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REFF, FakePress, AOS and Ossigeno
present
REFF on tour
Ancona, Osimo, Macerata
REFF on tour
REFF on tour
30-31 marzo 2011
Just back from London REFF, the fake institution promoting from 2009 cultural policies, artworks and technologied inspired to the systhematic reinvention of reality, will arrive in Marche (Italy)
Thanks to the collaboration of Ossigeno, REFF A/R Youth Program, the special program in Education & Learning dedicated to yung gneration, will be presented in public shool, Academias and Universities of Ancona, Osimo and Macerata cities.
Everyones – students, professors, citizens – will have the possibility to experiment the extraordinary effects of REFF AR Drugs, the augmented reality drug recently lunched by the fake institution.
REFF – Remix the World! Reinvent Reality!
Program of activities
30th March 2011 , 10,40am – Aula Magna
Liceo Artistico Mannucci “E. Mannucci” – Ancona
Introduction by Prof. Francesco Colonnelli
30th March 2011 – 17.30pm
Libreria Il mercante di Storie – Osimo (AN)
31th March 2011 – 10am – Aula Magna
Accademia di Belle Arti Macerata – Macerata (http://www2.abamc.it/)
Introduction by Prof. Antonio G. Benemia
More info on:
ABOUT REFF AR YOUTH PROGRAM
REFF AR Youth Program is a special program of Education & Learning enacted by REFF to ensure the immediate distribution of REFF AR Drug to young generations.The Program consists in a series of theoretical and practical workshops exploring the possibilities offered by fake, remix, recontextualization, plagiarism and reenactment as a tool for methodological reinvention of reality.
REFF AR Youth Program was lunched in London as a part of the exhibit “Remix the World! Reinvent reality!” (Fourtherfield Gallery, 25th Feb – 26th Mar 2011). The agenda of the Fake Institution inspired approval and enthusiasm in the academic world. Six different universities in London already guested REFF workshops and presentations.
Learn mere here:
ABOUT REFF AR Drugs
From the information sheet:
“REFF is an Augmented Reality (AR) Drug. Also referred to as Simulata Realitas per Activam-Industriosam-Laboriosam Multiplicationem, REFF AR Drug is a psychotropic antidepressant administered cross-medially.This drug is used to treat social depression, fear of the future, precariety, anthropological distress, lack of opportunities, communicational totalitarianism, scarcity of freedoms and intolerant social ecosystems.Compared to other drugs acting on the same areas, REFF AR Drug is designed with accessibility in mind and as an enabler of the spontaneous generation of forms of expression and of collaborative practices.
REFF AR Drug is also used (off-label) to treat numerous other conditions such as the UFPS (Uncertainty for the Future of Publishing Syndrome), and the LDSBMS (Lack of Decent Sustainable Business Models Syndrome).”
Learn more here:
ABOUT REFF – RomaEuropa FakeFactory
REFF is a fake cultural institution enacting real policies for arts, creativity and freedoms of expression all over the world.
REFF was born in Italy in 2009. Since then it continuously operated using fake, remix, reinvention, recontextualization, plagiarism and reenactment as tools for the systematic reinvention of reality. Defining what is real is an act of power. Being able to reinvent reality is an act of freedom. REFF promotes the dissemination and reappropriation of all technologies, theories and practices that can be used to freely and autonomously reinvent reality.
To do this, REFF established an international competition on digital arts, a worldwide education program in which ubiquitous technologies are used to create additional layers of reality for critical practices and freedoms, a series of open source software platforms and an Augmented Reality Drug.
REFF collaborates with art organizations, student groups, research institutions and all other subjects wishing to promote the freedoms to reinvent their world. REFF has received several official recognitions worldwide: it was hosted in the Cultural Commission of the Italian Senate, and was an official initiative of the European Community’s Year of Creativity in 2009.
Official site:
REFF in the world:
Photos by Marco Fagotti and Giacomo Cesari
The "Homoglyph" series involves clipping bodies out of screenshots of gay dating app profile pictures and recontextualizing them to emphasize the semiotics of the selfie. Bodies paired with specific motifs juxtapose classical and contemporary notions of gender expression while challenging the relationship between contemporary masculinity and self-objectification. Here, the profile photo is viewed as a contemporary hieroglyph meant to communicate specific sexual messages informed by hegemonic values and mainstream media. Likewise, the stolen images address the inherent conflicts of the conflation of private and public life.
@jaysonedwardcarter
Sort of a homage to Richard Prince - probably most famous for taking shots of Marlboro ads/billboards containing photos of cowboys in picturesque vistas. I think one of them may still hold the record for highest price ever paid for a photograph at auction. They're nice shots of someone else's shot recontextualized, or maybe decontextualized. I never really understood why his cowboys were so significant. Something about commenting on the American Myth of the Wild West and the Frontier or some "inside art baseball" stuff like that. Not to denigrate his work, just never pinned my needles at a gut level (I like his Hollywood Nurses a lot better).
Maybe a hundred and fifty years later the frontier has collapsed into something smaller and personal. Maybe it's push up bras and diet shakes and Viagra. I don't know.
And maybe this owes more to Dali's paranoid critical perspective anyway in the sense that I can see him taking the original shot and rotating it and seeing how the satin sheet can be wrapping a nonexistent head, the legs can turn into arms, panties into a bra, etc.
I blew the tones though. Oh well.
H&M billboard, 21st&Chestnut (? above the PhillyCarShare lot), rotated
The "Homoglyph" series involves clipping bodies out of screenshots of gay dating app profile pictures and recontextualizing them to emphasize the semiotics of the selfie. Bodies paired with specific motifs juxtapose classical and contemporary notions of gender expression while challenging the relationship between contemporary masculinity and self-objectification. Here, the profile photo is viewed as a contemporary hieroglyph meant to communicate specific sexual messages informed by hegemonic values and mainstream media. Likewise, the stolen images address the inherent conflicts of the conflation of private and public life.
@jaysonedwardcarter
“Femme Chanel – Emma Fenchel” is a video that very elegantly sequentializes and recontextualizes found footage—that is, elements of previously existing films. The points of departure were “Night Train,” a commercial for Chanel No. 5 perfume, and feature films starring actress Audrey Tautou.
Credit: tom mesic
Oct 1st, Chinese National Day, at Power Station of Art, Shanghai
l.t.r.: Xu Cheng / A23H / MaiMai / Jun-Y Ciao / Yi Tao
Photo by Yi Soonjoo
The Shanghai Quintet emerged in 2011 from the fertile intersections of Shanghai’s improvised scene, bringing together guitarist and electronics player MaiMai, Alfred 23 Harth on bass clarinet, pocket trumpet and Kaos Pad, Cheng Xu on electronics, Jun‑Y Ciao on alto saxophone and clarinet, and Yi Tao on drums and percussion. Their first performances in Shanghai quickly marked them as a distinctive ensemble, blending mercurial electronics, extended instrumental vocabularies, and an urgent collective drive. The group returned the following year for the German Chinese Jazz Improvise Meeting Festival, with concerts in Shanghai, Beijing, and Shenzhen, further underscoring its importance as a cross‑cultural venture. In that same season, Harth—assisted by Jun‑Y Ciao—also appeared in Hong Kong with local musicians under the banner of Struggle For More Freedom, an event emblematic of his engagement with politically charged improvisation in East Asia.
This period culminated in 2014 with Harth’s major KSE release China Collection, a sprawling and audacious 70‑minute assemblage incorporating recordings of the Shanghai Quintet’s Chinese players alongside a wide range of sources. Its dense construction—juxtaposing recontextualized operatic fragments, improvisational passages, reeds, strings, cut‑up voices, turntablist gestures, and electronic textures—resulted in a monumental sound‑sculpture of rare scope. Harth himself provided detailed liner notes, situating each piece within the larger project and affirming the work’s status as both archive and reinvention. For those steeped in the avant‑garde, China Collection resists categorization: more than a sampler of Harth’s Chinese collaborations, it reimagines them as a total artwork.
The Quintet’s trajectory continued with an invitation in 2016 to perform at Shanghai’s Power Station of Art, a milestone reflecting both institutional recognition and the group’s sustained vitality. Harth subsequently released documentation of this appearance as ShangShan / Stone Age Music (KSE, 2017), further expanding the dialogue between live practice and crafted release. In 2019, his solo tour of China reaffirmed long‑standing ties with the region, a relationship that had its roots as far back as 2004, when he undertook a first exploratory journey there with Yi Soonjoo.
Across these exchanges and releases, Harth and the Shanghai Quintet exemplified the fluid networks of the contemporary improvised music world: committed to experimentation, deeply collaborative, and alert to the political, cultural, and historical resonances of performance.
Marie Conigliaro uses analogue collage to create rich layers of playfulness and irony, recontextualizing the ephemera of old into something arresting and new. Born in Danbury, Connecticut, she received her interior design degree Cum Laude from Paier College of Art, and took a job in design for a large architecture firm. After the 2008 crash, she decided move into construction management so she could step back from design and explore more artistic outlets for her creativity. Today, Marie resides in Denver, Colorado, working as office manager and accountant for a local architecture firm, focusing all her creative energy on vintage collage making. www.jaamzin.com/blog/vintage-collages-of-marie-conigliaro
blog.miazine.com/2009/12/dario-escobar-nocturne-landscape...
Darío Escobar
Nocturne Landscape II, 2009
Bois
300 x 175 x 4 cm.
(118 x 68.9 x 157 inches)
Kamel Mennour
47, rue saint-andre des art 75006 paris
ART BASEL 2009
Darío Escobar is known for his sculptural recontextualization of everyday objects. Born in Guatemala (1971), his Catholic background and interest in local history became sources of inspiration for a body of work that combines mass-produced objects, craft techniques, and religious iconography.
Born in 1971, in Guatemala, Dario Escobar began his career in the late 90's with his well known "baroque meets today type" series of works. Escobar's interest in history and art led him to study at the Museo de Arte Colonial (Antigua Guatemala) where he learned techniques used in the 17th century as to build and repair baroquial artwork.
At the end of our visit, Sweeney asked a tough question: roughly, If I did this for studio I would get killed. Why exactly is this good?
It's a provocative question. Le Corbusier's postwar work is canonical now, but at the time it was an open question: is this stuff good? Corbu's a genius, so it must be, right? Or maybe he's completely lost it. We have to remember that architectural careers take place over a long period of time, not to mention that publication was slower and less penetrative at the time. Certainly this stuff had its boosters; Philip Johnson, for example, waxed ecstatic about the master's turn towards the sculptural and the irregular. Here was the architecture of plan, mass and surface, liberated from the stylistic limitations of the machine age - - Purist paintings in three dimensions.
James Stirling, writing at about the same time, was not impressed. Looking particularly at the Maisons Jaoul, he saw Le Corbusier as an architect in the act of selling-out. The Maisons Jaoul were homey, vernacular, even cozy, an appeal to kitsch comforts utterly removed from the challenging proposition of the Purist villas of the 1920s.
So - let's table the historical irony of James Stirling decrying an architect for backsliding into historical allusion and the recontextualization of familiar form. Jaoul may or may not be the easy, comfortable proposition he posits it as, but Ronchamp certainly isn't. It's restive, complex and troublesome. While it incorporates numerous typological church elements, they are all made weird in the translation, and its "masses in light" oscillate between beauty, cartoonishness, and the creepy affect of scarified gargoyles. The church can be subjected to coherent formal analysis, as Doug Graf has shown - it's not the taut "find the regulating line" formalism of the 1920s, but nor is it just willful gesturing. And yet, it refuses any attempt to retrace its process, to crank the pieces back into place, find the egg from which everything spilled out. At the same time, in terms of visual association, it comes fully loaded, as the famous student drawings republished by Charles Jencks demonstrate. The building contains multitudes.
Sweeney's question raises one other point, which is that famous, respected architects can get away with things that students simply can't. Partly, this is unfair, the result of blind worship of lionized heroes. But it also opens up possibilities - it can be helpful to be forced (by irrational avenues) to consider something positively. This is a variant of the "Only Nixon could go to China" logic: few other postwar architects could have built this and gotten the Modernist mainstream to really look at it, and reckon with its implications. If anyone lesser than Corbusier had built Ronchamp, it would have been too easy to dismiss. One can only imagine what the Brutalists would have done with their time in such a world.
Surely some part of Ronchamp's reputation as an idiosyncratic, Expressionist throwback has to do with the fact that there's only one Ronchamp. Many of these approaches and themes recur in Corbu's later work, but never all in the same place, and never with such exuberance. But being a one-off doesn't make it a throwaway.
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
This is part of my entry for the Utata 2012 Summer Big Project: Just One Thing. Go take a look and check out the other works. Great stuff.
---
In spite of the evident handling of the images, the preordained codes of sexual titillation remain virtually uneffaced. Merely through recontextualization, Repeat Offender elicits a spiral of questions and problems: Can the stamp of the artist, the assurance of “artistic merit,” circumvent the problems raised by the use of soft-core pornogrpahy? How de we respond (indeed, how do we respond differently as women and men?) to nudes in the art magazine, in the pornographic magazine, or in the shameless hybrid, the technical photo magazine, such as Photo or Zoom? What differentiates Penthouse's Repeat Offender from Snow's (Photo Communique's) Repeat Offender?
— Monika Gagnon, Ruptures in the Landscape of the Photograph
--
I think the cool kids call this "culture jamming." (although without actually putting it on a real-life poster, does it really count?)
I call it graphic film commentary. Eat your heart out Pauline Kael.
Rambo poster, Juniper Street Station, Philadelphia, PA, manipulated.
Actually, the movie itself aside, and with all due respect to the real street stencil artists that the ad shop ripped off, and knowing that the end game here is to influence me to be a good little consumer of mass culture and part with my money...
...I do like the whole campaign. In terms of focusing my attention on something that I really don't care about, getting me to almost take serious something that in itself is utterly laughable, and getting the message across that yes, there's a "new" Rambo movie in theatres January 25, it's pretty damn effective.
Granted, they won't get my $9...unless, well...okay, the scene from one of the other ones where Stallone gets dipped in a big steaming pond of pig excrement...that left a big impression on me. Huge life lesson there. Being dumped in pit of pig excrement=bad thing, avoid at all costs. Any word on whether Sly does the pig excrement dip again? If so, well then, maybe if there's a bargain discount matinee over in Jersey...
And I know I'm just inviting controversy here, but I'm going to go out on a limb, and say that pound for pound, the Deer Hunter is probably a little more nuanced take on the subject.
(Although I hate the last scene. Would these characters at that point in time really have sat there singing that song? Alright, maybe I can see some of the others, but are Stevie and Michael after what they've been through are going to do that? False pathos. Still a great movie. Although now that I'm thinking about it, what if in the scene, the 2 of them actually weren't singing. Or at least Michael wasn't singing. That's how I would have ended it...now I sort of want to rent it to see that scene...if they made DeNiro do it, I bet he was sitting there the whole time thinking the same thing.)
Although thinking of the 2 movies now, I think it would be kind of neat if someone did a mash of the scene where after coming home Michael tracks the buck and misses (intentionally?), he's actually tracking Rambo instead and this time doesn't miss.
Then cut to them all around the table singing God Bless America. See, if you recontextualize it that way, then it would ring a little truer for me.
And also somehow work the pig excrement dip in there as well too. Because that's a lesson I don't think our public schools are teaching or our politicians are talking about (haven't heard anyone from either side say boo on the subject on the campaign trail or in the debates) and our kids really do need to know it.
German artist Wolfgang Laib harvested hazelnut pollen and seived it onto MoMA's ground floor.
He said, "Pollen is a primordial substance as potent as it is fragile, and here it is recontextualized as a vibrant celebration of life."
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
I guess this was originally a mold to make baby dolls in. Recontextualized at Ipso Facto, a shop in Three Oaks, Michigan, it is now for sale as art. I like the idea of found art, it encourages the notion of seeing everyday things in a new way. Not that this was ever ordinary though!
SOUND OF MUSIC DECONSTRUCTING ROY LICHTENSTEIN
June 11, 2008
New York Times
Art Review | Roy Lichtenstein
The Painter Who Adored Women
By ROBERTA SMITH
Published: June 11, 2008
www.nytimes.com/2008/06/11/arts/design/11roy.html
Why is it so difficult for the N.Y. Times to report the truth ?
Roberta Smith's recent review of Roy Lichtenstein “GIRLS” exhibition at Gagosian quotes Lichtenstein's wife as claiming that " the anonymity of his subjects has exceptions. The smiling woman in “Sound of Music” is clearly Julie Andrews about to burst into song as musical notes stream through the window .
" Her statement is a complete fabrication. The image was swiped (like most of Lichtenstein's work) directly from a comic book.
The artist who drew the image which Lichtenstein copied was Arthur Peddy who worked for DC Comics in the 1960's.
It is not a picture of Julie Andrews !
New York Times correction June 20, 2008
This article has been revised to reflect the following correction:
Correction: June 20, 2008
An art review on June 11 about “Roy Lichtenstein: Girls,” at the Gagosian Gallery on Madison Avenue, referred incorrectly to the woman in the 1964 painting “Sound of Music.” While she looks like Julie Andrews, the star of the 1965 film “The Sound of Music,” which was adapted from the Broadway musical, and while Lichtenstein was aware that some of his images resembled prominent people, there is no evidence that he intended to portray Ms. Andrews.
-----Original Message-----
From: David McCarty [mailto:DMcCarty@davidnutt.com]
Sent: Wed 6/11/2008 11:20 AM
To: Barsalou, David
Subject: Deconstructing . . .
Mr. Barsalou-the New York Times has attempted to conclusively identify the identity of the subject of "Sound of Music" as Julie Andrews. I think it would be great if you were the one to set them straight-that perhaps Roy "recontextualized" the image to "become" her, but originally it wasn't anything like that.
Arthur Peddy
The artist who drew the image which Lichtenstein copied directly
from a comic book was Arthur Peddy,who worked for DC Comics
in the 1960's.It is not a picture of Julie Andrews !
Source: www.flickr.com/photos/deconstructing-roy-lichtenstein/408...
REFF, FakePress, AOS and Ossigeno
present
REFF on tour
Ancona, Osimo, Macerata
REFF on tour
REFF on tour
30-31 marzo 2011
Just back from London REFF, the fake institution promoting from 2009 cultural policies, artworks and technologied inspired to the systhematic reinvention of reality, will arrive in Marche (Italy)
Thanks to the collaboration of Ossigeno, REFF A/R Youth Program, the special program in Education & Learning dedicated to yung gneration, will be presented in public shool, Academias and Universities of Ancona, Osimo and Macerata cities.
Everyones – students, professors, citizens – will have the possibility to experiment the extraordinary effects of REFF AR Drugs, the augmented reality drug recently lunched by the fake institution.
REFF – Remix the World! Reinvent Reality!
Program of activities
30th March 2011 , 10,40am – Aula Magna
Liceo Artistico Mannucci “E. Mannucci” – Ancona
Introduction by Prof. Francesco Colonnelli
30th March 2011 – 17.30pm
Libreria Il mercante di Storie – Osimo (AN)
31th March 2011 – 10am – Aula Magna
Accademia di Belle Arti Macerata – Macerata (http://www2.abamc.it/)
Introduction by Prof. Antonio G. Benemia
More info on:
ABOUT REFF AR YOUTH PROGRAM
REFF AR Youth Program is a special program of Education & Learning enacted by REFF to ensure the immediate distribution of REFF AR Drug to young generations.The Program consists in a series of theoretical and practical workshops exploring the possibilities offered by fake, remix, recontextualization, plagiarism and reenactment as a tool for methodological reinvention of reality.
REFF AR Youth Program was lunched in London as a part of the exhibit “Remix the World! Reinvent reality!” (Fourtherfield Gallery, 25th Feb – 26th Mar 2011). The agenda of the Fake Institution inspired approval and enthusiasm in the academic world. Six different universities in London already guested REFF workshops and presentations.
Learn mere here:
ABOUT REFF AR Drugs
From the information sheet:
“REFF is an Augmented Reality (AR) Drug. Also referred to as Simulata Realitas per Activam-Industriosam-Laboriosam Multiplicationem, REFF AR Drug is a psychotropic antidepressant administered cross-medially.This drug is used to treat social depression, fear of the future, precariety, anthropological distress, lack of opportunities, communicational totalitarianism, scarcity of freedoms and intolerant social ecosystems.Compared to other drugs acting on the same areas, REFF AR Drug is designed with accessibility in mind and as an enabler of the spontaneous generation of forms of expression and of collaborative practices.
REFF AR Drug is also used (off-label) to treat numerous other conditions such as the UFPS (Uncertainty for the Future of Publishing Syndrome), and the LDSBMS (Lack of Decent Sustainable Business Models Syndrome).”
Learn more here:
ABOUT REFF – RomaEuropa FakeFactory
REFF is a fake cultural institution enacting real policies for arts, creativity and freedoms of expression all over the world.
REFF was born in Italy in 2009. Since then it continuously operated using fake, remix, reinvention, recontextualization, plagiarism and reenactment as tools for the systematic reinvention of reality. Defining what is real is an act of power. Being able to reinvent reality is an act of freedom. REFF promotes the dissemination and reappropriation of all technologies, theories and practices that can be used to freely and autonomously reinvent reality.
To do this, REFF established an international competition on digital arts, a worldwide education program in which ubiquitous technologies are used to create additional layers of reality for critical practices and freedoms, a series of open source software platforms and an Augmented Reality Drug.
REFF collaborates with art organizations, student groups, research institutions and all other subjects wishing to promote the freedoms to reinvent their world. REFF has received several official recognitions worldwide: it was hosted in the Cultural Commission of the Italian Senate, and was an official initiative of the European Community’s Year of Creativity in 2009.
Official site:
REFF in the world:
Photos by Marco Fagotti and Giacomo Cesari
I do wish we'd get rid of that "LOVE TRUMPS HATE" slogan.
It is just one apostrophe away from meaning the opposite of what you're trying to say. And it's so easy to misuse the possessive form in place of a present verb or plural noun, so it's little surprise that sometimes people add the apostrophe unwittingly themselves. I'll cut this young girl a break, but really... Let's just drop this slogan lest we wanna invite trolls with sharpies to recontextualize your words so easily.
TodaysArt
Theater aan het Spui, Den Haag 2012
TodaysArt presenteert in samenwerking met Nippon Television Europe (NTVE) een Japans gericht programma binnen het festival. Naast ‘Open Reel Ensemble’ presenteert Ei Wada ook zijn solo ‘Braun Tube Jazz Band’, een unieke audiovisuele performance waarin hij gebruik maakt van zijn lichaam en 12 oude CRT-televisies. Hij gebruikt het elektromagnetische veld van de TV’s om licht in geluid te veranderen en manipuleert het geluid door de TV’s te transformeren in percussie instrumenten en synthesizers.
In collaboration with Nippon Television Europe (NTVE), TodaysArt has created a program that focuses on Japan. After composing a number of musical pieces Ei Wada (b. 1987) subsequently switched his attention to outmoded electrical appliances, interested in their supposed obsolescence. He recontextualized and modified them to be played as musical instruments. In addition to ‘Open Reel Ensemble’, Ei Wada presents his solo ‘Braun Tube Jazz Band’, a unique audiovisual performance in which he uses his body and 12 old CRT televisions. He uses the electromagnetic field of the TVs to change light into sound and manipulates the sounds by turning the TVs into percussion instruments and synthesizers. Braun Tube Jazz Band won the 'Art Division Excellence Prize' at the 13th Japan Media Arts Festival.
Hot Dog #2
Unknown
1991
Minneapolis, MN, US
From: The Emma Center Queer Zine Collection
One of the first queer zines to come out of Minneapolis at the same time as queer zine legend Larrybob started Holy Titclamps there (before moving to San Francisco a year later), Hot Dog is cover to cover cut and paste xerography art serving to recontextualize imagery of naked men from old porno mags with artwork gleaned from a variety of books and old magazines. This zine title was part of The Emma Center's Queer Space zine library and was graciously donated to QZAP by a former collective member who had the foresight to keep all the zines after the Center closed in the mid 1990s. The Emma Center was an anarchist community center open to all but that was the de facto center for radical queer folks in the Twin Cities area.
“i3DG” is a playful analog attachment for the iPhone that transforms its 2D display into a multilayered 3D image. By recontextualizing the age-old method of holding a half-silvered mirror up to an image at a 45° angle, the project actually constitutes a timely critique of such popular memes as 3D displays and iPhones. As a peripheral device, “i3DG” supports a wide range of applications including 3D video, film animation and games using the accelerometer.
A work by Jitsuro Mase, Tom Nagae (JP) / DIRECTIONS, Inc.
credit: Ogawa
Exhibiting Graphic Design Exhibitions
Reading Forms is a blog-shaped depository of hyperlinks and images of graphic design exhibitions, and other situations that are visually, thematically or conceptually related. It tries to examine modes and forms of presentation, observation, curation and interaction in the recontextualized display of graphic design.
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Yes, Duchamp is intentionally only halfway in the Art field - IMHO recontextualization is the "D-, minimal effort" of the art world.
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Marco Brambilla the 52 year old Italian – New York based filmmaker and installation artist known for his elaborate recontextualizations of popular and found imagery, has been profiled by Bob Morris for an article published in the New York Times titled ‘Where the Art Is Wild in 3D’. Morris states “…“Creation (Megaplex),” opened at the Nicole Klagsbrun gallery in Chelsea last week, the third of a trilogy that makes art from film. It uses Mr. Brambilla’s lavish sampling of hundreds of movie clips to create a swirling helix in which Maria von Trapp, Yoda, Dr. Strangelove and others seem to be flying through the air overhead before spiraling into a celestial toilet. “It’s about the disposability of film and images in an oversaturated world,” Mr. Brambilla said, explaining his inspiration. “Content in the background to marketing.” He may be a cynic when it comes to aspects of popular culture, but he is also a sunny, sociable and sought-after guest at art and fashion parties these days. It helps that his work is generous and accessible, and it doesn’t hurt that he has had a few mainstream commercial outings, too, with a 15-second Michael Jackson Pepsi spot last September, a Ferrari collaboration in 2011 and a Kanye West video in 2010. Mr. Brambilla, born in Milan and raised in Canada, even had his moment as a Hollywood player in 1993, when he directed “Demolition Man” at 28. He found the level of compromise discouraging, and refocused his talents on video art. His work has received good reviews and museum shows, and he has seen it projected at a parking lot at Art Basel Miami Beach, a piazza in Rome, film festivals and even in St. Patrick’s Old Cathedral (in NoLIta), where he enjoyed the sight of thousands wearing 3-D glasses...” Inspired by Bob Morris, New York Times ow.ly/hnJ2G Image source Facebook ow.ly/hnJ1H
REFF, FakePress, AOS and Ossigeno
present
REFF on tour
Ancona, Osimo, Macerata
REFF on tour
REFF on tour
30-31 marzo 2011
Just back from London REFF, the fake institution promoting from 2009 cultural policies, artworks and technologied inspired to the systhematic reinvention of reality, will arrive in Marche (Italy)
Thanks to the collaboration of Ossigeno, REFF A/R Youth Program, the special program in Education & Learning dedicated to yung gneration, will be presented in public shool, Academias and Universities of Ancona, Osimo and Macerata cities.
Everyones – students, professors, citizens – will have the possibility to experiment the extraordinary effects of REFF AR Drugs, the augmented reality drug recently lunched by the fake institution.
REFF – Remix the World! Reinvent Reality!
Program of activities
30th March 2011 , 10,40am – Aula Magna
Liceo Artistico Mannucci “E. Mannucci” – Ancona
Introduction by Prof. Francesco Colonnelli
30th March 2011 – 17.30pm
Libreria Il mercante di Storie – Osimo (AN)
31th March 2011 – 10am – Aula Magna
Accademia di Belle Arti Macerata – Macerata (http://www2.abamc.it/)
Introduction by Prof. Antonio G. Benemia
More info on:
ABOUT REFF AR YOUTH PROGRAM
REFF AR Youth Program is a special program of Education & Learning enacted by REFF to ensure the immediate distribution of REFF AR Drug to young generations.The Program consists in a series of theoretical and practical workshops exploring the possibilities offered by fake, remix, recontextualization, plagiarism and reenactment as a tool for methodological reinvention of reality.
REFF AR Youth Program was lunched in London as a part of the exhibit “Remix the World! Reinvent reality!” (Fourtherfield Gallery, 25th Feb – 26th Mar 2011). The agenda of the Fake Institution inspired approval and enthusiasm in the academic world. Six different universities in London already guested REFF workshops and presentations.
Learn mere here:
ABOUT REFF AR Drugs
From the information sheet:
“REFF is an Augmented Reality (AR) Drug. Also referred to as Simulata Realitas per Activam-Industriosam-Laboriosam Multiplicationem, REFF AR Drug is a psychotropic antidepressant administered cross-medially.This drug is used to treat social depression, fear of the future, precariety, anthropological distress, lack of opportunities, communicational totalitarianism, scarcity of freedoms and intolerant social ecosystems.Compared to other drugs acting on the same areas, REFF AR Drug is designed with accessibility in mind and as an enabler of the spontaneous generation of forms of expression and of collaborative practices.
REFF AR Drug is also used (off-label) to treat numerous other conditions such as the UFPS (Uncertainty for the Future of Publishing Syndrome), and the LDSBMS (Lack of Decent Sustainable Business Models Syndrome).”
Learn more here:
ABOUT REFF – RomaEuropa FakeFactory
REFF is a fake cultural institution enacting real policies for arts, creativity and freedoms of expression all over the world.
REFF was born in Italy in 2009. Since then it continuously operated using fake, remix, reinvention, recontextualization, plagiarism and reenactment as tools for the systematic reinvention of reality. Defining what is real is an act of power. Being able to reinvent reality is an act of freedom. REFF promotes the dissemination and reappropriation of all technologies, theories and practices that can be used to freely and autonomously reinvent reality.
To do this, REFF established an international competition on digital arts, a worldwide education program in which ubiquitous technologies are used to create additional layers of reality for critical practices and freedoms, a series of open source software platforms and an Augmented Reality Drug.
REFF collaborates with art organizations, student groups, research institutions and all other subjects wishing to promote the freedoms to reinvent their world. REFF has received several official recognitions worldwide: it was hosted in the Cultural Commission of the Italian Senate, and was an official initiative of the European Community’s Year of Creativity in 2009.
Official site:
REFF in the world:
Photos by Marco Fagotti and Giacomo Cesari
Born in Saint Maurys Ontario, in 1965
2017
Video performance
Durattion: 5 min 2 s (looped)
In collaboration with the Montreal Museum of Fine Arts and Maison Jean Paul Gaultier
Click here for Kent Monkman's official website.
On September 8, 2017, in connection with the exhibition Love Is Love: Wedding Bliss for All à la Jean Paul Gaultier, the Montreal Museum of Fine Arts presented a performance by Kent Monkman, a Toronto-based artist of Cree ancestry, with the special participation of French couturier Jean Paul Gaultier.
The performance featured the unorthodox union of two champions of sexual diversity: Gaultier, the "enfant terrible of fashion," and Miss Chief Eagle Testickle, Monkman's flamboyant two-spirit alter ego. The ceremony was held under a variation of the artist's Théâtre de cristal (2007), an elegant tipi measuring six metres in diameter and made of 350 strings of glass beads. The artist exchanged their vows of mutual respect and compassion in the presence of two witnesses, Nathalie Bondil, Museum Director General and Chief Curator, and Thierry-Maxime Loriot, curator of the exhibition Love Is Love. Actor Andrew Schiver oddiciated, and Ève Salvail, Gaultier's muse, was bridesmaid.
For the occasion, Monkman - in the guise the eccentric warrior diva and recurrent figure in his work - donned the white eagle-feather headdress created by the couturier for a wedding gown in the 2002/2003 fall-winter haute couture collection The Hussars, presented in Love Is Love. Monkman appropriates the headdress, playing on the figure of the sexualized stereotyped Aboriginal woman as perceived by the colonial gaze. Through his character Miss Chiel Eagle Testickle, he evokes the berdashe, a two-spirit person venerated by many First Nations and whose cross-dressing was scandalized European colonists.
Traditionally reserved for men, First Nations white-eagle-feather headdresses are imbued with spiritual significance. They symbolize the wearer's level of achievement as well as his community involvement. While cultural appropriation of Indienous signs and symbols is not new to art or fashion, the North American debate has somewhat evolved. The appearance of this headdress in the exhibition Love Is Love demanded a response. At the Museum's invitation, Monkman created this performance, intended to recontextualize and re-appropriate the headdress with the collaboration of Jean Paul Gaultier. Avoiding the double impasse represented by indifference, on the one hand, and self-censorship, on the other, the Museum views this performance as a third constructive and creative avenue, a gesture of friendship and dialogue between designer and artist.
With his writing partner Gisèle Gordon, Monkman created this performance - wedding ceremony so that the couple could express their vows for an artistic union founded on mutual respect and cultural understanding: "No doubt driven by the unconscious creative impulse emerging from a fold in the fabric of the space-time continuum, Jean Paul Gaultier created this hdeaddress destined for his future collaborator, the ravishing Miss Eagle Testickle. Today, Miss Chief accepts Jean Paul Gaultier's proposal of artistic union as an aesthetic alliance leading to mutual respect [and] cultural understanding. From now on, no one but she, the magnificent illusionist and warrior of her people, can wear this headdress."
Simultaneously with the performance, Monkman Studio and Toronto photographer Chris Chapman took the wedding portraits of Miss Chief and Jean Paul Gauthier, adopting the aesthetic and format of cabinet cards, a type of photo-card originating in nineteenth-century France. Exhibited alongside the video of the performance at the new Canadian Cultural Centre - Paris, in 2018, they are shown here for the first time in Canada. While the debate rages on, this positive example of reconciliation provides food for thought.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Project Maybach Concept (2021)
We saw this at the Mercedes-Benz Pebble Beach display.
The following text is from a December 1, 2021, Mercedes-Benz Media Group press release mourning the loss of designer Virgil Abloh.
“Mercedes-Benz is devastated to hear of the passing of Virgil Abloh. Our sincere thoughts are with Virgil’s family and teams. Now opening the world of our collaboration, and Virgil’s unique vision, to the public we want to respectfully celebrate the work of a truly unique design talent, who created endless possibilities for collaboration through his unbridled imagination and inspired all that knew his work.” Mercedes-Benz AG.
Introducing Project MAYBACH
A design unlike anything that has been developed by Mercedes-Benz, every element of Project MAYBACH has been built from scratch. Abloh, collaboratively with Gorden Wagener, has interpreted Mercedes-Maybach’s luxury identity with a new design language and pushed the boundaries of function, style, and collaborative creativity. Inspired by the great outdoors and recontextualizing a traditionally urban brand within a distinctly off-road environment, the 2-seater, battery-electric off-road coupé combines huge Gran Turismo proportions, large off-road wheels and distinctive attachments.
Key for both Abloh and Wagener was a responsible vision of future design. Complete creative freedom – untethered by production requirements - enabled the design teams to conceptualize what the future of electric travel could look like. Under the transparent surface of the show cars front hood for instance are solar cells that increase the imagined range of the Project MAYBACH.
Never afraid to spark conversation through provocative design, Project MAYBACH channels Abloh’s passion to challenge the status quo and re-write the rulebook of aspirational design. The X-Factor nature of Project MAYBACH results not only from its breathtaking size - almost six meters long - and characteristics, but above all from its unique contrasts; most notably through how naturally authentic Mercedes-Maybach design elements are harmoniously combined with a new Outdoor Adventure design motif.
The power of Abloh’s work is not only from the product design, but also the exploratory conversations that his work ignited. Whilst the Project MAYBACH show car was inspired by how one could explore nature within a uniquely luxury context with Maybach, the Mercedes-Benz teams thank Virgil Abloh for the inspiration to explore every day the power of cross-industry dialogue to imagine a better, more inclusive future.
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Mercedes-Benz vehicle exhibit. After some great auction viewing at Gooding & Company, we visited the nearby Pebble Beach Concours d'Elegance exhibit and vendor tents.
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Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
Peter Goin says, ignorance is not the path to originality. This is why we research before every photography project. However, every so often, when I do my research I start feeling defeated. I think that everything has been done before, and that I have nothing new to contribute to the history of art. There have been so many artists throughout history, many of which have never even made it into the history books. For the most part I understand why the artists in my art history books are in there, but why were they canonized and not someone doing the same type of work, why aren’t there more women, and who chooses who makes it and who doesn’t? I feel like these canonized “masters” are put up on a pedestal and worshiped. With this project I want to show that these “masterpiece” paintings shouldn’t be taken so seriously and at the same time I want to elevate photography to the hierarchical level of painting. Since the invention of photography, photographers have been considered mere technicians of a machine and not artists. In an attempt to prove that I’m an artist I made my photographs more painterly and showed the hand of the artist by using body painting to recreate and recontextualize some of the canonized paintings that have really stuck out to me, done by artists that I respect.
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
by Messor Frog
recontextualized
pylon prawy polnoc
Posted by Second Life Resident Torley Olmstead. Visit Golden Gate.
From Identity Euler:
Golden Gate Bridge was build by Messor Frog and NewBee Wasp. Messor and NewBee are members of *CrEaTiViTy* team which is helping people to develop their skills and creativity in Second Life.
There is second bridge which was built by Messor Frog - Bay Bridge. It was built in Second Life ealier than in RL! In RL is still under construction - baybridgeinfo.org/. You can visit it also in San Francisco: maps.secondlife.com/secondlife/San Francisco Marina/195/10/43. This is great example how sometimes SL is ahead of RL.