portalen portalen

Matt Connors

2012-03-05T06:09:00.001-08:00

Geoffrey Kixmiller

2012-03-01T23:57:00.000-08:00

Geoffrey Kixmiller - Swimming @ Appendix Project Space

Andrew Norman Wilson

2012-03-01T05:10:00.004-08:00

Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound

WEBSITE

Ben Schumacher

2012-03-01T00:13:00.002-08:00

Ben Schumacher

MEDIUM:

2012-02-29T06:21:00.004-08:00

MEDIUM: Christopher Schreck's new art/photography column for LPV magazine.

VIEW IT HERE.

Andrew J. Greene

2012-02-28T05:33:00.002-08:00

WEBSITE

Pablo Rasgado

2012-02-27T05:33:00.001-08:00

WEBSITE

Jasper Spicero

2012-02-24T00:26:00.004-08:00

Intriors by Jasper Spicero. Check out the accompanying tumblr

Petra Cortright - Void Mastery / Blank Control @ Composing Rooms

2012-02-23T05:49:00.000-08:00

Void Mastery / Blank Control is Petra Cortright's new exhibition at The Composing Rooms (London). On display are her digital paintings and select webcam video art. Petra’s painting works are digitally rendered, using specially designed brushes and/or standard sets that come with over-the-counter programs like Photoshop.

SITE

Oscar Tuazon

2012-02-21T06:47:00.000-08:00

WEBSITE

Sergej Jensen

2012-02-20T05:13:00.000-08:00

WEBSITE

Anthony Pearson

2012-02-16T06:30:00.000-08:00

WEBSITE

Pauline

2012-02-16T00:55:00.000-08:00

Pauline

Imogen Taylor

2012-02-16T00:48:00.000-08:00

Imogen Taylor

Thomas Pregiato

2012-02-15T06:08:00.000-08:00

Thomas Pregiato - flickr + tumblr

Observations on the Proliferation of Online Galleries

2012-02-14T09:10:00.000-08:00

Excellent and timely article by writer/artist/curator Nicholas O'Brien

READ IT HERE

Synchrodogs

2012-02-13T06:55:00.000-08:00

WEBSITE

Facundo Pires

2012-02-12T01:02:00.000-08:00

Facundo Pires tumblr + flickr

Benjamin Nuel

2012-02-10T11:36:00.000-08:00

Benjamin Nuel

Sofia Leiby

2012-02-09T06:04:00.000-08:00

her website

Yago Hortal

2012-02-09T00:31:00.001-08:00

Yago Hortal

Le Creative Sweatshop

2012-02-07T00:20:00.000-08:00

5 Fruits

Ann Greene Kelly

2012-02-07T00:19:00.000-08:00

Ann Greene Kelly

Rafaël Rozendaal's Booth @ VIP Art Fair

2012-02-06T07:29:00.000-08:00

Rafaël Rozendaal gives a tour of his virtual booth at VIP art fair

TOGETHER

2012-02-04T11:33:00.000-08:00

Together: An online gallery run by Maryanne Casasanta whose content investigates forms of original language-based works, documents of performative gestures, installations or objects and works that stimulate ideas or questions about art and art production.

Sydney Shen

Joanna McClure

Daniel Evans and Brendan Baker

TOGETHER website

Pierre Feller

2012-01-30T04:17:00.001-08:00

Pierre Feller

Suzanna Zak

2012-01-29T00:29:00.001-08:00

Suzanna Zak

Jim Sanborn

2012-01-26T07:28:00.000-08:00

Jim Sanborn, interview over @ Rhizome

Bianca Hester

2012-01-23T12:05:00.000-08:00

Bianca Hester

Julia Dault

2012-01-23T01:28:00.000-08:00

Julia Dault

Ryan Stewart Nault

2012-01-19T10:40:00.000-08:00

Ryan Stewart Nault

Lynda Benglis

2012-01-17T01:45:00.000-08:00

Steve Bishop

2012-01-14T03:55:00.000-08:00

Φ III (2011)
Listerine 'Freshburst', stainless steel. 196 x 121 x 2 cm

My Work Here is Done IX (2009)
Glass, lighting gels, various tapes. 248 x 159 x 40 cm

As If You Could Only Kill Time Without Injuring Eternity III (2011)
Mercury and printed T-shirt in frame. 20 x 19 cm

Steve Bishop

Alexandra Gorczynski

2012-01-11T04:54:00.000-08:00

Cheerleading Machine from Alexandra Gorczynski on Vimeo.

Pastoral from Alexandra Gorczynski on Vimeo.

Gardens from Alexandra Gorczynski on Vimeo.

Vimeo

Nicolas Ceccaldi

2012-01-08T06:44:00.000-08:00

Body Xerox

2012-01-07T06:50:00.000-08:00

Body Xerox by Simon Denny & Yngve Holen

Travess Smalley

2012-01-07T05:07:00.000-08:00

Rendered Aura by Travess Smalley

You Only Live Twice

2012-01-06T04:54:00.001-08:00

New Work # 113 by Guy Michael Davis & Jordan Tate

Here by Domitri Obergfell

Unobtainium by Rachel Milton. Her tumblr + flickr

Unobtanium shown @ You Only Live Twice, Kunsthalle New.

Bea Fremderman

2012-01-06T04:27:00.000-08:00

Bea Fremderman

Oliver van Der Lugt

2012-01-04T01:46:00.000-08:00

BMW MUSIC II (MIX 4 BYOB MELBOURNE) by ICED ~ OUT

"DJ mix made for BYOB Melbourne, played at full volume from a 2004 BMW 330M convertible with the top down out the front of T. Koenig Gallery, 16 December 2011."

Benjamin Phelan

2012-01-04T01:37:00.000-08:00

Benjamin Phelan - the last pic is from this zine.

Sarah Samy

2012-01-04T01:06:00.001-08:00

Sarah Samy

Andreas Ervik

2011-12-29T12:15:00.001-08:00

Andreas Ervik

PWR

2011-12-27T04:54:00.000-08:00

Wing donated by Anonyomus

PWR recently had a show @ Future Gallery - check out some abstracted documentation.

Get the latest issue of PWR PAPER.

Andrew Laumann

2011-12-23T07:11:00.000-08:00

Andrew Laumann's paintings + photos.

Tauba Auerbach

2011-12-21T05:45:00.000-08:00

Tauba Auerbach

Roger Hiorns

2011-12-19T09:07:00.000-08:00

Viktor Rosdahl

2011-12-18T09:00:00.000-08:00

Viktor Rosdahl

Matthew Lutz-Kinoy

2011-12-17T08:47:00.000-08:00

Matthew Lutz-Kinoy

Wikileaks scarfs

2011-12-16T08:31:00.000-08:00

Wikileaks scarfs. Design by Metahaven. Fundraiser

Mike Goldby

2011-12-12T04:35:00.000-08:00

Mike Goldby

Heather Cook

2011-12-12T04:30:00.001-08:00

Heather Cook

Mary MacDougall

2011-12-08T14:32:00.000-08:00

Mary MacDougall

Sounds like 2011

2011-11-26T11:57:00.000-08:00

+ (how could I forget

Olivia Calix

2011-11-25T08:25:00.000-08:00

Olivia Calix

Hyper Geography

2011-11-16T05:48:00.000-08:00

Hyper Geography (2011) from Joe Hamilton on Vimeo.

Hypergeography.tumblr.com

Joe Hamilton.info

Timur Si-Qin

2011-11-16T05:38:00.000-08:00

Main-Stream by Timur Si-Qin

Cruising in space

2011-11-14T02:31:00.000-08:00

Earth | Time Lapse View from Space, Fly Over | NASA, ISS from Michael König on Vimeo.

"Time lapse sequences of photographs taken with a special low-light 4K-camera
by the crew of expedition 28 & 29 onboard the International Space Station from
August to October, 2011."

Brendan Baker

2011-11-14T01:45:00.000-08:00

These digital collages are part of an in-progress, as-yet-untitled piece of work that explores the 'transformation' process of analogue imagery to digital information.

His site HERE.

Marte Eknæs

2011-11-10T12:26:00.001-08:00

Banana Leaves at the Nofound Photo Fair, Paris

2011-11-10T11:04:00.000-08:00

<br>

Here's a video I put together for the upcoming Nofound Photo Fair (Paris, Nov 11-14). It features some of my favorites from the work I've featured at my blog Banana Leaves

Brad Troemel

2011-11-09T06:20:00.000-08:00

Interview Brad Troemel from Showroom MAMA on Vimeo.

Silk Road Objects, 2011
a series of artworks sourced from the online black market the Silk Road, a website only visible through Tor encryption software. Users buy goods from the Silk Road using Bitcoin, a decentralized currency that provides traders anonymity. All objects purchased are displayed and intended for further use by participating viewers. This project debuted at Showroom MAMA, Rotterdam on November 4.

Brad Troemel

Fabian Boschung

2011-11-07T13:16:00.000-08:00

Fabian Boschung

Maria Walker

2011-11-05T04:24:00.000-07:00

Maria Walker

Killian Eng

2011-11-04T12:34:00.001-07:00

Killian Eng

Peter Sutherland and Maia Ruth Lee "Imperial Valley"

2011-11-03T05:42:00.001-07:00

View images from the series HERE.

Marnix Goossens

2011-11-02T07:11:00.000-07:00

Marnix Goossens

Grady O'Connor

2011-10-31T07:00:00.001-07:00

Grady O'Connor

Jordan Wolfson

2011-10-31T03:50:00.000-07:00

Jordan Wolfson

Tatiana Trouvé

2011-10-31T03:47:00.000-07:00

Tatiana Trouvé

Frank Benson

2011-10-27T07:26:00.000-07:00

Frank Benson's "Human Statue (Jessie)"

Second & third photo by Johnny Misheff, via NYTIMES

Ruben Steinum

2011-10-27T07:14:00.001-07:00

Urge to Surge, 2011

"Andreas told me that they don´t sell "Urge©" ("Surge©") in the US anymore.
So I brought a bottle from Norway, the only country in the world which sells "Urge©"
and traveled with it to New York. In New York I drank it on Wall Street outside
New York Stock Exchange, 11 Wall Street, New York, 10005"

Ruben Steinum

Rubén Grilo

2011-10-27T07:08:00.000-07:00

Rubén Grilo

Jessica Hans

2011-10-26T07:32:00.000-07:00

Welcome to the Jungle, Baby by Jessica Hans for Iko Iko Space

Bartholomew

2011-10-23T04:39:00.000-07:00

Tu tu ru tu tu tu ooh baby,

(Yeah, baby)

Mariah Carey, Dreamlover, 1993

You wait for it longingly, are confused when you listen to it but then remember it lovingly.

II.

Hello, hello, hello

How low.

Nirvana, Smells Like Teen Spirit, 1991

Physiological transformation, historical category, individual and collective statement, adolescence is fully marked by ambivalence and confusion. Despite this diversity, references relating to this transitional period continue to grow in importance, often to become the main components in the formation of a cultural heritage. From TV series to sports, video games and even pornography, the whole spectrum of our imagination bears the imprint of experiences and references conveyed during adolescence. This trend cult of youth seems to have become exceedingly clear since World War II. The decline of parental authority, the increasing purchasing power and exaltation of new lifestyles have contributed to making this period an explosion of identity marks. Each decade introduces its own eras and, in more and more spectacular ways, offers new countermeasures to challenge conformity. Through continuous updating of current assets, an escalation of miscellaneous items gradually stood out as exclusive privileges belonging to the “youth”.

III.

Jump around!

Jump up, jump up.

And get down!

Jump!

House of Pain, Jump Around, 1993

Disrupted by the synchronous effects of globalization and individualism, MWWWXC is a crucial time in this evolution. During this period, a large number of alternative cultural sectors reached a critical mass. Whereas concert venues, core press, clubs, skateparks, festivals, hip-hop battles, graffiti walls etc. had so far been looked down on, they were now starting to appeal to an increasingly broad audience. This legitimatizing procedure was encouraged by the proven profitability of these niche markets as well as gradual interest of local authorities looking to increase their “cool capital”. Compared to the previous hardline generations, this situation introduced new forms of responsibility amongst youth. Sports, instruments, video games and other hobbies became more and more of a potential professional activity. The idea that even the most insignificant hobby could be an asset to starting one’s career grew and people saw increasing importance in gathering experience and networking. Radicalization and lack of ambition became reasons of exclusion and brands soon offered to convey reassuring standards. A whole generation learned that no choice is contingent. Personal pleasure, professional or sentimental achievement, it is all just a case of making your own choices. Being a teenager in MWWWXC was becoming aware of the capitalization of passions.

IV.

No, no, no, no, no, no,

no, no, no, no, no, no,

there’s no limit!

2 Unlimited, No Limit, 1993

In a world doped on eurodance hymns, incentives to keep up with the rhythm were received from a very young age. Stimulation was increasingly sought, drugs became leisure, nonconformity became virtual and numerous artifacts serve as social prostheses to counter growing egocentrism. We are taught that experiences should be ever more numerous, more intense, without being demanding or sustainable. For the clear-sighted, future lies in smoky perspectives. The futuristic extrapolations still around during the previous decade gradually disappeared. The horizon was entirely subject to the requirement of simultaneity. Like the characters in Kids or in the scrupulous narrations of Bret Easton Ellis, MWWWXC standardized both a remote and finalized look upon the world. A leveling effect that cut the last threads of romanticism. The pragmatic position is a survival instinct in a society that constantly invites us to reassess the limits of the collective fantasies of the past. As Alain Ehrenberg points out in L’Individu Incertain, the competitive rhetoric of the 80’s suggested anyone could succeed. MWWWXC raised the fear that we could all fall into decay. In this context, tension and juvenile provocations are expressed in more intimate, more visceral, ways. Fear of falling had definitely taken over the dreams of ascension.

Now, now, now

Now, now, now...

DJ Shadow, Midnight in a Perfect World, 1996

In the same time, current technical devices help to disseminate a certain type of cultural productions. The art of sampling or digging, the reference of parody, a retrospective glance become a popular alternative to escape living in the future. The various archives of the collective memory are more and more accessible. Sequenced in many shapes and forms, the past comes back almost as if to fight the obsolescence of the present cybernetics. All through MWWWXC, new configurations accentuated the indecision of artistic production. Seized within a labyrinth of references, styles hybridized to the extent of changing nature. The recomposed reality of numerical images invite us to test the resistance of our perceptions of the world. Our eyes learn to distinguish the likely and evanescent nature of what surrounds us. In an environment of multiple, hybridized and repeated temporality, adolescence continues to define a set or transitory period. Its contingency rather reflects the mental state of a world that is gradually losing its stability. In MWWWXC, adolescence troubles tend to merge with the vagaries of the modern world. Flexibility, indistinctness, instability, disruption, all these symptoms refer to the various effects of the desynchronization that effected daily life. Millenarian fears were lurking and even chaos became a fully accepted reality.

VI.

One more time

Daft Punk, One More Time, 2000

During MWWWCX, adolescence turned into a series of eternally repetitive sequences

MWWWXC : ADOLESCENTIA AETERNUM
by Joël Vacheron

4 the exhibition Bartholemew

Aaron Angell

2011-10-23T04:33:00.000-07:00

Aaron Angell

Killian Loddo

2011-10-21T07:34:00.000-07:00

Killian Loddo

Ron Nagle

2011-10-20T07:08:00.001-07:00

Daniel Eatock

2011-10-20T06:25:00.000-07:00

Daniel Eatock

Tom Wesselmann

2011-10-18T04:13:00.000-07:00

Sean Dockray

2011-10-17T10:31:00.000-07:00

Pass the Bitch Chicken

2011-10-17T05:05:00.000-07:00

spreads from "Pass the Bitch Chicken" by Christopher Wool and Harmony Korine
View it HERE.

Holly Stanton

2011-10-15T02:19:00.000-07:00

Of Evidents Invisible zine
Holly Stanton

John Bohl

2011-10-15T02:11:00.000-07:00

From the zine Space Jam

John Bohl

Aude Pariset

2011-10-13T05:18:00.000-07:00

The series FX Tridacna features casts of a hard-shell clam using rice paper printed with images of digital paintings by the artist collective PaintFX (www.paintfx.biz). In cascading layers of representation, the clam exterior is used as an interface for the display of digital files: images are materialized on three-dimensional surfaces, and jpegs are articulated through folds, curves and waves.

Aude Pariset

Assaf Shaham

2011-10-12T03:13:00.000-07:00

Assaf Shaham

Quattro Formaggi

2011-10-12T03:08:00.000-07:00

Andreas Ervik

Barroibajero

Brenna Murphy

Art magazine curated by Alexander Dückminor. More pics here.

Travess Smalley

2011-10-12T02:56:00.000-07:00

Capture Physical Presence by Travess Smalley

+ check his scrolltone

Ginette Lapalme

2011-10-12T02:51:00.000-07:00

Ginette Lapalme - webpage / tumblr / flickr

Hennesy Youngman

2011-10-09T04:32:00.000-07:00

Hennesey Youngman

Unchi Neko VI

2011-10-09T02:54:00.000-07:00

Unchi Neko VI

"...the work is so fragmented...
...and broken up into small pieces...
...that no one is responsible.
But no one is free either."

C.J. Matherne

2011-10-06T07:23:00.000-07:00

C.J. Matherne

Markus Kayser

2011-10-03T02:28:00.000-07:00

"Solar Sinter
2011

In August 2010 I took my first solar machine - the Sun-Cutter - to the Egyptian desert in a suitcase. This was a solar-powered, semi-automated low-tech laser cutter, that used the power of the sun to drive it and directly harnessed its rays through a glass ball lens to ‘laser’ cut 2D components using a cam-guided system. The Sun-Cutter produced components in thin plywood with an aesthetic quality that was a curious hybrid of machine-made and “nature craft” due to the crudeness of its mechanism and cutting beam optics, alongside variations in solar intensity due to weather fluctuations.

In the deserts of the world two elements dominate - sun and sand. The former offers a vast energy source of huge potential, the latter an almost unlimited supply of silica in the form of quartz. The experience of working in the desert with the Sun-Cutter led me directly to the idea of a new machine that could bring together these two elements. Silicia sand when heated to melting point and allowed to cool solidifies as glass. This process of converting a powdery substance via a heating process into a solid form is known as sintering and has in recent years become a central process in design prototyping known as 3D printing or SLS (selective laser sintering). These 3D printers use laser technology to create very precise 3D objects from a variety of powdered plastics, resins and metals - the objects being the exact physical counterparts of the computer-drawn 3D designs inputted by the designer. By using the sun’s rays instead of a laser and sand instead of resins, I had the basis of an entirely new solar-powered machine and production process for making glass objects that taps into the abundant supplies of sun and sand to be found in the deserts of the world.

My first manually-operated solar-sintering machine was tested in February 2011 in the Moroccan desert with encouraging results that led to the development of the current larger and fully-automated computer driven version - the Solar-Sinter. The Solar-Sinter was completed in mid-May and later that month I took this experimental machine to the Sahara desert near Siwa, Egypt, for a two week testing period. The machine and the results of these first experiments presented here represent the initial significant steps towards what I envisage as a new solar-powered production tool of great potential."

Hendrik Hegray

2011-10-02T07:21:00.000-07:00

Amena zine by Hendrik Hegray. More pics here.

Alfred Boman

2011-10-01T06:59:00.000-07:00

Last piece in collab with Kalle Norin
Alfred Boman

Fredrik Åkum

2011-09-30T06:45:00.000-07:00

Fredrik Åkum

Mimosa Echard

2011-09-26T09:52:00.000-07:00

Mimosa Echard.com / flickr

Eric Wrenn

2011-09-25T06:24:00.000-07:00

Eric Wrenn Office for art and design

Anna Atkins

2011-09-24T03:42:00.000-07:00

Cyanotopes made by Anna Atkins in the period 1843-1855.

"Sir John Herschel, a friend of Atkins and Children, invented the cyanotype photographic process in 1842.^[1] Within a year, Atkins applied the process to algae (specifically, seaweed) by making cyanotype photograms that were contact printed^[1] "by placing the unmounted dried-algae original directly on the cyanotype paper"^[5]."

Darren Groins

2011-09-24T03:32:00.000-07:00

Darren Groins