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Review of Art rétinal revisité: histoire de l’oeil

Digitalarti Mag #4Digitalarti Mag #4

Noisy Viral Threat : Joseph Nechvatal
Review of Art rétinal revisité: histoire de l’oeil
Manuela de Barros

Published in Digitalarti Mag #4
October 2010

Terror in Berlin

One could call this an advance review, or just
a NOTIFICATION, about the upcoming Art Forum Berlin,

an event which, in its name, is already a challenge to the sovereignty of what is still the top art magazine and art arbiter of the world,

As I open my "" site, for personal email, I see that Berlin is especially targeted, they say, for attacks by El-Queda on US citizens.

US Responsibility for 9/11

A few months after the 9/11 attacks, the New Museum exhibited works of the artists who had had studios in the World Trade Center. One of those artists was my artist-firm, Ocean Earth, but by a margin, namely the personal approval of such a residency by Mouktar Kocache.

Collective Collectivization

Collective Show 2010
Participant, 253 East Houston Street, NYC
September 15-26, 2010

Ventriloquizing Gramsci

I heard the opening movement of the requiem for communism, The Gramsci Project, as it was played at LaGuardia Community College. Standing before a photo blowup of the sainted Depression-era mayor of New York pressing the flesh, artist Thomas Hirschhorn presented a slide show about the Bijlmer Spinoza-Festival he produced in 2009 in a housing project outside Amsterdam. He was invited to Queens by professor Charity Scribner as part of her class’s Gramsci Project.

Brooklyn Rail review of "Towards an Immersive Intelligence"


Towards an Immersive IntelligenceTowards an Immersive Intelligence

A review of my book "Towards an Immersive Intelligence" has been published in the May issue of the Brooklyn Rail here:

One can buy Towards an Immersive Intelligence now at here:

Whitney Biennial 2010 and Collecting Biennials: An Optimistic Year

Suzan Frecon

The 2010 Whitney Biennial, which opened last week, was a surprisingly optimistic exhibition, partially due to the choices of the two curators, Francesco Bonami and Gary Carrion-Murayari, but also to its pairing with the concurrent exhibition Collecting Biennials on the top floor of the museum. There were surprising parallels between the contemporary attitude of 2010's fully loaded first four floors with the more cerebral weight of plum choices (mainly by male artists) from the museum holdings of works from past Biennials.

There is a theory that when the economy is down, the art world bears more evidence of the works of women artists. In 2010, over 50% of the exhibiting artists are women, some showing strong work with great maturity.

Op Ed by EDT/bang.lab in Union Tribune, San Diego

SUNDAY, MARCH 7, 2010 AT 12:04 A.M.

Everything You Always Wanted To Know About Confucius But Were Afraid To Ask

CONFUCIUS: His Life and Legacy in Art
February 11 – June 13, 2010
China Institute Gallery
125 East 65th Street, New York

February 16, 2010. Growing up, I didn't have much time for Confucius. Among the prominent Asian philosophers, he took second place to Lao Tzu and Taosim, and for obvious reasons. Taoism seemed more laissez-faire, less involved with propriety and property. It embraced a certain ease and modesty, a harmonious accommodation with nature. There was a nonchalance that sat well with my hipster, slacker ideal of "there's a road we're all on, man, but it really leads nowhere except right back to where we all started from, so don't get me uptight, just chill and pass that j."

My rebellious, reductivist streak left no room for the conventional wisdom of the Confucian status quo, for its apotheosis of family, for using the correct ritual and sacrifice on every occasion, for a strict legal code that could deaden spontaneity. I had dabbled in the Analects, and these dialogs were obviously "wise", but my lingering suspicion was that they were wise in the wrong way. There was no escaping their prim orientation towards duty and decorum.

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