The4thScreen: a global festival of art & innovation for mobile phones launches today with a call for works.

The4thScreen festival is the first event of it's kind to focus on the mobile phone as an emerging social, cultural and technological phenomenon.

The festival was conceived by Tamas Banovich, curator and co-director of Postmasters Projects and Postmasters Gallery, to bring together artists, technologist and other creative thinkers from all over the world working with mobile phone technologies.

Rift - an installation by Bill Dolson

Mar. 7-21, dusk to 10pm
 
Reception Thursday March 16th from 6-8pm
Eyebeam
540 W. 21st Street (between 10th & 11th Aves) NYC

Friday, March 10 at 8 pm
The Thing Swing Space
125 Maiden Lane, 10th Floor
New York, NY
(two blocks south of Fulton between Water and Pearl. Subway: 6 to Brooklyn Bridge, City Hall; A,C,J,M,Z and 2,3,4,5 to Fulton, Broadway, Nassau)

On Rules and Monsters
Free Cooperation: Political Theory for Godzilla & Co.

Video Screening and Discussion (with Christoph Spehr in person!)
Introduction: Trebor Scholz

Why the hell does every monster want to go to Tokyo and stamp on it? Why do we feel sorry if the monster gets shot at the end? Why does it always return? These and other questions that are highly relevant to every first grade or post-doc monster are dealt with in the video “On Rules and Monsters - An Introduction to Free Cooperation”. German political theorist, cultural critic and video maker Christoph Spehr presents his video, with Tony Conrad and Stephanie Rothenberg starring as speakers and appearances by Godzilla, Gwangi, the Creature from the Black Lagoon and many more, along with his new video “Hold On, Wilson - Of Islands and Utopia”.

Free Entrance, bring a photo ID

Presented by THE THING in collaboration with the Institute for
Distributed Creativity.

THE THING Swing Space is generously provided by the Lower Manhattan Cultural Council and Time Equities Inc.

http://distributedcreativity.org

 

March 4 - April 8, 2006
 JENNIFER and KEVIN McCOY
"Directed Dreaming"

Postmasters Gallery is pleased to announce the opening of Directed Dreaming, the third New York solo exhibition of Jennifer and Kevin McCoy. The show will open on March 4 and will be on view until April 8, 2006.  The reception is planned for Saturday, March 4, between 6 and 8pm.

In Directed Dreaming, the McCoys present four new sculptures that use movement to explore anxiety. The title of the exhibit refers to practice of willing oneself to dream about specific situations in order to resolve conflicts in one's waking life. The works in Directed Dreaming fuse cinematic, personal, and historical images to become visual records of those conflicts, with the question of resolution left open to the viewer.

The McCoys'  sculptures are fragmentary miniature film sets with lights, video cameras, and moving sculptural elements. Camera views are sequenced to create live cinematic events. By exposing the image making apparatus along with the projected results, the work explores both time-based and physical reality.

 THE THING board member Keith Sanborn on The Films of Guy Debord from the February 2006 ARTFORUM:

RETURN OF THE SUPRESSED
Keith Sanborn

"GUY DEBORD MADE VERY LITTLE ART, but he made it extreme," says Debord of himself in his final work, Guy Debord, son art et son temps (Guy Debord: His Art and His Time, 1995), an "anti-televisual" testament authored by Debord and realized by Brigitte Cornand. And there is no reason to doubt either aspect of this judgment. While Debord has been known in the English-speaking world since the 1970s as a key figure in the Situationist International and as a revolutionary theorist, it is only in the past decade that his work as a filmmaker has surfaced outside France. One reason is that, in 1984, following the assassination of Debord's friend and patron Gérard Lebovici and the libelous treatment of both men in the French press, Debord withdrew his films from circulation. Though the films were not widely seen even in France, four of them—by the time they were withdrawn—had been playing continually and exclusively for the previous six months at the Studio Cujas in Paris, a theater financed for this purpose by Lebovici.