My thanks to the editor for pointing out the part of my last post that had some legs...
I'm working on the '70s now, and am never unsurprised how certain problems and conversations reassert themselves. (Oh yes, it’s structural, and the structure becomes clear through the repeated refrain.) In this case it is the late '60s reluctance of U.S. museums to exhibit "tech art," work which then consisted of installations and environments, proto-interactive, with lots of lights, pneumatics and computer control. Collective resentment at this refusal was one grievance leading to the formation of the Art Workers Coalition in New York. Today U.S. museums refuse to have much to do with "relational" work, or, er, social sculpture, the construction of situations – this very vagueness of its naming shows that the museums have copped out. The only way this kind of work comes into institutions at all is under cover of technology. Then it is sidelined into the video/film and media program, with participation limited to the geekily inclined among the museum audience.

Max Payne Cheat

As I was participating to Art+ Games for my biggest pleasure last week end, invited by Yves Bernard from imal.org, i intended to the talk given by Dirk from Jodi.org
It was really interesting to listen to him talking about their last project "Max Payne cheats only" http://maxpaynecheatsonly.jodi.org/ saying that it is a readymade and that everything is in the game.

YVES KLEIN
CORPS, COULEUR, IMMATÉRIEL
5 OCT. 06 - 5 FEB. 07
The Centre Pompidou / Musée National d'Art Moderne, Paris

Long live the immaterial!
-Yves Klein, The Chelsea Hotel Manifesto

Yves Klein is for me, and many others, the most important French artist after Henri Matisse. This may sound somewhat appalling to some, as Klein enjoyed only a very concise, but invigorating, seven-year artistic career. But I will clarify this controversial judgment by pointing out his historic relevance to our era of digital culture. The emphasis here will be on Klein’s conceptual articulation of the spatial and the ephemeral/immaterial in relationship to our current actual state of virtuality. Indeed the subtitle of the exhibition, CORPS, COULEUR, IMMATÉRIEL (Body, Color, Immaterial), itself brings out the salient viractual (*1) aspects of Klein's art.

This from Nothing Official.

Many are aware that the creative activities and conceptual shifts of todays contemporary artists, are not easy to define as art in the traditional sense. Especially when much of the cross-cultural, relational contexts, canons and definitions of art are re-shaped by these two individuals, Kate Rich & Kayle Brandon. Who seem to effortlessly break through paradigms like there is no tomorrow.

Han-Su Lee

Leandro Erlich

Matilde Ter Heijen

It REALLY feels dated to critique anything that contains the word Media Art nowadays. There is absolutely no reason that one can continue the ever-lasting debate on the step-daughter Media Art and why she - arguably- is yet not emancipated enough to be fully adopted into the rest of the family of all "new" Fine Arts disciplines. However, it is a boomerang question that has traveled from the West to the East. Media Art Biennials and fairs are mushrooming - and here in Seoul strongly present. ...

Last week, during three evenings in Geneva, we had the chance to discover the last performance of the young swiss collective: www.n3krozoft.com Like some of their other works, it was dealing with video surveillance, geopolitics, fictions and a mix between acting and video screenings. This time, we were following John Doe, a secret agent, lost behind pipelines, satellite antennas and Iraki terrorists.

found in Mugeodong, Ulsan, South Korea.
A real shocker for Germans - The old nick name for the Deustche Demokratische Republik (DDR) was "Zone"- short for Soviet Occupied Zone. Nowadays a Korean Game Parlor.
More of such parallel suprises around the DMZ?

I recently stumbled across Making the Empire Cross by Brisbane artist Priscilla Bracks. Her practice explores the human condition and world we inhabit. She is especially interested in chaos, change, the patterns chaos creates, and the way these factors impact upon personal, social and national identities.

I met mouchette at the last meet-in-a-nice-restaurant.org, an event organised by the neen artist nikola tosic (http://tosic.com). Neen is a new artistic movement launched in 2000 by the artist Miltos Manetas. (http://neen.org) On that day, I discussed with the neenstars, angelo plessas (http://angeloplessas.com), andreas angelidakis (http://angelidakis.com) and nikola tosic about neen and net.art. What are the differences in between, is it the same, is it part of a same movement or idea? I disagreed. I repeated what Vuk Cosic said once, relating the story of net.art that "it wasn't meant as an art movement in bthe beginning but more as a way to prevent people of what could become internet". Neen was created by Miltos Manetas as a new art movement: the art of now, websites are the art of nowadays. Neen is often done with flash, a proprietary software. Free softwares are more in the net.art side. Neen is a brand, is net.art one? I don't beleive. Neen was an attitude. Is net.art one? I just don't know. But on the same day, I met Mouchette! http://Isabelle-arvers.com