| 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. |
| pooper pooptron, elisa@lumpen.com | |
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street art walking tour i propose to do a street art walking tour as an outdoor component of the Urban Gardening / Exterior Decorating Show. I would like to invite the participants in the Urban Gardening show to go out and "decorate" a few blocks surrounding the UGED show. Those artists who can't come to the festival and be in the show can participate by sending me their work to put up in the street as part of the walking tour. On the first weekend of the festival, I would like to do a guided tour of the work that has been put up outside, pointing out the different artists, etc.  |
| Jessica MacCormack, dustbunnies74@hotmail.com | |
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Touched Touched is an installation and performative intervention. Influenced by the semantics of fingerprints in art and forensic science (i.e. authenticity/security) I will temporarily render the unseen as visible to draw a physical connection between access to space (power) and identity formation. The installation will consist of me dusting the entire gallery, including the office and washrooms, for fingerprints. Using various colored forensic powders and blowing the excess powder off will reveal the prints, leaving a subtle mark on the wall and traces of powder on the floor beneath. Referencing crime scenes and surveillance, the marks will reveal where the wall has been touched and by whom. The space becomes defined by the people who inhabit it and expose the traces of activity. The sudden visibility of the fingerprints signifies identity at its most basic, displaying a futile map of circumstances. The project will also extend to the city, where I will dust for fingerprints in public spaces, such as washrooms, malls, libraries, busses and other such sites, focusing on small sections of surface such as hand railings or the edge of doors. These transient, subtle interventions into the everyday expose the invisible trail of identity left behind us and draw attention to our similar physical relationships with public spaces. As I will not lift or identify the prints, the ephemeral crime-like scenes will be left to be discovered (and most likely destroyed) by the public, implying a vague threat that they too could unknowingly be traced, tracked, and uncovered.  |
| Inge Hoonte, Bike Escorts, bike.escorts@gmail.com | |
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Bike Escorts Bike Escorts, at your service! Bike Escorts is a public project that matches bike commuters to escorts who offer a little extra guidance, on-the-road travel tips, or to meet up with other cyclists who follow a similar route to work or school. Project coordinators Inge Hoonte and Thea Miklowski seek to encourage the communal experience of city biking by offering cyclists an alternative to the solitary commute. By promoting biking in groups, Bike Escorts will help new bikers gain confidence AND enhance the social experience of veteran cyclists, too. To learn more or to become an escort, please contact bike.escorts@gmail.com. |
| Inge Hoonte, Bike Escorts, bike.escorts@gmail.com | |
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Bike Escorts (featured photo)  |
| Jennifer Roche, ThePlaceWhereWeLive@yahoo.com | |
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Request-a-Hymn: Bell Towers as Participatns of Place Like sirens and honking cars, church bells are part of our city’s soundscape. They peal regardless of our efforts, from towers we almost certainly have never visited. The sounds are intimate; they rarely leave their neighborhood. We may or may not attend the church from where they emanate. These days, if you were to wind your way up into a number of church towers, past the choir loft, you’d be just as likely to find elaborate stereo systems in place as you would bells. This project seeks to explore the evolving presence and participation of one bell tower in the neighborhood where it peals or, in the case of Holy Covenant’s stereo system, where it plays. I will invite people off the street in front of Holy Covenant United Methodist Church to request a hymn to be played from the church’s bell tower while they wait. They’ll also be invited to visit the tower and see the stereo system that generates the “bells” they’ll hear. In this way, I hope to explore the connections among people and place, the church and secular life, public space and private, and building and sound in a previously unexamined way. |
| Oraib Toukan, o.toukan@gmail.com | |
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Operation Arabize Chicago Operation Arabize Chicago is a public intervention introducing ‘top of the pop’ Arabic music in various streets of Chicago. The intervention will play on the idea of mass paranoia and will look to test the individuality of commuter passer by’s who may or may notice, and may or may not be influenced by an ambient Arabic up-beat rhythm in and around metro stations. Illinois has one of the highest Arab American populations in the US. A lot of these communities do not integrate, and are increasingly fearful of integrating into the new socio-political makeup of America. Fear of anything Arab or Islam has become almost fun for me to watch and make fun of. Playing, or fine-tuning an urban space with a little bit of this arab or islamophobia will be interesting to observe and watch. The areas in which the intervention is happening will be video shot for documentation. Depending on the outcomes the videos will be re-screened in public space. |
| taliesin nasimi, http://antisystemic.org/psychogeograffyx/metro00.jpg, nasimi@dalitstan.org | |
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hypagraffyx PSYCHOGEOPATHYX - HYPAGRAPHYX - METAGEOMETRYX http://antisystemic.org/psychogeograffyx/ http://antisystemic.org/publicbookburn.mov by Lou-P NEW AMMO IN THE PSYKICK ASSAULT ON FASCISM RACISM AND THE RULING CLASS PSYCHOGEOACOUSTYX / PSYKOJYOAUDIO? psychogeosound? http://antisystemic.org/mp3/MessagetoPGAAsiafromWEZ.wma http://antisystemic.org/mp3/MessagetoPGAAsiafromWEZ _dunya_ki_awami_harkat.ogg NEW MIXES http://antisystemic.org/mp3/ RICKY BISHOP DEMO BRIXTON http://antisystemic.org/mp3/uhuru1.wav http://antisystemic.org/mp3/uhuru3.ogg CHARLES DE MENZES DEMO LONDON http://antisystemic.org/mp3/Brazilian.wav http://antisystemic.org/mp3/civilised.wav http://antisystemic.org/mp3/noshoottokill.wav 19 December movement http://antisystemic.org/mp3/19dec_mix.wav http://antisystemic.org/mp3/19december-names.wav http://antisystemic.org/mp3/19december.wav FREEBABARAHMED.COM http://antisystemic.org/mp3/AmericanLife_freebabarahmed_remix2.wav THIS AIN'T ROCK N ROLL THIS AIN'T NO SELL OUT THIS IS CLASS WAR CONTACT US FOR DETAILS OF LIVE AKTION info@paki.tv Retrieved from "http://uo.dczn.net/index.php/PAKI.TV"  |
| Sarah Ross, saralross@yahoo.com | |
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Archisuit Presentation of Archisuit: Archisuit is an in-progress project that examines ‘defensible space’ in US urban cities. The first installment of Archisuit took the form of a suite of adaptive jogging suits that were fitted for specific defended structures [eg buildings and other architectural elements designed to repel people from using them "incorrectly."] in Los Angeles, CA. The next addition to this project will focus on bollards, spikes, studs and other architectural innovations designed to blend in yet stick out, in the Chicago Loop. I propose to present Archisuit, a project that takes the form of comical, yet comfortable sport suits, designed to uncover the nature of national programs like “Design out Crime” and “Crime Prevention Through Environmental Design”. images can be found at The Shed Research Institute website, directed by artist Jeff Cain.  |
| Wilfried Agricola de Cologne, info@agricola-de-cologne.de | |
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Inability of Being Nude The streaming moving picture takes the classical theme of the “nude” in a contemporary interpretation as a psychological condition. The viewer is confronted with different levels of movements of baring/exposing. He becomes very quickly aware, that he did not enter a peep-show, but is disturbing intimacy, the process of emptiness. Emptiness in the sense of meditating. The nude is a metaphor. The Inability of Being Nude becomes the inability of exposing one's entire internal to other people, including those who are most intimate and this could be the viewer himself. This inability is in the same way protecting as separating. The work is also available as DVD video  |
| Wilfried Agricola de Cologne, info@agricola-de-cologne.de | |
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Message from Behind a Wall The segregation wall in Palestine constructed by the Israeli is a fact. Its actual goal is not for security reasons, as officially proclaimed, but to separate the Palestine residential areas from each other. In November 2004, an artistic action against the wall ended, taking place at six different places in Palestine where walls were under construction, initiated by Palestine artists by inviting artists from different countries to paint an artistic message on the concrete. When I was in Bethlehem in February 2005, I visited several places where the Israeli were erecting the wall. The part of the wall I was filming, is situated in opposite of the AIDA refugee camp (UN), and was at that time a temporary playground for children. And these children made their own contribution to the huge wall paintings. "Message from behind a Wall", featuring Faten Nasdas, one of the initiators of the wall paintings, is transporting different messages, but the main message represents the action of children's innocence. Also available as DVD video  |
| Wilfried Agricola de Cologne, info@agricola-de-cologne.de | |
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House of Tomorrow The house of tomorrow is the house of one's identity, it does not need to be a concrete house or building, but represents a secure and protected place where people can stand for what they are and represent, a human being. And this human may have many identities in different fields, the sexual identity represents only one among many others. House of Tomorrow is a kind of utopia, a metaphoric view on identity and a psychological analysis of the reality of gay identity. Also available as DVD video  |
| Jan Kordylewski, j_kordylewski@hotmail.com | |
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Now and Then Now and Then is an interactive video installation and reality intervention. Your current self is removed and replaced with video from a moment ago. All that remains is an elusive outline describing your present state. This piece is playful engaging and thought provoking. You are constantly catching yourself doing things you did not know you had done with no ability to change them since what you see before you has already happened. Once you understand the rhythm you start to play catch up with your past self, begin to explore the interplay between what you just did and what you will do. A video is worth a thousand words: please view artwork documentation at nowandthen.jkordylewski.com  |
| Klarabella Janssen, CJEP, info@cjep.nl | |
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CJEP TV CJEP TV strange TV for normal persons  |
| Jared Nielsen, The Song That Never Ends, mail@jarednielsen.com | |
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The Song That Never Ends "The Song That Never Ends" is a randomly constructed composition of solo instrument audio tracks contributed by musicians around the world. "The Song" is a sound installation in which each contributed audio track is randomly mixed with three more tracks into a four track song. When a track ends another follows immediately, the dynamics of the composition shift, and "The Song" plays forever. |
| diamond jack, diamond jack, gschwarz@mw.centurytel.net | |
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united states of dissillusion TURN ON (red pill)/ TUNE IN / DROP OUT(and don't drop back in) TURN ON (blue pill) / TUNE IN / DROP OUT (and drop back in ) radicalize yourself - have knowledge of the illusion and manufatured desires of the corporate state . sexual acceptance thru sexual repression . personality assimilation as a learned response to advertising ,blue pill is revolutioary life style , is appearance ,is impressiomism, is outer presence . the red pill is a life of revolution , is essence , is cubism , is inner shape . tips on sabotage, dropping out . moving from thinking you're at point B to point C when you're really at point A . organic purging of illusions , a purification of reality , an artist with a catharsis , anarchy in action with the here and now . eliminated a complex of illusions by bringiing them into consciousness means it's time to afford them expression .give your passion analysis a fair shake outside the matrix , see how struggle has its part to play. see how the red pill is dropping out is the most elementary , highest act of resistance , turning your life (for its own sake) in the direction self-worth,maximum personal self reliance and creative leisure , the reward of work is well-being rather than money , a desire for the plain and functional and a distaste for luxurous and the wasteful . a transistion from viewing the dominant culture like a mountain climber about a muontain , saying because it's there i want to climb it to a radical view that the mountain ain't not there when getting to the other side . feeling fulfilled in life can't come from fulfilling desires manufactued outside of yourself thru advertising . desires that come from inside stand a better chance of leaving you fulfilled. it's not burn , baby , burn ; but , learn , baby , learn ; then , burn ,baby , burn . |
| Suguru Goto, Suguru.Goto@ircam.fr | |
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Augmented Body and Virtual Body The big idea is to put a human being into a system where many machines act as an extension of the body. I am a composer and I want to control a robot orchestra, video images and video text using a, "BodySuit". All this within the conceptual framework of Music Theatre, and a musical composition. |
| The Sevenist and Mr. Stomach Fvkiller and Modern, Chicagos Nicest Street Artist Collective, urbanjesus2000@yahoo.com | |
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a couple of exquisite corpses ...Basically some straight forward art making, including a painted wall portion and 6-8 framed drawings done in the exquisite corpse style...but done more like a collaboration of styles and ideas...Metal+Zombie+Vampires=A damn fun time...check the link below for examples of the kind of work..flickr.com/photos/stomach/sets/285963  |
| melinda snyder, artist vs. artisan, artistvs.artisan@yahoo.com | |
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artist vs. artisan revolutionary reformist / outsider / challenge norms / defy corporate globalization / war on the system / new frontier / progress through artistic means / for ‘the people’ / what do progressive, fringe artists within an urban context have in common with folk artisans living in developing countries? what might be possible if their worlds could collide? a re-fashion show and installation exhibits diy/art-trash garments that have been re-designed by local designers from Fair Trade garments originally made by indian women artisans for a mature target market. + \ renown diy artists in chicago scene will model some of the highest fashion re-made, art-trash garments in the city, and dress forms would later display these artistic garments in the form of an installation. + \ a digital 'collaborative storyboard' will display a complication of images/video files that express the contributing artists/designers findings from their explorations of the artist vs. artisan relationship. + \ live mix of a tribal/noise background. + \ garments will be available for sale, and proceeds will benefit both the artists and artisans who made them. + \ two computers will give access to the ‘artist vs. artisan’ website where participants can contribute their thoughts and responses to a virtual dialogue forum between the urban artists and the artisans in developing countries. this collaborative project will be the beginning of an ongoing dialogue between artists and artisans which aim to explore new and radically creative means for a just globalization, and eventually form the base of a new artist/artisan cooperative.  |
| Angie Waller, angiewaller@earthlink.net | |
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Trapped in the Cabinet The smooth jams and narrative arc of R. Kelly's "Trapped in the Closet" will be the basis for a new set of lyrics that humorously replay the falterings of the Bush whitehouse. The final videos will be ipod friendly and available for download.  |
| Chris Royalty, orangerecliners @yahoo.com | |
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Interruption Series My video work investigates the construction of mass-media forms through the disruption of narrative and dislocation of parts. Assembling appropriated and found television footage, I deconstruct, reconstruct, and misconstrue the original intentions and functions of this material, in order to highlight latent meanings, messages, and connotations. By obscuring key visual and sonic elements in these clips, I re-mark the broadcast to renegotiate its meaning, influence, and authority – as a parallel to the way in which viewers have the same ability to conscientiously shift the power of media content themselves. In the "Interruption Series," visually un-manipulated television clips (from local news broadcasts, vaguely familiar fast food commercials, and behind-the-scenes-MTV-specials) are 'karaoke-ed' - I transcribe, memorize, and re-record all spoken dialogue with my own voice. This act flattens scripted lines, casual exchanges, and serious exhortations into a single choreographed verbal soundtrack, highlighting the rote banality of television news and the proliferation of media spectacle. This series can be presented as either video or a live performance (live spoken audio synced to video playback).  |
| Deer Fang, Lu Fang, lu@deerfang.org | |
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Moanorator “Moanerator” is an interactive project that generates sexual moaning from a participant’s basic Karaoke-style interaction. By artificially creating “sex sounds” for individual participants through a casual entertaining experience, the project examines one’s formal perception of sexuality. This situation highlights such questions as where is the place for this simulated activity and what is the personal benefit from participation. These concerns are foregrounded while the general dialogue with Internet and popular entertainment culture are the project’s foundation.  |
| Devin KKenny, PDA, devin.kenny@gmail.com | |
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lifestyles of the lost and nameless I plan to utilize outlets found in public spaces for nightlight hook-ups. This will serve to convert the space in a small way and change the emotional meaning in a large way. |
| Devin Kenny, PDA, devin.kenny@gmail.com | |
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Hansel and Gretel Using tons of bagels and breads thrown out from bakeries, trails of bread crumbs will lead from the source of origin to cultural and political institutions. |
| Ingrid van den Boogaard, brainst@scarlet.nl | |
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7 FORTRESSES 7 FORTRESSES - video 16:9 & sound. Duration 13 min. The video consists of a collection of 7 handmade FORTRESSES. The video shows the vulnerability and irrelevance of the concept FORTRESS. Thinking in fortresses as a way of pre-historical thinking. In the magnificense of life the FORTRESS is merely an error of thought. The shape of the fortresses in the video is based on the map of 's-Hertogenbosch (the Netherlands) drawn by Jacob van Deventer in the 16th century. The video is shot in Spain, the country where the southern wall of the Fortress of Europe is located. I live in 's-Hertogenbosch, the Netherlands. The video was made in commission of BAI, the Bosch Architecture Initiative. Artists joined in CCC (City Change Club) got the opportunity to share their visions on fortified cities when 's-Hertogenbosch was voted European Fortified City of the year 2005. The video is available on DVD. Stills are also available (send email). |
| Jessie Lenore, Frying Pan Theater, jessielenore@yahoo.com | |
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Puppet Show about public and alternative transportation The Frying Pan Theater of New York City proposes the performance of their original multi-media puppet show about the history and importance of public and alternative forms of transportation at Version Fest 2006. The show has an emphasis on the General Motors’ take over and destruction of the light rail systems across the U.S. and the societal and environmental impact thereafter. It also emphasizes the importance of a global shift towards sustainable forms of transportation The show directly correlates with Version Fest 2006’s theme of “Parallel Cities” as it is meant to spark reflection and dialogue about big business interests' effects on the daily quality of life for all and the future of transportation in cities globally. The show is self-contained, is performed by two puppeteers, and can be performed on the streets or in outdoor or indoor venues. The Frying Pan Theater is two NYC based puppeteers, Jessie Reilly and Molly Allis. The two met while working with the Bread and Puppet Theater, one of the oldest non-profit theater companies in the U.S. After Jessie finished touring the U.S. and Abroad with Bread and Puppet and moved to NYC the two joined forces to present politically relevant multi-media puppet theater works. If you would like to know more about the proposed show or about the Frying Pan Theater please feel free to contact Jessie at . . . Jessie Reilly 373 Prospect Ave. Apt. #2B Brooklyn, NY 11215 jessielenore@yahoo (513)-535-1250. We were just made aware of the existence of Versionfest and the possibility of participating in such a great event sends our hearts swiftly aflutter. Thank you for the opportunity to submit this proposal. I look forward to hearing from you. Sincerely, Jessie Reilly |
| Clare Britt, Fraction Workspace, fraction@fractionworkspace.org | |
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Fraction Workspace Fraction Workspace is an organization which promotes and displays installation based artwork for public education, viewing and fulfillment. Fraction Workspace encourages artists by giving them a public forum in which to expose their contemporary art to new audiences. |
| Ivan Ivanoff, i2off Plus r3nder, avatar@i2off.org | |
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Humans? A little narration of poetic character that describes our vision of the human condition. From this narration a game comes off with emotive character principally, that tries to transport to the person to that exasperating situation of the narrated subject. It is necessary to run between cities, fields and deserts, chasing a meteorite to impact the subject in the head. The game conserves few ludics dyes since it is impossible to obtain the pauted score, and do not exist neither marking nor points. Therefore it is mainly a poetic tool. The game contains a particular detail that is the one that contains algorithms for the proliferation of different territorial cell from the virtual world. Creating by this way an infinite world for the perception, without falling in random routines that do not allow to return to crossed places. Here the route continues existing, and exists in the measurement that is crossed, without limits. Then as in the reality I can be days running in the same direction in the real world, through cities, fields and mountains; the same happens in the game.  |
| Ivan Ivanoff, i2off Plus r3nder, avatar@i2off.org | |
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NAT.url A digital breeding ground where virtual plants grow. From the single normal perception only marks are seen, but with the intervention of the generated system and the use of cameras, it can be seen the different plants that grow and need to be watered. Nat.url (the title) is the intention to give a digital/electronic character to the word: natural.  |
| adrianne goodrich, agoodr@artic.edu | |
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this is yours After I spent most of my life growing up in a small town, moving to Chicago was a big shock to me. Although I lived in a small community within the city, neighbors lived private lives, even in shared, public spaces. I was used to everyone relying on each other, and personally knowing each other. There was an exchange that was so helpful and interesting in the small town; one might give advice, moral support, or even help out a sick family member. Normally this is not seen in the city; it was a 180-degree turn. Although we live less than 20 feet from our neighbors, we try to distance ourselves even more. We probably do not know their names and rarely exchange a pleasant, “good morning.” With this project I want to bring the small town mentality of kindness to neighbors, sharing of services, and sharing of thoughts and public space, into the city. Generic welcome mats displaying the obvious, “WELCOME,” and also, “THIS IS YOURS,” in white lettering with a black background will be the primary medium for this project. The lettering will be non-confrontational and could possibly be mistaken for dollar store mats, which is my intention. I feel this is a much more personal way to communicate with people rather than a bold statement such as, “WE WELCOME YOU TO OUR COMMUNITY,” stamped out on a billboard, which seems impersonal and might leave someone’s mind directly after seeing it. These mats will be displayed in communities throughout the city of Chicago where people do their day-to-day routines: at bus stops, under mail boxes, at parks, in front of churches, by local grocery stores, and possibly inside of some local shops. Residents will be connecting the image to the very different spaces and locations they visit throughout the city. It might seem discouraging to the idea of sharing public spaces in our communities by having some mats in more privately owned spaces, but in reality, a space such as a local grocery store, coffee shop, or boutique are just as community oriented and public as the sidewalk on the corner. Because this project is not only to welcome people from within the community, but also outsiders or “visitors” in, paralleling these “small town-like” communities to one another is very important to me. These visitors will be sharing feelings with the neighborhood’s residents, learning more about different communities, and feeling welcome throughout the city. To feel welcomed and know “this is yours” at a local grocery store that isn’t so “local” to you is just as important as feeling welcomed at your own. Business owners will be informed with the project with pamphlets to post in their place of business, also allowing them to have the opportunity of having a welcome mat displayed. I have not worked in the realm of the public arts before. I am usually a painter that points out the beauty in simple everyday situations of my life. In a way I think this project is related to the way I paint. When people see the mats while living as usual, I am showing them the beauty in their own neighborhoods. I have also been thinking a lot lately of how I can connect my experience with living in a small town with the new experiences I have in the city. This project will tie in the innocence that small town minds hold, and bring it to the smaller neighborhoods of the big city of Chicago.  |
| Ivan Ivanoff, i2off Plus r3nder, avatar@i2off.org | |
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livE[3vil] a real-time projection that responds to the intervention of our body.a projection in which you can see a series of virtual bacterias that walk freely until they detect a presence, towards which they desperately run in search of it's flesh, to devour their pain and sins  |
| Ivan Ivanoff, i2off Plus r3nder, avatar@i2off.org | |
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Resaca The video is a series of texts, undertow of my drunkard life maybe, undertow repeated constantly in time, tied and united by that other constant repetition of life, numbers and maths. The image and the sound are generated by algorithms and modified in their generation by data of the other elements. In that way(recursive), the audio is generated by the video, and the video as well is modified by the audio, and this, as well, returns to modify the video that also returns to generate audio, for the refine of the original data on a search of the constant beauty.  |
| sonny _, youaresonny@yahoo.com | |
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(unofficially) sonny_ and sighn collaboration Hello, I am a street artist interested in exhibiting in the "Urban Gardening" portion of the fest. My imagery is, specifically, the rainclouds that have been surfacing in the Wicker Park, Ukrainian Village, and Bucktown areas. I mainly work with paste ups and screw ups, but did get started by tagging. I have been in contact with the artist known as sighn, and we have decided to collaborate on a piece together. Ideally, I would like to create a modest sized mural on a wall in the space. This would merge my painted imagery with sighn's text based cut outs. If this type of wall is not available, i would also be interested in showing my pasteups and/ or cut outs in the same senario with sighn. http://sighn.net please visit my flickr site for a better idea of what i do. Thanks, sonny_ |
| Ivan Ivanoff, i2off Plus r3nder, avatar@i2off.org | |
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Crafts This piece is an eddy of data, a flow of digital currents that mold the composition. The audio is generated from what the camara sees, and the video is modified by the generated sound and the microphone. In this chaotic composition it is discovered in the observance a pulse, the order that forms the selection of continuous chaos. It is the life of the data. It is not a digitized video, is animation in real time based on algorithms. With the capture of audio and video like sensors and directors for the intervention and generation of the piece  |
| stephanie douet, stephanie.douet@btopenworld.com | |
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gothic chicago Gothic Chicago You Americans! Too fresh-faced! Too open! Like a youth whose life began at the age of thirteen, your country missed out on the other country of childhood - no hiding, no secrecy, no darkness. You had no Byzantium, no Inquisition, no Cathar Heresy, no Borgia poisonings. I’m going to give you the Medieval character formation your city lacks! Dim alleys of ancient paving down which you slide to hide from the Knights Templar: arrow slits in your sky scrapers so you can see the soldiers of Simon de Montfort coming to burn your village: bells in your towers to be tolled so the villagers toiling in the vineyards can pause to say the Angelus: a mounting block outside the Civic Centre so your damsels can leap straight onto the backs of their waiting steeds: rainbow-hued pennants will flutter from the summit of the Sears building, while across the Great Lakes come galleons bearing the saffron-seeking Phoenicians in their purple caparison. Have another past! Text and altered architectural drawings/digital/collage to be posted from UK for wall-mounted display |
| Tomas Jonsson, The Ministry of Walking, nuna_ca@yahoo.com | |
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Meandering Urban Populace (MUP) The Ministry of Walking began as a Calgary-based collective of individuals who value the experience of walking as a vital and integrated part of their everyday life, their work, and/or their artistic practice. The Ministry holds regular perambulatory gatherings to discuss thoughts and ideas pertaining to their walking practice and has expanded to include participant walkers from across Canada. Current Ministry members include: Donna Akrey, Katherine Bourke, Kay Burns, Tomas Jonsson, Shara Rosko, Holly Schmidt and Ryan Statz. Our project: a public service to help develop a Meandering Urban Populace (MUP). In our efforts to operationalise the Ministry, we propose to set up a series of consultations with city dwellers (solicited through print ads and postings), the goal of which would be to gather information to help the Ministry create alternate routes to daily destinations. Walks will be designed for recipients by Ministry representatives with an emphasis on the integrity of the Walk, rather than one that is compromised for mere efficiency; "point A to point B syndrome", if you will. A fact: Many people use walking as a convenient and efficient way to transport themselves to destinations each day. The Ministry of Walking understands the conundrum of investment/abdication of personal time due to external obligations. As a result, however, people run the risk of suffering from a combination of melancholy, resentment, and general malaise. The Ministry is committed to combat these symptoms. Our service is to provide direction for walking. Our aim with this Outreach Initiative is to expand walking time of individuals. While these might well lessen the efficiency of their walk to/from destinations, this will be compensated through a significant increase the satisfaction felt by the walker. The Ministry will meet with all interested applicants to develop a walk that is suitable to them. Walks will be developed so that the paths of the various participants align, creating an informal (and unknown to the participants) community of walkers. |
| Alasha Haveanu, Critical Collage Collective, criticalcollagecollective@yahoo.com | |
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Landescapes Issues of consumption, colonialism, and culture promoted by the U.S. are themes explored by the Critical Collage Collective. The artists, Sasha Silveanu and Allison Havens, collaborate through collage, adding layers upon one another’s compositions. Our work arises from popular magazines, travel brochures, and advertisements. These mass produced images create a sense of entitlement to an idealized lifestyle- a manufactured lifestyle that exists purely to encourage the consumption of more and more products, food, material goods, and constructed experiences. In our proposed pieces we are exploring the consumer’s ability to escape. The initial landscapes selected portray foreign relations as exotic, frightening, or inferior, invoking pity. Re-contextualized in our “Landescapes”, they show a power dynamic that would otherwise be romanticized to diminish the aggression of Western expansion and oppression. Our work is in reaction to the pollution of our visual landscape, which is flooded with disposable advertisements that exploit both natural and cultural resources. We seek to recycle and return these images to a creative context that challenges capitalist iconography. (The pictures included show examples of the artist's work, not the actual pieces proposed, which are still in the midst of being completed) |
| Robert Ladislas Derr, derr.34atosu.edu | |
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Chance Just as for OPENSOURCE Art's Mind in Matter: Constructions of the Built Environment exhibition on Thursday, November 10, 2005, I am interested in again performing Chance, a psychogeographical walk performance through Chicago. The gallery viewers will determine the direction of my walk performance through the streets based upon the roll of a dice; the dice indicates that I move forward, backwards, right, left, spin, or stand in place. Waiting outside the gallery, I will receive my first command via a cellular phone. When spin or stand in place are the command, I will complete each for one minute. The directional commands will take me to the next intersection where I will await my next command, continuing the walk for thirty minutes. Just as in past performances, I will wear a mirrored suit and four video cameras attached to my person, recording simultaneously the front, rear, and side views of my journey. The videos can be displayed as split screen or preferably as a four-channel projected video installation on cineplex screens that form a square. The viewer will be able to walk in and around the square to watch the videos. Accentuating the dichotomy of the mirrored suit, there will be two walls of mirrors that create the cartography of the performance. Each of the six commands will be represented by thirty columns of six mirrors - thirty columns for the thirty minutes of the walk.  |
| courtney kruszka, pok, pokmedia@hotmail.com | |
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pok PoK: Welcome to avant-garde media PoK is a project intending to highlight new and upcoming artists, musicians, writers, etc. Our goal is to produce a monthly piece featuring various aspects of each medium. Question or Comments Send Email to: pokmedia@hotmail.com |
| Jessica Irish, jirish@wellesley.edu | |
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Level (sky) Screening: 1:46min, 2005 Level negotiates common spaces between several domestic cities – below ground, street level, elevated and sky space. Between each set moves a spatial element of the city, recognizable yet transformed within a forced horizon. The movement is shifting, and ever-changing as concrete becomes sky, surface becomes structure.  |
| Jessica Irish, jirish@wellesley.edu | |
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Lightness Screening: moving image loop (silent), 2005 Modernism is the matrix through which this city is described; a moving image loop that proposes a new urban space through the vertical density that spans several continents. A layered moving image loop which cycles through shifting perceptions and experiences of urban space. Relating and contradicting elements of time. sequence, order and weight, the landscape becomes a container.  |
| Mitsu Salmon, mitsusal@yahoo.com | |
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Heartbeating: Kamikaze Down HEARTBREAKING KAMIKAZE DOWN is a solo performance by Mitsu Salmon. In a work that blends the autobiographical with the imagined, Salmon plays several characters: the kamikaze pilot, her grandmother and herself. Salmon weaves voice, dance, video, music and painting to create an emotional landscape for each of the personal narratives. The play begins with Salmon as her eighty- year old grandmother welcoming the audience into her Los Angeles home. Her grandmother, Takako speaks with a thick Japanese accent and possesses a naiveté, both ridiculous and endearing. She addresses the audience as if they were her grandchildren, feeding them rice balls and telling family stories and including, when pressed, painful stories of growing up in a country caught up in war. Then playing herself, Salmon speaks intimately to the audience of her parents’ divorce and her travels to India. India opened her eyes to intense poverty and suffering in the world. It is through this experience that she seeks to connect with her grandmother, who she knows will understand Salmon’s experience. Both personal and political, the work examines universal and complex issues, particularly the profound theme of suffering. By looking at suffering through beauty, compassion and humor, the work examines the individual’s ability to perpetuate or end the cycle of suffering. She illuminates our understanding of choice. Salmon brings awareness of how we choose to respond to suffering and how only through this awareness that we are able to change. |
| J. Rountree, jeremyrountree@hotmail.com | |
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a phantom menace My proposal would be a continuation of a recent small scale intervention yet on a larger scale. Whereby I or someone else would go around putting small bumper stickers on automobiles. These stickers would be either attatched over where the car door meets the car body or over the door handle so that the owner would have confront the message. By doing this intervention, I or somebody, would be participating in a long history of 'bringing the war home' while simultaneously exposing what Michael Taussig would call 'terror as usual'. an anonomous gift if you will |
| the Viking, Goons and Stomach OH MY GODZILLA CREW, OH MY GODZILLA CREW, thevikingisafighter@gmail.com | |
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3 parts to a Proposal, 1. You know at the Carnival where they have those wood cut outs of peoples body and you use your face? That is the first part. Each of us is going to make a cutout of our character or something else where people can go up to a Goons cut out and put there face in the mouth. We thought this would be a fun way of interacting with our audience and getting involved. This part of the proposal focuses less on the seriousness of a gallery and more on jovial attitudes we wish to evoke in our art. This second piece is going to be a collaborative OMG wall. We have all been working on sketches of this piece. We are going to try to avoid the use of our specific subject matter and make it less obvious that its done by stomach, goons or the viking. More OMG less individual is what Im getting at. This piece will largely consist of painted wall, then some paper mache and some found objects in the environment. We would like to present these sketches of the wall in person to talk about size, dimension, aesthetic and concept further. The last part is a walking tour. Self explanatory. We will do what we do everyday in a specific location. I would wish to extend this to Chicago street artist and even more broadly to all artists and citizens to challenge the space we occupy.  |
| Brian McKenna, brian@mediumrecords.com | |
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video concréte I would like to make an extended length video/audio performance, preferably 24 hours long, though shorter lengths are an option. The performance will consist of numerous improvised adventures in electronic music / live cinema which will feature a concrete relationship between video-image and audio. A theatre-esq venue would be ideal. Comfortable seating would be a plus and a general understanding that audience are expected to stay or move along at their convenience should implied. Due to the nature of such a long-scale performance, some type of festival event would probably be the most useful time to realize this particular proposal. The basic performance tools used will be one 1980's analogue synthesizer/sequencer, a midi controller, a lap-top computer, and a small sound mixer. These will be hooked up to the house P.A. and video projector. Much of the performance structure might be likened to the music of 1960's minimalism through its use of slow methodic changes over a long period of time. Sometimes changes are so slow as to be almost imperceptible. Other moments may feature a more rapid-fire approach, jumping around from one idea to the next very quickly. I plan to address the “parallel cities” theme through special selection and presentation of specific footage. I will address topics such as the troublesome climate of “anti-politics”, the dangers of tailoring technology to escapism, and the entertainment value of experiencing a medium for what it is rather than becoming lost in a narrative.  |
| Maureen, Melody, Nick Fitzpatrick, Hoffmann, Grider, How to be Sexually Progressive Panelists, mfitzpa@gmail.com, melody.hoffmann@gmail.com, ngrider11@yaho | |
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How to be Sexually Progressive: Porn, MTV and Metrosexuals In this panel we explode pop culture discourse by exposing the political and societal value of Chris Cunningham's music videos, female-produced porn websites, and the metrosexual identity. These elements of popular consumer culture aggressively re-work, question, and deconstruct heteronormative sexuality. Our goal is to emphasize the importance of their place in culture; it is in the popular, albeit consumption-based, realm that messages have their greatest impact. The Panel: Queering the Android: Gender Play in the work of Chris Cunningham Nicholas Grider Sex with Her Hands: Female-Produced Internet Pornography and DIY Culture Melody Hoffmann De-gendering the Consumer Whore: Metrosexuality and Gender Politics Maureen Fitzpatrick  |
| hua kuan sai, sai, upontree@yahoo.com.sg | |
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untitled dance dance ... wind ...Here is more of truth. There really is no end to anything especially when nature is concerned, it's an ongoing cycle.(circle) In our own personal lives this also very true. Just when we think something in our lives has ended (perhaps a marriage, or a death has occured) and we think nothing neither good nor bad can come from it, we are wrong. Turns out it's all a new beginning in some form or another and we don't necessarily have to see it immediatly. It just naturally occurs. |
| stacy asher alison colman, Black Wonder + Be Unique, asher@ohio.edu | |
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Understanding the World through Wonder: an educational projected intended to teach youth about the magic of ad Exploiting a naive belief in magic or wonder, the practice of advertising relies on what cultural theorists call the “magic system” where goods are held to have incredible power. Advertisers are experts at crafting fantastic mythologies about the experience, knowledge, and insight the marketed products promise. Elite advertising firms create allegory or wonder, open ended communications specifically designed to capture the attention of a particular individual. What impact do commercial messages have on culture and what type of system do they engender and then reiterate? What is the responsibility of the designer when referencing the common beliefs and identity configurations of their audience? Can an audience generate the ability to “overlook” interpretive forms that do not contribute seamlessly to their definition of self? |
| Jon BOLLO, JonBollo@hotmail.com | |
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Untitled Avian Ceiling Installation I would propose a ceiling installation for Version>6 which would be comprised of avian and meteorological themes. I am in midst of hanging a permanent ceiling installation at The Magical Forest (see below), but the one for Version could be thematically and spatially more involved. The more raw the space the better, because native color and form in the environment effects the direction of the piece. The installations deal with the fickle consciousness, notions of “wildlife,” and time as construction. They are generally composed of acrylic fabric, acrylic and latex paint, gypsum sheet-rock, stained wood, cut paper, ink, polyester, polystyrene, and satin. These installations are often ceiling-to-floor, correlating between the preestablished planes. But one for Version could be either, or, both. I would also propose, if space does not allow for a 68”x144” ceiling installation, to do a “blank” wall installation in similar materials on which video and still photo artists could have their work projected: Combining the hand-built environment and the light-created image. |
| stacy asher, pink dot experiment, asher@ohio.edu | |
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pink dot experiment PINK DOT EXPERIMENT Performance/ Interventions/ Mobile Projects How does the meaning of something change when you paint it pink? Black spots on the sidewalk, for example, remnants of discarded gum? The Pink Dot Experiment calls attention to the way in which we take our external urban environment for granted. Participants gather at the crack of dawn to paint over every spot of gum on the sidewalks of a circumscribed area in a busy commercial center. Using non-toxic florescent pink, tempera paint—a material used by cleaning and utility companies to indicate a spot that needs attention and acquiring approval from city officials ensured the act was performed responsibly. When the city’s inhabitants emerge to go about their daily business, they encounter a parallel pink-dotted city that arouses and agitates, pleases, confounds and disrupts the daily routine. Piloted in Athens, Ohio on May 19, 2005, the Pink Dot Experiment, appearing and disappearing unexpectedly, stirred both controversy and curiosity in the community. This strategy for exploring and mapping public space provided the opportunity to study the effects of the geographic environment on the emotions and behavior of individuals. It garnered attention from the local press, activists and litter awareness programs interpreted the piece as a statement about the environment, while merchants, some angry and inconvenienced, immediately scrubbed the spots away. The experiment involves the audience’s participation, enabling the public to engage in acts of urban mapping and reflect on their own experiences in public space. It is intended to address the relationship between aesthetics and social processes and to promote the collaborative process of interdisciplinary creativity. |
| Jon Bollo, TheDirtArtCentre, JonBollo@yahoo.com | |
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One Giant Priority I proposed to construct a 4 ft. by 5.25 ft United States Post Office Priority Mail sticker for Version>6. Participants would be left markers and paint pens to fill the large piece which could be mounted outside after-the-fact or during the opening festivities. An egalitarian exercise in street-art, and a collaboration on a large scale [both in terms of number of artists and size of the work], the Giant Priority Sticker would allow people a voice in a means of expression either familiar or wholly novel. |
| Erica Mott, interact03@yahoo.com | |
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DISCARDED LANDSCAPE Discarded Landscape is a radical re-visioning of the urban landscape through the creative reuse of urban waste. Discarded Landscape endeavors to examine the intersection between natural and synthetic environment by activating the imagination of Chicago citizens, pedestrians and passer-bys, Each sculptural, movement based performance contains and manipulates thousands of common, discarded objects collected from Chicago streets and alleyways. Each performance takes place in a site-specific location: an alley, the beach, a public garden, an abandoned warehouse, and furthers an examination of American consumptive behaviors as well as our urban isolation from nature, fellow human being and ourselves. I propose to perform three site specific performances as part of Discarded Landscape animating the everyday materials of plastic bags, newspapers and road salt. |
| Glenn Bach, Intense Situations of Peril, gbach@csulb.edu | |
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Intense Situations of Peril: Chicago Intense Situations of Peril is an improvising ensemble of electronic/laptop musicians who perform new, hybridized soundtracks to the cities in which they perform. Source material sampled from the audio tracks of mainstream motion pictures filmed in a particular city is collaged with raw audiovisual data collected on location by the ensemble's director and participants. With a fluctuating roster of touring and local musicians and video artists, the ensemble will sample and manipulate the city's source material, improvising from the director's score a unique and completely unrehearsed image stream and soundscape, resulting in a one-of-a-kind audiovisual remix of place. For Version>06, ISOP will sample "Ferris Bueller's Day Off," as well as raw material collected by ensemble participant John Kannenberg (Chicago-based sound artist and curator), and ensemble director Glenn Bach (Long Beach, CA). (If multiple performances are possible, the ensemble may move to the next "Chicago" movies on the list: "The Blues Brothers," and "The Fugitive.") By combining deconstructed snippets from "Ferris Bueller" with actual recordings taken from local Chicago neighborhoods, ISOP embraces pychogeographic methods of urban exploration by transforming raw and recontextualized data into a fresh, nuanced portrait of Chicago as place.  |
| Magi Cats, TheDirtArtCentre, universalspace@gmail.com | |
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All Street-Art I would also be more than willing to participate in the preparation for the walking tour (see submission above), the street-art character “shared world” interior or exterior installation, or any other of the street-art proposed projects. Thank you  |
| randall bailey, randall christopher bailey, lordscabula@sbcglobal.net | |
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we come from the space between your toes! •a room is needed to display 50 figures ( two headed slaves and their ape-like masters from another dimension known as the space between your toes), a ceiling of birds in flight and a wall of mutated pornography. One performance as a two headed slave with noise and incomplete girls choir. For the urban gardening the two headed figure would be replicated hundreds of times spreading out from their source. birds in flight, two headed raindow slaves, psychic baboons, cock sucking cocks, costumed noise and singing girls. |
| R King, rk@eatingartist.com | |
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HOUSE House: Home. Domicile. Nation. Body. Music. House: Freedom.? Jail.? House: Come inside. The performance begins in the midst of a club, with house music blaring and an empty chair on a platform. I enter, sit, and dance – structured improvisation, largely with movements that coincide with the slower downbeat of the music. I never leave the chair and so my slow, restricted movement works both with and against the spirited house music. A helper enters and builds a “house” of plexiglas around me. She or he then pours sand on me, offering buckets to club goers to join her. Throughout I continue to dance, even as the “house” I am placed in and the sand further restrict my movements. The audience is implicated in the restriction and violence of this piece, as they watch me become confined and partially buried – and perhaps actively participate. This destabilizes their spectator position and invites them into the “house” of the performance. Ultimately, this piece allows several ideas about house and home to coexist – while I am imprisoned by a house of plastic and sand, the house of my body continues in its own, free movement, to the persistent and energizing house music. HOUSE would ideally be performed in a nightclub (playing house music, of course!). I’ve got the structure, the sand, and the helpers. I may need some help locating a friendly club. |
| odie rynell cash, oceastside@aol.com | |
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Curiosity Project (new project) Performance takes place with me staring up at nothing in particular with the intention of peeking the curiosity of others in what I’m viewing (or not viewing). In this performance installation the body is valued for its physical and sociological dimensions. The process is expressed by means of transforming a banal accumulation of interest into an asserting contemporary idea, confronting the threshold between art and intimacy on both levels of the project and performer. This makes the audience vulnerable by modifying their mobility and gestures evoking the ephemeral process of temporary interest. Rather than demanding an action I’m isolated leaving the unknowing participants with a set of conflicting choices phrased in real-time. This is to solidify relationships between human beings while defining a conception of the body that deconstructs the discourse of individualism. |
| Fereshteh Toosi, ftoosi@gmail.com | |
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stencils from Frostburg State University students Students made stencils for an intro design class and we decided to send them in for the call. I am the instructor; student names are used as the name for each file. |
| Eva Beierheimer, augnablik@augnablik.at | |
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new ways Concept „new ways / parallel citys“ By Eva Beierheimer, Judith Gruber, Miriam Laussegger (Austria) Natural ways are results of human movement in public spaces and they also function as communication lines. Ways are accentuations between spaces; they connect locations and people and thereby act like a language. If you are able to read the narrow caved trails aside from the already existing architectural conditions, whole stories and plots start to appear to you. Ways therefore build active networks in-between animated scenes. Particularly people living in urban surroundings often face the necessity to pioneer their own trails through the constantly changing mix-up of streets, construction sites, and squares. Because if an already existing path deviates more then 30° from the aimed direction or location, humans tend to establish their own individual trail. Often such trails aren’t easy to spot out, but sometimes they can be viewed immediately as sod in parks and meadows. We plan to search after such natural trails and make them visible as connecting lines as short cuts in the surrounding area of Chicago. Making a path visible can also be achieved through the usage of very simple means. To connect two points you just have to draw a line. While this line is connecting point A with point B, it is also separating the acreages to its left and right hand side. In this manner a way can also be seen as a border between building sites and as a structuring for interactive landscapes.  |
| Craig Hansen, Caro d'Offay Gallery, email@carodoffaygallery.com | |
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"The Colorist Chess" Advancements in technology have successfully bridged the gap between large spans of geographical distance. Human communication has been simplified into bits and bytes, sounds and symbols, effectively removing the human hand from modern life. Though we can convey our ideas with the immediacy of one on one interaction, this digital interfacing does not encompass all human communication, most noticeably in the arts. We have not explored the realm of tactile, visceral forms of communication. How can the art world now advance to mimic the immediacy of the internet and allow actual 3d art to be created? The “Colorists Chess” will utilize both technology and color theory - allowing artists from across the world to work on the same physical surface – collaborating - at the same time without the need for travel or shipping. |
| Daniel Layne, dan.layne@gmail.com | |
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Parallel Cities Super Imposition Image a sculpture designed to be projected upon. Multiple screens and frames are assembled to present a structure of multiple faces and planes, some static and hard mounted, whilst others hang free form to be blown by air flow and potential fans. Semi translucent fabric will permit light to be shined through multiple layers. Created juxtapositions of content streamed from multiple angles will challenge audience interpretations.. Four or more video projectors will illuminate this structure during presentation, with video sources originating from video mixers and cameras. Video content will address architecture and three dimensionally rendered forms to suggest structures within structure, being created, inspected, dismantled, shapes isolated and explored. Additionally opportunities will be provided for live video and camera interactions. |
| dominic hislop, big hope, dodomkh@gmx.net | |
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protest songbook i would propose an updating of an installation and radio program 'protest songbook' made by artist group 'Big Hope'. Protest Songbook is an inquiry into the connections between creativity in visual arts and music and political engagement. Public contributions of political songs and corresponding comments will be exhibited in the form of an installation consisting of a variety of 'protest songs' (collected from an open e-mail call for entries) assembled on 'placards' placed in beer crates around an informal 'stage'. An acoustic guitar can be left so that visitors might be encouraged to take the 'stage' and try to play some of the songs themselves. Alongside the installation, an audio file of a radio discussion event can be heard. This can also be broadcast on the WBPR station, and features some of the songs contributed as well as interviews with artists, musicians and activists discussing the theme.  |
| Simona Levi- Leonidas Martín, CONSERVAS and INTERVEN.TV (Barcelona), conservas@moviments.net | |
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The Question Markers (TQM): democracy is coming to the USA The Question Markers (TQM) are a means of communication and intervention. TQM always use the same strategy: Questionnaires. Before traveling to Chicago, TQM will carry out research into the social conflicts currently affecting the city. They will contact the groups involved and start to discuss with them the issue which TQM should tackle during the festival in Chicago. Once in Chicago, TQM will organize a workshop to brainstorm all the existing elements surrounding the social issue under discussion. The workshop sessions reveal the major themes which TQM will address in the questionnaire and in their subsequent actions. The questionnaire is always based on the contributions made during the workshops by individuals involved in the conflict. Once the questionnaire has been drawn up, and again in cooperation with the participants in the workshop, TQM create an event which, through performance, directly tackles the issues at stake in the conflict being examined; this always takes the form of a showman and his assistants invading a urban context. The action in a public place, is then adapted into a show suitable for staging in a theatre or similar indoor space. Finally, the whole process is edited into a video to be broadcast on the internet via INTervent.tv. The whole material can be then used permanently as a tool in the local conflict. Download some examples and the project (pdf): http://www.conservas.tk/QMT.pdf  |
| Jenny Carden, jenny@4dmap.net | |
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Stencil Back This site will display stencil street art from Buenos Aires and Cordoba, along with other cities around the world. It will have tips on design, and construction of stencils. It will also feature free printable designs, and links. The site will be in English and Spanish. NOTE THE SITE IS IN DEVELOPMENT AND NOT FUNCTIONAL AS OF FEB. 28th. Note your website feilds below may be set to text rather than memo...I can not put in the photo url because it is too long. |
| Art Shanty, Art Shanty Projects, phaakon@bitstream.net | |
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Art Shanty Projects Minnesota is the land of 10.000 Lakes. In Winter these lakes comprise temporary land typically utilized by those practicing Donuts in cars, Snowmobilers, Ice Fisherpeople and Ice Fishing Shanties. From this tradition was born the Soap Factory’s Art Shanty Projects. This was the Third year of a 5 week show taking place on frozen Medicine Lake in Plymouth, Minnesota. Doubling in size this year and involving 60 artists, and 22 structures used for such diverse activities as Karaoke, Knitting, Pinhole Photography, random radio (KICE), Zombies, Boggle &c. The Art Shanties create a temporary community among the participants and between the participants and some 3000 visitors. We will return to Version 2006 with a portion of our Art Shanty community and rock the house.  |
| Filipe Calvao, Rose DiSalvo, a see above, fcalvao@uchicago.edu, rdisalvo1@yahoo.com, chelsey@uchicago. | |
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we are being experienced - UofC Through the Looking Glass We aim to extending the stakes of “privacy invasion” in the critique of surveillance and we ask: what would happen when subjects in full awareness of this observing gaze meet the possibility of subverting the seeing-being seen relationship? Our project aims to subvert passive figuration by allowing active gesture, allowing participants to script their own broadcasts. We will raise a chamber with a built-in periscope, facing a University of Chicago webcam, projecting onto the web a montage of crafted subjectivities, intimate reflections or daily thoughts of those who become aware of the camera’s presence. This project raises questions in the debate of surveillance: how do 'we' author ourselves when directly aware of the documentation of our presentation? How, in this authorship, are ‘we’ occupying a subjectivity that is more real or less real, our own, or revealing of our risk to others compared to the one which catches us on tape? We seek to transform the mass invasion of privacy by inserting a private space within the public, intervening on the maintenance of the public as an anonymous, passive mass. The project will ultimately make plain how the surveillance camera looks not for the subject endangering the public but on the public as a danger in and of itself. technical - Participants enter the tent-chamber and write, draw or otherwise mark on provided Slides**. Slides are inserted into Projector, relayed to the Webcam via the Periscope and streamed online. ** Slides – a) blank slides, b) slides containing images of the courtyard c) random imagery. Participants determine whether their mark is an interruption, manipulation or disruption of the Webcam’s usual courtyard view. |
| Jessie Reilly, Frying Pan Theater, jessielenore@yahoo.com | |
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Frying Pan Theater The Frying Pan Theater of New York City proposes the performance of their original multi-media puppet show about the history and importance of public and alternative forms of transportation at Version Fest 2006. The show has an emphasis on the General Motors’ take over and destruction of the light rail systems across the U.S. and the societal and environmental impact thereafter. It also emphasizes the importance of a global shift towards sustainable forms of transportation The show directly correlates with Version Fest 2006’s theme of “Parallel Cities” as it is meant to spark reflection and dialogue about big business interests affects on the daily quality of life for all and the future of transportation in cities globally. The show is self-contained, is performed by two puppeteers, and can be performed on the streets or in outdoor or indoor venues. The Frying Pan Theater is two NYC based puppeteers, Jessie Reilly and Molly Allis. The two met while working with the Bread and Puppet Theater, one of the oldest non-profit theater companies in the U.S. After Jessie finished touring the U.S. and Abroad with Bread and Puppet and moved to NYC the two joined forces to present politically relevant multi-media puppet theater works. |
| Chad Williamsen, Team Gypsy, jammin184@yahoo.com | |
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Weekend at the Bayou pt1 These are two twenty minute recordings of an apparent recording where two old men tell stories of their lives and how things supposedly used to be. |
| Chad Williamsen, Team Gypsy, jammin184@yahoo.com | |
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Weekend at the Bayou pt2 These are two twenty minute recordings of an apparent recording where two old men tell stories of their lives and how things supposedly used to be. |
| Chris Damage., c.damage@gmail.com | |
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Urban Gardening/Art Imitates Life 1. I would like to participate in the Urban Gardening installation, should you do it again this year. I participated in last year's exhibition as well. I have about a jillion hand drawn and wood cut stickers for your show, to stick up and display or to give away. Spread the love. 2. I would like to participate in the group show, displaying a series of works typically considered "street art" portraying urban scenes, inspired by and created within two similar experiences in parallel cities, Chicago and New York. |
| David Emanuel, Structures Without Integrity, davidcemanuel@gmail.com | |
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Simultaneous Landscapes Structures Without Integrity, a collective of artists, presents “Simultaneous Landscapes”, a performance/installation that examines the intersections between concrete landscapes and landscapes of memory and invention. Audiences are invited to cross various terrains, which have been grafted onto a singular space. This tour of converging paths finds inspiration in the artists’ daily commutes and personal living spaces; textual sources including Italo Calvino’s Invisible Cities; as well as imagined journeys. Guided through the landscape and its landmarks, audience members leave behind physical traces of their voyages, which are then incorporated into the terrain. Structures Without Integrity is a group of writers and performance and visual artists. The members, Sarah Best, David Emanuel, Irène Hodes, Ira S. Murfin, Brianne Waychoff, and Barbara Whitney, develop work through a collaborative process, relying on structured improvisation techniques. This performance reflects the group’s process, and provides a rich, interactive, and complex experience. “Simultaneous Landscapes” is a durational performance, a fundamental part of which is a physical installation, within which the work is performed. The installation (which is the landscape itself, e.g. craters, tents, bridges, etc.) also acts as a document, which can be observed outside the context of the performance. The performance can take place either on one full day, with “landscape tours” leaving at various scheduled times, or over multiple days with fewer scheduled tours per day. During the performance itself, the experience of individual audience members will vary in length. The work should be installed/performed in the larger context of a gallery show or other event where people can move in and out in relative quiet. A distinct space of approximately 20’X20’ with an electrical outlet is required, but the group is flexible in regards to the size of the space. The artists have limited availability during Version 06; please contact us for more information. |
| Rozalinda Borcila, ugly@commonplacesproject.org | |
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The Center for Getting Ugly What does it mean to say that our collective body “lacks abilities” relevant to systemic critique and revolutionary change? In biological terms, it means lacking the requisite plasticity in terms of available repertoire, prior experience, and modifiability by experience to develop revolutionary functions. The process by which the available physical and functional characteristics of an organism become expandable, modifiable and, arguably, perfectable through experience is referred to as encephalization. Think of it in simple terms: your cortex can learn to develop a different way of smelling, or even evolve a more pliable nose, capable of turning around and picking itself. The Center for Getting Ugly is dedicated to the research, practice and sustained experimentation of social conflict as essential political activity, with the goal of encephalizing collective organs and social technologies for the production of radical politics. The Center is not a collective, a project or a place, but an open infrastructure. Its various subdivisions target specific practices or arenas for the production of critical deviance, with collective activity as its main underlying principle. For Version the Center proposes an extended skill-sharing experimental workshop specifically focused on walking practices – and, given the ways in which mobility is structured around consumption and other forms of subjectivation, on practices of not walking: standing, stopping, pausing, staying and occasionally lying down. The workshop invites walking and non-walking practitioners to elaborate and test out methods for increasing collective radical capability through experience. It provides an infrastructure for research and the deployment of practice as essential to the elaboration, breakdown and re-elaboration of models. |
| Michael Benevento, michael.benevento@gmail.com | |
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Feeders In Baltimore, I have been installing bird feeders on glass buildings. The bird feeder becomes an interruption or blemish on the pristine grid, capitalizing on the rigid, nonporous characteristic of the glass; bringing a residential component to a commercial setting. While the suction cups provide a nonabrasive attachment, the installation height provides resistance. Each design has been mutated for each site. I am working on a design that would be compatible with multiple sites, so that the bird feeders could be distributed as a kit. |
| Rozalinda Borcila, borcila@arts.usf.edu | |
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Geography Lessons ( cont.) This series of small interventions in highly controlled spaces began shortly after September 11th 2001. Using a video camera as a way of shooting back, I record images in airport security zones: inside X-Ray machines, at passport check points, immigration control, baggage claim. Can's wait to see Verbotenbilden! Geography Lessons (... cont.) is an on-going archive of these videos, a structured and somewhat absurd system of counter surveillance. For each installment, the archive is queried using different descriptors – the resulting video clips are composed on one screen. (projection, 6-9 channels). For Version, the projection will contain images shot in 9 different airports.  |
| Nicholas Petr, Campbaltimore, contact@campbaltimore.org | |
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Campbaltimore - Indy Media Print Collective CAMPBALTIMORE is a loose collective of artists. We operate as a resource for groups and individuals engaged with social activism and cultural production. We are currently based in the city of Baltimore, Maryland. The Baltimore Independent Media Center is a grassroots organization committed to using media production and distribution as tools for promoting social and economic justice in the Greater Baltimore Area. We are dedicated to addressing issues that the mainstream media neglects and we do not conceal our politics behind a false objectivity. We will empower people to "become the media" by providing democratic access to available technologies and information. We seek to bring to light Baltimore's rich tradition of social and political activism and to apply this historical perspective to today's local and global fights for justice. The Campbaltimore – Indy Media Print Collective is an extension of the (Re)living Democracy Project (Contemporary Museum, Baltimore Oct. ’05- Jan. ’06), which focused critically on urban renewal in the city. Currently, we are producing the 1st issue of a quarterly publication that will further investigate the inequalities of Baltimore’s urban geography as well as other relevant local and international issues. Members of the collective would like to deliver copies of this first issue to Version this spring and hope to speak with the Version public and participants about our experiences with collaboration, self-publishing and distribution. In addition, we can share information about other projects and activities which include organizing counter-historical tours of Baltimore, hosting free social and educational events, attempting to work resistantly within art institutions, and the pursuit of a sustainable practice outside of these institutions. |
| Daria Tsoupikova, datsoupi@hotmail.com | |
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Rutopia 2 "Rutopia2" is a virtual reality art project for the CAVE/Cwall network environment. It describes a magic garden with interactive sculptural trees that link to distant worlds and connect them into a shared network community. The trees are modular, consisting of simple rectangular screens. Their 3D shapes can be modified through rotations or flips similar to a tangram puzzle. The users can look through the screens to see distant environments just like we can look through a window and see the outside. Each tree is a portal to 30-50 remote worlds which users can visit by walking through the windows. Virtual windows cross traditional borders of segregated proximities to connect the future, with the past, the present, the close, the distant, the public and the individual in real time. The garden is a prototype of public sculptures propagating telecommunication, collaboration amd communication. "Rutopia2" explores the aesthetics of virtual art in its relationship with the art of painting and Russian folk arts and is based upon their principles of composition, bright colors, simplified shapes, and material culture. It serves as a framing device to unite the concepts of the network tree, public sculpture, and futuristic design while maintaining aesthetics principles of the previous centuries. The project was build to establish the virtual network collaboration between USA and Russia.  |
| Filipe Calvao, Rose DiSalvo, a see above, fcalvao@uchicago.edu, rdisalvo1@yahoo.com, chelsey@uchicago. | |
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we are being experienced - UofC Through the Looking Glass We aim to extending the stakes of “privacy invasion” in the critique of surveillance and we ask: what would happen when subjects in full awareness of this observing gaze meet the possibility of subverting the seeing-being seen relationship? Our project aims to subvert passive figuration by allowing active gesture, allowing participants to script their own broadcasts. We will raise a chamber with a built-in periscope, facing a University of Chicago webcam, projecting onto the web a montage of crafted subjectivities, intimate reflections or daily thoughts of those who become aware of the camera’s presence. This project raises questions in the debate of surveillance: how do 'we' author ourselves when directly aware of the documentation of our presentation? How, in this authorship, are ‘we’ occupying a subjectivity that is more real or less real, our own, or revealing of our risk to others compared to the one which catches us on tape? We seek to transform the mass invasion of privacy by inserting a private space within the public, intervening on the maintenance of the public as an anonymous, passive mass. The project will ultimately make plain how the surveillance camera looks not for the subject endangering the public but on the public as a danger in and of itself. - Participants enter the tent-chamber and write, draw or otherwise mark on provided Slides**. Slides are inserted into Projector, relayed to the Webcam via the Periscope and streamed online. ** Slides – a) blank slides b) slides containing images of the courtyard c) random imagery. Participants determine whether their mark is an interruption, manipulation or disruption of the Webcam’s usual courtyard view.  |
| Ethan Kruszka, The Fluff Constructivists, thefluffconstruct@yahoo.com | |
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Slaughter yore young, we drink tonight. A extension of the Fluff Constructivists roving mobile projects "Frontiers at Dawn" these dioramas take place in varied venues (schools, churches, adult entertainmet venues, city streets, shopping centers, homes and other areas of social interaction. These works are designed to both challenge and entertain viewers with the intent of creating a "new" or "utopic" depiction of nature and culture. The frontiers visually are remniscent of both science projects, home taxidermy, natural history displays and d.i.y. cinema. All works involve a live performer/participant(s); this work is designed for many. To arrange a home showing/performance please email thefluffconstruct@yahoo.com and we will save our change in hopes of knocking on your door. This work is also intended as a celebration of the launch of the rural and highly energetic Pøke media. |
| Mary Scherer, mary.scherer@gmail.com | |
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The Index of Absence BRIEF: video, 48 mins and growing (work in progress) The Index of Absence is a participant-based video project that is an anthology of loss. A participant submits one minute of footage of oneself, speaking to the camera, as if it were someone in their life that they have lost (in any sense of the word.) The chosen demographic of participants are diverse in range of age, racial/ethnic background, sexuality, and occupation. I compile the one-minute moments and screen them back to back. I am interested in the connection that an audience member has with the screen, or in this context, to each individual’s experience. Audiences usually identify with the protagonist, yet ironically, love and loss are the times we feel most alone. I am endeavoring to lessen the distance and separation that the audience has with the screen. I anticipate, as the work will not be completed until the end of March 2006, that the video will have a cathartic effect on the viewer. Installation: There are two possible installations: 1) The video may be looped on monitor with headphones. The letter the participants received will be hanged near the monitor. It stipulates the project and helps to reveal each individual’s interpretation of the project. The monitor and headphones are a more intimate viewing process than a projection, which is fitting to the subject matter. 2) The video may be projected with open sound and wide audience. It will also function in this way. |
| Chris Barr, cbarr@buffalo.edu | |
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Bureau of Workplace Interruptions The Bureau of Workplace Interruptions is an "intimate bureaucracy" created to challenge our relationship to time and efficiency. BWI harnesses interruptive technology such as email, snail mail, and the telephone, as well as in-person visits to create invisible theatre that steals time from the realm of work and capital. With each request for interruption, filed through the web site, BWI provides a unique temporal experience of genuine exchange. For Version>06 BWI would like to visit offices and businesses in Chicago fulfilling as many requested interruptions in person as possible. These interruptions would be documented in the public records section of the BWI web site and shared with other participants at the festival.  |
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