The Aesthetic Ground
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The Aesthetic Ground
Exploring the 'Middle' in a Soft Matter through Artistic Manifestations
Curated by Xaos
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Jackson Pollock and John Cage: An American Odd Couple

Jackson Pollock and John Cage: An American Odd Couple | The Aesthetic Ground | Scoop.it

ollock and Cage were aesthetic extremes of each other. Pollock sought to make paintings that were entirely an expression of his manic inner ego, whereas Cage fought to remove himself completely from the decision-making process involved in art. And yet, Pollock and Cage did have one thing in common. They shared a common adversary: hundreds of years of European history, theory, and dominance in the arts. So while Pollock fought to break from Braque, Cage battled to break from Beethoven.

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Elizabeth Price on winning the Turner prize 2012 - video interview

Turner prize winner 2012 Elizabeth Price speaks about what it means to win the award...
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The Making-of Vincent Morisset's BLA BLA | The Creators Project

The Making-of Vincent Morisset's BLA BLA | The Creators Project | The Aesthetic Ground | Scoop.it
The web-based film's transition into an interactive installation at the Gaîté lyrique in Paris.

Quebec-based filmmaker and interactive storyteller Vincent Morisset’s latest interactive project BLA BLA has recently been transformed from a web-based film to an interactive installation for children at the Gaîté lyrique in Paris. He previously broke down the components of developing an interactive story—specifically BLA BLA—but this in-depth behind-the-scenes video (above) that the National Film Board of Canada just released goes even deeper into the creative process.

In the making-of, Morisset and his collaborators, including Caroline Robert (visual design and animation), Philippe Lambert (sound, music, and voice), and Édouard Lanctôt-Benoit (programming and technology), explain the different aspects of the project’s transition to real life. Here’s our breakdown of their captivating process, and be sure to watch the full making-of above.

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Manfred Mohr: one and zero - we make money not art

Manfred Mohr: one and zero - we make money not art | The Aesthetic Ground | Scoop.it

Beginning in 1969, Mohr was one of the first visual artists to explore the use of algorithms and computer programs to make independent abstract artworks. His early computer plotter drawings - when he had access to one of the earliest computer driven plotter drawing machines at the Meteorology Institute in Paris - are delicate, spare monochrome works on paper derived from algorithms devised by the artist and executed by the computer. P198aa (1977-79) is an elegant rhythmic composition of nine randomly rotated and cut cubes that hints at multi-dimensional space.

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Doug Aitken's - The Source: James Murphy | Tate

Doug Aitken's - The Source: James Murphy | Tate | The Aesthetic Ground | Scoop.it
Doug Aitken talks to musician James Murphy about 'looking for alchemy in everyday sound', including the sounds from Murphy's childhood landscape and'synthetic' vs 'organic' sounds.
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Are Gamers Guilty? Making 3D Art Without Rape Or Murder

Are Gamers Guilty? Making 3D Art Without Rape Or Murder | The Aesthetic Ground | Scoop.it

Claudia Hart has spent the last decade escaping Grand Theft Auto, RapeLay, Modern Warfare, Counter Life, Blood Rayne, Full Spectrum Warrior, Hitman, and all 3D rampaging, male-avatar rape and kill animation games crowding the human machine interface (HMI). As a rare woman artist using state-of-the-art 3D computer-generated imaging (CGI) software outside the entertainment, gaming, and advertising industries, Hart has to circumnavigate her share of gender obstacles to keeps apace with each new development in 3D media, particularly those in gaming. The barrage of simulated assault can be overwhelming as Hart finds herself regularly fending off testosterone-fueled, 3D fantasies depicting female avatars virtually overpowered, imprisoned, and gang raped not only by male sociopath avatars, but by the millions of gamers whom she sees as willingly participating and identifying with them.

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Madeline Osborne's curator insight, May 29, 2013 6:37 PM

Digital art, 2d and 3d are finally starting to take their rightful place as more than just a plaything.

These applications are proving to be just as valuable in creating non-violent works as they are in making the latest shoot-em-up video games.

 

Just as painting and crafts have long been considered theraputic, digital software applications that stimulate creativity are just as beneficial.

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Cornelia Parker | Tate

Cornelia Parker | Tate | The Aesthetic Ground | Scoop.it

English sculptor and installation artist. She undertook her BFA at Wolverhampton Polytechnic (1975–8) and her MFA at Reading University (1980–82). Her early installation works were imbued with poetic innuendos linked to the fragility of human experience. Cold Dark Matter: An Exploded View (1991, London, Tate) is the restored three-dimensional volume of a garden shed exploded by the British Army at the request of the artist. The surviving fragments, suspended from the ceiling and lit by a single bulb, create a dramatic effect and cast shadows on the gallery's walls. Parker worked not only with the altered scale and substance of things, but also with the meaning conveyed by found objects. The Maybe, an exhibition made in collaboration with the actress Tilda Swinton (b. 1960) in 1995 (London, Serpentine Gal.) focused on the impressions that one has when confronted with the belongings of famous people. Parker selected curiosities from various museums, including Turner's watercolour box, Queen Victoria's stockings and Sigmund Freud's blanket, in order to elicit free associations from the beholder. Swinton was herself on display, asleep in another glass case. Parker's aim was not merely to question the power of relics, but also to create a mental route that triggers unexpected associations

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“Artists are Thinkers”: Alfredo Jaar on Creating New Ways to Look at the World | Artinfo

“Artists are Thinkers”: Alfredo Jaar on Creating New Ways to Look at the World | Artinfo | The Aesthetic Ground | Scoop.it

Alfredo Jaar is a professional observer, an unremitting globetrotter who has, for almost three decades, spliced into his work first-hand accounts and in-depth analysis of the way information is distributed and consumed. The Chilean artist — who will represent his country at the next Venice Biennale — has tackled some of the world’s thorniest issues head on. His celebrated “Rwanda Project” (1994-2000) is a harrowing take on the genocide and its patchy coverage in the Western press. Other pieces have looked at gold mining in Brazil, immigration in Finland, and the homeless in Montreal.

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Anti-Utopias | Maria Fernanda Cardoso and Ross Rudesch Harley – MUSEUM OF COPULATORY ORGANS (MoCo) 2012

Anti-Utopias | Maria Fernanda Cardoso and Ross Rudesch Harley – MUSEUM OF COPULATORY ORGANS (MoCo) 2012 | The Aesthetic Ground | Scoop.it

Cockatoo Island is one of four sites chosen for the 18th Biennale of Sydney. A small island in Sydney Harbour, steeped in early history, with large cavernous spaced buildings originally for shipbuilding and coupled with remnants of convict history and an undulating topography makes for intriguing spacial opportunities for artists. The shipyards former workshops is a perfect museum like setting to present Maria Fernando Cardosa’s Museum of Copulatory Organs (MoCo), a selection of scientific models (3D and 2D ) and photographs of insect genitalia, together with a film, Stick Insects most intimate moments.

Originally from Colombia, now living and working in Sydney, she is inspired by the animal and natural world. She is best known for her flea circus, whose smallest show on earth became a hit more than a decade ago, when she discovered the curious yet beautiful plant-like forms in insect genitalia, which then lead to a PhD at Sydney University on the study of insect genitalia, The Aesthetics of Reproductive Morphology. Whilst Cardosa’s work is placed within the context of art, much of her practice demonstrates a link between the disciplines of art and science. It raises the question what makes this art and not science? It is perhaps largely a matter of framing the work in the context of such an exhibition. Evolution has made this collection of dazzling shapes and reproductive devices however it takes the artist to make it become visible.

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Morgane Tschiember at Galerie Loevenbruck Paris

Opening reception of artist Morgane Tschiember's solo exhibition at Galerie Loevenbruck in Paris. More videos on contemporary art, design, architecture: http...
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Light and Space with Diana Thater in the Studio - The Artist's Studio - MOCAtv

Diana Thater is an artist who creates immersive installations from light, color, and videos that feature beautiful footage of animals in wild and captive environments. These works challenge viewers to reconsider their relationship to the natural world and rethink how art is experienced in architecture. In this video, Diana discusses how she brings animal space into human space, the necessity of innovation, and thinking through looking.

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Jacob Whibley - Notpaper

Jacob Whibley - Notpaper | The Aesthetic Ground | Scoop.it

Q: How long have you been creating collages and what made you start?
A: After three years of hoarding paper in boxes and suitcases I finally got over my hesitation of not wanting to "ruin" the paper and have actively been assembling for the last four years. As for what made me start it's hard to tell; I knew I didn't want to create magazine based collages. The end results needed to be abstract and unrecognizable forms--meaning and shapes deciphered over time as the body of work grew and the pieces had the ability to relate to each other as a whole.

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Hold On, when a joystick manipulates Hollywood - we make money not art

Hold On, when a joystick manipulates Hollywood - we make money not art | The Aesthetic Ground | Scoop.it

One of the best surprises of this year's edition of the GAMERZ festival in Aix en Provence was a work that mixed clips from cult movies with video game dynamics. Using 2 buttons and a joystick, visitors could navigate inside movie sequences from The Shining, Jurassic Park, The Blair Witch Project, Old Boy and many more. The main actor becomes an avatar and you can delay the inescapable moment when the little boy in The Shining bumps into the evil-looking twins or you can give a couple of extra kicks and lengthen the fight that opposed Bruce Lee to Chuck Norris in Way of the Dragon.

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Big Bambù - Mike and Doug Starn | Macro Testaccio

Big Bambù | From 11 Dec 2012

curated by Francesco Bonami for Enel Contemporanea 2012

 

Thousands of bamboo rods will be connected and interlocked with a traditional method, which creates an unusual structure/sculpture where visitors can go along paths and walkways experiencing new sensations. Designed by the Starn brothers as a living organism, constantly changing in its complexity and energy, the work of the series “Big Bambù” grows up to about 25 meters thanks to bamboo, a solid and flexible material that is also highly symbolic.

 


Macro Roma - Testaccio

Piazza Orazio Giustiniani 4

Rome


Via Massimiliano Cammuso
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Secrets Of Interactive Filmmaking | XHIBITOR

Secrets Of Interactive Filmmaking | XHIBITOR | The Aesthetic Ground | Scoop.it

With the amount of time we spend online it’s no surprise that traditional narratives are morphing into a more web-friendly format. Documentary filmmakers have made excellent use of the possibilities the web provides to engage audiences in a different and, often less passive, way. Documentaries now often encourage viewers to find out more about a topic using interactive features, while interactive fiction projects focus on deconstructing narrative and storytelling, forging new models that allow for viewers to become part of the story. Bear in mind, this is no easy task—there is no standard formula, each story needs a unique narrative design and has to be able to adapt to the unpredictability of human behavior.

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Artist Arne Quinze - Making of Rock Strangers

Arne Quinze is a conceptual artist best known for his unconventional and controversial public art installations. Quinze also creates large and small sculptures, drawings, paintings. In his late teens he started out as a graffiti artist in Brussels

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ArtSlant - Watchlist Artist: John Cornu

ArtSlant - Watchlist Artist: John Cornu | The Aesthetic Ground | Scoop.it

On the occasion of his new space opening, Sébastien Ricou is pleased to present “Choses tues”, John Cornu’s second solo exhibition at the gallery.

As eclectic as they are, the works on show – watercolours, installations, sound pieces, ready-mades – develop a range of interpretative games, a plurality of real and intelligible trajectories. Each proposition, like the whole exhibition, begins with a weaving together of significations – in other words, with a tension between clearly established intentions and a more obscure, harder to grasp aspect, the artist marking out “the contours of a manipulated reality where what is presented to us never quite corresponds with what we think we are seeing.”1 This attitude, which characterises John Cornu’s working method, involves what is there in front our eyes – here and now – just as much as a multitude of unspoken things, shortcuts and parallel paths.

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MoMA | Video Games: 14 in the Collection, for Starters

MoMA | Video Games: 14 in the Collection, for Starters | The Aesthetic Ground | Scoop.it

We are very proud to announce that MoMA has acquired a selection of 14 video games, the seedbed for an initial wish list of about 40 to be acquired in the near future, as well as for a new category of artworks in MoMA’s collection that we hope will grow in the future. This initial group, which we will install for your delight in the Museum’s Philip Johnson Galleries in March 2013, features:

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Anti-Utopias | The Map is Not the Territory - by Taney Roniger

Anti-Utopias | The Map is Not the Territory - by Taney Roniger | The Aesthetic Ground | Scoop.it

Korzybski was right: The map is not the territory. Our cognitive models – our theories, pictures, and paradigms – are not the same as the things they represent, and to mistake the two is a grievous error. (Anyone unsure about this is advised to try eating a picture of a sandwich and see if it sates his appetite.) But, while nobody is denying the use-value of our constructs in helping us navigate the world, perhaps there is something more to them – something more substantial, more meaningful – than their failure to be that which they point to. What is certain is that with the digital revolution the map has been rendered, if not more earthen and edible, clearly more interesting – and, arguably, more profound.

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The Crystal World: Algorithms, Inhuman Speed and Complexity | www.furtherfield.org

The Crystal World: Algorithms, Inhuman Speed and Complexity | www.furtherfield.org | The Aesthetic Ground | Scoop.it

I found "The Crystal World" mind-blowing. It relates the tools of our human existence to non-human substances and timescales, providing the kind of corrective to anthropocentric vanity that object-oriented philosophy aspires to. It achieves this profound insight and presents it in an accessible way precisely because of the modesty of its materials and aesthetics, and because of the resonances of the cultural materials chosen as its starting point.

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Centre Pompidou Virtuel - Adel Abdessemed Je suis innocent

Centre Pompidou Virtuel - Adel Abdessemed Je suis innocent | The Aesthetic Ground | Scoop.it
Site du Centre Pompidou (Paris) : agenda des manifestations, collection en ligne, informations pratiques, achat de billets, etc.
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Anti-Utopias | Kjell Varvin – Unstable Variables

Anti-Utopias | Kjell Varvin – Unstable Variables | The Aesthetic Ground | Scoop.it

Kjell Varvin (born1939 Baerum, near Oslo, Norway). Painting, drawing, printing, sculpture, video, installation.

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installation views:Heading East: ex-chamber museum

installation views:Heading East: ex-chamber museum | The Aesthetic Ground | Scoop.it

Franz Ackermann is a Contemporary German visual artist who was born in 1963. Franz Ackermann has had numerous gallery and museum exhibitions, including at the Tanya Bonakdar Gallery and at the Gagosian Gallery, New York (24th Street). Numerous works by the artist have been sold at auction, including 'Mental Map: Evasion IV' sold at Phillips de Pury & Company London in 2007 for $585,794. There have been Numerous articles about Franz Ackermann, including 'Art in Review; Franz Ackermann -- 'Nonstop With HHC'' written by Ken Johnson for New York Times in 2005.

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Sculptor DAVID NASH at ART UNLIMITED

David Nash's first lack Dome was made in 1986 while residency at Grizadale Ferest. In Nash's own words: "When I was working as a resident sculptor in the Grizelade FOrest in 1978, I often came across centuries old charcoal burners' sites - level oval spaces, barely discernible on the hillside, always with the same combination of plants. Presumably the carbon residue from the charcoaling process had leached into the soil allowing only certain species to flourish. These spaces, although nearly invisible. had a sense of human presence, an echo of ancient forest activity. Eight years later I was one of a group of artists invited by the Forest Commission to consider making sculptures in the Forest Dean. The works had to be based on our response to the forest, sensitive to the environment, and accessible to the public

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Bai Yiluo - Civilization (and 3 details) - Contemporary Art

Bai Yiluo - Civilization (and 3 details) - Contemporary Art | The Aesthetic Ground | Scoop.it

Bai Yiluo works often incorporate photography and traditional sculptural techniques, media disparate in their ancient and contemporary connotations. Bai draws upon these to develop installations which reflect the human condition as a cyclical struggle, torturously beautiful and poetically triumphant. Bai’s Civilization is a haunting monument enshrining imperious power as a corrupted vision built on labourers’ toil. Made from terracotta, classical busts pose as emperors and slaves, pierced through and defined by agricultural tools, a life force and bane. Set upon twelve individual plinths, Civilization bridges reference to both Eastern and Western spiritualism, while its violent form suggests revolution, conflict, and rebirth as the isochronal quality of nature.

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