First things first kiddos, have y’all gotten in your Ox-Bow and ACRE applications? It was sixty degrees today! The summer is pending. Get in on that dreamy Michigan/Wisconsin landscape. (My apologies to the jury committee.)
Also, The Art Institute of Chicago is looking for a new Associate Photography Curator.
THE ART INSTITUTE IS OF CHICAGO IS LOOKING FOR A NEW ASSOCIATE PHOTOGRAPHY CURATOR.
That being said, they will probably hire within… but regardless, join the masses and apply!
Details for all below. As always, good luck!
Ox-Bow residency for MFA/Arts Faculty application time is coming to a close as April 5th keeps creeping up. Info Here
(psssst, if you’re a normal human who isn’t all up in that institutional drama, consider their Fall Artist Residency, which I will talk about a little later)
Associate Curator, Photography /// Art Institute of Chicago
At the direction of the Department Chair, is responsible for conceiving permanent collection and loan exhibitions; researching and proposing acquisitions for the collection; researching the collection and contributing to scholarly publications; working closely with donors, scholars, dealers, and artists; supervising volunteers and special project staff; and contributing to fundraising activities. Serves as coordinator or local curator for traveling exhibitions. Develops relationships with artists and galleries that can guide future exhibition projects. Conceives of appropriate programming and conducts gallery talks. Takes an active role in conceiving and preparing the biannual Photography Gala.
Must have a Master of Arts in Art History, preferably with a concentration in a photographic subject. Must have at least 3 years of experience with exhibition projects, preferably involving photographic objects and preferably living artists. Strong writing skills are highly recommended. Foreign language abilities are encouraged.
All info, including the online application submission, here via the AIC employee portal.
“One of the things I wanted to prove is that you don’t have to be a Larry Gogosian or a Jeff Koons and plunk down 10 or 15 grand to make something happen. I think if you’re creative and energetic you can do whatever you want for a penny ninety-eight.” Wise words from painter/guerilla documentarian Loren Munk who’s interview was published this week on Bad at Sports.
Let’s see — otherwise Tilda Swinton has been sleeping Snow-White-Style in a glass box at the MOMA (which Jerry Salz wrote about here) and I saw an amazing B-Movie about a gang of Tai Kwan Do orphans who go tête-à-tête with Bike Ninja’s in Miami.
But more to the point, Nicholas O’Brien Unpacked The Shortest Video Ever Sold :
“In the past couple weeks a myriad of media outlets have been chomping at the bit to comment on the first sale of a piece of art made on the rapidly rising social media platform Vine. The work in question was made by Angela Washko and presented at the Moving Image Fair by Kyle Chayka and Marina Galperina in their Shortest Video Art Ever Sold (SVAES for short) booth produced in collaboration with Postmasters Gallery. The sale of the work has been quickly marked as an easy target for many critical articles for a variety of reasons, however I feel that most takes have missed some of the more salient issues that surround this sale. I sought out Chayka, Galperina, and Washko to discuss not only their intentions with the project but also to examine what exactly this sale might signal in terms of a potential future for new media art production and saleability.”
Shane MacAdams posted another episode from his on-going series, Thoughts from Across the Cultural Divide, “From television to cuisine to high-art, culture seems bent on sanding us down even as we strut about thinking of ourselves as unique splinters in the side of society.” It sounds like the series is wrapping up, so we’ll have to keep our eyes peeled to see what’s next on the McAdams’ Bad at Sports posting roster….(this is where you’re all supposed to grow excited, curious and sleepless with anticipation.)
Two posts from London this week — João Florêncio published a second installment in his on-going Performing Ecology: Narcissist Modernity
“The problem is that whereas the critical enterprise had, following the dawn of Modernity, been rightly concerned with calling into question beliefs such as those advanced by various religious doctrines and replacing them with scientifically validated facts, at the start of the 21st century and there being no beliefs left to disprove, criticality has now started targeting objective facts themselves, often by negating their existence or by turning them into a mere product of their dialectical counterpart, the observing human subject and its usage of language. Today, after the so-called ‘objective reality’ was found to always be the result of power-knowledge formations, human discourse has become the true cause of the world itself.”
& later that same day from Victor Delvecchio, a ruminating post about a renegade performance, Black Metal Chicken, an event organised by an apocalyptic noise band funded by Henrik Heinonen with Oscar Gaynor and Matthew Peers. Via Delvecchio I learned that Islam Green is a color and got a vibey-feel for foggy East London (where the Olympic stadium remains). This comes from his post about a performance artist being strangled, Where there’s voilence, there’s love:
Sophie appears on my back: “I thought the timing was good,” she says. “Just as the audience were eating, helping themselves to food. If I didn’t know it was a performance, I would have been concerned, it relied heavily on our knowledge and trust that this was a performance. I think, they were trying to communicate the uncanny, notions of sadism, the erotic. Perhaps, too, how vulnerable we are to another person’s decision to harm us?”
“With certain currents in the contemporary art world pulling out of the gallery and museum box and into the spaces of everyday life, social relationships have come into focus as the site of many artistic projects. Increasingly, self-organized creative types pick up with simple materials, a group of friends, and an idea to enact change in their various communities by participating in and with them. Between Chicago (Bad at Sports’ hometown) and New York City (my hometown) there are two similar projects – with varying regard to an art world dialog – that center on a waste-not-want-not brand of idealism. Encouraging inventive approaches to everyday repair problems, Community Glue Workshop (Chicago, IL) and Fixers Collective (Brooklyn, NY) have each been building community by tinkering with and fixing things. All kinds of things. I recently had the good fortune of sitting down with Ally Brisbin and Carla Bruni of Community Glue Workshop, and Vincent Lai of Fixers Collective to discuss their respective work.”
And then on Thursday, Atlanta-based Chicago friend Meredith Kooi reported on TRITRANGLE’s “No Media” project:
“NO MEDIA happened March 16, 2013 at TRITRIANGLE, the art space that formerly held Enemy Sound, in Chicago, IL. Developed out of a GLI.TC/H Working Group, the first NO MEDIA happened at GLI.TC/H 2112 on Friday, December 7, 2012 at TRITRIANGLE. Described in the schedule as “Proposed by Jason Soliday on the Working Groups: NO_MEDIA is a performance framework that goes from zero to zero! Participating performers will start with blank slates, build sets from scratch. No preparation allowed. Zeroed out knobs. No strings on your guitar. No presets. Everything done in realtime from beginning to end. Everything that happens exists only in and during the performance :: “Raw Real Time.” After ~ 10 minutes you will delete all assets. It happens … and … then it’s gone …”
“On March 16, 2013, I participated in it, but that’s the only detail of the night I’ll give. For, there is no documentation allowed. After the event, I sat down with [dis]organizers Jason Soliday, Nick Briz, and Jeff Kolar via electronic-mail. I wanted to ask them: Why a NO MEDIA new media performance event? What is considered documentation? What does it all mean??
And then, here I am, writing for the “media” about NO MEDIA.” (more)
TOP 5 WEEKEND PICKS !! (whoop-whoop) posted by the ever magnanimous vet of culture and distinction, Stephanie Burke.
& last but not least, a little something by yours truly about Harmony Korine’s SPRING BREAKERS.
As we close on spring break in earnest, I’m going to leave you with a little something from Miami Connection, that B movie I told you about — I failed to mention that the band of Tai Kwan Do Orphans also moonlights in a super-posi(tive) band called DRAGON SOUND. While playing music for a crowd, they also practice their martial arts. This one goes out to you, dear readers, from the bottom of my heart.
Harmony Korine’s Spring Breakers has been quite the buzz of late. To quote SF filmaker/friend/artist, T. Siddle:
Did a double feature of Stoker and Spring Breakers yesterday. Stoker is very very good, I’m not convinced by Spring Breakers (though I liked all the neon and the hideous beach font it used for titles). My experience of the latter was somewhat hampered by the elderly man sitting behind me who made pornographic grunts whenever a semi-naked woman was on screen.
There are lots and lots and lots of half-naked women in this movie, so a grunt per visible breast would be distracting indeed. I also saw Spring Breakers recently, also during a double feature. We went Spring Breakers first, then Olympus Has Fallen. Surprisingly, I liked the first. I thought I would hate it, because I tend to dislike excuses to show naked girls for the sake of showing naked girls. I read about how anti-feminist it was, how exploitative. How the female leads were shallow and hard to differentiate. And yet I was surprised. Korine’s movie is all of those things — however I would argue everyone in this movie is exploited and exploiting, everything is shallow and everything is a product of a corrupt, late capitalist culture. The leading ladies are not liberated in a positive way, necessarily, but they have learned to be so hard and material, so soulless in a way, that they fulfill the very requirements of their image and then go beyond that image to exploit and manipulate and murder. Korine uses so much nudity it becomes boring — yes! — blending a vaccuous (and I’d say also American) desire to “find oneself” in pleasure and abundance, that offers this compelling, albeit gross, portrait of class (perhaps more than anything else) and gender.
It probably could have been shorter, and I think it’s a little too pretty for its own good — as a portrait of corruption, maybe there shouldn’t have been so many breathtaking moments (the Tiqqun-ish Young-Girls dancing in pink unicorn ski masks, pink bathings suits, dayglo sneakers and carrying artillery rifles as drug dealer James Franco plays a former-Mousekateer Brittany Spear’s song on a white piano) but. At least it exploits the rotten-ness of Vice Spring Break — drawing the narrative to an ethical nightmare that is almost lost in the mood of the moment. Blood is spilled in Tarantino proportions, feeling far more hopeless, more pathetic — if only because these main female protagonists (two of them as child stars, the third being Korine’s wife) seem to be on an unconcious gender-revenge mission: as though they are simply products (or surfaces) of a culture, not self-reflecting members. These girls have developed a steel-hearted strategy of care-less-ness. And maybe that’s a zeitgeist at the moment — consider Sofia Coppolo’s new movie about teenage girl robbers:
Spring Breakers felt like a kind of indictment against the American Dream that gave itself so that it’s youth could have any and all possibilities at its beer-guzzling feet, Olympus Has Fallen became such a freak show of propaganda (the White House is under siege and the President’s son is hiding in its halls as his father is held hostage by evil captors below ground). We walked out after 30 minutes of blood soaked not-ironic-enough patriotism. What I’d like to do is splice those two films together, to show the one myth on one side, (of priviledged youth in a commerically marketed Rumspringa excercising its American-ness), and on the other the myth of America’s need to defend itself from an evil Non-American.
Jeffrey Sconce wrote a great review about the film on his blog, Ludicdespair:
In a fair world, or at least one less crippled by stupidity and mediocrity, James Franco’s “Look at my shit” speech from Spring Breakers (2013) would be one of the scenes featured in the Academy’s “Best Picture” clip-reel at next year’s Oscars. Just imagine how amazing it would be to see Ron Howard, Ryan Gosling, or some other safely bankable Hollywood functionary forced to take the stage and read an Academy staff writer’s impression of what Spring Breakers is about:
“In a chilling performance, James Franco captures the essence of evil as he seduces four young girls into a life of crime…”
“James Franco is terrifying as the local crime kingpin who turns an innocent rite of passage into a nightmarish ordeal.”
All of this would be bullshit, of course, but probably as close as Hollywood could come to getting a moralistic bead on this movie’s unapologetic nihilism. But it would all be worth it to see the lights in the Kodak theater go dark so that TV America could witness the corn-rowed, grill-bedazzled “Alien” (James Franco) inventorying the contents of his sick St. Pete bedroom:This is the fuckin’ American dream. This is my fuckin’ dream, y’all!All this sheeyit! Look at my sheeyit!I got … I got SHORTS! Every fuckin’ color.I got designer T-shirts!I got gold bullets. Motherfuckin’ VAM-pires.I got Scarface. On repeat. SCARFACE ON REPEAT. Constant, y’all!
…This will never happen, of course, because Hollywood will be too busy auto-fellating itself with the historical import, social relevance, and quality competence of another Lincoln or Argo. Meanwhile, Harmony Korine’s sublimely ugly and mean-spirited takedown of American awesomeness will likely go unnoticed, a film that in its own way says, “yeah, Lincoln was a great guy for passing the 13th Amendment and Argo is the story of some very heroic patriots, but in the end, nothing could stop America’s manifestly obscene destiny to become a nightmare of beer funnels, breast implants, blow, and Skrillex. (read more)
Work by Alexandria Eregbu.
Gagosian’t is located at 60 E. Monroe St. Reception Friday, 6-9pm.
Work by Jessica Allee, Stephanie Jardin, Wago Kreider, Jay Needham, Angela Watters, Nico Wood, Andrea Baldwin, and Cole Robertson.
Defibrillator Gallery is located at 1136 N. Milwaukee Ave. Performance Friday at 8pm. $10.
Work by Claire Valdez, Charles Fogarty, and Ilene Godofsky.
Heaven Gallery is located at 1550 N. Milwaukee Ave. 2nd Fl. Reception Friday, 7-11pm.
Work by Jacob Goudreault and Alexander Herzog.
Lloyd Dobler Gallery is located at 1545 W. Division, 2nd Fl. Reception Friday, 6-10pm.
Work by AMTK, Rine Boyer, Michael Burmeister, Stephanie Del Carpio, Inah Choe, Melanie Deal, Predrag Djordjevic, Mary Flack, Gabriel Garcia, Anna Goraczko, Kim Guare, Jennifer Hines, Cynthia Hsieh, Joanne Jongsma, Brandy Kraft, Amy Kuttab, Tulika Ladsariya, Jessica Lucas, Lorette Luzajic, Deanna Mance, John McLaughlin, Gülşah Mursaloğlu, Klaus Pinter, Rhett Gérard Poché, Clare Rosean, Jake Saunders, Ashley Allen Short, Wade Thompson, Ruby Thorkelson, Polly Yates, and Christopher Zanoni.
Roman Susan is located at 1224 W. Loyola Ave. Reception Friday, 6-9pm.
“NO MEDIA is an open [sign up] improvisational realtime/performance media art event. Participating artists are randomly matched in sets of 3 && given 10mins to perform w/&& in re:to each other. Poets + experimental dancers + free jazzers +
No Media At The End!
[NO documentation allowed. It happens once && in realtime.]
NO MEDIA happened March 16, 2013 at TRITRIANGLE, the art space that formerly held Enemy Sound, in Chicago, IL. Developed out of a GLI.TC/H Working Group, the first NO MEDIA happened at GLI.TC/H 2112 on Friday, December 7, 2012 at TRITRIANGLE. Described in the schedule as “Proposed by Jason Soliday on the Working Groups: NO_MEDIA is a performance framework that goes from zero to zero! Participating performers will start with blank slates, build sets from scratch. No preparation allowed. Zeroed out knobs. No strings on your guitar. No presets. Everything done in realtime from beginning to end. Everything that happens exists only in and during the performance :: “Raw Real Time.” After ~ 10 minutes you will delete all assets. It happens … and … then it’s gone …”
On March 16, 2013, I participated in it, but that’s the only detail of the night I’ll give. For, there is no documentation allowed. After the event, I sat down with [dis]organizers Jason Soliday, Nick Briz, and Jeff Kolar via electronic-mail. I wanted to ask them: Why a NO MEDIA new media performance event? What is considered documentation? What does it all mean??
And then, here I am, writing for the “media” about NO MEDIA.
MEREDITH KOOI: And, of course, no documentation of the night, though as Jason brought up on Saturday, is this [the writing of the article] considered documentation too? Discuss.
JASON SOLIDAY: I think questions are allowed.. I would say that if were going to stick to this no documentation thing, that we can talk about what could happen, or impressions of how the night went as a whole, just not specifics of what actually happened… so no “———————————————————————————.”
The whole First-rule-of-NO-MEDIA-is-no-one-talks-about-NO-MEDIA-thing is something we could maybe talk about too. I think Nick and I at least have somewhat overlapping, but different interpretations of the why of that…
JEFF KOLAR: I’m right on with Jason on this one. Particularly from the perspective of us [dis]organizers, it might be best for us to specifically address the format of the event instead of the specific performances. Plus, I am personally less interested in which performances were good or bad, and more interested in the arc of the evening; the organism it creates.
That said, I think talking about NO MEDIA is okay. It’s interesting how flexible and relative the “no documentation” rule ends up being, particularly from an audience perspective. It places an interesting constraint on the attendees of the event and activates their participation to a certain extent.
NICK BRIZ: echo above sentiments
xcited for chatz
MK: Well, first of all, I’m wondering what you all consider to be actual documentation. First-person accounts? A photo of the —————————————- from the evening? Dreams? Collaborative work that grew out of the session? And, what was the motivation behind choosing to not document the sessions?
NB: Great place to start
Quick disclaimer, as Jason mentioned before, I think the three of us have overlapping (but not identical) motivations going into this, so I’m speaking for myself here (and only partially for Jason && Jeff ^_^)
The day before the show someone posted on TRITRIANGLE’s page asking if it would be broadcast online, to which I responded:
“Hey ———, it won’t be broadcast online. Myself && Jason && Jeff are all involved in organizing different events/initiatives which we broadcast online + generally prefer to stream stuff, but the impetus behind NO MEDIA is a bit different/specific. We want to create a localized space for experimentation which is low-pressure. For this reason we purposefully don’t broadcast, in fact one of the ‘rules’ (listed above) is no documentation of any kind.
We’ve noticed sometimes the pressure of documentation can compromise some of the risk taking involved in improvisational performances. We’ve also noticed that (sometimes) folks perform specifically for the documentation and not so much the live setting. This isn’t specifically good or bad, we just want NO MEDIA to be a space specifically for in-the-moment happenings where folks can take risks without worrying about the comments it’ll get on Facebook the next day.”
So this is more or less where I’m coming from w/re:to the ‘no documentation’ rule,  remove the pressure/distraction that often comes with documentation  emphasis in-the-moment focus: w/your collaborators in that space/time.
I’m also very interested (romantically) in community + most of the events/organizing I do is motivated by this, so I’d actually be very xcited if collaborative work grew out of one of these sessions. So no, I wouldn’t really consider that documentation Nor would I really consider bruises, first person accounts, etc. To be honest, for me the rules are similar to the Dogma95 rules, in that I’ll try my best to enforce it (for the reasons stated above) but in the end I’m less interested in being dogmatic about it. There’s something fun about the idea of a photo that sneaked out or a shady vine vid (again, so long as the in-the-moment ethos isn’t compromised).
JK: Echo that disclaimer…
And jumping off Nick’s statement:
> remove the pressure/distraction that often comes with documentation  emphasis in-the-moment focus: w/your collaborators in that space/time.
I would like to add:  give agency to the audience.
One of my motivating interests behind the “No Documentation” rule is also to think about roles the audience plays in concerts/performances/events. I’m with Nick on this one, very interested in a rule that is clear yet flexible enough for performers and audience members to follow/break in [un]expected ways. If we were really strict about the “No Documentation” rule, we could ban use of all media (i.e. collect cell phones pre-entrance, radio-wave body scanner, destroy writing utensils, etc.). Jason, Nick, and I often take these “what ifs” to extreme/absurd levels; perhaps that’s how we came up with some of the rules for NO MEDIA in the first place. How far is too far? Why is it too far? I’m more interested in what audience folks consider “Documentation” of an event in this digital-device era, as it seems to get slipperier and slipperier as more [media] tools become available.
Also, one thing that seems special with NO MEDIA is that the audience/community really helps shape the performances. Laughter certainly seems to impact the performers. Audience chitchat often becomes the “intro” for group’s sets. I view the audience an active agent in NO MEDIA events.
And also interested in how the “No Documentation” rule/constraint actually creates awareness rather than preventing it.
JS: >And, what was the motivation behind choosing to not document the sessions?
A while back I remember my friend Witch Beam posting something along the lines of why does everyone feel the need to post everything to the internet? Why can’t somethings just happen and then be over, stay secret? So, it was partly in response to that, and a reaction against New Media/Internet/Noise culture’s common tendency to release ever last thing it creates out into the world, that glut of stuff we all keep making and posting to Tumblr, Vimeo, Soundcloud, and the rest.. Don’t get me wrong, I’m as much a part of it as every other “new media” artist, but I really wanted NO MEDIA to be about the moment, be here right now, it’s happening, then it’s gone. Telling everyone to put their phones away and stop recording and taking pictures was just one way to make that explicit.
I think what people do with that experience afterwards will be the interesting part.. Hopefully new, unexpected ongoing collaborations that wouldn’t have happened if people had not been thrown together during a NO MEDIA event will start appearing! Or perhaps someone sets off on some new direction with their work because of something at one of these events. I hope we’re setting up a space with NO MEDIA that provokes that sort of thing. That’s a thousand times more interesting to me than yet another cell phone video on YouTube.
That being said, I’m guilty of thinking “I wish someone was recording this, I’d like to hear it again” a few times during the two NO MEDIA events we’ve done so far.. but then that just means it was good, right? Hopefully the people that were performing at those points were thinking the same thing too, and are now hard at work on something new inspired by it!
MK: In thinking further about documentation and the space/site/time of performance, does NO MEDIA have any particular kind of performance it’s focusing on? Is it geared towards particular ways of working or does what you all are saying about the site of performance apply to all different ways and mediums of performance? I know Jeff has mentioned interest in hosting NO MEDIA in different venues thus drawing different artists and crowds – is this ideal for the interests of NO MEDIA? Do you foresee particular audiences and artists working in various other mediums responding to the rules in vastly different ways? If so, why do you think that might be? Would that signal some sort of success (I guess if that’s an appropriate word here at all) of what the rules are doing? Does this at all matter? Is there any particular goal that the rules are trying to achieve for art-making as a whole? Is this particular to Chicago?
(That’s a lot, I know, so, run with what ya like.)
JS: I would hope so. At its core, NO MEDIA is just an improv lotto, which really isn’t anything terribly new in the sound world. One of my early introductions to playing, well… free, weird, experimental, you know, the “hated” music as some will joke… was performing at the Myopic Books Improvised Music Series where the rule is that you are required to play with some one you’ve never played with before, and that series has been going on for something like 15-20 years now. With NO MEDIA one of the things I wanted to accomplish was to bring that to a New Media context, and add in artists that work in mediums and genres that might not normally approach their work that way, hence opening it up to video, performance, and everything else..
The site of the performance, I think that plays into the whole NO MEDIA being about the now, being in the moment.. and how one deals with that in making art. That would certainly include the space one is in at that moment… Rotating venues… that’s always been in the plan for NO MEDIA, at least since we decided to turn it into an ongoing series. Having it happen at the same place every time would I think impose unwritten rules that I’d like to avoid… nobody should expect anything really to be a given at a NO MEDIA event except for the couple of basic rules for the events that we’ve posted. What happens if there’s no PA next time? Or if the next one happens outside and the only thing to project video on is the bushes? [aside to Jeff and Nick here... I think I just came up with a new "rule".. cue nefarious laughter]
I think a “success” for me with NO MEDIA would be seeing interesting new work inspired by something that happened at one of the Events, something that wouldn’t have come together otherwise..
JK: >I know Jeff has mentioned interest in hosting NO MEDIA in different venues thus drawing different artists and crowds – is this ideal for the interests of NO MEDIA?
Yes, absolutely. Our goal is to host each NO MEDIA event at a different venue with the hope that the change of location will increase diversity in participants. We are really pushing for different media[ums] to sign up for the events in order to keep the events fresh. My hope is that NO MEDIA has the possibility of providing collaborations with folks outside of an artist’s normal social/art circle. To that extent, anyone can sign up for NO MEDIA: it’s open sign up, low pressure, and the format openly accepts failure. Plus, diversity in performers usually creates more unexpected realtime results, which is really fun to watch/listen/experience.
>Do you foresee particular audiences and artists working in various other mediums responding to the rules in vastly different ways? If so, why do you think that might be?
I would certainly hope so. When drafting the rules for NO MEDIA, we certainly were aware of the multi-media flexibility. Particularly the first rule:
NO preparation is allowed. Bring your tools, devices, instruments, props, etc., but you’ve got to start with a blank slate. NO time will be allotted for ‘setup’.]
We are definitely interested in overlapping the rules with performance practices that may not have thought about these types of constraints in their practice before. How does one approach the same rule using different media? What if you’ve never considered your practice media-based? Then, how would one approach these generalized rules? Part of what makes the NO MEDIA event so indeterminate is that performers from different disciplines have to react to these questions in realtime with three other artists without (hopefully) any prior consideration. NO MEDIA builds this exploration of “finding something” in realtime with other artists you’ve potentially never met before. It’s a really exciting moment.
MK: In re-reading some of the questions and answers from this past week, I wanted to revisit something:
>Jeff: And also interested in how the “No Documentation” rule/constraint actually creates awareness rather than preventing it.
Is there any way that the rules are a response to a perceived lack of awareness that many in the media and artworld talk/comment on? There seems to be a new article everyday either proving/disproving the use of media in the classroom or the breakdown of American literacy because of the 140-character tweet. Since NO MEDIA also focuses on the audience and the audience’s experience, do any of you have any thoughts on watching/engaging in performance and its greater/broader relationship to our experience of the world? Is this a consideration you’ve had?
Also, do you see any affinities between the series you’ve created and the goals you’ve set for it and early performance work and happenings? There are major differences obviously in the types of constraints from those early days, but it seems that the principle is rather similar – it’s about being there and witnessing what could happen in the space. Is NO MEDIA trying to recapture in some way this emphasis on first-hand experience? Does this is some way react against a lot of work that is made about the unnecessity of actually experiencing work in person (I’m thinking particularly of Brad Troemel here)
NB: echo’n && reiterate’n on this…
>I know Jeff has mentioned interest in hosting NO MEDIA in different venues thus drawing different artists and crowds – is this ideal for the interests of NO MEDIA? Do you foresee particular audiences and artists working in various other mediums responding to the rules in vastly different ways?
+ connecting that with this:
>Is there any way that the rules are a response to a perceived lack of awareness that many in the media and artworld talk/comment on?
re:lack of awareness and/or lack of perspective, >> its tuff to gain perspective on your context when you’re on the inside looking out. Once in a conversation with Jason, he mentioned that he notices how at improvisational noise shows the artists often fall back on the same tropes/conventions. This doesn’t mean the artists aren’t being spontaneous, but rather that they’re doing so within a set of conventions. This isn’t inherently a problem, after all it’s these conventions that define the context (i.e. there are particular rhythms bossa nova musicians improvise on, these structures can be seen as limits/restrains but also help identify what’s happening as bossa nova). For me this only becomes a problem when the artist doesn’t realize they’re restraining their work to fit w/in these conventions (because it’s become such an invisible norm). I think this is where mashing up improvisational performers from different disciplines becomes interesting, when different sets of tropes/conventions are forced to reconcile w/each other in realtime… you can’t ignore ‘em.
>Also, do you see any affinities between the series you’ve created and the goals you’ve set for it and early performance work and happenings?
Oh yea absolutely, I think this is obvious ^_^ while it may not have been a direct reference at first I think there are lots of parallels, namely the interdisciplinary nature and the interest in (the alternative) value of ephemeral/uncommodifiable art situations.
MK: Thank you Jason, Nick, and Jeff for taking the time to talk with me about NO MEDIA!
JK: NO MEDIA is in the works for May, so keep an eye out on our tumblr for event and date specifics!