#altermodern

[impairedaiart]

Altermodern

[bingimagecreator]

The anatomy of a human body is depicted with white and brown cigar pieces, with a smoke effect burning inside, in an ultrafine detailed painting. It combines elements of vanitas, angularity, altermodernism, and surrealism.

[mangabuddy]

Ultra Alter is a Manga/Manhwa/Manhua in (English/Raw) language, Manhwa series, english chapters have been translated and you can read them here. You are reading chapters on www.MangaBuddi.com fastest updating comic site. The Summary is “Awaken a New Self”. Lee Oh Reum is a high schooler who plays as a “Healer Shuttle” character in the kinesthetic VR MMORPG game . One day, his sub character “Avenger” that he was secretly raising becomes the best. Will Lee Oh Reum be able to overcome all dangers like constantly appearing monsters and various quests to become his new self? An authentic action altermodern drama fantasy.

[graywyvern]

( via / via )

DIGITAL TRUTH.

"Beware: Venom mustn’t summon ever a web." --@Anthony_Etherin

Wall of screens.

""Perhaps the fault lines of our nervous systems are the ultimate conspiracy." --The English Heretic Collection

Metamodernism thread. (We shall see if we really need such a word.) (And whatever happened to Altermodernism?)

[paulisded]

The Ledge #549: New Releases

 I'm sure plenty of veteran Ledge listeners are confused right now. A new release episode at the end of the month? Aren't those shows scheduled for the first Friday of the month? What's going on here?

Well, here's the deal. I've come up with a sub-theme for 2023. This will be a yearlong theme that will affect every single show, and I have a main theme set up to introduce this next week. So 30 hours before 2023 begins, I started broadcasting the first 2023 new release episode as my final episode of 2022. Make sense?

There's really not much difference between airing it now and in seven days. Yes, there would inevitably be a few new tunes worthy of inclusions, but I'll make sure the February episode is jam-packed. And, honestly, I was really excited to present to everybody a bunch of tracks from a brand new Replacements tribute album. Graduate Unskilled - Un Tributo ai Replacements, which can be found at this bandcamp site , is an intriguing nineteen track collection of Replacements cover tunes that I'm sure my Ledge listeners will love.

Along side those tunes, there's the usual mix of new power pop, garage, punk and indie rock tunes. As usual, there's a set devoted to our friends at Rum Bar Records. There's even a track from a concept record devoted to an old Scooby Do episode!

I would love it if every listener bought at least one record I played on either of these shows. These great artists deserve to be compensated for their hard work, and every purchase surely helps not only pay their bills but fund their next set of wonderful songs. And if you buy these records directly from the artist or label, please let them know you heard these tunes on The Ledge! Let them know who is giving them promotion! You can find this show at almost any podcast site, including iTunes and Stitcher...or

CLICK HERE TO DOWNLOAD THE SHOW!

1. The Reds, Pinks and Purples, Saw You at the Record Shop Today (Electric)

2. The Junction, Bastards Of Young

3. The Crooks, I'm In Trouble

4. L'Armata Delle Tenebre, Kiss Me On The Bus

5. Lowlands, Left of the Dial

6. Panamas & Massilanciasassi, Shiftless When Idle

7. Edward Abbiati, If Only You Were Lonely

8. Dust, Rock N' Roll Ghost

9. Lester Greenowski, God Damn Job

10. The Whiffs, Tired of Romance

11. Phil Yates & The Affiliates, Secret Decoder Ring

12. Dany Laj and The Looks, You Should Know

13. THE JACKETS, Pie in the sky

14. Ford's Fuzz Inferno, My Reality

15. Galore, Jackpot

16. M Ross Perkins, The New American Laureate

17. The Chrysanthemums, Fred Is Colder Than Death (Fred's Lament)

18. Andy Place and the Coolheads, Lucid Girl

19. Sharp Class, Each And All And Everyone

20. Fuzzbubble, Can't Wait to See You

21. Tuff Talk, TV Eyes

22. Department, Back Again

23. Friends of Cesar Romero, (I've Met the Knife) Mega Impaler 2022

24. Inny, A Cold One

25. Johnny Hunter, Want

26. AlterModerns, She's Not Yours

27. Jenny Dee & The Deelinquents, Fox On The Run

28. Jenny Dee & The Deelinquents, At My Worst

29. The Gravel Pit, The Wreck of The Triple One

30. The Shang Hi Los, Takes One To Know One

31. Doctor Explosion, El Día Que David Bowie Murió

32. Bazooka, Dikia Mou Alithia

33. The Maharajas, Rock'n'Roll Graduates

34. The Melmacs, Good Advices

35. Thee Headcoats Sect, The Baker Street Irregulars

[mudheadreynolds]

New Discovery #altermodern #timetravel #artifact (at Göbekli Tepe)

[catheadreynolds]

New Painting from my Table Series I’m doing. This one has a Cat Person as well. ❤️🐯❤️🪑🌹🐝

[x2-die]

Sho is an artist working under the pseudonym “Zetta.”

Most just view the heaps Sho creates as trash, which, fair, that’s what it’s made of, and he doesn’t take it personally. Though, it’s worth knowing that each and every piece in the heap has been carefully collected and put together, all perfectly calculated to be stable (with the help of some welding here and there.) Although these heaps are often in the UG, they appear at random in the RG as well as pop up street art exhibits that normally end up removed by the city.

Not every Reaper can say they studied visual fine arts, with a minor in architecture, when they were alive-- but Sho is one to take every opportunity to brag about his degree. Although his tuition was cut short do to, y’know, dying, after becoming a Reaper, he continued with his studies until he had completed his education-- it’s something he takes a lot of pride in.

Sho works in a variety of mediums, although his favorites are liquid acrylics and sculpture (whether from clay or found objects,) but he generally doesn’t like to limit himself in his mediums because otherwise he gets bored, flip flopping between mediums are projects at the drop of a hat. Most of his work features muted colors, if not outright monochrome. whenever he does use color, it tends to be red or yellow, generally warm colors. Sho really only uses a lot of colors if the final intent is too look like an absolute mess. This is because he is colorblind.

Planning pieces comes and goes, usually if he knows things will have to be perfect to even beyond the one billionth decimal place, such as with his sculptures, he;ll have the foresight to plan ahead, but other time’s he’ll take pleasure in stabbing a spray can with a screwdriver and throwing it at a canvas. He is not bound by rules, so why should his art be?

The art style of Sho Minamimoto, to put it simply, is chaotic but he prefers to call it “creation through destruction.” Torn sketchbook pages, garbage being turned into art, ruined canvases and expired supplies, to ruin something was in a way, beautiful. Although, Sho does have pieces with clear subject matter (or, are intact, if you will.) Skulls, deformed people, horror/gothic-eque, that’s what he preferred, if anything that wasn’t abstract or found art.

Other’s have described his artwork as altermodern, transgressive, or informalist and his architectural work as fractal art. He also takes inspiration from dadaism’s philosophy of anti-capitalism and irrationality of expression, although his works do not share the same aesthetics. Sho doesn’t care what you call his art, even if you were to say that it’s anti-art, he just really, really likes making things and is happy enough to have built somewhat of a career around it (although, he’s definitely less well known than someone of the likes of CAT, but enough to be popular as some of his work can be seen as controversial.)

[urienclasedepintura]

FRANZ ACKERMAN

1963-presente

Gateway, by German painter and installation artist Franz Ackermann, Altermodern, Tate Triennial, 2009, London

"African Diamond", 2006, 48 3/16 x 70 5/16 x 33 11/16 in, mixed media on paper on Aludibond on wood

Farewell Tower, 2019

Mixed media on paper, photographic paper on Dibond and canvas

76.5 × 97 cm

Facius Center, 2016

Oil on canvas

210 × 160 cm

[francesannartist]

Narrative art

Narratology: thinking about art, narrative inquiry – telling tales about art education pt 1

Narrative Art

Pre- Modern

A narrative is simply a story (Tate, 2018a) and narrative art practice is art and design work that tells a story. Much of Western art until the twentieth century has been narrative, depicting stories from religion, myth and legend, history and literature. Audiences were assumed to be familiar with the stories in question.

A good example of this is the life of St Francis depicted in the Basilica San Francesco, Assisi by Giotto 1300. Prior to the advent of literacy most narrative art was done in a simultaneous narrative style with very little overarching organization. Once literacy developed in different parts of the world pictures began to be organized along register lines, like lines on a page that helped define the direction of the narrative.

Modern Narrative art

The Modern era in art is generally taken to begin around 1860 to 1960. Beginning with Manet’s Olympia, depicting a nude with frank outward gaze, meeting the eye of the viewer and her unashamed nakedness and wealth, "only the precautions taken by the administration prevented the painting being punctured and torn" by offended viewers (Neret, 2003) and encompassing mostly European and American art ‘isms’ many of which are familiar to the casual art gallery goer; impressionism, cubism, Russian Constructivism to name but a few (handy book …Isms, Little, 2004). In Modern art, formalist ideas have resulted in narrative being frowned upon (Tate 2018a). This is circumnavigated by the use of coded references to political or social issues. These abstractions such as Picassos Guernica 1937 are effectively modern allegories and generally require information from the artist to be fully understood. To the downfall and end of Modernism, a grey area of disputed times and finish dates, but around about the fruition of Andy Warhol’s ‘Factory’ opened in 1962 and the emergence of Pop Art. Modernism, around 100 years of intense artistic transformation and global renewal, politically, industrially and psychologically in the post war years.

Post Modern narrative in Art Practice

This led directly onto Postmodernism, again debatable but around 1960’s to 1980’s. The Tate (2018b) writes that Postmodernism defies explanation or definition but it definitely circumscribes changes and challenges to Modernist art practice. It goes further, delineating the underpinnings of Po-Mo art practice as drawing on philosophy of the mid to late twentieth century and advocating ‘individual experience was more concrete than abstract principles’ (Cindy Sherman, Film Stills) as well as inquiry into process and concept, and themes such as minimalism, feminist art practice and land art.

 Altermodern Neo Narrative

We are well past that time and almost forty years seems an improbably long time ago (when it feels like yesterday). Many critics call this era ‘Contemporary Art’ period, but there are always new ideas and an alternative modernity is being posited by critic and curator Nicolas Bourriaud (1998). Postmodernism, he suggests, is at an end, to be replaced by a still-evolving successor, the Altermodern. A time and an art practice that explores the bonds between; text and image, time and space, and how they weave between themselves. This all takes place within a global art community that previous, western-centric art movements lacked. Stories and narrational formats in this Altermodern world are gathered from various sources of cultural production in support of fictional drive: songs; newspaper reports; advertising slogans (such as Jenny Holzer); quotations and onomatopoeiac 'sound effects' are all used to illustrate, expand and sustain storyline.

 Neo-narration Brannon (2009) says, marks a new phase of artistic exploration, exploring cultural history, story-telling and the human condition as a rich source of reference. The Altermodern also embraces Relational Aesthetics, (Bourriaud 1998) art based on, or inspired by, human relations and their social context. Bourriaud describes it as a set of artistic practices ‘which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space. E.g. Gillian Wearing, telling stories of people.’

There are stories in art and then there is Neo-Narration, new stories in art and this is just a wander around the question of practice in post-Post-modernity for artists and designers, making a virtual time line from the intrinsic notion of narrative in pre Modern art, to its antithesis in Modernism all fragmentation and cubist geometries – anti narration, to Postmodernism with its ironic negativities, against Modernism, against narrative, against taste. And now Altermodern, a whole new relational space for art practitioners to tell their collective story.  

 Bourriaud, N., (1998) Relational Aesthetics, Paris, Les Presse Du Reel.

Brennan, M, (2009), Neo-narration: stories of art http://www.modernedition.com/art-articles/neo-narration/narrative-art-strategies.html accessed 8th February 2018.

Little, S., (2004) ...isms: Understanding Art, New York, Universe Publishing.

Neret, G (2003). Manet. London, Taschen. p. 22.

Tate (2018a) Narrative, http://www.tate.org.uk/art/art-terms/n/narrative, accessed 8th February 2018.

Tate, (2018b) Postmodernism, http://www.tate.org.uk/art/art-terms/p/postmodernism, accessed 25 march 2018.

[impairedaiart]

AI Altermodern

[pablogt]

Xinyi Cheng

Xinyi Cheng surprend par ses visions doucement perverses de la masculinité occidentale. Et incarne par extension la relation pacifiée à l’appropriation culturelle d’une nouvelle génération d’artistes chinois à la culture visuelle décloisonnée. – Ingrid Luquet-Gad

Xinyi Cheng Predator, 2016 oil on linen 140 x 115 x 4 cm (55 1/8 x 45 1/4 x 1 5/8 in.)

See more artworks by Xinyi Cheng here: xinyichengart.com

Xinyi Cheng was originally published on pablogt.com

[phokeng-setai]

trying to understand a thought

moments in time falling on each other, hands open like flowers eagerly grasping the wholesome rays of the sun, warm bodies flushed in red brushstrokes of  a crazed nature

trying to impose a history on a process thats spontaneously organic, the collection of fragments of time from getting swept away in the quietness of the storm, from grand displays of shock and awe to blissful minute engagements in the ephemerality of conscious space. montages of desperation in a sea of deep blue hallucinations so deep goes the desire to resist when death just comes in an instant, an instance pregnant with dreams dreamt in wishful thinking bringing about presence. one that cannot be felt that cannot be inhabited but provokes a being from us physical creatures. existing in the slippages of time and consciousness, clasping for elusive breaths of fresh air  which carry a scent of philosophical intent. it is an ever-present state of consciousness, that of seeking self but self escapes us scattering fabrics of memory on transcendent fields. 

the function of time on human psyche is draining, the immense pressure we are under these days to remember ourselves in the throes of this optic madness called altermodernity; embodied movement bound in a cycle of elevation and demotion. the fluidity of which is restricted to the confines of constructions of  space. the flow recreates fictionalized historical accounts of the human story carried throughout the long span of eternity. constraining the human will, only to be set free calling for conditions of liberty on ones own terms, living a self-directed life whose veracity fundamentally rests uneasily on a lie. refusing to acknowledge the presence of those who set the precedent, those spirits emanating from ancestral realms, kingdoms that lay next to the seat of the soul. provoking actions from a place so sacred, so cosmic and possessing a corporeality that is as much unique as it is ubiquitous. 

[nrutkowski1]

Composition 12/17/2023 using photographs of Polynesian Art from a Museum Publication. Acrylic on cardboard plastic bag and magazine pages. 37 X 37 inches.

When I decided to use these images I had a lot of hesitation with questions like “are they mine to use?” “Who am I to do this work?” “Why this type of work? “Why this style”. “Don’t you need to ask permission to use this imagery and if so who do I ask?”

Ultimately, as an artist you just need to work and it’s up to whomever powers that be whether they show it.

#colonialism #culturalappropriation #automatism #polynesianart #easelpainting #modernism #postmodernism #altermodern #artepovera #abstractexpressionism #artinformel #brushpainting #brushdrawing #markmaking #collage #nathanrutkowski #nathanrutkowskiartist

[marilynlennon]

"Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself).  Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts.

Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. 

Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph.

Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton(2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals.

Altermodern -Definition

Bourriaud is proposing the new art term 'Altermodern' to describe how artists are responding to the increasingly global context in which we all now live. Altermodern claims that the period defined as postmodernism has come to an end and a new culture for the 21st century is emerging. Increased communication, travel and migration are having a huge effect on the way we live now. Altermodern describes how artists at the forefront of their generation are responding to this globalised culture with a new spirit and energy

includes artists working in all media, from painting, to film and video, to extraordinary installations

Themes – 2009

Energy

Travel

Viatorism

Borders

Exiles

Heterochronia

Archive

Docu-Fiction

Altermodern then describes a way of making where journeys dominate, not just in space but also in time. Bourriaud’s major touchstones here include the haunted travelogues of WG Sebald: expeditions into both physical and psychic terrain, where history becomes a polymorphous, elusive chaos and our sense of cultural identity and thus selfhood falls apart. He also cites the archipelago as a key notion, a cluster of interrelated forms. Unlike historical modernism, which saw time as a straight line upon which it was the newest, highest point, to be altermodern is to conceive of time as multiple and mixed. A thing or event might be experienced any number of ways, as in Tris Vonna-Michell’s rapid-fire monologues where personal anecdote and official history mutate. 

 For Bourriaud, what makes this kind of modernism brand new is that for the first time it’s global in reach. Rather than drawing inspiration from a local scene, as he puts it "the artist turns cultural nomad." The African artist Marthine Pascale Tayou’s hybrid sculptures and installations sporting the detritus he collects on his journeys and emphasising the interconnectedness of everything and everyone, would be an 

Simon Starling recently had a mid-career retrospective titled Simon Starling: Metamorphology, at the Museum of Contemporary Art in Chicago (Jun. 7- Nov. 2, 2014). This was the first major review of the artist in the US. His work got mixed reviews, not for the lack of ingenuity but for the magnitude of back information needed to understand each conceptual work. Starling has a deep interest in the history of Modern art and the interest tends to accumulate around the person of Henry Moore who has become iconic of modern sculpture in the UK during that era. One of the pieces featured in the exhibition is a type of play...or a meta of a play. The room in which the work exist is split by a screen. On one side is a projection of a Japanese mask maker creating the props for the play with a voice over of the actual narrative of the play. On the other side of the room the mask are placed with dramatic spot lights upon them. All of the components of a play are present without the existence of an actual play. First let me give you a little background into the conceptual ideas behind Starlings work. He is interested in the varying history of objects, how they were made, why they were made, what they were made of and turning this history back on itself in both a form of self-reflection and circular return to source. For example below is another piece from this exhibition called One Ton II, the work present is like archaeological evidence of the actual art which is the thought and process required to realize the object's existence. 

"Take, for instance, the five platinum prints in 'One Ton II' (2005) in the first room. The scene in the photographs is a pit mine in South Africa. The weighty title, we are informed, refers to the amount of ore that must be disgorged from the earth to extract 28.3 ounces of the precious metal used to make these prints. In other words, what we see in a work of art is, in part, the materials that compose it, and those in turn are the residue of human muscle and ingenuity, and of economic forces and industrial processes we should be more aware of." -Richard B. Woodward, Wallstreet Journal His work is cyclical in nature- breaking things down to past history, components, and often returning the work to some point of origin or thought. A clear example of this is Shedboatshed.

Also see Irish Artist http://gkennedy.info

[inescvaub]

ISTD: Contemporary Research

All The Dead Stars: Laser-etch Installation by Katie Paterson

Katie Paterson is a Scottish artist whose internationally exhibited work carefully blends the space between geography, astronomy and philosophy. All The Dead Stars is “a large map detailing the location of 27,000 dead stars that have been observed and recorded in human history” (Summers, n.d.). It was exhibited at Tate Britain in the Altermodern Exhibition of 2009. 

“In order to create her map, Paterson consulted with physicists, librarians, and archivists to compile a record of the stars that have been recorded and that have since faded away or exploded the stars are all just represented as dots”

Though the process followed almost a form of scientific methodology, it resulted in carefully considered and incredibly executed piece of art. This documenting of empirical data had a thoughtful and philosophical approach:

“Plus this aspect that really, the end of one object might be really the beginning of another object, and in fact the stuff we are made of, the iron that is in our blood is probably originated or was cooked in a dying star. So how remarkable that life on earth was basically facilitated by the end point of life of a star.” (Paterson, 2009)

The medium is black anodysed aluminium, onto which the stars of the map are laser etched. 

All The Dead Stars by Katie Paterson Official Website (2009)

All The Dead Stars Blog Post by Kelly Summers