Mediartz
Liquid Line, the group show I participated in in Sao Paulo at the Galeria Marta Traba do Memorial da America Latina, has now closed, apparently to great media play. Another group show, Mediartz, opened in the Portland-Vancouver area on Friday. Close to 500 people attended the opening although unfortunately I was not one of them. The show includes the 85-minute version of DREAM CUM TRUE, my electronic meditation on the rhythmic nature of the creative process experienced as a deep interior shot. This work was conceived in Kailua and ends up being a work that I feel quite attached to for its serene yet still linguistically playful vibe. It's great to make artwork in different parts of the world as it helps mark the artist (and their narrative trajectory) as a nomadic networker who drifts through the psychogeographical space of flows.
I wrote about DREAM CUM TRUE here for its premiere solo exhibition in Seoul in 2008 and for the MPVAC solo exhibition at the Experimental Art Foundation also in 2008.
Once my UNREALTIME retrospective exhibition in Athens opens in less than three weeks, that will mean I have had four solo shows in two years (this includes the Chelsea Art Museum exhibition earlier this year). Not bad given the state of the economy and particularly the art market. But then again, and I claim no special skills at playing the speculative markets, I did anticipate a lot of these horrific outcomes in the world of global finance months before the collapse (here, here and here). At the time I referred to this artist-generated crystal ball reading of the near future collapse of the economy as a premonition algorithm. The term came to me in a dream, a dream that included a rare, endangered, and molting Hawaiian sea lion (monk seal) that stayed parked on my beach for an unusually long time (over a month). The monk seal came to be known to us locals as Chester because of the large scar he had on his chest. We never found out what caused the scar but two months later, to breaking local news updates, we found out that Chester was dead.
Metadata: media art, exhibitions, economy, art world, speculating, molting,
I wrote about DREAM CUM TRUE here for its premiere solo exhibition in Seoul in 2008 and for the MPVAC solo exhibition at the Experimental Art Foundation also in 2008.
Once my UNREALTIME retrospective exhibition in Athens opens in less than three weeks, that will mean I have had four solo shows in two years (this includes the Chelsea Art Museum exhibition earlier this year). Not bad given the state of the economy and particularly the art market. But then again, and I claim no special skills at playing the speculative markets, I did anticipate a lot of these horrific outcomes in the world of global finance months before the collapse (here, here and here). At the time I referred to this artist-generated crystal ball reading of the near future collapse of the economy as a premonition algorithm. The term came to me in a dream, a dream that included a rare, endangered, and molting Hawaiian sea lion (monk seal) that stayed parked on my beach for an unusually long time (over a month). The monk seal came to be known to us locals as Chester because of the large scar he had on his chest. We never found out what caused the scar but two months later, to breaking local news updates, we found out that Chester was dead.
Metadata: media art, exhibitions, economy, art world, speculating, molting,
posted by Professor VJ at 5:28 PM
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