posts tagged "Line Magazine"
Exploit.zzxjoanw.Gen by Dane Sutherland
Image courtesy of Plastique Fantastique
Coined by writer, artist and self-proclaimed ‘concept engineer’ Kodwo Eshun, the term Sonic Fiction refers to the myriad statements, titles, costumes, relations, speculations, rituals, hidden tracks, production techniques, economies, patois, basslines, gestures and images close to a genre of music, generating a trans-media narrative, immanently connected as they are to the speculative potency of the sonic grain of each song. As the enigmatic art collective 0(rphand(rift> have said, “the solitons of the music tell a story.”
The key development that has made thinking Sonic Fictions possible is certainly Afrofuturism: a name for the alternative histories and alien futurities generated amongst Afro-diasporic cultures. As an epistemology, it considers Black artistic production as a dispersed modality of wresting forms of science-fiction, utopian thought and modernity from a situation in which the Black subject is inherently alienated by the events of dominant historical narratives, speculating upon this alienated character as a future-oriented subjectivity in-production.
Bending Light: making work for the real and the virtual realms
‘Bending Light’ was the first exhibition organised by the curatorial research group Home Platform. Produced by curator and artist Charlie Cousins as part of Bristol Art Weekender, ‘Bending Light’ selected the work of emerging artists working in the spaces between the real and virtual realms. This excerpt is taken from a panel discussion organised by Home Platform to support the exhibition and consider the questions it posed.
Charlie Cousins: Curator of Home-Platform, Artist and Writer
Georgina Bolton: Programme Coordinator at Situations, Writer and Researcher for Line Magazine
Menna Comminetti: Exhibiting Artist
Sebastian Jefford: Exhibiting Artist
Kit Poulson Artist and Lecturer at UWE
Tom Johnson Artist and Co-Founder of Madescapes ^
Charlie Cousins: Hi everyone, welcome to ‘Bending Light’ the first exhibition from Home-Platform. For those who aren’t aware, Home is a curatorial research platform examining the relative positions of object, image and gallery. Trying to work both on and off-line to explore the space in-between the virtual and physical realms, and question the role of the gallery space within a post-internet culture. Today is a chance for an open discussion about the themes that have been brought together in the show.
Georgina Bolton: Thanks for being here everyone and of course a huge thanks to Charlie, Will and all artists for putting on such a fantastic show that has both set the context and provided content for this debate. So I guess this started out when Charlie and I had a conversation that triggered a mutual curatorial interest. As someone also fascinated by screen/surface, object/image relations, I’d been developing research with Line magazine for a couple of months, with ambitions to co-curate and launch a new experimental online platform for Line, titled ‘Curator’s Space.’
We wanted to think about ways in which we could utilise and maximise online space. To create a platform that was more than just a documentary presence of an exhibition that had passed, but a screen-space dedicated specifically to new work. Traditionally there is a physical spread in the magazine called ‘Curator’s Space’, and it grew out of an inspired idea to translate the section to a digital format, inviting artist led groups or a specific curator to create an online exhibition that was solely created for, and existed on screen.
PEERTOPEER@WHO THE FUCK ARE YOU? RYAN TRECARTIN,RACHEL MACLEAN AND GENERATIONAL HYSTERIA by Ivan Knapp
Ryan Trecartin, Photo by Fulvio Orsenigo
This year the Zabludowicz collection in London has bookended its exhibitions programme with two artists of a similar age but who are at very different stages of their career. So, in the glare of a thought grenade thrown carelessly into the public sphere by Peter Schejdhal (“Ryan Trecartin is the most significant artist to have merged since the 1980s”) and Massiniliano Gioni’s interpretation of Trecartin’s work as exemplary of an emerging “hysterical realism”, it seems appropriate to expose the young Scottish Artist Rachel Maclean’s work to the revelatory light of these bold claims. Just what is hysteric about Trecartin’s work to begin with? What relationship does it bare to any sort of “realism” – and by extension reality? And how might it be considered as exemplary of a generational symptom which is locatable in an increasingly wide number of works by those like Maclean, to borrow a marketing meme, younger than Jesus?
Can someone tell me who I am? | King Lear
Well, now that we have seen each other, said the unicorn, if you’ll believe in me, I’ll believe in you | Through the Looking-Glass
The world can’t be like this, or I can’t be in it | The Radicalisation of Bradley Manning