the utopia associated with these terms. What has prompted contemporary artists to investigate modernity and modernism, and its aesthetic manifestation? What are these artists’ relationships to the promises and formal languages of modernity? How can this historical era even be critically reflected in and subjected to re-evaluation? Modernologies unfolds a cartography of alternative viewpoints and narratives, lines of conflicts and unresolved contradictions. About 130 works and projects by more than thirty artists and collectives establish a new ‘mapping of the critique of modernity’.
The exhibition was organized in collaboration with the Museu d’Art Contemporani de Barcelona (MACBA).
Image: Jimbo Blachly and Lytle Shaw, Photograph from the archives of The Temporary Museum of Vaseline in Perth Amboy, 2010; held here
'Avant-Gardening is an arts and environment project aimed at engaging all sectors of the community with environmental and sustainability issues through art, gardening and food. Avant-Gardening aims to solicit the community's creative responses to issues such as global warming, recycling and bio-diversity through an ongoing and organically evolving programme of arts which will give a voice to the participants and involve them in cutting-edge arts projects and activities. Avant-Gardening brings fun and creativity into the city's urban green spaces and encourages participants to reconsider the local environment and their interaction with it. These aims will be achieved through a programme that introduces participants to contemporary arts practice and environment and sustainability issues. We will work with artists with an interest in the urban environment and socially-engaged practice; including publicworks, Lisa Cheung and Rob Rainbow (formerly of The Light Surgeons) to develop ambitious projects that are as artistically valid as they are socially-engaged. Avant-Gardening is developed and programmed by Paul Green and Polly Brannan.' Avant Gardening is based in East London, UK. Above: Mobile Allotment, by Lisa Cheung. Image held here. Amateur Hour is a showcase for exciting new learning, skills, entertainment and public actions. Submissions in any form welcome to selfinterestandsympathy@ gmail.com.
The Inner Life of Things
Frankfurter Kunstverein, 05.02.2010 – 25.04.2010
The exhibition takes the concept of mimesis, understood as an imitative representation of reality, and its role in contemporary artistic productions as a point of departure. The works brought together in the exhibition question in exemplary fashion the character of the “real world” as well as the observer’s relationship to it. In addition to the seven artistic positions taken, some exhibits from the Sammlung des Museum der Dinge / Werkbundarchiv (Berlin) will be on display.
Nina Canell, Florian Haas, Till Krause, Bettina Lauck, Yoon Jean Lee, Egill Sæbjörnsson and Andreas Wegner. Curator: Holger Kube Ventur.
Image: Nina Canell, Temporary Encampment (Five Blue Solids), 2009, (detail), Electromagnetic devices, gypsum panels, plastic. Photo: Canell & Watkins, Courtesy the artist and Konrad Fischer Galerie.
Utopia Matters: From Brotherhoods to Bauhaus
January 23–April 11, 2010 at Deutsche Guggenheim, Berlin
Following World War I, avant-gardes turned to the utopian notion of harmony they saw in abstraction and optimistically endeavored to ameliorate society through art and design. Utopia Matters: From Brotherhoods to Bauhaus will examine a sequence of international case studies from the early nineteenth century through 1933, when the Bauhaus closed in Berlin and the ascendancy of Fascism and Stalinism curbed or negatively reframed artistic endeavors, and investigate the evolution of utopian ideas in modern Western artistic thought and practice. It will address the movements of Primitivism, the Nazarenes, the Pre-Raphaelites, William Morris and Arts and Crafts, the Cornish Colony, Neo-Impressionism, De Stijl, the Bauhaus, and Russian Constructivism. This exhibition is organized by Vivien Greene, Curator of 19th- and Early 20th-Century Art at the Guggenheim Museum. This exhibition will travel to the Peggy Guggenheim Collection in Venice on May 1, 2010. A fully illustrated catalogue with essays by Greene, noted historian Russell Jacoby, and design historian Victor Margolin will also accompany the exhibition.
Utopia and the Everyday
27th November 2009 – 14th Fenruary 2010 at Centre of Contemporary Art, Geneva
This exhibition invites various local players (associations, schools, etc.) to collaborate with artists and collectives who work within the contact areas between art and educational methods. These knowledge exchanges allow contemporary art and its institutions to become a privileged space for emancipation, transformation and educational experiments. Collaborations between artists and partner publics will be carried out in different projects, outside the Centre’s premises, and presented subsequently at the Centre. They will highlight the social, political, and environmental dimensions of these practices.
Curators : Katya García-Antón and microsillons
Image: László Moholy-Nagy, AXL II, 1927 held here
Chain link scarf pattern here Amateur Hour is a showcase for exciting new learning, skills, entertainment and public actions. Submissions in any form welcome to selfinterestandsympathy@ gmail.com.
“So thin and light it’s a revolution!”
I'm split about this new iPad thing, or to be more accurate, it's naming and the attendant fuss. Yes, it sounds really like the name of a femine hygiene product (Mac's iPad, Mac's iPad, Mac's iPad, Maxipad, Maxipad, Maxipad). I think all the period jokes are hilarious, and it's pretty rare that period jokes are so widespread in media and everyday conversation. Hurrah for subversive women's humour! (They do seem to throw up certain confusion and disgust/ squeamishness in male commenters, for example in this CNN news item). There are other problems with the name too, like the fact it will surely be difficult to distinguish between 'iPad' and 'iPod' in certain accents; they sound so similar it's bound to cause confusion. But I can see why it wasn't called iTablet or whatever as you can't actually draw on it (or run one than one app at a time but that's a whole other story). So, is it really true that no women work in Macintosh? That no one would have seen all this coming? It's really difficult to believe this couldn't have been foreseen by someone. Or does Macintosh think of women as outside their target market? In the promotional video, all of the developers, marketers, and managers are male. The hands that type, tap, and generally caress the beautiful screen, and the lap that the iPad rests on are male too. In the frankly fantastic series of TV adverts by TWBA in the Get a Mac campaign, PC and Mac were both male characters (the whole campaign is viewable on Adfreak). Women do occasionally appear: as a marketer for PC; as a Japanese digital camera; a psychoanalyst; a squad of cheerleaders; a yoga instructor. In October 2006, Gisele Bunchen appears as a home movie created on Mac's iMovie, in comparison to PC's 'work in progress' - a man dressed in a similar dress and a poor blonde wig. (This is the kind of hyper stylishness and body fascism that I, maybe unfairly, associate with the Mac cult. The undertone of gender discrimination was new to me). Above is an image from the original 1984 Macintosh instruction manual that featured no women at all, or anyone other than white men for that matter. So, I am undecided. Mac has either been extremely stupid, or extremely clever. As one commenter on Jezebel put it, "I think Apple is fucking with us to get more women engaged in the launch of its new product. It worked." Exhibit A: held here If I order this, will my boyfriend and I have to worry if it comes late? If me and my friends all buy one, will they sync up? Jezebel
Exhibit B: Apple instruction manual for the original 128k Macintosh, released in 1984, held here
"with the exception of Chapter 5, every photo shows a preppy white male using the computer. Women and people of color need not apply! (The dude in Chapter 4 even has a *sweater* around his shoulders!!!)..." blogged here Exhibit C: How to Dress Like a Mac - Justin Long in the PC/ Mac TV adverts, 2006-9 - held here (the blogger notes that he 'doesn't know anything about women's clothes... but it seems Macintosh don't either'). And just to provide an alternative image of women and technology, below is Exhibit D: Part of the cowling for one of the motors for a B-25 bomber is assembled in California, 1942. Photo by Alfred T. Palmer for the FSA, held by the Library of Congress.
Bournville was a model village created to house Cadbury workers, although most of the houses are now owned by the Bournville Village Trust rather than the company itself… Quiet and relatively crime-free, Bournville is too tranquil to host an insurrection, but there is a revolutionary mood afoot in the wake of Cadbury’s decision to accept Kraft’s £11.9bn offer. The local BBC radio station hasn’t played an American song all week and although Cadbury employees are reluctant to talk, it is impossible to find anyone who is in favour of the deal.
James Robinson, Bournville, the town that chocolate built, writing recently in the Guardian. Photo by Christopher Furlong/ Getty Images
the first time as tragedy, the second time as farce.”