| Version>06: Parallel Cities DEADLINE: February 28, 2006. SEND US YOUR IDEAS AND PROPOSALS FOR: Submit to join us. For an idea of the types of projects that have been featured at past Version festivals please check out Version>05 Submissions. |
SUBMISSIONS ARE CLOSED! |
| Patrick Lichty, The Yes Men, voyd@voyd.com | |
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ReBurger - Edited Edition As part of the Yes Men’s series of presentations ‘representing’ the WTO, they were invited to Plattsburgh College in New York to unveil a WTO/McDonalds partnership project. The initiative addressed world hunger and food source sustainability by introducing a revolutionary nutrient reclamation system, in which NASA technology would be used to allow for the reclamation of post-consumer wastes for use in fast food franchises in the Third World. Although pieces of the mock industrial video was seen in the MGM movie The Yes Men, the edited video has not been seen until now.  |
| Patrick Lichty, voyd@voyd.com | |
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Verbotenbilden Installation The Verbotenbilden (Forbidden Images) series is an outgrowth of the 8 Bits or Less photo series (over 3000) and represents images that were taken inside the LaGuardia Airport (New York) most within the security zone in October, 2001. Within the images, one can see pixellated images of guardsmen, rental agents, TV monitors, and people going about their business. The concept behind Verbotenbilben and Space Invader is the idea of the counter record in the age of paranoia and surveillance. WHile hegemony is allowed to construct its own panopticon from the public commons, the individual can only be empowered by assuming the role of counter-surveillance. In this way, the hegemonic record can be verified by the counter-record of the observed. In addition. an installation of Stupid but Vaguely Threatening is part of the installation. The piece was performed by sending it through the mails to DiverseWorks Media Center for the Thought Crimes exhibition, and is on display in a hypothetical reenactment diaorama of its first performance in being taken on a flight from Baton Rouge, LA to Los Angeles, CA in August, 2004.  |
| Patrick Lichty, voyd@voyd.com | |
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Meaningful/Meaningless (17,280 Flags a Day) In the age of the Internet, culture is bombarded with a saturation of images and symbology. So much in fact, that meaning bankrupts itself in the devaluation of the symbol. What then, is the meaning of any given image or gesture in such an environment? What power is left in an act of expression? In this piece, a JAVA applet is used to burn various representations of the US flag every 5 seconds, creating a space in which an image of the flag is being burnt 8560 times per day per machine it is run upon. Its significance is circumspect in that it is only an image. But then, in an age when the FIrst World is bombarded by symbols to numbness, and other symbols are/have been bombarded, can any symbolic act have any sense of 'meaning'? (There is a glitch in the Flash programming which will be fixed by time of exhibition)  |
| fontana patrick, fofana@free.fr | |
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grenze Hello, I invite you to discover the site of the video performance Grenze (2D and 3D computer animation) according to the Capital of Karl Marx to the following address where you'll find a 16minutes excepts : www.grenze.fr.vu Aelters, electronic musician composes the music of grenze. GRENZE / Lectures of the Capital by Karl Marx // video performance / Patrick Fontana //Electronic music / Aelters // Graphics designer / Pierre-Yves Fave // Our generation’s experience : Capitalism won’t die of natural death // We intend through these particulars lectures of Marx’s Capital to open interrogations about social and economics context of today’s Capital. In GRENZE, the principal question thus goes on the movement, the circulation of capital and its transformations. It places progressively series of metamorphic movements. It articulates with it. It gives it a visual translation. Our look, our waiting, time respond together to this construction of an infernal mecanism which holds everything. It opens a range of questions as how today’s capital catches ours lives, our subjectivities “there "Your capacity" to be put in images "words found a form and a space which enable him to appear in all its power. I imagine that a multitude of singular forms are possible starting from the elements thus assembled. I do not know if thus Eisenstein would have put out of film the Capital, but you undoubtedly found a manner strong and tempting to carry out its dream " Jacques Rancière, professor of philosophy. |
| Adrian Lohmüller, ademian77@yahoo.com | |
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Public Apology For Parallel Cities, I would like to revisit a practice of sculptural intervention that I have already attempted in Baltimore. The method largely relies on the mimicry of authoritative appearance in the urban landscape. In this case, the “City of Baltimore” seal was redesigned and professionally printed onto several aluminum signs in order to conceal and legitimize a critical participation in the urban planning debate. Baltimore shows a severe lack of attention towards pedestrians and bikers. A major highway that cuts into the city from the west contains a large grassy median strip that is regularly traversed by dwellers of adjacent low-income neighborhoods. One can see families with strollers crossing this fast moving highway. What results is a small path across the median. The city’s solution to the problem was a long-fence to prevent the bad habit. Of course soon after this ‘correction’ a full-body cut-out appeared above the path. My idea was to ignite initiative within those directly affected. This is how ‘The Maryland Office of Public Apology’ (MOPA) came into being. Dressed up as city workers we placed signs with an apology for the city’s negligence. Information (e-mail & phone) of the mayor himself as well as several urban planners responsible for this region was provided in the hope that complaints may be directed to those addresses. My proposal is to examine Chicago for similar issues and use this method to encourage dialogue and change. |
| Sarawut Chutiwongpeti, Sarawut Chutiwongpeti, utopia1998@hotmail.com | |
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“The Installation series of Untitled (Wishes, Lies and Dreams >> The Hero's & Deathly Dreams… ) Please let me know when you got my URL address.... http://www.chutiwongpeti.info Also ,please let me know the possibilities to participant with your programs. You can see demo my previous video work at Galleria Civica, in Italy. selected work by the internationally committees: Marina Abramovic (Artist), Renato Barilli (art critic and performance expert), Sabine Folie (Kunsthalle Wien), Andrea Lissoni (Associazione Xing), Virgilio Sieni (Dance company Virgilio Sieni), Barbara Boninsegna (drodesera>centrale fies) and Fabio Cavallucci (Director of the Galleria Civica, Trento). supported by the Galleria Civica di Arte Contemporanea of Trento (Italy), in collaboration with drodesera>centrale fies and with the support of the Fondazione Cassa di Risparmio di Trento e Rovereto, Galleria Civica di Arte Contemporanea, Drodesera>Centrale fies, Trento, Italy http://www.workartonline.net/upload/cms/video/chutiwongpeti.wmv ( The DVD is devided to 3 Parts , duration 12 Min : 49 Min) Thank you very much for your kindly attention. I am awaiting reply from you. Best Regards, Sarawut ps. * Right now, I’m living in Finland and still working on new artwork project “The Installation series of Untitled (Wishes, Lies and Dreams >> The Hero's & Deathly Dreams… ) * It is possible for show it as “Single Channel” ( 3 Small Box within single channel). But “Three-Channels” will be perfect for my artwork. * Requirement: shipping/honorarium. Technical: - DVD-R (general), 6 Mins/Loops (Three-Films, Three-Channels), PAL/NTSC, Color, Silence. - Three-screen DVD projectors and Three-DVD players (Synchronize). - Panoramic Wall Projections. Project Titled: The Installation series of Untitled (Wishes, Lies and Dreams >> Heartsick On The Open Sea With Stars...) Artist Statement: Dreams are easily influenced by factors in our life and spirit, and these influences create "categories" that are almost infinite. We do broadly categorize them in terms like "sex, prophetic, standard, physical and nightmare. Dreams are a communication of body, mind and spirit in a symbolic communicative environmental state of being. Our brains are in constant activity. Different states of consciousness (like awake, asleep, alert, drowsy, excited, bored, concentrating or daydreaming) cause different brain wave activity. Our conscious mind, or the part we think with, our "window" into life, only takes up a very small portion of our brain activity. My main concern within this project is exploring our mind, unconscious and interpretation levels of dreams as well as the possibility to understand psychic intuition. The specifics of the realization of dreams emotions, thoughts, imagination, sex drive actions and interactions of a dreamer raises the question of the viewer and that simultaneity that makes our mind and spirit work together with our brain to be understood. The video art project works focuses on the mechanisms of perception and dreams, the private world of the world of fantasy and unconscious, the conditions underlying the system by which mind and spirit operates. At the same time, the (in)-visibility of the structure ignites a confusion on the viewers' perception of the work and of the space where it is placed, thus provoking and ambiguous relationship between the object, its function and its appearance, unlock a mysterious force field on the border of the truth and lie, that is able to create unexpected angles of approach which in turn force the viewer to take up a new position in the observation of the surrounding world. "Wishes, Lies and Dreams" was created to explore intimacy and emotional resonance with the viewer with combines artistic and fantasy to explores experience of remembering ; questioning the fantastic adventure of nature, recognizing disquieting patterns, facing emerging memories, understanding the nature. Segments are combined with blurring images and vague to create and impression of subconscious memory and dreams. Come with me.... I wishes..., I hope. , I'm angry..., I'm afraid... I'm sad..., I'm happy.... “Wishes, Lies and Dreams” is a series of experimental video art depicting the world of "Unconscious" Wishes, Lies and Dreams I take every step As though my last, Face the sea of my sad past, Face the mountain, the highs and lows, Face the stream, the ebbs and flows, Hear the silence call my name. Throw the dice in a life/death game. We’re in the same boat, riding the same wave, drifting apart. Your back to me makes it difficult to see your pain and mine. I study your frame, the outline of your leg, poised to dive if I try to save you or force you to turn. How beautiful you are in this moment, so far from my love and fear. I sit on Pandora’s Box, proud that I can stop: the poison and the pain, and the monsters from the deep from entering the world again. I grit my teeth with all the force that I possess, invite friends, family and my closest enemy to add their weight to this heroic quest. We argue and debate Over freedom vs. fate and the risks we’d all take in lifting up the lid on everything we hid. Then a voice from inside Breaks the spell with one cry: “Let me out. I’m Pandora.” The magician saws the beautiful woman in half. Her legs twitch and kick. Her crescent smile tries to be pleasant. I laugh at the trick, the dream of fooling fate, having nothing to do but wait for the magic to make me whole again. The video art project (Series III) has been broadcasted from Stockholm as "Real-Time" to a number of museums: nine regional museums in Sweden, Kiasma Museum of Contemporary Art Helsinki; Museet for Samtidskunst; The Museum of Contemporary Art in Roskilde; The Norrbotten County Museum; The Gavleborg County Museum; The Jonkoping County museum; The Gotland Museum of Art; Blekinge Museum. The art is distributed via a Internet in a special co-operation with Telia/Sonera. With the generous support of: The Swedish Institute, The Prince Claus Fund, The European Union and The Nordic Institute For Contemporary Art.  |
| Joshua Landau, delay@radiationnow.net | |
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313to312: michigan ave I drove from Chicago to Detroit, along Michigan Ave/US-12 the whole way. A webcam pointed out the rear passenger window took a still shot every 5 seconds. In addition, digital stills were captured with a DSLR camera. The webcam shots were stitched into a video, set to music, and run at 30x or 50x original speed. Essentially, the video comprises an 18 minute compression of 300 miles of Illinois, Indiana, and Michigan. |
| caitlin masley, caitlinmasley@yahoo.com | |
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marina city red I propose a series of small site-specific works and drawings that would visually “grow” in a space; using the local and international structures as the basis for these architectural images. By using projections to facilitate wall drawings the viewer will be ”transported” into a new site, a reinvented site, the organic within the grid. Architectural images will be found locally and globally. I will spend significant time documenting the current urban elements. After compiling a library of images, I then use various softwares, primarily photoshop, in developing the imagery and begin the 'growth' process. The many different images will be layered, hybrid, edited and reconstructed visually, adding parts of several buildings together or parts of one fitted onto another structure so that they grow into organic form and multiples of structure. These images are then edited and printed put on various papers and then projected into the various spaces or large pieces of paper, where they are then drawn and rearranged, manipulated and recombined with other projections or they will be worked into sculptures that will be placed in various public and private places for the community to enjoy. These final results or constructed “growths” represent ideas of transitional architecture and cities that reconstruct the urban area and give the visual illusion of structure and architecture growing into the buildings and changing various spaces. This leads the viewer to rethink how they perceive structures and imagine it growing into something else  |
| TANGUY SAMZUN, T-101, contact@t-101.com | |
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WAR GAMES BINARY STRATEGY OBJECTIF : 1,000,000,000 FRAGS |
| Jason Van Anden, smileproject.com, jason@smileproject.com | |
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Tax the Rich! I would like to submit my online piece "tax the rich" in your choice of projection, video or online. This piece is currently being exhibited at the link below. A link without advertiements or code (and possibly a computer) to run it offline can also be provided. |
| Heather Marie Vernon, hearther@bust.com | |
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Realiser moi x My latest project is where I am a tabula rasa of different makers an (exquisite corpse) on film. I am asking individuals to direct me...In this video I am assuming the role of a french actress. I am interested in translating their poetry, or script, or painting, their photograph or thought, or song into direction. I have chosen people who are somewhere else and who make interesting things...so far i have really interesting proposals... the video willbe in black and white and under 30 mins.. x |
| Heather Marie Vernon & Michael Merck, hearther@bust.com | |
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"let her" Dear Committee, We are creating a mixed media installation where Michael and I are using the love letter as an open ended space for creating works. The core of the installation are the letters are to X and whatever falls with in the framework of Desire...X essentially can be many things... it can be a mark, a kiss, a cancel, a note, a spot, a location, a map, a space... We are incorporating streams of love lettrs to x, sculptures using mirrors, glass, and paper trails. x p.s. ive written love letters to Marcel Duchamp, Alistair Crowley, and Marquis De Sade they havent writtten back it must be the long distance thing.... |
| Gregory Edwards, Catazone, catazone@verizon.net | |
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Catalysts from the Psyche My spiritual and creative ventures, having roots in West Texas, have led me to ponder portals that may be availed through stimulated imagination... like stepping into perfect justice, into such a wonderland, that upon looking back through whatever may be residually unresolved, choices are made to try and try again. Purpose and meaning, only then seen clearly, orchestrates our good day / sad day venture...in a "just" mode of continious trying. What loss of self is the universe expressing through life, the rose the thorn, the smile the tear, the crest the trough, the ebb the flow, the left and the right? In this, I see the paradoxical rhythms that give birth to the curious embodiments here, in our global village, ever-beckoning us "to love, learn, and to remember." Ultimately, I have realized through the creative process that we are all divinely endowed within, to each their own with a schema for wholeness. And through the present norms, we seek outside self for fulfillment in opposites, like male and female, birth and death. Herein lies the source of inspirations, the fruitions of experience, the gifts of our spirits and the remembrance that accompanies the now day dawning--of which many agents comprise. I have been so touched through the drama, pain and passion of life that I am thankful to realize many heartstrings in some resonance as many things come to pass. Our perfect reflection is all that we are, all that we do, and all that we touch. All things are ever-already added, but do we have eyes to see? Can anything really be given or taken away? I think not. Only illusion has the ploys of giving and taking away, the roots of stigma and want, of wishing and waiting, of loving and hating, of healing and killing, of vanity and selflessness...likened to a concept of absolute ignorance being divine wisdom. The door begins to open once again, more fully, evermore inviting...coming, the collective calm, calling, coming forth, now! in unprecedented mass. There is no lack, there is no want, there is no pain, and there is no nothing but our predisposition to escape the loneliness of our pseudo separation, spawned in the darkness of the micro-man-dreaming, yet awake! Psychological projections from the mind into ambiguous environments come in many forms and on many levels, and sometimes through some innate attractant like an objective vacuum in the window of the projective mind merging meanings and sometimes not looking to where the finger is pointing, but at the finger. |
| MM Robinson, mm@mmrobinson.com | |
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Open Source Video Dear Directors/Programmers, I am proposing the exhibition of the Open Source Video project, a web based community art project based on memetic evolution, in Version>6. Description: In the vernacular of computer programming, the term "open source" refers to a language that is left "open" so that it may be accessed and edited by its users. In contrast to more restrictive, proprietary models which necessarily limit the number of developers and their influence, the open source language is expansive, inclusive and flexible; allowing for a natural evolution of the system that responds to the needs of its users. Open Source Video is an attempt to apply this model to another language system – a work of art. The frames of Open Source Video have been dedicated to the public domain by their author and made available for download. These still images may be used by anyone for any purpose, but users are encouraged to edit the frames in any way they wish and resubmit them to Open Source Video. All submitted images are added to the timeline of the video and in turn made available for download by other users. There is no restriction on the content of submitted frames. Contributors may add, delete, transform the images in any way, or add entirely new content to the video. The video displays each frame for one tenth of a second (ten frames per second). Thus, an image appears on the timeline according to quantity and frequency of its use in submitted frames. In this way, the video responds to the preferences of its users, evolving through the collective interaction of the contributors.  |
| sibyll kalff, http://www.sibyllkalff.com, sibyllina@web.de | |
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gemischtwaren.com this is an international interdisciplinary art and music project, the physical store is located in cologne/germany and virtually worldwide online (see urls). if invited, the www.gemischtwaren.com would open a temporary basis in chicago and represent/exhibit it-s artists, products and catalogue there, and would collaborate with all participants in chicago. see as well for all interested ones: http://www.sibyllkalff.com/curating-crs.htm |
| Ray Galuszka, bogart media, ray@bogartmedia.com | |
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bogart media internet radio i'm not sure this is the right spot to communicate this, but... i would like to offer to broadcast audio works in the festival on my shoutcast feed. we can even develop a schedule if you want to. |
| Ivan Ozetski, ivanozetski@gmail.com | |
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Art karaokes PROPOSAL FOR FIRST ART KARAOKE PROJECT BY IVAN OZETSKI Project's concept; My idea was to transfer my life research and work into a medium witch is not considered to be an art medium. That was the reason why I started to use the karaoke medium, witch was working perfectly for something that could be interpreted also as transferring project into propaganda for my research. Through this propaganda, I was actually building the base for my ideas in the easiest possible way, as a painter needs good canvas. Just to create some distance between my work and real karaoke, here is short history of how was karaoke invented. Real Karaoke videos have an obscure existence, it is actually replica of original video, but since its purpose is singingof and presenting in pubs, it has to be made like that. They are private production so practically they have to make money with smallest possible investment. They have also different language in submenu, so they can be sung and sold everywhere. I think that main concept of karaoke is SELL&SING!!! Since my videos doesn't have function to sell, and they are not commercial at all, I can use original songs for my videos under excuse of an art project. Just to explaine the main difference beetween real karaoke and my art-work ; real karaoke videos are so stereotypical on every part of the world, in China, Vietnam, and Thailand- It's almost a concept and to create them, you need few rules, or I make a joke and utter seven commandments (or mortal sins) of real karaoke ; 1. make the production as cheap as possible 2. use amateur videos for background 3. choose and create replica of a familiar song 4. put lonely women into sad songs 5. put in a couple for happy songs 6. put familiar image of some city in background video; or a sand beach! 7. subject has to be extremely happy, in love, or sad (depending on song) My karaoke videos use these rules, but not always. My work carries personal issues about unknown artist, or art history books. With my texts, as karaoke subtitle I am trying to comment on a particular artists work, as they belong in art history, built in random order, without logical approach.  |
| E. IV, EaViL, e@eavil.com | |
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squirrels on stage We are interesting in performing music for Version 06. This would be a great opportunity to meet other local artists and network. We would perform a 20-30 minute set with projections/images. Our beginnings stem from one of the last performances held @ Texas Ballroom. We were set to play the night of August 12, 2005 as part of Electric Set. It was not to be as the police abruptly cancelled the show. We took the initiative to move the performance over to Nihilist. Our first show as EaViL took place last weekend at Heaven Gallery. We would love the chance to take part in this by performing and also attending several of the events.. Please let us know of possible dates and venues. We plan to have a self made cd ready by the time of the show.  |
| Paul Fitz, Jitney/brokedownbunch, paulfitz@mail.com | |
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CanalStreet Market performanceshop The canal street market replaced the maxwell street market in the early aughts with more a fizzle than a bang. While not as loud, large and absurd as its predeccesor, it stands as the last weekly streetmarket where anything and everything can be sold. Sadly, performance (a highlight of maxwell) is sorely missing. So here's the deal- Starting sunday april 30th at 8am, jitney will bring our soundsystem, some bootlegged mix tapes, con artist clothes, zines, bicycles, etc. Bring your motivation and your pet project to display or hawk. Believe in radical community/organizing? slang it here. Can "the scene" wake up on a sunday? prove us wrong. |
| Pawel Janicki, paweljanicki@interia.pl | |
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Ping Melody Music-net-performance, custom software, reversed military technologies, custom software(detailed description on the webpage). |
| lili white, Lili White, lili@liliwhite.com | |
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CLOUDGATE CLOUDGATE was designed to be projected directly onto the metal and stone of a city's architecture. CLOUDGATE acts as a meditative happening, bringing the heavens down to the ground, placing the viewer firmly in between the earth and sky. Offering passersby an unexpected event placed into their environment, CLOUDGATE situates them into the "Zen of Now", reminding them that they and Nature are part and parcel.  |
| Avi Rosen, avi@siglab.technion.ac.il | |
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The Return of the Author Abstract: The article transposes the text of Roland Barthes’ “Death of the Author,” (La Mort de L’auteur) (1968), to the arena of happenings in cyberspace, and examines the implications from the point of view of author-reader-text, active in the electronic environment. Cyberspace has become one united text (hypertext), that allows any author to add to it, and any reader to read the content. The act of reading the text from the network simulates the cyberspace hyper-text wave function collapsing by means of the reader’s submitted query. The text that was in a state of superposition throughout the network, or in Barthes’ definition “multi-dimensional space in which many and varied writings are combined and meet, and none are foremost” becomes a single peak wave function that appears on the reader’s display. Cyberspace accelerated the reading process to the speed of light, and led to a dramatic turning point of the disappearing of the traditional author, text, and reader, and the birth of the new Super-Reader-Author. This unification creates a paradigmatic shift from dualistic, Aristotelian object-subject thought, to the holistic thought of being, realized in the singularity of consciousness and connecting real space, the spiritual and cyberspace.  |
| Michael Takeo Magruder, m@takeo.org | |
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[ FALLUJAH . IRAQ . 31/03/2004 ] information: Fallujah, Iraq, 31/03/2004 - According to witnesses and U.S. officials, four American 'civilians' were ambushed and shot or beaten to death by Iraqi insurgents. Townspeople mutilated the bodies of the men, dragged them through the streets, lynched them from a bridge, and burned them while crowds danced and cheered... notes: - The desecration of the victims' bodies was filmed in its entirety by an Associated Press camera crew. - There was no intervention by collation forces during the attack or the subsequent mutilations. - The coverage of the event was highly censored on all international media networks. - The 'civilian' causalities were mercenaries employed by Blackwater Security Consulting, of Moyock, N.C. context: As a consequence of technological advances, the Media now generates a 'real-time' history in which the infinitesimal lag between subject acquisition, journalistic structuring and public broadcast engenders a reflexive loop susceptible to subversive alteration. Considering the interpretive spectrum between ethical filtering of content and manipulative remixing of data, we must question the validity of the 'factual' information which permeates our everyday and consider the implications of its instantaneous dissemination. Does this new Media provide a means to accurately reflect upon the minute isolated events of which history, in an empirical sense, is composed? Given this sociological framework, the work is not intended as a discourse on the axiom of 'the evil nature of war'. It is merely a consideration of an event we have (or have not) witnessed, and a reflection on the iconic nature of conflict in this new millennium.  |
| Felipe Ridao, LOGO, logo@montevideo.com.uy | |
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LOVETOUR: The intervention consists of a group of individuals living together during a certain period, under a number of rules, in a definite space, following a predetermined itinerary, which they must record. Mediatization of this experience implied editing the captured information and adapting it to fit a web site as well as an specific installation. LOVETOUR: is a process with several production stages: 1. Planning: Place, itinerary and participants are determined. At the same time, proper means of diffusion of the project are chosen. 2. Intervention Living the itinerary and its recording, suggest a state of discontinuity, which enables re-signify or altering real time and space, as well as generating discontinued situations. 3. Mediatization: Installation and web site. Altering perception of the show, presenting the process. No more simulation, just life.  |
| Planktum Immigrante, kdag@autistici.org | |
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Planktum Planktum is a pool software instruments that help develop (via appropiation) the potentialities of the different communities of immigrants in Europe, the U.S, elsewhere. A Linux Live-CD's that aims to make the computer an easier dispositve to be used.  |
| Kristoffer Ardeña, kdenz@hotmail.com | |
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Graffiti Cañí Graffiti Cañí Photo Installation Kristoffer Ardeña This project I am submitting is a photo installation composed of 30 pieces of 13x18cms graffiti photographs documented in Madrid, Spain. The images are then arranged in an arbitrary manner and taped on the wall. The aim of this project is to document the ever-changing urban landscape through the visual language of graffiti found on its streets. However instead of focusing on the typical hip-hop graffiti, the intention is focused on the interaction between the original surface and the intervention done by society to alter its original surface purpose. Each photo represents a WALL. Each WALL represents an archive. This installation project therefore represents a collection of WALLS. This project is not a taxonomical study of graffiti. It aims to re-contextualize the understanding of graffiti: not a menace, neither solely executed by spray paint graffiti artists nor only by stencil artists that propagate social themes, but a Post-modern interactive social and artistic happening wherein all of us participate. Cañí is a Spanish word that defines anything that is characteristically inherent from Madrid. |
| Gabrijel Savic Ra, gasha7@yahoo.com | |
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Car Crash Ikon Project is based on idea to present on web or in print form the situation where somebody is killed by car – which in modern society became regular phenomena and where, if it doesn’t happens to us or somebody close to us, we are indifferent to it as to many other similar situations. The man on photo who is presented as a saint represents somebody who can pray but it can not decide what would happen. So, we lost our faith, should we ask our self’s did we lost our self’s in this modern world. |
| Gabrijel Savic Ra, gasha7@yahoo.com | |
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Authorization Of The Marriage The image “The Marriage C” is from the project based upon the idea of putting the copyright on marriage trough reporting of the project to the Federal Agency for cultural property. At the same time both, the bride and the bridegroom are becoming the intellectual property one of each other. Signing the papers for author’s rights is becoming equivalent to the signing the wedding paper in commune. This is a new way of communication in between two people as authorized ideas that we have also with other products, but not by degrading the consummates but giving them the consciousness and affirming them as a marriage community. Marriage becomes one of the products of modern society where everybody has rights on it trough its authorization. |
| Gabrijel Savic Ra, gasha7@yahoo.com | |
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?+?=beauty Print or the photo should be put in public space because it’s dealing with all the beautiful people we can see on any billboard. This is the image that is showing the other side, that the beauty doesn’t comes from the outside because the image is made from the photo of the author combined with the ugliest parts of the most beautiful sculptures. |
| Mark Cypher, m.cypher@murdoch.edu.au | |
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concresence Concrescence- Mark Cypher Between the idea And the reality Between the motion And the action Falls the Shadow T. S.Eliot The Hollow Men (1925) The installation Concrescence enables participants to accumulate virtual objects onto their shadow, generating hybrid compositions of subjects, objects and sounds. Concrescence is a term used in biology and refers to the growing together of related parts or growth by the increase of the addition of particles. Similarly the term is also employed by the philosopher Alfred North Whitehead to designate the growing together of diverse elements into a newly evolving entity, that never fully congeals. Likewise, the installation Concrescence is a metaphor for the hybrid combinations of object and subject that are formed through a lifetime of intimate relations with objects: where do we start and where do they begin?. Marx defined human social relations as constructed through relationships between commodities. Likewise, the collective force of social, economic and personal interaction with these “economic cell forms” (commodities) changes the identity and meaning of both objects and subjects. Accepting the surface and structural appearance of commodities requires faith in the inherent certainty of ‘a priori’ knowledge; perhaps other forms can take shape through the shadowy array of relations and networks that are always already a part of us.  |
| Shirin haji-Karimloo, veeshe@hotmail.com | |
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rain I was influenced by the poems, proverbs and idioms which I had read. This Rain is not a typical rain what we expect to see. This is a unique Rain based on imagination and thoughts; the meaning of rain, metaphoric rain, rain in religious and rain in dry country. However, I wouldn't try to push people to accept it a rain, I prefer them to be free to imagine what it is. If they want they can walk trough it or lie on floor and watch the Rain. I think this installation has different views, for instance, if we stand we can see something different from when we lie on floor or even above it. One of my aims was to show a mass movement regards to put nails in different positions. Automatically, by looking at the rain it is not possible to realize wires holding the nails; it seems they are part of the work. |
| Fahad Alam, melt, fahaduel@yahoo.com | |
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version submission I'm not really sure what I'm supposed to be addressing here, but I do a bunch of street art and figured you might want a local guy submitting a little work. The three pieces are ink on found foam board. Thank you, goodnight  |
| Fahad Alam, melt, fahaduel@yahoo.com | |
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Urban Gardening and Exterior Decorating For the exterior decorating bit, I can submit a bevy of hand-drawn stickers. They can be copied, screened, printed, reproduced in anyway possible for distro if you'd like. If its not a hassel, please use the name "melt" in relation to this project. Thank you! |
| mark cypher, m.cypher@murdoch.edu.au | |
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biophilia The installation Biophilia will enable participants to interact with and generate organic forms based upon the distortion of the users shadow. Coined in 1984 by sociobiologist Edward O. Wilson, biophilia refers to the need of living things to connect with others - even those of different species. Biophilia attempts to absorb and synthesize users and their contexts, producing unpredictable patterns of propagation and hybridity. A number of myths and metaphors are used to describe the origin of picture making, most of which involve shadows. Plato’s Cave allegory describes how our understanding of the world through vision is not necessarily the same as what is physically visible. Within the installation Biophilia the participant and her shadow is synthesized into a larger cultural picture of self and place yet reduced to a derivative echo containing both, “resemblance and menace". The shadow resembles the participant, a virtual manifestation of the relationship the user has with the screen. At once reduced to a 2 dimensional image which menacingly begins to merge with other organisms in the same screen space without consent nor care for the sovereignty of the users concept of self and space.  |
| Ferenc Grof & Jean-Baptiste Naudy del Fat, Société Réaliste, intelligence@societerealiste.net | |
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European Green Card Lottery European Green Card Lottery is the new artistic project by Société Réaliste, ready to be launched in March 2006. This project aims to interrogate the worldwide phenomenon of migrations for economical causes. In an economical world, fluxes of people have to be analysed as fluxes of merchandises. In the European Green Card Lottery project, Société Réaliste deconstructs this conception of economical migration that is becoming completely normal for the average Western citizen. Economical migration is more or less understood as a capitalist fatality. Indeed, migrations are an engine for late Capitalism, the guarantee of conserving in any circumstances two important reservoirs: on one hand underclass workers, on the other high-skilled migrants, that allow to answer quickly to the Market demand and to ignore any kind of social values in the work management. Migration becomes a business. In the American context, the European Green Card Lottery project would engage the American public to think about migration in inverted terms: what if Americans emigrate from the USA for economical reasons? |
| vittorio carli, the bubble wrap bride and groom, carlivit@yahoo.com | |
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the bubble wrap wedding The Bubble Wrap Bride (Tracey Jakubick) is a fetishistic/homocidal girl next door/everywomen who loves bubble wrap paper above everything. In the bubble wrap wedding certemony she will be joined to the more introverted but equally goofy bubble wrap groom (Vittorio Carli) who wants to become famous at any cost. Both will be wearing bubble wrap wedding outfits, and the bursting of a bubble will produce an orgasm like reaction from the bride. The ceremony will begin with a techno "Here Comes the Bride," and the couple will be married by Lee Grobin who will occasionally sidetrack the audience by making references to secret soceities or occult escoteric info. The couple will exhange mock poetic vows and many artistic types will be observing. Later on the bubble wrap couple's union bears fruit, and they produce a bubble wrap baby. The baby screams a lot so of course the bubble wrap couple disguise themselves as Ramones, and kill it with bubble wrap bats while "Beat on the Brat with a Baseball Bat" plays. The murder of the baby makes them famous, and the bubble wrap groom gets an offer to host a cable access show from his prison cell. But he is brutally killed by a guard before he can tape his own show. But the bubble wrap bride lives forever. The show can either be performed live or projected on screen in a constantly repeating tape loop. |
| Flick Harrison, flick@flickharrison.com | |
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Marie Tyrell Howdy! I’m proposing a video screening, an interactive DVD installation, and / or a live presentation / discussion of both. MARIE TYRELL A revolutionary on death row, as seen through her lover's song, her psych report, her videotaped messages, her teenage diaries... based on a 1974 story by Vancouver's D.M. Fraser ("his books were once in every leftist bathroom in all of British Columbia"). Starring Tom Scholte and Susan Box. Watch the narrative drama, then click the video to interrogate the politics, authorship and production of this DVD. The narrative combines documentary and drama, including poetic monologues shot at the Woodward's Squat (a homeless action that altered Vancouver's civic election) and the F15 antiwar protests (history's largest collective protest), not simply as backdrop but to create a pedagogical tension between fiction and fact. Rather than simply aping a documentary aesthetic like reality-TV or cop-shows, or exploiting extratextual events as per docudrama / soap opera, Marie Tyrell riffs into metanarrative space with thematic drift, self-surveillance, propaganda counter-point, viral authorship, and infiltrative mise-en-scene. Mixing painterly compositions, traditional narrative, and a richly-layered bombardment of symbols and imagery, Marie Tyrell hijacks the aesthetics of high-art and hostage-video, of indymedia and indiewood. In fact, the original literary narrative and its production have become a document of Fraser's time, a secret message from the political poetics of 1974. Hung on the mise-en-scene of 2004's antiglobalization struggles, this message holds a surprising resonance. Original soundtrack music by Landscape Body Machine, with appearances by July 4th Toilet, Anti-Flag, the Gay, and more.  |
| Chris Landau, Blue Puddle, cmlandau@umich.edu | |
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Flocking Parties The technologies we use to explore the Internet, don't really allow us to do so in big groups, interacting in realtime and realspace. Projectors are becoming much more affordable and will soon be as pervasive as ipods. How do we use them for social advantage? Put one on the floor, away from a wall, and your group can sit around the projector light and read news from the BBC website together. There are a lot of multilinear narratives floating around. One narrative we might explore is The Flocking Party (see link). What better way for you and your friends to explore information environments together? Make some makeshift pointers so that you all can have a say in where the leader is going. We could easily do this on the side of a building.  |
| ninja girl, ninjagrl@gmail.com | |
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some questions questions i find i ask myself. recently i've been posing them to others, as well. to the local community, via the street. a scattered series of stencils on plywood. i don't know who stops to notice or what their answers would be... i wonder what others' questions might be. what do people ask themselves? series is suitable for indoor or outdoor use, depending on what the need is... i personally like them randomly placed. not together. more akin to the way i question things, when triggered by a single event, location, memory... not a statement. definitely not an answer. just some questions.  |
| Ryan Watkins-Hughes, SHOPDROPPING.NET, ryan@relapsed.net | |
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SHOPDROPPING SHOPDROPPING is an ongoing project in which I alter the packaging of canned goods and then "shopdrop" the items back onto grocery store shelves. I replace the packaging with labels created using my photographs. The "shopdropped" works act as a series of art objects that people can purchase from the grocery store. Because the barcodes and price tags are left intact purchasing the cans before they are discovered and removed is possible. In one instance a store employee even restocked the cans to a new aisle based on the barcode information. SHOPDROPPING strives to take back a share of the visual space we encounter on daily basis. Similar to the way street art stakes a claim to public space for self expression, Shopdropping subverts commercial space for artistic use. The photographs act as a visual journal of my travels over the past few years. Displayed in nonlinear combinations the images remix the traditional narrative of the passing of time. The vibrant individuality of each image is a stark contrast to the repetitive, functional, package design that is replaced.  |
| Amber Hasselbring, ahasselbring@mac.com | |
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I STAND I propose a video screening of a creative street action entitled I STAND. The work was intended to amass a thinking conversing group of people at the intersection of 5th and Market Streets in San Francisco; the intersection separates an apathetic, bustling financial district from a margin of homelessness, boredom and drug trading. From sunrise to sunset, I stood at this location and I made available markers and adhesive labels, printed I STAND. I asked participants to write onto the labels something they were willing to pronounce to passers by. Participants arrived, signed into a guest book, wrote onto and wore their labels. They became spokespeople for their personal conviction as they discussed their thoughts with each other. Some people held vigil for five minutes, others stayed for hours before leaving.  |
| Randy Rowles, Studio MandeBooks, studio@mandebooks.com | |
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Public Property Project This project is meant to inform the viewer of their vanishing freedoms. The way this is done is by hanging copies of the sign in public places where ordinary people can see them and start thinking about them. The signs are meant to be hung in a nondestructive manner. The signs are modeled after the yellow Private Property Signage often seen along the road.  |
| Shirin Haji-Karimloo, veeshe@hotmail.com | |
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Rain Rain (October 2004) I was influenced by the poems, proverbs and idioms which I had read. This Rain is not a typical rain what we expect to see. This is a unique Rain based on imagination and thoughts; the meaning of rain, metaphoric rain, rain in religious and rain in dry country. However, I wouldn't try to push people to accept it a rain, I prefer them to be free to imagine what it is. If they want they can walk trough it or lie on floor and watch the Rain. I think this installation has different views, for instance, if we stand we can see something different from when we lie on floor or even above it. One of my aims was to show a mass movement regards to put nails in different positions. Automatically, by looking at the rain it is not possible to realize wires holding the nails; it seems they are part of the work. Fishing wire, nails (glazing brad), cigarette filter, wood and glue have been used in this project. |
| Albert Arizza, Albert Arizza, energy.hunter@hotmail.com | |
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Energy hunter Year 3740, Truk and his assistant are leading towards planet Earth aboard their Space-ship Melies XIII, searching for clean energy. |
| Max Hattler, me@maxhattler.com | |
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Collision Animated short film - Islamic patterns and American quilts and the colours and geometry of flags as an abstract field of reflection.  |
| E. Ramirez, Simian M. Monkey, Art Terror Collective, esonic_na@yahoo.com | |
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Exterior/Interior Decorating Creating stickers, posters, and other fun stuff to aid in the beautification and reclamation of the city and our spaces. |
| Martin Garcia, Houe of Payne, marty@casadepayne.org | |
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1000 portrait Project This project began in 2001 and is approximately half completed. I am doing portraits of people I meet and interacted with in and around Chicago. I meet individuals in their homes where we sit and interact for usually less than 2 hours I doing their and them doing what they choose from one place. Upon completion the portrait is documented and given to they participant, this practice offers individuals ownership rights of art as well as the ability to recognize yourself the way someone else sees you. this project will be ongoing until complete.  |
| d. lineal, the bird names, birdnames@gmail.com | |
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bird names freak your shit out manipulating tonal sounds for aural enjoyment. pop music with parts that repeat and is sometimes a little noisome. appealing to users and the young. |
| Paul Lloyd Sargent, enolagrey@hotmail.com | |
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Notes From the Desk of the Dept. of Homeland Security This multi-channel video installation would present images culled from an on-going video project documenting odd (and not-so-odd) occurrences along the US/Canada border. Since the summer of 2001, I have been capturing to video moments of interest in the Great Lakes and St Lawrence regions of the northeastern US, one of the longest permeable borders in the world. As the US steps up its security and surveillance presence in this region, previously inconsequential incidents now often take on heightened meaning. This room-sized installation would demonstrate a number of these moments through audio and video projections. The size and scope of the installation is variable with the space available, but there are currently over 12 video loops, ranging from a minute to over 12 minutes. This design assumes a neutral, white-walled space. At its largest configuration, the room would contain three projections and/or monitors. Two projectors would display two or three short loops projected directly onto the wall of the space (only a few inches tall) while a third series of loops would play from a large TV monitor, dominating the room. Projection loops to be displayed large-scale on the TV monitor: a series of failed model rocket launches; a 12-minute, single-take video of me in a paddleboat during a major power outage in upstate NY; a montage of freighters in the St Lawrence Seaway shipping channel; a recontextualized video of a fireboat demoing its maneuverability. Loops to be displayed on the two smaller projection surfaces: a remixed conversation with a man rowing on the river; various wildlife scenes; time-lapsed footage of sunrises/sunsets.  |
| Ral Veroni, erika.millner@indeprintent.com | |
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The Lottery Project THE LOTTERY PROJECT Here I am with my entire pride, the whole of it, the whole of it as if I were rich…but I am penniless. The exhibition at Buenos Aires left me with nothing else but debts. Debts to be paid in Glasgow, where I am surrounded by the icebergs of neo-conceptualism. The ship of art is on the brink of sinking and in the lifeboat I don’t see much room for my artwork. For one reason or another, either because of my age or the current times, I feel that I have to abandon the Titanic of my ambitions for something smaller and lighter. (Letter to an Argentine friend) Veroni commenced work on THE LOTTERY PROJECT as a response to what he views as the difficult position of the artist in relation to the two pillars of the current art scene: the art market and the cultural institutions. Through The Lottery Project Veroni entrusts the development of his artistic career to a third entity: Luck.  |
| Paul Lloyd Sargent, enolagrey@hotmail.com | |
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The Cadillac of Automobiles [This project involves some variables that I can not control, so who knows exactly how it’ll work but, if selected…] the idea is to purchase a very cheap, possibly not running car that would serve as a temporary “exhibition space”. Using your already vast email list, I would solicit submissions from people to use the car for [maybe week-long?] blocks of time throughout the duration of the show. I would first park it near the VERSION HQs, but would encourage submissions to use it as they please, be it on site or somewhere remote. I’m interested in provoking projects that speak to any number of issues, including reactions to the sense of private space, personal freedom, and individualist identity often associated with the automobile in marketing strategies; American (and Chicago) car culture; interpretations of the term “vehicle”, “Pimp My Ride”; an analysis of the American highway system and/or urban street grids; reactions to recent challenges to union solidarity in the autoworker industry; hover-cars; the automobile as mobile housing for the homeless; the movie “Christine”; NAFTA; “parking” as euphemism for teen sexuality; fossil fuel dependency; drive-in movies; car production as a national economic indicator; NASCAR dads; and much more. When VERSION>06 is over, the car would then be donated to charity, either as a car for resale or as art, depending on the condition it’s in by that time.  |
| Rainer Prohaska, mail@rainer-prohaska.net | |
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KRFTWRK KRFTWRK[TM] „KRFTWRK[TM]“ is the german word „Kraftwerk“ and means power plant. KRFTWRK[TM] is a faked company, which exists virtually in the internet. The goal of KRFTWRK[TM] is to plan, sell and build a new generation of power plants for the USA. It will be the solution for 2 problems, the USA has to solve in the future: 1] New forms of power plants, because of their high energy consumption. 2] Help for the many americans who suffer from overweight and adiposis because of their lack of fitness. These special power plants should produce electric energy out of body training engines. At an exhibition there would be a preview for this 'art and technology' work, which will be finished between the end of 2006 and summer 2007. The schedule of KRFTWRK[TM]: 1] March - April 2006 A web-platform will be produced, on which the virtual company will show its energy-products and where it is also possible to see plans of the power plants. 2] April 2006 - December 2006 We will try to form communities via internet. These groups should be willing to realize such factories in 'real space'. 3] 2007 Try to build such a power plant as an exhibition during an art festival or in a gallery. |
| Stomach 13, Oh My Godzilla Clique, openyrstomach@gmail.com | |
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STOMACH GNAR GNAR SHRED! I just wanna give you like a thousand stickers. And do the walking street art tour. And anything else you want. |
| Rainer Prohaska, mail@rainer-prohaska.net | |
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Operation Cntrcpy[tm] OPERATION CNTRCPY™ - A virtual space flight to Mars http://www.cntrcpy.com/prj/oc.htm Operation Cntrcpy[tm] is a virtually manned space flight to Mars and accessible to everyone who has a mobile phone and access to the internet. The target is to navigate a virtual space ship to Mars as fast as possible and to land it there savely. Participants can register with their mobile phone-number at the Operation Cntrcpy[tm]-website to get their virtual space ships. The journey is impeded by obstacles, such as aliens, black holes and fields of asteroids. When a space ship gets into danger, the participant is immediately informed by SMS – at any time of day or night. Then the cosmonaut has to answer per SMS or log into the “Virtual Mission Control Centre” via internet, and avert these dangerous situations, by solving one of the tasks. The quickness of reaction and the quality of solving a problem decide the course of the journey. Operation Cntrcpy[tm]is an ironic comment to manned space flights and to our yearning for virtual realities. Each player moves in two worlds: in the real world, which is determined by everyday activities, and the world of the game into which he is catapulted at unpredictable times per SMS. In the past the project was also transferred into the “real space” (propaganda video, space food, space trainings). At “Version>06” the project should be part of an exhibition. There would be a computer with the offline-version of Operation Cntrcpy[tm], posters, pictures of the first landing on planet mars, and space food. |
| Xavier Leton, confettiS.org, xavier@confettiS.org | |
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Mazecorp the work titled "Mazecorp" is reflecting a maze-like construction which refers to the possible relationships between cinema, poestry, and networking. That maze has four starting points, encoded by terms representing witnesses of arbitrary arrests. : "à présent - une arrestation - au matin - une mémoire" ("by now - an arrest - in the morning - a memory"). The arbitrary arrest of the photographic act is noticed for photographies are the key elements of mazecorp' story. Also the arbitrary arrest of the writer is clearly intimated since the verses of the poet are featured as sub-titles of a silent film. Above all, handled by the armed forces, the real discretionary arrest of any human who infringes a law is omnipresent. "Mazecorp" actually pays a tribute to Sémira Adamu who was executed by the belgian armed forces on tuesday, september 22, 1998. In the current release of "mazecorp" (volume I), 12 films no bigger then 400kb each are presented.  |
| Ryan Duggan, rc_duggan@hotmail.com | |
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Feed The Birds “Feed The Birds” is a combination of street art and public intervention. I plan to designate "City of Chicago bird feeding areas” in numerous public spaces (city parks, side walks, parking lots, etc). These areas will be clearly marked by a stencil I will paint onto a horizontal surface within the area. With the sites defined I (and ideally many others) will proceed to feed birds in each area for the duration of the festival. I will keep the Version HQ stocked with loaves of bread for art walkers to distribute on their route (which will have more than its share of bird feeding sites). The project focuses on the illegality of feeding birds (or pigeons more specifically) within Chicago and many other cities. By labeling certain birds ‘nuisances’ without defining just what a ‘nuisance’ is, these ordinances have vilified one of the few animal interactions still possible within a city. With largely unfounded fears about a “bird flu epidemic” steadily growing, the timing is perfect to defend Chicago’s avian population.  |
| Christine Olson, dishinteractive@yahoo.com | |
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My Eden “My Eden” The church. The body. Unite. My utopian vision is to have the body brought back into the church via video projections. Viewers would navigate multiple layers of translucent material hanging from the ceiling to reach the final pinnacle – a large projection of the body bound in abstract beauty and peace. Projections would also be directed through the layers of material hanging from the ceiling with a slight breeze to keep them flowing. Two small monitors will be along the path – one of a blue hued winter sitting in a pile of green velvet and the second a blue hued abandoned warehouse scene constricted in titanium bars, stretched white fur, and teeth. The audio is the singing of Lena Potapova of Schizowave doing two versions of “Swing Low Sweet Chariot.” One version will be stretching the extreme lows and highs of the song, the other a sweet lullaby to help signify the viewer’s arrival at the end of the installation. p.s. There will be some tasteful nudity in the final projection – definitely not an obscene use of the image of the body in its natural state. I would like to possibly have the installation up for one or two nights. I am also curious what the church space looks like and what the dimensions are if my proposal is accepted.  |
| Paul Kuttner, Perform Now, performnow@gmail.com | |
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PerformNow.org Launching Event Performnow.org is a new web site dedicated to creating a free on-line resource for political and activist theatre, poetry, music and performance ideas from across the world. Artists are invited to submit work under Creative Commons copywrite, and activists and artists working on events and actions will have access to their work. There is a huge need for activists to have quick acccess to political work that is up-to-date and effective. The web site is up and running, but has yet to be launched with a formal campaign. We propose to combine our launch with an event at Version. We will stage a few pieces of political theatre, and invite others to do so as well. We will promote the web-site and invite the larger community of activist/artists to take part in this exciting experiment. |
| Endal Passou, Cry Blood Apache, crybloodapache@listen.to | |
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Cry Blood Apache Austinites Cry Blood Apache mobilized in March 2005 under a stringent "non-booking" performance philosophy (i.e. busking and crashing organized shows as preferred methods of performance). CBA's sound blossomed accordingly, pulling inspiration from desolate industrial ruins, unspoiled Hill Country terrain, and bustling city sidewalks in equal measure. A compact setup of drum machine, bass, synth, and guitar provides a street-ready wall of electro-hum while the atmospheric whispers of vocalist Kaspar Glass add a dash of mad, yet humanist, prophesy. Glass' unique flute melodies weave their way above the technological roar, projecting an earthy sense of New Age mysticism. To date, the group has played Austin train yards, the San Antonio Riverwalk, downtown alleyways (in Houston and Little Rock), Larry Flynt's Hustler Club (Shreveport LA) parking lot, a Galveston Massage Parlor, and even an impromptu concert inside the Texas Music Museum. Version>06 is an excellent opportunity to re-invigorate the inherent individuality of Rock-N-Roll by siphoning the lifeblood of order (electricity) to spark creative chaos. -Endal, Kaspar, Hans & Seth/CBA  |
| Joshua Manchester, Sir Edmund Hillary and the Sherpas, sherpas@joshuamanchester.com | |
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Cliques Sir Edmund Hillary and The Sherpas make their music out of a desire for societal change. Our sense of community is defined by grievance with our surroudnings. Much of what is wrong with music in our world is steadfastly avoided by The Sherpas. The tenet of profitability has led to bland populism which requires a media blitzkrieg to stir the masses. The tenet of consistent performances has led to rigidity and predictable songs. The tenet of professionalism makes creative musicians forget what they are supposed to be doing. The Sherpas individually bring their own ideas to each performance with a tabula rasa. We attempt to reconcile a cohesive structure from an avalanche of chaos. The Sherpas will move you with their music. |
| Randall Szott, placekraft, placekraft@yahoo.com | |
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469689.5 placekraft is an interdisciplinary research module devoted to generating and studying: tactical urbanism, ephemeral/vernacular architecture, and itinerant art. For Version>06, placekraft will present preliminary research for its ongoing project "469689.5" The project involves the construction of a new Bermuda Triangle whose figure is formed by the cities of Dallas, TX (42.7) - Cocoa Beach, FL (90) - and New York, NY (47.3). Each city figures as a site of media tragedy, pop cultural excess, and intense forensic analysis. Various cultural artifacts are gathered to thread together the social and personal narratives connecting these sites. 469689.5 utilizes tragic, absurd, analytic, and comic modes of research to construct this speculative cartographic archive. |
| Arturo Cubacub, arturoc@ameritech.net | |
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Tourists in DC “Tourists in DC” documents the personal journey of a group of friends who traveled to Washington DC to participate in the anti-war protests during the last weekend of September 2005. Many of the group wanted to experience the events from the periphery, maintaining a somewhat detached objectivity. By the end of the actions, two members of the group were jailed, and two more, armed with megaphone and guitar, performed their re-written version of the Declaration of Independence in front of the White House as marchers streamed past them to get arrested Recording their experiences on personal camcorders, they captured scenes that included, what looked like undercover agents, dressed as demonstrators attempting to incite a riot. “Tourists in DC” was constructed entirely of these home video recordings. It documents their personal journeys from a somewhat playful and irreverent detachment to finding themselves at the center of the action.  |
| Katie Hargrave, P.A.C.K., KHargrav@uiuc.edu | |
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We Wish We Could Tell You Something You Could Really See In a ten to fifteen minute formal slideshow regarding a three month traveling project between Katie Hargrave and Philip Matesic, patriotism, disasters, and rural American lifestyles are all carefully negotiated within the framework of our own position as outsiders entering into “famous” places. Beginning as a exploration into the history of specifically named towns such as Paris, Rome and Berlin, IL, we started traveling. Although our intentions were as wide open as I-74 and I-57, our interests began with the duality of place created between Europe and the United States. We wish we could tell you something you could really see. In conjunction with our slideshow presentation, a guidebook allowing others to partake in the experience of our excursions will be made based on the exact location of the presentation. These durable, tyvek bound guidebooks include descriptions of each town, foldout mapquests, a section for individual field-notes and an audio recollection of each place. They function as catalysts for deeper investigations into the character of Illinois towns and will be made available in a lending library system. We believe viewer investigation to be as valuable as our own. Both a travelogue and a subtle critique of the disconnections between names, places, and people, this site-specific performance attempts to negotiate what it means to measure the distance between one place and another. |
| Robert Spahr, rob@robertspahr.com | |
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Babylon Cruft I have borrowed the computer hacker term "Cruft" and applied it to my current series of images. I create these Cruft images by writing 'recipes' (also known as an algorithm). An automated system follows the instructions in my algorithms, first harvesting selected source material from the Internet, and then processing that information into a Cruft, generating images 24 hours a day, 7 days a week. The source material on the Internet changes over time, influencing and altering the content of the cruft images, yet my conceptual algorithms stay constant. These cruft images represent the world we live in, but they do not look like the world as you might remember it. Crufts look more like a memory than conventional photographs. The Cruft series can be found at http://www/robertspahr.com. The Babylon Cruft algorithm extracts images from the United States Air Force site (www.af.mil) which are then combined with images from Internet sex sites. The images are manipulated and a composite is then created. The image is updated at 43 minutes past the hour.  |
| Robert Spahr, rob@robertspahr.com | |
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Mire Cruft I have borrowed the computer hacker term "Cruft" and applied it to my current series of images. I create these Cruft images by writing 'recipes' (also known as an algorithm). An automated system follows the instructions in my algorithms, first harvesting selected source material from the Internet, and then processing that information into a Cruft, generating images 24 hours a day, 7 days a week. The source material on the Internet changes over time, influencing and altering the content of the cruft images, yet my conceptual algorithms stay constant. These cruft images represent the world we live in, but they do not look like the world as you might remember it. Crufts look more like a memory than conventional photographs. The Cruft series can be found at http://www/robertspahr.com. The Mire Cruft algorithm extracts an image from the Whitehouse.gov, and the Aljazeera.com homepage once every hour. These images are then manipulated to generate a composite cruft creating a simultaneous self-portrait of both Washington and the Arab world. The image is updated 26 minutes past the hour.  |
| Ryan Ingebritsen, We Can and We Must, ryan@wcawm.com | |
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We Can and We Must Plays! We want to put on a performance and create a podcast from it. The performance would consist of an improvised soundscape of electronic sound and live recorded samples of social interactions of the audience. Call it secret artistic sonic surveilence if you will. We would also like to submit some of our current radio drama podcasts to WPBR.  |
| Simon Menner, simon@simonmenner.com | |
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Chicago Images The business district of a modern city is organized chiefly by purely functional means. These spaces are not conceived as “living space”, so there seems to be no need to create room for retreat. The ideal of such a business district is sterile. But what happens if people use those places contrary to the original function, as “living space”? What strategies can a homeless person develop under these circumstances, to retreat within such an area? The images of this series were created between August and December 2005 in Chicago . During this period, at nighttime, I went about twelve times into downtown Chicago (the area of the so-called “ Loop ” and the “Magnificent Mile”). There, I was looking for sleeping homeless people, to take pictures of their attempts to retreat. During those nights I found a couple of hundred persons, and took more than 200 photographs. In each of those images at least one homeless person can be found. In Chicago there are extreme climatic differences between summer and winter. That´s why I divided the series into two chapters. The images of the first part all were created during the months of August and September, those of the second part in November and December. The average temperature during nights in the months of August and September is 61°Fahrenheit (16°Celsius). At the end of the year, in November and December, this temperature falls to 25°Fahrenheit which equals -4°Celsius. I would like to bring the final project from berlin - where I live - back to Chicago - its origin - for a presentation.  |
| Hank Henry, Sound & Vision, hank@electricagemedia.com | |
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Informal Bugging - tentative Informal Bugging will address the continual development of personal and public surveillance. Developments of technologies that capture moving images are becoming smaller, more accessible, to the general public. The images and sound quality of the devices keep improving while the prices drop. This phenomenon is a perfect opportunity for us to record our world/worlds even in spaces that are considered private and continue to ban camera use. During Informal Bugging we will screen videos that have been captured on these devices and that portray unique experiences that could not come to fruition with out these technological advances. The space that the event will take place in, South Union Arts, will be covered in security cameras, some real, some fake documenting the experience and displaying it in real time on monitors around the space. The included in the event will be Jared Sheldon’s project entitled, “…with my little eye”, questions the role of surveillance in our daily lives. Sheldon places hand crafted artificial surveillance cameras in private and public locations. The scale of the cameras has been reduced to 1” X 1.5”, a choice intended to provoke an immediate sense of uncertainty from the viewer. “As much as it disturbs and offends me to know that my private existence is being encroached upon, my first reaction has been to make light of the situation”. My intent has never been to illustrate some Orwellian style paradigm. My interest in the subject has been to find a way to promote awareness and dialogue”. |
| Devin KKenny, PDA, devin.kenny@gmail.com | |
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analytical anagrams In this project, site-specific installations are made that question the idea of associating a group of colors to an emotion, and beyond that using familiar/familial imagery to conjure reactions from the viewer in mundane spaces. Happy Birthday Happy Dry Habit |
| rick niebe, rick_niebe@hotmail.com | |
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vier berliner blicke Vier berliner blicke (four berliner views) is a video suite of four 1 minute long works. Each video is a sequence of images of Berlin from three webcams and from a satellitar map, downloaded from the web and re-elaborated in Italy. Audo tracks are sonic montages of fields recordings from public records archives and "cut-ups" from several movies. On one hand Vier Berliner Blicke is an investigation on the technological - disciplinary gaze as new model of an entire social regime and of the actual urban condition - perception of spaces and landscape. Besides it's an attemp of critical re-use of rough materials from the "mediascape" against dominant representational practices. In this perspective Berlin is a sort pf paradigm city of a new global model crossed by conflicts and contraddictions. The work should be shown as installation of 4 loop videos . |
| stephen ozaki, x0~, hidesinsound@gmail.com | |
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Treasures mmm...i love postin' in such loverlie mornin' weather. if you all will accept it. Andre P.,Ruby, C.K., c.d., myself, and anyone else who would like to participate. we will be doing a treasure hunt. photos will be used to capture an imaginitive list of things and abstractions that take place and dwell on our plane of existance. we will procede to print, distort, and manipulate the pictures to adapt our visions of society into a ~ i dont no what yet .Bee creative give input. want to get in on this ? even if its not chosen? holla! YA, U HERD TY |
| . ., phoneticontrol, phoneticontrol(at)gmail.com | |
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doodles I would like to get invloved  |
| Devin KKenny, PDA, devin.kenny@gmail.com | |
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meanfacefotoblog Using the new phenomena of photoblogs and the explosion of vanity-oriented photosites, I have been compositing a number of images from said sites and creating almost mean/average compositions out of them. I'd like to display/give away these images in cheaply-produced photocopies. BTW, the link to the broken image above is http://i7.photobucket.com/albums/y270/ikonoklast/smallhdh.jpg  |
| noklast _____, PDA, devin.kenny@gmail.com | |
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All hands on deck I'd like to participate in the street art walking tour, or if not that assist in some urban gardening. E-mail Devin about it, he keeps up with all my internet stuff for the most part  |
| Rebecca Grady, rebecca(a)ladyshark.net | |
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imaginary cities The incessant searching for the perfect city has now been abandoned. I am prepared to indulge my fantasies of an imaginary city, a dark place where fire eaters crouch at the gates and some of the buildings walk on stilts. Would you care to join me? The installation will include maps, drawings, and directions for travel. |
| Karsten Asshauer, displaced dilemma, manager@superfactory.biz | |
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Superfactory(TM) Informational Free Jazz We don't want to show "informational free jazz" = synonym for free labour but the combination of a production process with a point of sale. And there is hard work on hardware! The Superfactory(TM) does not believe in immaterial work as the new new paradigm of capitalism. And there is no doubt, that radio exists under capitalistic circumstances. Sure, for real work in a real factory you need to buy the labour of the workers. But here in this mix of a factory with a supermarket you can exploit yourself. Sit down and assemble a transmitter and then do a better than good radio show for the people out there! It takes not more than 15 minutes of your lifetime-value (or more. YOU decide!). Prosumers You can regulate it all in a legal scence. You can fight for open standards, open content, open sources, sure you can attack private property. But as long as the surplus work and the surplus value happens in the modi of labour, and as long as exploitation is the de facto non-open meta-standard of society (call it service society, network society or post-industrialage) as a whole free radio practice is not the problem of restriction of knowledge power itself. It is the problem of the control of a few - who want profit! - over many. That is the wave of a clash of new forms of production, via data- manipulation, with the "making of..." of (in our case) mini-fm radio transmitters. And when we say "we show" we want to invite people to build these kits and produce their own radio show. But they have to play in front! Prosumers rights are unfortunately not solved by the GPL. Nothing is already there, there! Or how do you bring on the bacon? You can participate in the Superfactory(TM) in 5 easy steps: Enter (0) As a Prosumer you enter the shop floor (1) Play the ASCII MEMEX Game - "Be A Winner!" and buy a bag with one manual + map, one original audio-cd with rip-material and one antenna for your own Mini-FM transmitter (2) Join the DIY building of Mini-FM kits at the workshop (3) Make up your own pirate radio station and broadcast on your MHz-frequenzy your own private/public underground radioshow (OC**) (4) Join the Plug-in Party togehter with other Prosumers (5) Be revolutionary televised live! on Superfactory Channel TV Exit  |
| Slobodanka Stevceska, OPA&HA, opa4opa@yahoo.com | |
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Reality Macedonia Mock documentary video broadcasted in prime time on the A1 Macedonian National TV Channel and announced at the News. The video shows OPA (two of the authors), being only two months in Paris, and exhibiting in three exclusive galleries, which results in the acquisition and exhibition of a work for the "Centre Pompidou". In the documentary, the original video works from the authentic galleries and the real posters of billboards are replaced with OPA video works or posters by editing and postproduction. The video starts as a tiresomely ordinary documentary of Paris showing some important places of the city. As the video progresses, the Parisian art scene is being portrayed as uncreative, lost and uninventive. The prestige of exhibiting in Paris is exaggerated beyond a joke and their international escapades are depicted with sarcasm, unnoticeable to the unsuspecting viewers who watched the documentary with admiration and awe when it was screened on the national TV. In this work OPA symbolise and draw attention to the social and cultural relations within Macedonia and the attitude of one small country towards the information to and from “the big centers”. Duration: 15 min.  |
| Jenny Roberts, jenrobe@earthlink.net | |
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Parking Space This project plays with urban spatial configurations and how space is designated for use in the city. I will hold a number of events in parking spaces. By inserting quarters into the meter, I obtain the right to rent this space for a specific amount of time, as noted on the meter itself. Why should the space be allotted only for a car? It is a public space that has potential for many uses. I intend to have a cocktail party in the space (no liquor will be served — but we will have hors d’oeuvres!). I intend to create a small study center with a desk at which I will sit and read. I will hold other events in parking spaces as well. I may have some polite interchanges with police officers. |
| matt jenkins, creative survival, mjenkin@du.edu | |
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creative survival environments last year i was there as the corporate calavera. this year i would like to return with a collective from denver and participate in the nfo art expo and share what we are doing in denver. since we have no studios, we are designing creative survival environments-with names like "the technoflower," "the buckypod," "the six pack," and the "do what you gotta do." this is nomadic architecture, sometimes inflatable, autonomous wifi zone, burn station, arcade, dyne:bolic distribution, hacktive studio for all, etc...peep our mission statement and our site! creativesurvival.org exists to document the making and conservation of creative survival environments for digital artist animals that mimic their natural habitat. On behalf and in cooperation with creative survivalists across the virtual world we work to maintain, foster and bring about these spaces for future generations of digital artists to habitate and create. creativesurvival.org's mission is the conservation of the digital artist. Using the best available scientific knowledge and advancing that knowledge where we can, we work to preserve the diversity and abundance of life in the virtual world and the health of computer systems by 1. protecting natural areas and wild populations of digital artist animals, including those housing endangered species of operating systems, 2. promoting sustainable approaches to the use of reappropriated digital resources, and 3. promoting more efficient use of resources and energy and the maximum reduction of pollution. We are committed to reversing the degradation of our planet's digital environment and to building a future in which artist needs are met in harmony with open source software and operating systems. We recognize the critical relevance of human numbers, poverty, and consumption patterns to meeting these goals. creativesurvival.org exists to document the making and conservation of creative survival environments for digital artist animals that mimic their natural habitat. On behalf and in cooperation with creative survivalists across the virtual world we work to maintain, foster and bring about these spaces for future generations of digital artists to habitate and create. |