SCHEDULE (UPDATED): THE PROGRAM

THE PROGRAM is a new series of video and other media-based art exhibitions opening on five consecutive Saturday evenings beginning July 26, 2008, including more than 50 works by over 40 artists, most of them internationally-recognized. The exhibitions are co-curated by me, Bart Weiss, and Charles Dee Mitchell and presented by the Video Association of Dallas. Except as noted, all exhibitions will be located at Conduit Gallery, Dallas, Texas, and installations and videos will remain available for viewing during the remainder of the week through noon Thurs. during Conduit's regular hours (Tues. - Sat., 10am - 5pm).

Reserved seating is available for Video Association supporters at the Kilobyter ($100) level and above; for more information about reserved seating, sponsorship opportunities, and membership, please e-mail ac(a)videofest.org. Admission is otherwise free, subject to availability, with seating on a first-come, first-served basis. Donations to the Video Association are greatly appreciated. All programs are subject to change.

Parental discretion is advised (L, N, S, V).
Where else can you find this concentration of exciting video art and other media-based art? Plus, parties.
Additional comments on Matthew Barney's Drawing Restraint 13 and Ryan Trecartin's A Family Finds Entertainment here. 

NOTE: Because of the exigencies of installing tech stuff for a mostly-new exhibition each week, the pieces shown at each week's opening will remain available for viewing at Conduit Gallery during normal gallery hours (Tues.-Sat. 10-5) only through noon the following Thursday (so we can begin installing the next week's work).

WEEK ONE

SATURDAY, JULY 26
Exhibition Opening, Conduit Gallery

5:00 – 8:00 PM: RECEPTION WITH INSTALLATIONS:

1. Drawing Restraint 13 by Matthew Barney (and b.t.w., all of M. Barney's websites are really helpful), 27:45 min. (2006). Barney as General Douglas MacArthur in a scene that refers to both MacArthur's infamous WWII landing on the Philippines and the Japanese surrender. (See curator's comments here.) Courtesy of Gladstone Gallery.

2. RMB City – A SecondLife City Planning by China Tracy by Cao Fei, 6:08 min. (2007). A promotional demo trailer for the artist's "China-like" virtual real estate project, where development rights are now on sale within the multiplayer online virtual reality game, Second Life ("RMB" is a name for the Chinese currency). (CS) Commissioned by Serpentine Gallery; courtesy of Lombard-Freid Projects.

3. Online access to RMB City-related web pages.

4. Torcito Project by Marcin Ramocki (2005). The artist uses re-purposed Mac software to transform a gallery of cel phone portraits into sonic bitmap scores which are now "played." (CS) Courtesy of the artist.

5. Compilation: End Notes by Tom Moody (with jimpunk), ca. 2:30 min. (2006); New Monuments by Tom Moody, ca. 1:40 min. (2008); and Hoedown by Tom Moody, ca. 1:30 min. (2007). Courtesy of the artists.

6. The Arrangement of Two Opposites While their Maximum Contact is Under Generation by Yves Netzhammer, 27:36 min. (2005). Evocative 3-D animations by an artist exhibited in the most recent Venice Biennial. (CS) Courtesy of Galerie Anita Beckers.

(Still from The Arrangement of Two Opposites While their Maximum Contact is Under Generation by Yves Netzhammer.)

5:30 PM: ART TALK by Carolyn Sortor on Drawing Restraint 13, Conduit Gallery.

8:00 PM: LIVE PERFORMANCE by Treewave. UPDATE: In the past, Paul Slocum's band has been known for his original composition "chiptunes" (8- and 16-bit music) using Commodore 64's, an old PC FM sound card (OPL3), a Compaq Portable II, an Epson LQ500 dot-matrix printer, and an Atari 2600, with projected video created with original and hacked Atari code. But at this performance, Paul played a complex mash-up incorporating some of the music he's made before and a lot of other cool stuff.

12:00 AM: LIVE PERFORMANCE / AFTER-PARTY: Apples in Stereo perform at Sons of Hermann Hall, corner of Elm and Exposition (map; separate admission fee to Sons, but {thanks, Sons!} a limited number of discount coupons will be available at the Conduit Gallery opening).

WEEK TWO

SATURDAY, AUGUST 2
Exhibition Opening, Conduit Gallery

7:00 – 7:30 PM: RECEPTION WITH INSTALLATIONS:

1. Drawing Restraint 13 by Matthew Barney (and b.t.w., all of M. Barney's websites are really helpful), 27:45 min. (2006). Barney as General Douglas MacArthur in a scene that refers both to MacArthur's infamous WWII landing on the Philippines and the Japanese surrender. (See curator's comments here.) Courtesy of Gladstone Gallery.

2. Accidental Blue Screen and Lord of the Flies by John Michael Boling and Javier Morales (see also http://www.gooooooooooooooooooooooooooooooooooooooooooooooooooooogle.com), (2006). The artist repurposes material from corporate and amateur sources to yield meaningful surprises. (CS) Courtesy of the artist.

3. cover this YouTube in blood, Bricks video, and 9 Short Music Videos by Guthrie Lonergan. So many good reasons for this. (CS) Courtesy of the artist.

4. Shiftspace Demo (ShiftSpace was initiated in 2007 by Mushon Zer-Aviv and Dan Phiffer). ShiftSpace is an open source layer "above" the web that allows community members to comment or build overlays on any web page, including adding postit-like notes, image swaps, source code modifications, and trails to other URLs, enabling artists, activists, educators, hobbyists, and others to create online contexts on top of existing websites. (CS)
5. Shiftspace Interactive. Try it out.

6. The Arrangement of Two Opposites While their Maximum Contact is Under Generation by Yves Netzhammer, 27:36 min. (2005). Evocative 3-D animations by an artist exhibited in the most recent Venice Biennial. (CS) Courtesy of Galerie Anita Beckers.

7. Sitcoms by Matt Marello, total ca. 15:00 min. (1996), with the artist as various philosophers displaced into t.v. times: The Beverly Hillbillies featuring Jean Paul Sartre (decontextualized Sartre always cracks me up); Bewitched with Georg Hegel; Gilligan's Island with Rene Descartes; Hogan's Heroes with Friedrich Nietsche; and The Munsters with Immanuel Kant. Courtesy of the artist.

7:30 PM: SEATED SCREENINGS:

1. Bend by Liz Magic Laser and Felicia Garcia-Rivera, 7 min. (2008). Five young men in a motorcycle club follow a series of instructions from an off-camera woman. (CS) Courtesy of the artists.

2. Meals on Wheels by Jon Pylypchuk, 4:24 min. (2006). The spirit of volunteerism is alive but not so well in this possibly all-too-realistic narrative. (CDM) Courtesy of Friedrich Petzel Gallery.

3. Rien du Tout by Clemens von Wedemeyer and Maya Schweizer, 30 min. (2006). An open casting call has drawn dozens of young people to audition for a Medieval epic, a film to be directed by one of the most perfectly odious characters ever created. One not so lucky kid is chosen while the others are told wait outside in the cold and the rain. The peasants begin to revolt. (CDM) Courtesy of Galerie Jocelyn Wolff.

4. Residential Erection by Kenneth Tin-Kin Hung, 4:34 min. (2008). A cut and paste animated recap of the campaigns so far. Disheartening news: it could also be a glimpse into the future. (CDM) Courtesy of Postmasters gallery.

5. Once Removed on My Mothers Side** by Nathalie Djurberg, 5:31 min. (2008). A young woman ministers to an obese elder. (CS) Courtesy of Zach Feuer Gallery.

6. Host by Kristin Lucas, 7:36 min. (1997). Lucas has said, " . . . I participate in an on-line therapy session directed by the system operator of a streetside multi-media kiosk. . . . [the session becomes] an amalgamation of daytime television and tabloid, wherein the surveillance camera becomes the eye of the media." Courtesy of the artist.

7. Nude Beach by Jon Pylypchuk, 4:59 min. (2006). “I thought this was a public beach.” Famous last words. (CDM) Courtesy of Friedrich Petzel Gallery.

8. Dumstrut** by Nathalie Djurberg, 4.12 min. (2006). A boy torments a cat, testing its and his own limits. (CS) Courtesy of Zach Feuer Gallery.

9. The Human Opera XXX by Meiro Koizumi, 17 min. (2007). The artist subjects a man to an "experiment" in which he is to "share a tragic story of his life in front of a video camera" in return for "a monetary payment"; brilliant and profoundly disturbing. (CS) Courtesy of Nicole Klagsbrun gallery.

(Photo from The Human Opera XXX by Meiro Koizumi, courtesy Nicole Klagsbrun gallery.)

**NOTE: During the remainder of the week, Once Removed on My Mother's Side will be available for viewing only on Tuesday and Thursday, and Dumstrut will be available for viewing only on Wednesday and Friday.

9:00 PM: AFTER-PARTY: Bolsa, 614 W. Davis St. (Just west of the Bishop Arts District, at Cedar Hill; map)

TUESDAY, AUGUST 5

7:00 PM: SEATED SCREENINGS at the Modern Art Museum of Fort Worth: (Please see descriptions under Saturday, August 2 Seated Screenings.)

WEEK THREE

SATURDAY, AUGUST 9
Exhibition Opening, Conduit Gallery

6:30 – 7:30 PM: RECEPTION WITH INSTALLATIONS:

1. Drawing Restraint 13 by Matthew Barney (and b.t.w., all of M. Barney's websites are really helpful), 27:45 min. (2006). Barney as General Douglas MacArthur in a scene that refers both to MacArthur's infamous WWII landing on the Philippines and the Japanese surrender. (See curator's comments here.) Courtesy of Gladstone Gallery.

2. A Family Finds Entertainment by Ryan Trecartin, 41:12 min. (2004). The artist's entourage and himself in multiple roles play media-immersed characters in a story about Skippy's adventures in "coming out." [See curator's comments here.] Courtesy of Elizabeth Dee gallery.

3. RMB City – A SecondLife City Planning by China Tracy by Cao Fei, 6:08 min. (2007). A promotional demo trailer for the artist's "China-like" real estate project, where development rights are now on sale, within the multiplayer online virtual reality game, Second Life ("RMB" is a name for the Chinese currency). (CS) Commissioned by Serpentine Gallery; courtesy of Lombard-Freid Projects.4. Triptych TV, compilation from a vlog by jimpunk, Mr. Tamale, and Rick Silva a.k.a. Abe Linkoln, --- min. (2008). Courtesy of the artists.

5. Shiftspace Demo. ShiftSpace is an open source layer "above" the web that allows community members to comment or build overlays on any web page, including adding postit-like notes, image swaps, source code modifications, and trails to other URLs, enabling artists, activists, educators, hobbyists, and others to create online contexts on top of existing websites. (CS) Initiated (in 2007?) by Mushon Zer-Aviv and Dan Phiffer.

6. Shiftspace Interactive. Try it out.

7. Battleship Potemkin Dance Edit (120 BPM) by Michael Bell-Smith (with the assistance of Jeff Sission), 12:29 (2007). The artist "separated the film into its constituent shots and time stretched them one by one to the exact same length [, and] then replaced the soundtrack with a one-second dance loop synced to the cuts", replacing the original editing structure of the revolutionary narrative, which has been called seminal in its use of montage, with the "dumb, visceral, metric montage favored by dance visuals and music videos". Courtesy of the artist and EAI.

(Still from Battleship Potemkin Dance Edit (120 BPM) by Michael Bell-Smith (with the assistance of Jeff Sission), courtesy of the artist.)

7:30 PM: SEATED SCREENINGS:

1. Studies in Transfalumination by Peter Rose, 5:30 min. (2008). Courtesy of the artist.

2. May I Help You by Andrea Fraser, 19:47 min. (1991). A gallerist extols a series of black paintings by Allan McCollum, oddly and at great length. (CS) Courtesy of Friedrich Petzel Gallery.

3. Ride to da' Club by Kalup Linzy, 5:06 min. (2002). Linzy plays the female lead and many of the voices in this cheerfully profane conference call all aimed at getting to the club. Now, why is it no one wants to ride with Big Dick Johnny? (CDM) Courtesy of Taxter Spengemann gallery.

4. Whispering Pines 8 by Shana Moulton, 7:36 min. (2006). One of a series of episodes in which the artist's naive, trusting alter ego, Cynthia, resorts to various 80's diversions in a continuing struggle against existential depression. (CS) Courtesy of Country Club Gallery.

(Still from Whispering Pines 8 by Shana Moulton, courtesy Country Club gallery.)

5. Tommy-Chat Just E-Mailed Me by Ryan Trecartin, 7:15 min. (2004). Described by the artist as a "narrative video short that takes place inside and outside of an e-mail," the artist's friends and himself in multiple roles play Pam, a lesbian librarian with a screaming baby in an ultra-modern hotel; Tammy and Beth, in an apartment filled with installation art; and Tommy, in a secluded lake house. Courtesy of Elizabeth Dee gallery.

6. Artist Trilogy by Matt Marello, 13 min. (2001-2002). Mr. Marello plays the lead in three classic – well, maybe not so classic – films about artists as victims, killers, and charlatans. Let’s see, did he leave anything out? Oh, yes, insatiable sex fiend. (CDM) Courtesy of the artist.

7. five more minutes by Dena DeCola and Karin E. Wandner, 17:23 min. (2005). The artists enact intimate moments between a "mother" and "child," to poignant yet peculiar effect. (CS) Courtesy of the Video Data Bank.

(Photo from five more minutes by Dena DeCola and Karin E. Wandner, courtesy of Video Data Bank.)

8. Melody Set Me Free by Kalup Linzy, 14:06 min. (2007). The talented Mr. Linzy, in impeccable Whitney Houston drag, overcomes a mother's negativity and competitors' backstage backstabbing to find true love and a chance at stardom. You go, girl! (CDM) Courtesy of Taxter Spengemann gallery.

(Photo from Melody Set Me Free by Kalup Linzy, courtesy Taxter Spengemann gallery.)

9. The Code by Anthony Goicolea, 1:18 min. (2007). Courtesy of Postmasters gallery.

SUNDAY, AUGUST 10

1:30 PM: PANEL DISCUSSION at the Dallas Museum of Art, Center for Creative Connections (f.k.a. the Orientation Theater), featuring the three co-curators plus media-based artist/gallerist Paul Slocum, with clips from various works and screenings of the following complete pieces:

Still Point by Alfred Guzzetti,14:30 min. (2008). The camera lingers on a series of beautifully-framed scenes.

The Dating Game by John Pylypchuk, 5:19 min. (2006). A send-up of the '60's-70's t.v. show in which the "behind the scenes" isn't very.

Moby Dick by Guy Ben-Ner, 13 min. (2000). The artist and his young daughter enact the entirety of the novel, almost entirely in their kitchen.

TUESDAY, AUGUST 12

7:00 PM: SEATED SCREENING at the Modern Art Museum of Fort Worth: An Estranged Paradise by Yang Fudong, 76 min. (1997/2002). This is Fudong’s first, near feature-length film, shot six years before he began work on his multi-part masterpiece, Seven Intellectuals in Bamboo Forest (2003 – 2006). Fudong speaks for a generation of young Chinese intellectuals caught at “a moment when we have to negotiate our past while inventing our future.” The protagonist of Paradise is Zuzhi, a young man who drifts through a rapidly modernizing Shanghai, suffering from an undefined illness that seems to come on with the rainy season. Although he has two girlfriends he admits he is happiest when visiting with doctors or entertaining his parents on their trips in from the countryside. Yang opens his film with a lesson in Chinese landscape painting, in which what is left out can be the most significant elements. (CDM) Courtesy of Marian Goodman Gallery.

WEEK FOUR
SATURDAY, AUGUST 16
Exhibition Opening, Conduit Gallery

6:00 PM: SPECIAL PRESENTATION of An Estranged Paradise by Yang Fudong, 76 min. (1997/2002). (Please see description under Tuesday, August 12.).

7:00 – 7:30 PM: RECEPTION WITH INSTALLATIONS:

1. A Family Finds Entertainment by Ryan Trecartin, 41:12 min. (2004). The artist's entourage and himself in multiple roles play media-immersed characters in a story about Skippy's adventures in "coming out." [See curator's comments here.] Courtesy of Elizabeth Dee gallery.

2. Who’s Listening 1 by Yu-Chin Tseng, 7:55 min. (2003-04). A series of children are surprised. (CS) Courtesy of the artist.3. RMB City – A SecondLife City Planning by China Tracy by Cao Fei, 6:08 min. (2007). A promotional demo trailer for the artist's "China-like" real estate project, where development rights are now on sale, within the multiplayer online virtual reality game, Second Life ("RMB" is a name for the Chinese currency). (CS) Commissioned by Serpentine Gallery; courtesy of Lombard-Freid Projects.

4. Triptych TV, compilation from a vlog by jimpunk, Mr. Tamale, and Rick Silva a.k.a. Abe Linkoln, --- min. (2008). Courtesy of the artists.

5. Second Life Dumpster by eteam in collaboration with Relder Waco, Whooter Walworth, Dunn Bing, and others, 45 min. (2008). The artists are creating a dumpster within the multiplayer online virtual reality game, Second Life, to collect virtual trash such as unmarketable virtual merchandise and superseded avatar body parts. (CS) Courtesy of the artists.


6. Max Payne Cheats Only 1 by JODI, 23 min. (2004). A video game said to have influenced John Woo is deconstructed. (CS) Courtesy of And/Or Gallery.7. Battleship Potemkin Dance Edit (120 BPM) by Michael Bell-Smith (with the assistance of Jeff Sission), 12:29 (2007). The artist "separated the film into its constituent shots and time stretched them one by one to the exact same length [, and] then replaced the soundtrack with a one-second dance loop synced to the cuts", replacing the original editing structure of the revolutionary narrative, which has been called seminal in its use of montage, with the "dumb, visceral, metric montage favored by dance visuals and music videos". Courtesy of the artist.

7:30 PM: SEATED SCREENINGS:

1. Timbuktu** by Nathalie Djurberg, 4:40 min. (2007). A bureaucrat loses in a contest among three different kinds of power. (CS) Courtesy of Zach Feuer Gallery.

2. Stealing Beauty by Guy Ben-Ner, 17 min. (2007). Ben-Ner and his family make themselves at home in a furniture store – literally – while discussing the virtues of capitalism. (CS) Courtesy of Postmasters gallery.

(Still from Stealing Beauty by Guy Ben-Ner, courtesy Postmasters gallery.)

3. Hogan's Heroes by Matt Marello, 2:47 min. (1996). Friedrich Nietzsche chats up America’s most lovable POW’s and their charming SS guards. (CDM) Courtesy of the artist.

4. IMirror (A Second Life Documentary Film by China Tracy a.k.a. Cao Fei) by Cao Fei, 28:07 min. (2007). A documentary created by the artist within the multiplayer online virtual reality game, Second Life; this piece was shown at the most recent Venice Biennial. (CS) Courtesy of Lombard-Freid Projects.

5. Hobbit Love is the Greatest Love by Steve Reinke, 14 min. (2007). The artist explores literal and figurative projections in space and time. (CS) Courtesy of the Video Data Bank.

6. Gas Zappers by Kenneth Tin-Kin Hung, 5:45 min. (2007). Al Gore as a polar bear wields solar panels against a BBQ'ing Bush. In glorious color and delirious bad taste. “Bring it on!” (CDM) Courtesy of Postmasters gallery.

(Still from Gas Zappers by Kenneth Tin-Kin Hung, courtesy Postmasters gallery.)

7. Snapshot: 6 Months in the Life of a Korean American Male by Valerie Soe, 4:30 min. (2008). Courtesy of the artist.

8. Camels Drink Water** by Nathalie Djurberg, 3:48 min. (2007). Two camels help a parched, differently-abled person. (CS) Courtesy of Zach Feuer Gallery.

9. Anaconda Targets by Dominic Angerame, 10:51 min. (2004). As video games become more and more sophisticated, we admire their realism. Here’s a harsh reminder that realism is based on the real. (CDM) Courtesy of the artist.

10. Aria by Brooke Alfaro, 3:20 min. (2002). A young woman sings La Wally to unusual accompaniment. (CS) Courtesy of the artist.

**NOTE: During the remainder of the week, Timbuktu will be available for viewing only on Tuesday and Thursday, and Camels Drink Water will be available for viewing only on Wednesday and Friday.

9:00 PM: AFTER-PARTY: The Windmill Lounge, 5320 Maple Ave. (between Motor/Medical District and Inwood; map).

WEEK FIVE
SATURDAY, AUGUST 23
Exhibition Opening, Conduit Gallery

7:00 – 7:30 PM: RECEPTION WITH INSTALLATIONS:

1. A Family Finds Entertainment by Ryan Trecartin, 41:12 min. (2004). The artist's entourage and himself in multiple roles play media-immersed characters in a story about Skippy's adventures in "coming out." [See curator's comments here.] Courtesy of Elizabeth Dee gallery.

2. Who’s Listening 1 by Yu-Chin Tseng, 7:55 min. (2003-04). A series of children are surprised. (CS) Courtesy of the artist.3. RMB City – A SecondLife City Planning by China Tracy by Cao Fei, 6:08 min. (2007). A promotional demo trailer for the artist's "China-like" real estate project, where development rights are now on sale, within the multiplayer online virtual reality game, Second Life ("RMB" is a name for the Chinese currency). (CS) Commissioned by Serpentine Gallery; courtesy of Lombard-Freid Projects.4. Triptych TV, compilation from a vlog by jimpunk, Mr. Tamale, and Rick Silva a.k.a. Abe Linkoln, --- min. (2008). Courtesy of the artists.

5. Second Life Dumpster by eteam, 45 min.(2008). The artists are creating a dumpster within the multiplayer online virtual reality game, Second Life, to collect virtual trash such as unmarketable virtual merchandise and superseded avatar body parts. (CS) Courtesy of the artists.

6. Max Payne Cheats Only 1 by JODI, 23 min. (2004). A video game said to have influenced John Woo is deconstructed. (CS) Courtesy of And/Or Gallery.

7. Hand Flurry by Joel Holmberg, 1:00 min. (2008). Courtesy of the artist.

7:30 PM: SEATED SCREENINGS:

1. The Guest by John Bock, 11:25 min. (2004). A rabbit. An apartment. A man with lettuce tied to his feet. (CDM) Courtesy of the artist.

2. Palms by John Bock, 59:14 min. (2007). In the films of John Bock, mad scientists and crazed farm workers conduct visceral experiments in settings that range from pastoral landscapes to baroque palaces. In Palms, his first American-produced film, he takes on the world of Sunshine Noir. Two European killers arrive at LAX, rent a Lincoln convertible, and set off on a journey that is part hit job, part road trip, and possibly a spiritual quest. Expect blood, funny props, music, classics of modern architecture, and dialog that doesn’t really get scary until it begins to just maybe make sense. (CDM) Courtesy of Anton Kern gallery.

(Photo from Palms by John Bock, courtesy Anton Kern gallery.)

3. Anniversary Waltz by David Adamo, 3:58 min. (2007). The party is over. The guests have all gone home. The artist dances alone. (CDM) Courtesy of Fruit and Flower Deli.

9:00 PM: AFTER-PARTY: Absinthe Lounge, 1409 S. Lamar St., #008 (at Southside on Lamar; map)

Grand Opening of Cao Fei's "RMB City" in Second Life

Sat., Jan 10th, here. Per the press release,

Public Opening Ceremony & Celebration in SecondLife
Jan 9, 2009: 6pm-8pm (SecondLife Time)
Jan 10, 2009: 10am-12pm (Beijing Time)
Venue: People's Palace
(RMB City Hall, aka Sigg Castle)
Landmark in Second Life: RMB City 1, RMB City 1 (153, 32,126)

Special Opening Events
* Speech by China Tracy (RL: Cao Fei)
* Inauguration of RMB City Mayor, Mr. Uli Sigg
* Official opening of the city, with public celebration in People's Waterpark
* Opening and tours of "Master Q's Guide to Virtual Feng Shui" in various locations around RMB City, as well as the first exhibition of UCCA in RMB City (People's Aerial Castle)
* Release of "People's Monthly" (Issue #1), the official publication of RMB City, plus other downloads of information and surprises
* Visitors can visit these and other ongoing projects of RMB City, as well as beginning to explore the full city and all its treasures . . .

RMB City is a virtual real estate project created by Ms. Cao within Second Life ("RMB" is a name for the "real" life Chinese currency). The project is described as "a condensed incarnation of contemporary Chinese cities, with most of their characteristics; a series of new Chinese fantasy realms that are highly self-contradictory, inter-permeative, pan-political, extremely entertaining, and laden with irony and suspicion. . . . A rough hybrid of communism, socialism and capitalism, RMB City will be realized in a globalized digital sphere combining overabundant symbols of Chinese reality with cursory imaginings of the country's future."

(As you may recall, the promotional trailer for this project was exhibited in The Program, in which we also screened Ms. Cao's documentary shot in and about 2L, iMirror.) Lots more info about RMB City here.

Report on Prospect.1 New Orleans (the U.S.'s New International Art Biennial)

Prospect.1 is directed and curated by Dan Cameron, former Sr. Curator of the New Museum in New York, artistic director of the Istanbul Biennial in 2003, and current Visual Arts Director at the New Orleans Contemporary Arts Center (CAC). He's been visiting New Orleans for years and conceived of the new biennial as a way to help bring visitors back to the city, which is still struggling to recover from Katrina.

Cameron points out that until now, the biggest biennial in the the U.S. has been the Whitney, which isn't international.

I concur that New Orleans is an ideal location for this event, because of its cosmopolitan heritage and culture, its location, and above all its indomitable and disproportionately elegant and beauty-and-fun-loving population.

The Prospect.1 exhibitions include some 80 artists, most well-known within the art world. A possibly unusually large percentage of the works were created specifically for Prospect.1; e.g., there's a wonderful installation by Cao Fei which incorporates a virtual, New Orleans-related space within Second Life, called NO LAB (to see the video online, go here, scroll to 081 - 04|11|08, and click on SEE VIDEO).

The official Prospect.1 exhibitions are located at over two dozen venues throughout New Orleans. This initially seemed inconvenient, but I think it was the right decision; as intended, it helped me get to know the city, which proved to be a pleasure. New Orleans is easy to navigate by car; there's also a shuttle running every 20 min.

Also showing are a number of independently-organized exhibitions; e.g., by KK Projects, which has transformed four small houses in St. Roch, one into a gallery and three more into home-sized artworks. For The NYT on KK Projects and its founder, Kirsha Kaechele, go here.

As far as I can tell, the city parties constantly. So, I recommend allowing at least four days, if you can. And go soon: the weather's great (no irony intended).

Below are links to more pics and vidis.

Some of the works I liked best include:

• Takashi Horisaki's piece at the Hefler Center (starting here; and when I say starting, I mean you might want to click on "next" 'til you're sure it's over) was made by actually slathering a semi-destroyed house with latex, inside and out; I understand it took the artist two years of effort to create it.
• Candice Breitz's A Portrait of Bob Marley (here). What might not be obvious from my li'l vidi is that each individual is hearing the song through headphones and singing along, or not, without hearing the others.
• The "Batman on Poppers" (here) at the CAC was part of a pretty wonderful installation about a gay bar in N.O. destroyed by a fire in which many died. The story is provided as part of the installation and is worth the read.
• Pedro Reyes' Leverage (starting here), which I can't resist calling, "Teeter-Totter for Ten."
• Fiona Tan's Island (starting here) looked terrific in its space at the CAC, though I had trouble deciphering the audio.
• Allora y Calzadilla's brilliant piece, A Man Screaming Its Not a Dancing (starting here) -- I'm so sorry my four brief vidis don't begin to do it justice -- at the CAC. (I could have captured this piece better; but I think I unconsciously balked on the grounds that it was too stunning to steal.)
• The Cao Fei (starting here), I'm already a huge fan and she totally lived up to it, at the CAC.
• Sunset Refinery by David Sullivan (here), in the Universal Furniture space in the St. Roch area -- again, my vidi doesn't do it justice.
• The KK Projects house starting here. (I have to mention, the nite I saw these houses, little kids from the neighborhood were giving guided tours. They stood at the doors and hawked in high voices, "Come see the lovely art!"; and if you got anywhere near, they'd capture your hand and draw you into the house. Once inside, they carefully pointed out various features of the installations, recited the names of the artists involved, and offered interpretive tips.)
  
• Stephen G. Rhodes' installation at the U.S. Mint (starting here), though I didn't expect to. It captures certain aspects of life under B*shCo (e.g., the shock+awe), among other things, perfectly.
  
• The Kalup Linzy piece at the New Orleans Museum of Art is wonderful (clip here); also Pulse Tank (here) by Rafael Lozano-Hemmer.

And there were plenty of other great pieces.

Before I lose any more of you, looking again at the visuals of this work, I'm pretty slapped up the head with how much of it seems concerned in part with the sweeping away, containment, erasure, or veiling of individuals -- and with efforts, at least partly successful, toward individual expression nonetheless.

Overall, the works included are perhaps not the most difficult -- many are downright charismatic. Conclude from that what you will; still, there's quality, breadth, and depth, and what I think will prove a fruitful sensitivity both to New Orleans' (decreasingly) peculiar plight and to the potential benefit to us all of having a truly great, international biennial based in the U.S.

Credit for this sensitivity is due both to Cameron and to the artists he selected (many of whom, of course, are furriners).

From a purely personal point of view, I was happy to find a decent amount of video, sorry not to find more new "new media."

Prospect.1 runs through January 17, 2009. The official P.1 homepage is here. Roberta Smith/NYT reviews the event (with more pics) here; artkrush has an article (with more pics) here.

Go here for my own pics and vidis (totally unadjusted, unedited, etc.; deepest apologies for all deficiencies and also for my failure to snap the artist/title cards for some works. Those I did snap generally appear AFTER the visual(s) of the work to which they relate. Also, I include some party pics and the like for those who were there, etc., though the emphasis is on the art. Finally, there were some great works I didn't snap, too many I missed seeing altogether, and others I snapped even though I'm not sure how much I like them; so no judgment should be inferred.)

If your interests are more selective . . .

For work at the Hefler Welcome Center, start here.
For work at the Contemporary Art Center, start here.
For the block party/gallery walk on Julia St., including 527 Gallery, start here.
For work at Louisiana ArtWorks, start here.
For Halloween nite, start here (including my costume).
For work etc. in and around St. Roch, start here.
For the dinner and work at KK Projects (including party pics of Kirsha, her mom, and other new friends), start here.
For the after-party and work at the Brickyard, start here.
For work etc. in and around the Lower Ninth Ward, start here.
For work at the U.S. Mint, start here.
For work in and around the New Orleans Museum of Art, start here.

On the way home, we caught a swamp tour from Cajun Man, also rec'd. Caveat: don't assume you can plug the address into your GPS and get there; call him for directions.

Below's a l'il Brickyard after-party for ya. Somewhat bigger-better version here; continued here; and I'm trying to get the band name, so if you like it, check back.

Cao Fei’s "iMirror"

. . . a documentary “filmed” entirely in Second Life and directed by her SL avatar China Tracy. Including some slightly hilarious avatar disco dancing and rather long credits at the end, Part 3, below, is 9:28 min.



Part 1 opens with a great quote from William J. Mitchell's Me++: The Cyborg Self and the Networked City: "I construct, and I am constructed, in a mutually recursive process that continually engages my fluid, permeable boundaries and my endlessly ramifying networks. I am a spatially extended cyborg."

More iMirror: Part 1, Part 2.

Info re- current exhibits of Fei's work at Artkrush, which quotes Fei, "[i]n the end, I think this 3-D world is the future world." Which 3-D world?

"THE PROGRAM": In the Code

UPDATE: New, much more detailed post here; although as of this addition, I haven't yet had a chance to add images to the new post.

As you may know, the Video Association of Dallas was the first in TX to show video art by Michel Auder, Matthew Barney, Paul Chan, Harun Farocki, Graffiti Research Lab, William Kentridge, Paul McCarthy, Tony Oursler, Pipilotti Rist, Martha Rosler, and Bill Viola, among many others.

The Video Association's Dallas Video Festival is now dividing into two parts. This year for the first time, most of the video- and other media-based art you might normally find in museums or galleries will be presented in a separate, expanded series of exhibitions at Conduit Gallery. The rest of the Fest, including documentaries and other venerable varieties of video, will be presented in October.

The new, video art + other media-based art exhibition series to be shown at Conduit, called THE PROGRAM, starts July 26: 5 shows over 5 weeks, with openings on 5 consecutive Sat. nites, after-parties, etc. etc. Co-curated by me, Charles Dee Mitchell, and Bart Weiss.

Where else can you find this much exciting, recent video art and other media-based art by internationally-recognized artists -- esp. on our near-null budget? (I certainly hope never to work this hard again for negative income.)

This is not a complete listing, and all programming remains subject to change:

Guy Ben-Ner's Moby Dick and his latest, Stealing Beauty (see Postmasters gallery).

John Bock's latest, The Palms (see Anton Kern gallery).

Dena DeCola + Karin E. Wandner's five more minutes (see the Video Data Bank).

Matthew Barney's latest, Drawing Restraint 13 (see Barney's DR site or Gladstone Gallery).

Michael Bell-Smith, t.b.d. (see Foxy Production or and/or gallery).

eteam: with luck, something re- their Rhizome commission proposal, Second Life Dumpster (see their commission proposal site). I personally also loved 1.1 Acre Flat Screen, 'though it's not looking like we'll be able to show it, but you can view it on their website; just click on "videos" and scroll on what opens.

Nathalie Djurberg: her Camels Drink Water, which debut'd at Art Basel Miami just last year, and, I hope, one or more other works (see Zach Feuer Gallery). I'm pretty sure, 200 yrs. from now, if you search for what might help you both survive and forgive humanity, Djurberg's work will pop.

John Michael Boling + Javier Morales (see their site at http://www.gooooooooooooooooooooooooooooooooooooooooooooooooooooogle.com).

Kenneth Tin-Kin Hung's animations featuring Al Gore as a polar bear, his Nobel around his neck, deploying solar panels against a BBQ'ing Bush (see Postmasters and Hung's site).

Cao Fei: knock on wood, her Second Life "documentary," iMirror (see Lombard-Freid Projects), which showed at the Venice Biennale, this year, and her newest piece, RMB City.

Guthrie Lonergan: net art from a favorite New Museum alum (see his site).

Shana Moulton's work takes you back to everything you thought you hated about the 80's but now "pine" for (see Country Club gallery).

Tom Moody: appealing and intriguing shorts from a former Dallasite who's shown around the world (see his site).

Meiro Koizumi's latest, The Human Opera. If I say he's the new M. Barney, that's just shorthand for, i.m.h.o., you need to see his work -- it's going to come up again (see Nicole Klagsbrun gallery).

Matt Marello: Marello greenscreens himself into the horror flick that made Charles Dee Mitchell want to be an art writer; plus, Friedrich Nietsche converses with Hogan's Heroes.

Yang Fudong's An Estranged Paradise. This wonderful early piece illumines the work he's made since (see Marian Goodman Gallery).

Yves Netzhammer: evocative 3-D animation from one of my faves from the '07 Venice Biennial (see Galerie Anita Beckers).

Jon Pylypchuk's animations with hotdogs -- not even bacon is better (see Friedrich Petzel Gallery).

Steve Reinke's Hobbit Love is the Greatest Love. Yes, he actually makes it work (see Video Data Bank).

Treewave (Paul Slocum's band) performs live (see his Tree Wave page, Dunn and Brown Contemporary, or and/or gallery).

Ryan Trecartin: A Family Finds Entertainment and Tommy Chat Just E-mailed Me. He may seem hallucino-gen-Y'd, he may even be really fun; he's also profound (see Elizabeth Dee).

Kalup Linzy's Melody Set Me Free and Ride to da Club, both totally smart + fun (see Taxter & Spengemann gallery).

Rick Silva, a.k.a. Abe Linkoln, + jimpunk + Mr. Tamale: a compilation from Triptych TV (also check outAbe + Mo Sing the Blogs: e.g., one blogger's daily psychotropic dosage, à la metal -- and more {here's Rick's site; I also love jimpunk's}).

Clemens Von Wedermeyer: compelling work from one of Europe's stars (see Galerie Jocelyn Wolff).

The main venue for THE PROGRAM will be Conduit Gallery in the Design District, where lots of great galleries are now located (go here for lists by neighborhood with url's, addresses, etc.); and our opening nite, Sat., July 26, will also be "gallery walk" nite in the Design District. The gallery walk hours will be 5-8 pm. We expect to open THE PROGRAM with Matthew Barney's new video, although that's not set in stone, and with Paul Slocum's performance starting around the time the gallery walk winds up (plan to end up back at Conduit).

Then, for our after-party that nite . . . remember Apples in Stereo, whose lead appeared on The Colbert Report with his paean to Stephen? And the inestimable Danette Dufilho, Asst. Dir. at Conduit and Dir. of the Project Room there? Well, her hubby, John Dufilho (of Deathray Davies fame), plays drums in the Apples, and the Apples are playing Big D that very nite, at one of our fave venues, Sons of Hermann Hall, starting after Paul's performance. And strictly betw. us, the Apples might show up at Conduit for Paul's show; and we might be handing out coupons for a discount to get into the show at Sons . . .

And, believe it or not, there's more spectacular stuff in the works! As well as a panel discussion at the Dallas Museum of Art on Sun., August 10 at 1:30 pm and evening screenings in Fort Worth on August 5 and 12. I'll post more details about the schedule as they're firmed up.

I've been working really hard on this, so pls cancel any and all conflicting oblgs, ink us in for the 5 consecutive Sat. nites starting July 26 plus, + tell your friends. (And by the way, if you can't make the opening nites, the shows will remain on exhibit or available for viewing until it's time to install the next week's work.)

Thanks of course to the artists, galleries, and others already mentioned above. I'd like also to go ahead and thank Suzanne Weaver at the DMA for her advice to me over the years, which greatly helped me educate myself, as well as for her support in arranging for our panel discussion to take place at the DMA; the folks at Electronic Art Intermix (esp. Josh Kline), whose advice and screening room have also been invaluable to me; Paul Slocum, who has also generously shared his advice, esp. regarding new media artists; Danette Dufilho and Nancy Whitenack at Conduit, not only for providing us a great space for free but also for their advice, time, and effort in many areas, all of which have been and will continue to be essential to bringing this thing off; volunteers such as LeeAnn Harrington and Emily Ewbank; my co-curators, Bart Weiss and Charles Dee Mitchell, from whom I've also learned so much; and last but not least, our presenting organization, the Video Association of Dallas, which has for over twenty years been one of the foremost proponents of video as a creative medium (please join and support it!).

Until I do a new post based on more definite info, check back here 'cause it's easier for me to just update this post.

UPDATE: The Program, Week Four

So click here for full details regarding this week's exhibition, which includes two more pieces by Nathalie Djurberg, Stealing Beauty by Guy Ben-Ner, and iMirror (A Second Life Documentary Film by China Tracy a.k.a. Cao Fei).

But here's the scoop on one installation new this week. In Second Life, eteam has created a dumpster for the virtual things people there decide to delete. At right, see a bunch of "virtual-virtual" objects selected by me, Danette Dufilho, and AC Abbott per eteam's guidelines to resemble such discarded items (which were of course originally designed to look real). These objects were then photographed by Ben Britt and me from multiple angles, and eteam used the photographs to construct virtual-virtual-virtual objects, which they placed in their dumpster in Second Life -- see the following virtual photographs of the objects they made and put there (if you see the objects in "Real Life," eteam's work is even more impressive -- nice work, eteam!). Next, eteam "filmed" the programmed decay of these objects, sent me the file, and it's playing on the tv included in the installation.

The artists see Second Life Dumpster as "a continuation of their interest in the value of property, possibilities of land use, (web) site specificity, ownership, and investment."

I also see this project as, among other things, part of a trend toward art as mad scientist-experiment. See more of eteam's findings from this research here.