Opsound: Free Love, Free Music.
Opsound is a gift economy in action, an experiment in applying the model of free software to music. Musicians and sound artists are invited to add their work to the Opsound pool using a copyleft license developed by Creative Commons. Listeners are invited to download, share, remix, and reimagine. Drop by the Opshop for copyleft releases on the Opsound record label (selling free music since 2004).
Opsound: Free Love, Free Music.
Interview with Bruce Eves
Performance art, publishing, gay activism.
- When do you create?
I have a two-room studio in my home and I try to be fairly regimented about work – which usually involves puttering around every day. Probably like all artists, I’m a master procrastinator – and thinking about the work takes more time than actually making it.
- Who inspires your work ?
Not who as much as what. As a cultural voyeur, I can cherry-pick at will from mutually exclusive sources – the morning headlines, the official record of 20th century avant-garde art, the signs and signifiers of the gay male underground – affording me the chance to explore the spaces between these charged relationships. I’m constantly trying to get a handle on the zeitgeist, to understand my place in a world that is rapidly descending into madness.
- What is art?
While it is virtually indefinable, this much I know for certain: art is not suitable for family viewing, nor should it be emotionally uplifting. Nothing should be considered untouchable. Art must refuse to kowtow to the limitless demands for the familiar and the safe and the conventional. Art has nothing to do with social work or political stability or with the ending of negative stereotypes: these are the jobs for propagandists. It’s a dangerous world out there and if art is expected to hold a mirror up to the society in which it was created, do we really need any more decorators?
Much of my work at this point falls within the category of "new media" – a form which is only now beginning to be defined. "New Media", in my mind, is the logical extension of Marcel Duchamp’s innovative removal of physical labour from the art-making process. By using various communications tools – the internet, e-mail, photoshop, power-point -- this process has allowed artists to alter the means of production and distribution by displacing the notion of geographical boundaries and limitations, and calls into question the concept and value of unique, privately-owned "works of art". In many ways this electronic means of production was tumbled upon by accident, as it was the only (affordable) tool available to realize ideas that involved altered photographs and projects that were more and more "cinematic" in nature.
- Have you ever exposed in Italy?
Many years ago I was involved with a series of collaborative site-specific performance art pieces that were created in Europe. In Italy, works were created at the Palazzo Diamante in Ferrara and at the Museo di Arte Moderna in Bologna (with Arturo Schwartz). Aside from that, I have not had gallery exposure (although it would be certainly welcome!)
- How do you image your work in a city-space?
I see my work as an insinuation rather than as an intervention.
tell me more about your work-
I’ve always been known for my cheekiness. Influenced by many of the theoretical issues raised by performance and conceptual art, I eagerly accept the role of cultural provocateur. Working against the backdrop of an increasingly Disneyfied monoculture dominated by trivia and gossip and a global visual art practice that is all too often a self-contained tautology, my body of work is often described (and sometimes dismissed) as merely "political". But it is not political in the traditional sense. From the earliest point in my career as an artist, I have delved into the question of the "gay sensibility". But rather than taking the standard trip down memory lane into the suck-and-fuck paradigm, I’ve positioning myself as an ironic spectator.
As the chief curator throughout the 1980s with the International Gay History Archive – then the largest collection in private hands of archival materials and ephemera in North America -- I was impacted directly in my understanding of the broader context of our political, social, and cultural lives. This provided me with a wealth of raw information that fed directly into my art practice. This collection, with materials dating from the 1890s, is now in the Rare Books and Manuscripts collection of the New York Public Library.
By adopting a post-gay stance – in which the homosexuality that once segregated us into the otherness of ghetto-life is now, not unlike blondness, infusing the culture to such a profound degree that it has become invisible. Herein lies the challenge. It goes without saying that, as a contested site, the male body continues to be a provocation. This is old news, yet ironically, a critique of manufactured masculinity has gone largely unexplored. The proposition explored in much of my work is that it is possible to be simultaneously hot and sweaty and critical and detached. It is desirable – even exhilarating – to question the givens of our cultural baggage while at the same time wallowing in them. If there is any theme that unites my body of work (regardless of the form it adopts), it is that it concentrates on the representative gestures of maleness, their signifiers, and their remains.
Bruce is also online on gallery 2006
MASA, performance project
fictitious (?) branch of NASA organizing recruitment for MARS colonization
Colonisation of Mars Selected Timeline
- 2042 Mars colonisation programme announced.
- 2045 Alpha Group lands at Isidis Planitia. Port Robinson established.
- 2054 First flyby of interplanetary cycler. Full scale Mars colonisation begins.
The expedition of the eight Pioneers of Endeavour and Discovery to Mars was only the beginning of the human exploration and settlement of the planet. The Ares programme continued for a further decade, with first two and then four teams departing on each two-yearly launch window. Each habitat was landed a 1000km rover drive away from a previous landing site. The habitats and methane/oxygen fuel factories formed a network of outposts from which to explore larger areas of the surface. In addition, the crews made use of the nuclear rockets that had formed part of the equipment of the Pioneers, giving them global mobility. ... By the early 2040s, the Ares project had fully demonstrated that true colonisation of Mars was not only possible but practical and affordable. In her inaugural speech on 3 May 2042, Federation President Constance Schwinger announced that the EF would establish a permanent colony at the Isidis base camp.
ESA immediately began a rigorous colonist selection and training programme. From the thousands of qualified candidates two groups of sixty-four were selected. Each group contained all the specialists needed for living on Mars permanently and performing research there: engineers, farmers, ecologists, chemists, metallurgists, biologists, psychologists, physicists and many others. ... By the end of the century the Martian population was more than five hundred thousand, most of them employees of Earth's transnational megacorporations. To these later settlers Mars was a resource to be exploited. Certainly, it was big and impressive, breathtaking even, but it was also an escape from overcrowded Earth, and a rich lode of ore to be strip-mined. The aspirations of the first Martians began to disappear under a tsunami of Terran corporate culture. That there would eventually be a confrontation between the two visions of Mars was inevitable.
I publish Artworld Digest, the contemporary art
magazine dedicated to promoting new and emerging
artists that work in all media. You can now find it
in PS1 MOMA in Queens, and the New Museum in Chelsea +
many other stores.
I was wondering if you would like you to participate
in the Seed Project, which is described below. We are
creating a global environmental installation while
building a dynamic group of artists and activists to
network and collaborate.
We are meeting Sunday the 7th
in Manhattan at 3:00 if you would like to attend. Let
me know if you can make it. Also, if you know anyone
else interested in going you can let me know!
The Seed Project
A Virtual Field
As part of the next issue of the magazine I'm inviting
artists from all over the world to plant seeds where
they live. (piantate semi dove vivete !!!! )
This will created a sort of "virtual field"
where the components of the field exist in many
separate places at once; sort of a diaspora of
plants. Once the plants grow the artist will send me
images and I'll put them all together into a"virtual
field" for the next issue of the magazine. I will
provide the seeds and directions for planting and the
artist will take this theme in any direction they feel
appropriate. The artist can add their own personal
expression to the project and choose to plant whatever
People who participate will be invited to a Seed
Meet-Up event, which is an art party which we would
like to throw in a few venues to introduce artists to
each other. The Seed Meet-Up event will be designed
for artists to meet, network and form long-lasting
bonds or collaborate in the future on projects of
their own. The concept is to encourage and foster the
creative act; in this case, creating life. The
outgrowth of this project is to raise awareness of the
power change our environment as well as to create a
growing community of artists.
The cost to participate is $10. I will also email you
a Paypal invoice that you can pay online even if you
don't have a paypal account. We also accept Visa or
Mastercard on our online store on our website,
http://www.artworldigest.com if you participate.
If your interested in participation you will receive a
free copy of the current issue of Artworld Digest
I would be excited if you could participate in this
project. Feel free to contact me with questions.
Artworld Digest Magazine
ambientTV.NET is delighted to invite you to
Orchestra of Anxiety
MARIBOR [MAY 10th - 12th]
Who Watches the Watchers?
PRAGUE [MAY 18th - 19th]
SYDNEY [JUNE 2nd]
Orchestra of Anxiety @ 12 Int. Festival of Computer Arts in Maribor
The first realized piece from ambientTV.NET's collection of musical instruments constructed using materials and technologies from the security
and surveillance industries â€“ a harp with strings of razor wire.
After having sliced the fingers of the many courageous Slovakian guest
harpists last month, it will be on show in Maribor, Slovenia, 12th
of May, 2006
Who Watches the Watchers? @ Skolska28 and FAMU in Prague
Thu., May 18, 6pm - presentation (Skolska28)
Fri., May 19, 2pm - workshop and screening (Film and TV School of the
Academy of Performing arts in Prague, Lazansky palac, Room2)
Recent works of artists Manu Luksch and Mukul Patel reflect upon the
omnipresence of surveillance technology in our daily environment by
making use of it in humorous, unanticipated ways. The artists will show
examples of their productions and discuss access to and artistic
reinterpretation of these 'tools'...
faceless @ GBK Gallery in Sydney
keep the date: opening 6-8pm, 2 June 2006 at Gallery Barry Keldoulis, 2
Danks Street, Waterloo, Sydney
Sean Cordeiro & Claire Healy will present new installations in their
exhibition Custom Living and Austrian artist Manu Luksch will show her
video installation faceless â€“ a sci-fi CCTV thriller.
......is a crucible for independent, interdisciplinary practice ranging
from installation and performance, through documentary, dance, and
gastronomy, to sound and video composition and real-time manipulation.
Techniques and effects of live data broadcasting and transmission provide
theme, medium, and performative space for many of the works.
Interview to J. R. Carpenter
I was born on a farm in Nova Scotia, Canada. I have lived in Montreal since 1990. I studied classical drawing techniques at the Art Students' League of New York, and then Sculpture and Fibres at Concordia University in Montreal. But now I am a poet, a fiction writer and a web artist - I did not study any of these things. I began using the Internet as a medium in 1993 and have been making web art projects since 1995. I am self-taught as a writer. Mostly I read and read and read.
When do I create?:
I work all the time. Constantly. I work on more than one project at once so if I am unable to proceed with one thing I always have something else to do. I spend a lot of time applying for grants, residencies, exhibitions, festivals, publications, and competitions. Sometimes I am able to live entirely off of my art and writing. Other times I have to take on outside work. I have had every kind of job.
I am often inspired by non-art things. I love to cook, and have many ideas while grocery shopping. I read a lot, and this is a big part of my work as a writer. I also love music. I cannot listen to music while I am writing, so I listen to very loud music in my headphones while I am walking. Walking is an inspiring activity, especially walking with the dog. I carry and pen, a notebook, and a camera with me everywhere I go.
What is art?:
Everything has the potential to be art. Art is a point of view, a sensibility. I do not think a thing needs to be in a museum or a gallery to be art. I love literature, but I find the most fantastic stories are told by people who are not writers. The role of the artist and the writer is to notice, to recognize, to capture and try and transcribe the fleeting stuff of everyday into a semi-permanent form for others to enjoy and maybe learn something from. Not that art has to be educational, not at all. But anything that encourages people to think even a tiny bit beyond themselves is magical.
Have I exposed in Italy?:
I have one work on the First Independent Free Internet Art Gallery, based in Italy. In 2002 I lived in Rome briefly and made one of my largest web projects there, How I Loved the Broken Things of Rome: http://luckysoap.com/brokenthings Since then that project has been named a Web Art Finalist in the Drunken Boat PanLiterary Awards 2006 and has been exhibited in Montreal, Mexico, Toronto and soon New York. I continue to be obsessed with Rome. At the moment I am reading Catullus, Martial, Horace and Ovid, and also Elena Ferrante.
How do I image my work in a city_space?:
I am not sure if I know what you mean by this question; I will answer in this way:
My most recent web art work is all about cities. Cities are complex and constantly shifting. It is difficult to capture the essence of a city, in part because each citizen sees the city in a different way. I do not like the idea of creating an art work that sits in a room and waits for everyone to come visit it. I create projects online in part so everyone can visit them. The web consists of a multitude of sites - web sites. I think it is useful to use a web site to try to represent a city as a site, however partially. How I Loved the Broken Things of Rome is an exploration of how the past and the present exist together in one site, in very much the same way that tourists and Romans must exist together in one site. There are so many tourism web sites about Rome. The tourist wants to know everything about his destination before he arrives; I hope How I Loved the Broken Things of Rome illustrates how impossible it is for the outsider to really know anything about where he is without understanding where he comes from.
My newest web project is called Entre Ville: http://luckysoap.com/entreville It is a portrait of my nieghbourhood in Montreal. Entre means between, and Ville means city. Entre Ville refers to the interior city - la citta quasi-invisibili - the back yards, gardens, balconies and alleyways where real life takes place. Similarly to How I Loved the Broken Things of Rome, Entre Ville contains poetry, photography, audio and video - the web can combine all of these elements in such a flexible and accessible way. Entre Ville was commissioned by the Conseil des Arts de Montreal. I wanted to create an art work that every Montrealer could see, and that could show everyone in the world my Montreal.
More information about these and other of my writing and web art projects can be found on http://luckysoap.com
Pheonix, A transformative Multi Media Co-creation
@ Ghost Town Galleries 2519 San Pablo, Oakland CA
Servo-live "Legendary", (Beta Bodega Coalition, Phonoforum)
Safety Scissors-live (~scape, Proptronix)
The Evolution Control Committee (Seeland, ECC)
Catfive (William Kiernan Records)
DJinx (Nommo Ogo)
Nullwerk, from Sacramento
KEE BEEZHE DA DON +
Visual Collaboration with:
Antonello Matarazzo, Italy
Groupo Sinestetico, Italy
Sinasi Gunes, Turkey
Corrine Sklar, San Francisco
and other Bay Area Artists and Performers
* All proceeds benefit Cooperative roots( www.cooperativeroots.org ),
Bayennale ( www.bayennale.com )
and Pied Piper Project ...all
Working toward Sustainability and
Come prepared to dance with us in this collaborative
improvisational dance experiment!
Futuresonic 2006 International Festival
Announces EVNT Showcase and Competition
20-23 July, Manchester, UK
Deadlines-Competition: 10 May(*extended*); Showcase: 22 May!!!
Learn more and submit a proposal: http://10.futuresonic.com/evnt
"They’ve got it, we want it." London Timeout
Futuresonic, is the UK’s leading electronic music and media arts festival, this year is our tenth anniversary year!!
To make this year the biggest and best yet we are proud to announce the launch of our competition open to artist groups, promoters, labels, musicians, programmers and curators anywhere in the world who want to submit events to the Futuresonic EVNT Showcase.
The Futuresonic EVNT Competition offers cash prizes for events of GBP 2,500 and GBP 1,000 as well as three smaller amounts of GBP 250 for runners up.
Is This For You:
Are you an artist or group working with new technologies?
Do you represent an act or musician producing art music, post rock, electronica or dance?
Are you an experimental AV / VJ outfit?
Do you want the opportunity of showcasing your act to an informed audience at an internationally renowned festival?
Deadline extended: 10 May 2006
Submissions now open via: http://10.futuresonic.com/evnt
Previous Futuresonic festivals have featured the likes of Ladytron, Jamie Lidell, A Guy Called Gerald, Luke Vibert live, Zero 7, Mouse On Mars, Susanna & The Magical Orchestra, Matthew Herbert, 4hero, Robert Lippok, Philip Jeck, Lee Ranaldo, Coldcut, Barbara Morgenstern, Akitsugu Maebayashi, Daniel Wang and RJD2...... and many, many more......
Learn more about Futuresonic: http://www.futuresonic.com/
VideoString is an interactive Flash application that allows users to explore the evolution from written and spoken language to pictorial video communication by creating linear, syntactical, “sentences” out of short video clips.
post scrtiptum al post very-cattelan-franco-de-benedetto
Questa notizia e' stata linkata numerose volte e ha suscitato una piccola discussione sul web .
In realta' la notizia e' stata ripresa da we-make-money-not-art e da li' si e' diffusa.
In new-art.blogspot prima titola il suo post Cattelans perverted victory e poi difende Cattelan da accusatori immaginari.
Addirittura nel radioalzozero si ripercorre la storia di Cattelan nei blog maurizio-cattelan-artista-o-furbone
Molti difendono Cattelan come se fosse stato condannato lui; credo invece che sia un artista affermato e completamente estraneo alla vicenda se non solo ideatore dei pupazzi bambini .
Ho pubblicato la notizia perche' quel giorno ero casualmente capitata ad un incontro del SURREALISTA Arturo Schwarz e una delle sue poesie e' stata interrotta da persone esterefatte e agitate che riportavano l'accaduto di piazza XXIV maggio poco distante dall'incontro. Un po' di scompiglio tra il pubblico e la lettura e' ripresa piacevolmente.
JEAN-MICHEL BASQUIAT (as SAMO): Interviewed on TV Party
From Glen O'Brien's NYC cable access show, TV Party (1978-1982)