#dismagazine

[daughtersofthesun]

dismagazine

[thedailyhaley]

SOLASTALGIA - Bea Fremderman - Dismagazine

Do you experience this feeling of dread in relation to ‘eco-anxiety’ on a daily basis?

I think my eco-anxiety has transformed into eco-paralysis. Meaning that I know the ecological problems that we are facing are larger than what we can control and I’m really unsure what to do about it on an individual basis. Changing my light bulbs, recycling and taking public transit can only do so much at this point. Only a much larger, top-down change must happen in order for us to prevent our planet from warming further.

How do you see your work and art practice in relation to the feeling that the direction the world is moving is beyond our control? Is it born out of hopelessness or hope?

I think my interest is born out of hope. Foreseeing or hoping for an apocalyptic ending is really a deep desire for a radical societal change.

What’s it like to work with materials that seem to corrode with time?

I knew I was working with ephemeral materials when I started the project and part of the process was seeing what would happen in time with the objects. What I found interesting is that I was using materials as metaphors for how nature takes over humanity and in the end nature did in fact take over the work and did what it wanted with it. The chia on the clothing died; the fruit dried causing the sutures to loosen up or tighten depending on the fruit; mold grew on the lint bowls and finally the brick wall sprouted enough cherry radishes that it uprooted the wall and partially collapsed. I knew the exhibition was going to change and there was nothing that I could do about it. That really adds to the show. Change is part of it, decay is part of it. Instead of seeing these changes as elements that take away from the work, I see them as an additive-process.

[neondem9n]

(DISmagazine)

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(DISmagazine)

[bernadetta-b-blog]

DISisImage

[vegetalpitbull]

(DISmagazine)

[aliannnna]

legend

[djordjeph-blog]

Intervju sa Parkerom Ito

Parker Ito je multimedijalni i internet umetnik koji živi u San Francisku. 

Courtney Malick je rekao da mu se sviđa ideja dokumentacije kao sadržaja i ona je jasno u prvom planu u ovom projektu. Upitao je Parkera da li mu može više reći nešto o tome zašto se odlučio na takav poduhvat na šta je Parker odgovorio da je to najvažnija stvar. Kada npr. kupujete sliku ili skulpturu kolekcionari vas uvek pitaju koji  je vaš omiljeni umetnik? Moj odgovorr bi bio da su mi omiljene sve slike ili skulpture sa svojom dokumentacijom koje su objavljene na mojoj stranici na Facebook-u sa najmanje pedeset lajkova. Mislim da je to najjednostavniji način da iskažem svoj odgovor.

[gabbereleganza]

Critical Mass : Pure Immanence + Oblivion by Anne de Vries

Anne de Vries explores the limits of human agency and the relationship between technology and mass experience. In the works created for the 9th Berlin Biennale he is interested in using the format of Hardstyle electronic music as a means of presenting texts to an audience and has created a large-scale diorama of a Hardstyle show, including a miniature stage with specifically designed VJ/light effects, DJ sets, and promotional posters as well as the infrastructure of an outdoor festival.

From a fly-over perspective the viewer looks down on thronging crowds within a scenario orchestrated to push the audience into states of sensory overload and generate alternative experience—including light shows, visuals of masks and mutants, manipulated voices, and alien landscapes. For the VJ and DJ sets de Vries has combined original Hardstyle samples with voice-overs sourced from contemporary philosophical texts that share an affinity for reoccurring themes in this genre of electronic dance music: thinking beyond human scale, rejecting an essentialist view of nature, and embracing the ephemeral.

more infos here

Berlin, DE 2016

[onlyseeinggodwhenlcome]

in light of what weve lost today (im still in the night from spotify) new url

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