Machine Age

September 29, 2012

 

Richard Hamilton, Man, Machine and Motion, 1955/2012, exhibition reconstruction. Installation view, New Museum, New York, 2012. Courtesy the artist and New Museum

by Melissa Gronlund
in Afterall

The phrase ‘ghosts in the machine’ was first used in 1949 by the Oxonian philosopher Gilbert Ryle to reject the dualist thinking of René Descartes: rather than mind and body being separate, Ryle argued, the bodily – what we might call today the hard-wiring of the brain – affects the mind, allowing baser, earlier emotions, such as fear or hatred, to persist despite our logical dismissal of them.1 These biological hangovers are the infamous ghosts in the machine of our brain. Read more …

Yoko Ono: Fly (1970)
Film still.
Courtesy of the Serpentine Gallery and Yoko Ono.

Yoko Ono: To the Light
The Serpentine Gallery
Kensington Gardens
London W2 3XA
19 June through 9 September 2012

Jessica Furseth in whitehot magazine

For such a quirky artist, Yoko Ono has a consistent voice: it’s always been about peace and love, all that stuff. While the message is bold, the delivery is subtle; there doesn’t seem to be anything unusual about the large-scale chess board sitting in the grass behind the Serpentine Gallery, until you realise that all the pieces are white – this is a pacifist game. Inside the audience is invited to pose for photos for the “Smiles” film, where Ono’s brazen goal is to collect a contribution from every person in the world. Keen to be part of Ono’s newest dream, I p
erch down on the seat and wait for the click of the camera. A message flashes up on the screen afterwards: ‘Thank you, you are beautiful.’ It’s such a simple idea: to smile. At the Serpentine Gallery, Ono deals in a currency called happiness … read more

by Veronica Tello
in Afterall

Guido van der Werve, Nummer Acht: Everything is going to be alright, 2007, video, 10min 10sec, dimensions variable. Photograph: Ben Geraerts. Courtesy the artist and Luhring Augustine, New York

The 18th Biennale of Sydney, curated by Catherine de Zegher and Gerald McMaster, was an attempt to produce, in the curators’ words, a ‘groundbreaking’ show.1 Entitled ‘all our relations’, the biennale proposed a ‘new model of art’2 that mobilised an enhanced attentiveness to ‘how things connect, how we relate to each other and to the world we inhabit’.3 Reflecting on the intensification of globalisation and environmentalism, de Zegher and McMaster’s biennale was hinged on the notion that contemporary artists are increasingly interested in generating affective, affirmative and ethical relations with nature and amongst human subjects.4 Rejecting modernist and avant-gardist strategies for producing social change, such as alienation and negation, the curators invited artists to contribute works that would instead involve the audience – through conversation, participation, interaction or other means – and further stressed the role of ‘collaboration’ and ‘dialogue’ by encouraging artists to find ways for their works to ‘relate’ to the works with which they would be exhibited.5 While de Zegher and McMaster’s curatorial discourse and methodology clearly intended to draw out a new paradigm for thinking our social and environmental relations, for the most part, the 18th Biennale of Sydney resulted in a conceptually and aesthetically flat exhibition.
read more …

The Hour of Living

September 4, 2012

This is a frame fom the film “the hour of living” by Sebastian Michael, which I funded.

New Museum
Museum as a Hub