“We cannot call for the defence of the Western world.”
In 1956, Theodor Adorno and Max Horkheimer sat down to write an updated version of the Communist Manifesto. These are previously unpublished notes from their discussions. Click to view…
eRuv is a digital graffiti project installed along the route of the former Third Avenue elevated train line in lower Manhattan. The train line, dismantled in 1955, was more than just a means of transport; it was part of an important religious boundary – an eruv – for a Hasidic community on the old Lower East Side. Using semacodes, the former boundary is reconstructed and mapped back onto the space of the city, and pedestrians with camera phones can access location-specific historical content.
– Elliot Malkin, http://dziga.com/eruv/
Fake Media Archeology by Gebhard Sengmüller
In its combination of analog and digital elements VinylVideo™ is a relic of fake media archeology. At the same time, VinylVideo™ is a vision of new live video mixing possibilities. By simply placing the tone arm at different points on the record, VinylVideo™ makes possible a random access manipulation of the time axis. With the extremely reduced picture and sound quality, a new mode of audio-visual perception evolves. In this way, VinylVideo™ reconstructs a home movie medium as a missing link in the history of recorded moving images while simultaneously encompassing contemporary forms of DJ-ing and VJ-ing.
Gebhard Sengmüller is an artist working in the field of media technology, currently based in Vienna, Austria. Since 1992, he has been developing projects and installations focussing on the history of electronic media; creating alternative ordering systems for media content; and constructing autogenerative networks.
The word Inferno or Enfer defines a closed part of the French National Library, a place where forbidden litterature was hidden. The whole idea of a dark side lib containing anticonformist content seemed like a nice way of labelling a collection of books, ephemera, leaflets, posters, stickers, etc. that aims at exploring, sometimes, the other side of a vast territoire concerned with book design and editorial design.
“He named her Amber” spans the space between fiction and nonfiction. Where there is an initial construct of reality, it must be followed by revealing the fictitious aspects of the project. The passage between these two realms, between the historic narrative and the context of a contemporary artwork is an important part of the work.
– Iris Häussler, Toronto, 2010