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(cross post from bennettwilliamson.com)

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My friend and fellow artist Raphy Griswold and I have had an ongoing mail art / cassette exchange going for the past few years. This month I put together my latest contribution, and decided to digitize it before mailing the original copy. I treated my broke self to a $20 cassette deck at the local thrift spot for my birthday, and this came together pretty quickly after that.

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Posted on July 29, 2014

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The pixel is not absolute. In fact, it is a metaphor.

The same pixel can appear different, depending on context. It’s transformed by screen calibration, aspect ratio; it looks one way on a phone, another projected, and yet another way on a display. An image’s data is not the same as the light it produces, and so what we see is a version of a copy or a copy which has become an original. Pixels become lost in optimization and computational structure. Their texture, like the texture of a painting, decays with time.

versioned imagesSearch results for The Scream 

The 1% is a series which attempts to balance complicity and critique of systematic structures, particularly as they are manifested in our financial and electronic worlds. Each piece in the series isolates a single, algorithmically defined point from the highest selling paintings of the last 100 years. This point is converted back into the original dimensions of the painting from which it was inherited. The titles are defined by the paintings’ most recent selling prices, in the millions.

sidebyside_revereLe Rêve by Pablo Picasso, 130 × 97 cm                    155.9, by Addie Wagenknecht 130 × 97 cm

By radically expanding these ultimately subjective points, the series attempts to visually express the elusiveness of art within the public domain. Within the same systems, open source and p2p culture have resisted control, even without conscious intent, their provocation is their distribution.

sidebyside_garconGarçon à la Pipe by Pablo Picasso, 100 × 81 cm          129 by Addie Wagenknecht, 100 x 81cm

 

The paintings, which are the sources and subjects of The 1%, are held by private collectors or museums most outside the publics access and yet the visual representation of these works is ubiquitous online and off. The paintings’ auras have been rendered moot by accessibility, much as the mechanical reproduction of images revolutionized the experience of art in the early 20th century. The difficulty of this is that it is unclear if the value is material, cultural or both. Painting is a classification of medium, whereas Expressionism is a classification of culture. The one is based on materialism, and the other is based on contextual analysis. The 1% attempts to use both methodological avenues to work within a dual distribution model. The 1% will be on partial exhibition as prints at MU, opening Friday. The entire series will be shown next year as a solo exhibition. Torrents are available online for free.

 

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Edited in collaboration with Domenico Quaranta

We wanted to make a book about F.A.T since a while ago and our 5th anniversary seemed to be a good excuse for it, but herding F.A.T cats is a particularly chaotic task and anyway, samurais recommend that matters of great concern should be treated lightly. So, finally this summer Domenico and me spent some time digging F.A.T archives and doing some dirty work to put together:

THE FIRST BOOK ABOUT F.A.T.!

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From the srs bsns press release:

“In more than five years of activity, the Free Art and Technology Lab (F.A.T. Lab) produced an impressive series of projects, all developed with open source software, shared online and documented in a way that allows everybody to copy, improve, abuse or simply use them. This approach situates F.A.T. Lab in a long tradition of DIY, processual, sharable artistic practices based on instructionals, and reveals a democratic idea of art where Fluxus scores meet hacker culture (and rap music).

Featuring texts by Régine Debatty, Evan Roth, Domenico Quaranta, Geraldine Juárez and Randy Sarafan, The F.A.T. Manual is a selection of more that 100 projects, done in the belief that printing these bits on paper will allow them to spread in a different way, infiltrate other contexts, and germinate. An archive, a catalogue, a user manual and a software handbook documenting five years of thug life, pop culture and research and development.

The F.A.T. Manual is co-produced by Link Editions, F.A.T. Lab and MU, Eindhoven in collaboration with XPO Gallery, Paris. With generous support from Baltan Laboratories, Eindhoven and Creative Industries Fund NL, Rotterdam.”

The F.A.T Manual is available on-line for free.DOWNLOAD PDF (37.8 MB)

Join us for our AFK book release during the opening of F.A.T GOLD EUROPE on Friday November 15 at 8:00pm at MU, Eindenhoven. (more info soon!)

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Make your own Obama PRISM Glass mask today! ->> DOWNLOAD NOW <<- !!!

During Obamas visit in Berlin he beta tested  surprisingly a pair of Google Glass and was very much impressed by its cutting edge features made possible through the #PRISM program. Throughout the day he was spotted in different historic locations of the city. The press was all excited about getting the first pictures of Obama with Google Glass. Coool!!

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http://www.spiegel.de/video/obama-in-berlin-die-wichtigsten-stationen-des-tages-video-1279047.html at 3:40

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http://in.news.yahoo.com/lightbox/member-german-piraten-partei-pirates-party-wears-mask-photo-133218925.html

 

 

 

While Obama got in touch with COOOL Berlin Mitte life-style (Brad Pitt already had coffee here!) chancellor Merkel discovered #Neuland (virgin territory) and was trying to catch up with her latest gadget! :))

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(exhibited at Stattbad Cafe, Berlin)

 

 

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Posted on June 20, 2013

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The expressions published in this site are all in the public domain. You may enjoy, use, modify, snipe about and republish all F.A.T. media and technologies as you see fit.