This week: Video games. Amanda talking about porn and boobs. People behaving badly. Oh, yeah, some art. It’s after 3 AM.Â I’m tired you aren’t getting a huge, organized note, go and google stuff, you can do it. I am even more nasally than normal in the audio, damned airplane petri dishes.
This is a show for the ages.
JesperÂ JuulÂ is an assistant professor at the New York University Game Center. He has been working with the development of video game theory since the late 1990’s. His publications includeÂ Half-RealÂ on video game theory, andÂ A Casual RevolutionÂ on how puzzle games, music games, and the Nintendo Wii brought video games to a new audience. He maintains the blog The Ludologist on “game research and other important things”. His most recent book isÂ The Art of Failure: An Essay on the Pain of playing Video Games.Â http://www.jesperjuul.net
Oliver Warden (b. 1971, Cleveland, Ohio) is a multidisciplinary artist, working both in the realms of contemporary art and technology. When online, he goes as his avatar name, ROBOTBIGFOOT. The majority of his body of work is inspired by and culled from his experiences in the virtual world, as he spends about 40 hours a week inside the realms of Counter-Strike, Left 4 Dead, and various independent titles. It can be said that Warden essentially, and by 21stÂ Century definition, lives in two worlds: online and off. His paintings, ranging in size of 1 ft to 21 ft canvases, are made by a unique process of pouring Galkyd onto canvas laid horizontally in his Bushwick studio. The semi-transparent and glossy layers build over each other in intricate and elaborate geographies, creating an effects-driven and technologically mediated super-world. HisÂ cameraless-photographyÂ is created on his computer, in virtual spaces. One series that I find especially innovative shows the â€œedge of worldâ€ in the video game Tribes; Warden literally played the game until there were no more challenges or objectives to complete, and after reaching the literal end of the map (where the playable area stops), he took thousands of screen shots. The results are works on paper, presented as pixelated photographs.Â His performance pieces are the third factor of his work, creating a complete balanced and intentional body. Inspired by his interactive experiences, he built a body of work around notions of privacy, voyeurship and control.Â Stalking people in Central Park at midnight and â€œcapturingâ€ them on video, living in a school wall for a week and pulling covert ops at night and sittingÂ insideÂ a chair as unknowing sitters sat on his lap, all challenged and occasionally broke the rules of engagement and participation.
This week: A BAS bureau twofer!
First Patricia talks to Mika Tajima.
This week, Patricia Maloney chats with artist Mika Tajima at the San Francisco Museum of Modern Art just before the opening of the exhibitionÂ Stage Presence, where her collaborative film, performance, and sculptural project,Â Today is Not a Dress Rehearsal, is currently on view through October 8, 2012 .
Mika Tajima,Â was born in Los Angeles, and lives and works in Brooklyn. She earned a BA from Bryn Mawr College in 1997, an MFA from Columbia University in 2003, and attended The Fabric Workshop and Museum Apprentice Training Program in 2003. Her work has been included in the exhibitionsÂ The Pedestrians, South London Gallery, London (2011);Â Transaction Abstraite, New Galerie, Paris (2011);Â The Double, Bass Museum, Miami (2010);Â Knightâ€™s Move, Sculpture Center, Long Island City (2010);Â Today is Not a Dress Rehearsal, San Francisco Museum of Modern Art (2009);Â The Extras, X Initiative, New York (2009);Â Learn to Communicate Like a Fucking Normal Person, Art Production Fund, New York (2009);Â Deal or No Deal, Kevin Bruk Gallery, Miami (2008);Â 2008 Whitney Biennial, Whitney Museum of American Art, New York (2008);Â Mika Tajima: Broken Plaid/Holding Your Breath (taking the long way), RISD Museum, Providence (2008);Â The Double, The Kitchen, New York (2008);Â Sympathy for the Devil, Museum of Contemporary Art, Chicago (2007);Â Music Is a Better Noise, PS.1 Contemporary Art Center, Long Island City (2006);Â Grass Grows Forever in Every Possible Direction, Walker Art Center, Minneapolis (2005);Â Echoplex, Swiss Institute Contemporary Art, New York (2005); andÂ Uncertain States of America, Astrup Fearnley Museum, Oslo, Norway (2005). She is part of the music-based performance group New Humans.
Next: New India correspondant Tanya Gill goes to the India Art Fair!
Tanya Gill, a Chicago artist living in New Delhi, wanders through the India Art Fair of 2012. Over the course of four days she spoke to Gallery owners and artists, and found a surprising number of Chicago connects. Recorded here are her conversations with Kiran Chandra, Renuka Sawhney of The Guild, artist Vibha Galhotra, artist Ram Rahman from The SAHMAT Collective,Â Laura Williams of Art 18/21, artists Joan Livingston andÂ Katarina Weslien from the School of the Art Institute of Chicago, Ritika Baheti of the Autonomous Public Laboratory Project, and four living works of artÂ by Preeti Chandrakant.
This week: Jenni Sorkin! Also, we talk with the fine folks at Expo Chicago.
This week: Happy 2012! We kick off the new year with Mark Staff Brandl reporting from Venice 2011!
A Venice Biennale 2011 extravaganza. Mark Staff Brandl is in the City of St. Mark. Brandl, the Central European Bureau and VaporettoShark, traverses and discusses his way through this huge international festival with sporadic assistance from Peter Stobbe, Claudia Tolusso, Manuela Gritsch, Elisabeth Payer, Tamara Remus, Lucas Malsch, Adam Vogt, Sarah Rohner, Johanna Gschwend, Marc Bless, Manuel Ackermann, Chandra Marquart and others from the Art Academy of Liechtenstein. He covers many of the national pavilions at the Giardini park, discusses much of the Centrale and even works his way through all of the massive Arsenale. Furthermore, at the end Dr. Mark and Dr. Peter visit and discuss some thrilling old paintings at the Accademia, the wonderful Venetian Museum and go to a retrospective of Julian Schnabel in the Museo Correr, located in the Piazza San Marco. Whew. Viva la Serenissima!
This is the 54th incarnation of this show, probably the most important contemporary art exhibition. It takes place once every two years, the first Biennale being held in 1895. The Exhibition this year, titled ILLUMInations was curated by Bice Curiger; it is the largest yet, spreading over 108,000 square feet between the Giardini and the Arsenale, and features 83 artists from all over the world. The Accademia art museum is situated on the south bank of the Grand Canal, within the sestiere of Dorsoduro. It was founded in 1750 and contains among a huge number of others, works by Bellini, Guardi, Giorgione, Pietro Longhi, Lorenzo Lotto, Mantegna, Tiepolo, Titian, Veronese, Vasari, and Mark’s great favorite: Tintoretto. The Museo Correr is the civic museum of Venice and extends along the south side of the Piazza. It holds art, documents, artifacts, and maps that chart the history of Venice across the centuries. It has also has shown one person exhibitions of contemporary artist such as Anselm Kieffer, Lucian Freud, Francis Bacon, and Enzo Cucci.
This week: Bad at Sports changes in to 88.5 “the shack” for NADA Miami where we were kindly and patiently hosted by Ox-Bow and Jonas Sebura and Alex Gartelmann (who let us set up our lunacy in their sculptural installation).
We talk to John Riepenhoff, artist, gallerist, awesome person (who has work in a show at Western Exhibitions opening this Friday).
Then Art Practical sums up the fair(s) and Patricia expresses her desire to cross genre to breed with a sandwich. Which is odd in that early in the show, and uknown to Patricia, Richard expresses the crushing sadness caused by the loss of a sandwich when Abu’s on Farwell changed owners and became awful.
This show is a fucking masterpiece, stop reading this and listen.