March 12, 2009

2009 Scope NY

More pics and vidis starting here. It didn't hurt that it was smaller, or that the first thing you saw when you walked in said, "Enough with the deer already." Or that they created a couple of goofy, lounge-y spaces (e.g.) where people actually seemed to want to hang out.

My personal experience was also enhanced by encountering the relational Lossy Data Lab (see also here; pics starting here), whose work was not only intelligent but really fun and funny. They had me fill out a questionnaire, on the basis of which their "computer" determined that there is "Lossy data present in [my] readings, which is both good and bad" – just as I feared. And The Poem Store (pics starting here), whose proprietor also offered art reviews; so I commissioned a review of the Lossy Data Lab. I thot his product was pretty fine considering he pounded it out on a 1970's (?) Japanese Olivetti knock-off while maintaining cogent conversation with a constant stream of customers (text of poem/art review reproduced below). Pls see the visuals at the links above for a fuller appreciation of these works.

I also liked the work of EVOL and of the artists at 798 Avant Gallery, among others. It's hard to tell from the pics, but EVOL's paintings are on ordinary corrugated cardboard using silver paint along with a spare palette of other colors; all the tan parts are just the cardboard showing through. Irene Presner's piece was created with a tattoo gun.

A certain pic at the first link above is included solely to doc. another artist inspired, shall we say, by Erick Swenson.

Here's the text of The Poem Store's review of the Lossy Data Lab (pls excuse, I can't reproduce the original format here, which is indented one space more at the beginning of each successive line; see pic here):

the lossy data lab makes
something of information
when given to people
as a return form
causal loop
of seems
for its
as visual
but assuredly
thorough and
confident even
in their sprawling
ambiguity and un
i think they
are more in line
with the future
of art as a
responsive public
on the
edge of
what anoil [sic]
to do about relational aesthetics

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