Beagles & Ramsay
Liselot van der Heijden
Presenting work by twenty-seven artists in twenty-nine days, Videodrome II will feature a different single projection video work each day in the Zenith Media Lounge. In the spirit of David Cronenberg's 1983 cult classic film Videodrome, and his investigation of the integration of the television into daily reality, the exhibition acknowledges video's role as a primary medium within the production of contemporary art.
October 2 - November 3, 2002
Zenith Media Lounge
Presenting work by twenty-seven artists in twenty-nine days, Videodrome II will feature a different single projection video work each day in the Zenith Media Lounge. In the spirit of David Cronenberg's 1983 cult classic film Videodrome, and his investigation of the integration of the television into daily reality, the exhibition acknowledges video's role as a primary medium within the production of contemporary art. New Museum curatorial staff made a wide selection of some of the most challenging and innovative video created in recent years around the world.
Organized by Anne Barlow, Johanna Burton, Dan Cameron, and Anne Ellegood
"The television screen is the retina of the mind's eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears in the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television." -- David Cronenberg's Videodrome.
Videodrome II is the second incarnation at the New Museum of an exhibition of works exclusively in video. Inspired by David Cronenberg's investigation of the integration of television into daily reality in his 1983 cult classic film Videodrome, the exhibition acknowledges video's role as a primary medium within the production of contemporary art. Video has a unique capacity to submerge viewers through its medium-specific characteristics-such as its reliance upon light to generate atmosphere and the requirement that it be viewed over time. The work of twenty-seven artists will be presented one artist per day over a period of twenty-nine days; during two "open call" days visitors can request a particular work or compilation be screened. Working as a collaboration, the organizers of Videodrome II viewed numerous video works before making a heterogeneous selection of some of the most challenging and innovative video of recent years. The final selection is a diverse group of artists hailing from Japan, Germany, Great Britain, the Netherlands, Los Angeles, Miami, New York, and elsewhere.
The works in Videodrome II vary widely, yet each contributes to an overall investigation of tropes addressed in video today, with particular attention paid to how technological capabilities within the medium are used by artists to underscore conceptual ideas. For example, both Christoph Girardet and Matthias MÃ¼ller explore the realms of popular culture and experimental film. Appropriating imagery from Hollywood films or television, or using found footage, their work (both independently and in collaboration with one another) evokes emotional resonance, despite the absence of a linear narrative, through editing decisions and the manipulation of imagery. Euan Macdonald's quiet focus on banal objects and activities enhances our perception of the world and elicits the poetics of the everyday. Interested in the specific uses of sound in the history of art and cinema, Jessica Bronson samples various existing soundtracks and records sounds to encourage diverse interpretation of the often sprawling visual landscapes she presents. In The Arsenal at Danzig and Other Views, Timothy Hutchings uses digital technologies to insert himself within documentary photographs of landmark buildings destroyed during the world wars and to animate this still imagery into an account of a man moving through time and space. Zilla Leutenegger references the aesthetics of video games and animation, and explores the overlap of video and drawing by merging moving images of herself within drawings of urban structures. Using the multiple points of view possible within video, Marco Brambilla takes us on a perceptual whirlwind in Wall of Death, capturing a dangerous performance in which a motorcyclist rides around a cylindrical drum.
Below is a complete list of artists in Videodrome II and a schedule of screenings. October 12 and November 3 are open request days, during which visitors can request screenings of particular works:
Kitsune Akimoto: October 17
Beagles & Ramsay: November 2
Andrea Bowers: October 23
Marco Brambilla: October 31
Jessica Bronson: October 4
Josef Dabernig (with Markus Scherer and G.R.A.M.): October 13
Dara Friedman: October 25
Christoph Girardet: October 3
Liselot van der Heijden: October 9
Timothy Hutchings: October 16
Runa Islam: October 29
David Krippendorff: October 15
Zilla Leutenegger: October 6
Euan Macdonald: November 1
Takagi Masakatsu: October 2
Dave McKenzie: October 30
BjÃ¸rn Melhus: October 27
Christopher Miner: October 8
Matthias MÃ¼ller: October 26
Chloe Piene: October 10
Shannon Plumb: October 19
Nick Relph and Oliver Payne: October 5
Aida Ruilova: October 24
Eli Sudbrack: October 20
Mungo Thomson: October 11
Kerry Tribe: October 18
Erik Wesselo: October 22
Rhizome.org 2002 Net Art Commissions
October 2 - November 3, 2002
Zenith Media Lounge
The Zenith Media Lounge computer pods will feature five new net artworks by this year's Rhizome Commissioning Program recipients: Christopher Fahey, Institute for Applied Autonomy (IAA/Hactivist.com), Lisa Jevbratt, John Klima, and Nungu. Launched in November 2001, the program provides financial support to artists to create original works of net art. For the inaugural year, artists were asked to propose either an "alternative" user interface to access Rhizome.org's online text and art archives or to propose projects addressing the current global political climate, particularly related to the events of September 11, 2001. A panel of five jurors-Steve Deitz of The Walker Art Center in Minneapolis, Alex Galloway of Rhizome.org, Ken Goldberg of the University of California, Berkeley, Christiane Paul of The Whitney Museum of American Art, and Mark Tribe of Rhizome.org-selected the winners from a pool of 135 proposals.
The Zenith Media Lounge computer pods house five new net artworks by this year's Rhizome Commissioning Program recipients: Christopher Fahey, the Institute for Applied Autonomy (IAA), Lisa Jevbratt, John Klima, and Nungu. Launched in November 2001, the Commissioning Program provides financial support to artists for the creation of innovative new media works that respond to developments in technology while examining their cultural impact. The selection was made from a total of 135 submissions received in response to an open call by a panel of five distinguished jurors in the area of new media-Steve Dietz of the Walker Art Center in Minneapolis, Alex Galloway of Rhizome.org, Ken Goldberg of the University of California, Berkeley, Christiane Paul of the Whitney Museum of American Art, and Mark Tribe of Rhizome.org.
The recipients were invited to choose one of two tracks: alt.interface-proposals for "alternative" user interfaces for accessing Rhizome.org's online archives-and Tactical Response-projects addressing the current global political climate, particularly related to the events of September 11, 2001. Experimenting with new ideas in computer art, design, and gaming, Christopher Fahey's Rhizomebot uses instant messenger channels to provide access to Rhizome.org's ArtBase archive of new media art works. Maptivist 2.0, created by the Institute for Applied Autonomy, is a mapping application that enables political activists to use wireless Internet devices to share information about surveillance and other police activities in real time. IAA was founded as a research and development organization whose mission is to examine social structures that affect self-determination, to create cultural artifacts that address these phenomena, and to develop technologies that serve social and human needs. For her project Troika, Lisa Jevbratt reduces each item in the Rhizome archives to one pixel. Each artwork or text on the Rhizome site remains accessible by clicking on the pixel, the color of which is determined by keywords associated with the original object as well as the people who have requested it. Working primarily with the Internet, Jevbratt's work often rearticulates the formal devices used to access data via the Web and the Internet's role as a public forum. John Klima's Context Breeder employs genetic algorithms to create a 3-D animation with which visitors can access the projects in Rhizome.org's ArtBase. Exploring forms of "hypercontrol" made possible through communication and information technology networks, Nungu's Telematic Surveillance investigates the logic and aesthetics of these systems in contemporary societies. Nungu is a fluid collective of media artists who collaborate to create net art.
The Rhizome Commissioning Program is made possible with funding by the Jerome Foundation, the New York City Department of Cultural Affairs Cultural Exchange Program, and The Andy Warhol Foundation for the Visual Arts. Additional support was provided by the Rockefeller Foundation and by members of the Rhizome community.
Zenith Media Lounge is a digital and media arts technology collaboration with Zenith Electronics Corporation. Zenith Media Lounge exhibitions and public programs are supported by the Jerome Foundation and the New York State Council on the Arts. Major support has been received from the National Endowment for the Arts, a federal agency. Additional support is provided by the Toby Devan Lewis Fund for Exhibitions of Emerging Artists at the New Museum.
The New Museum has received important stabilization support for 2002 operations and programs from the Andrew W. Mellon Foundation, the Booth Ferris Foundation, the Carnegie Corporation of New York, the Nonprofit Finance Fund, the Andy Warhol Foundation, Agnes Gund and Daniel Shapiro, Philip Morris Companies Inc., and the Peter Norton Family Foundation.
The New Museum of Contemporary Art receives general operating support from the New York City Department of Cultural Affairs, the New York State Council on the Arts, and the members of the New Museum.
Zenith Media Lounge
583 Broadway, 10012