THE INTERZINE

Gene McHugh, Rhizome’s former Editorial Fellow and a periodic contributor to the site, received the Creative Capital | Andy Warhol Foundation Arts’ Writers Grant earlier this year and has used these funds to begin the “Post Internet” blog. His project aims to build a space to reflect on “…art responding to an existential condition that may also be described as ‘Post Internet’–when the Internet is less a novelty and more a banality. Perhaps this is closer to what Guthrie Lonergan described as ‘Internet Aware’–a term that I’m sure I will be thinking through here sooner or later.” The blog is essentially a bare-bones workspace for his loose, often train-of-thought musings on contemporary internet-based art, and covers everything from Google’s Parisian Love ad to Seth Price.

computer assisted painting

Via the compArt Database of Early Computer Art

black and white plotter drawing

Via the compArt Database of Early Computer Art

Black and white plotter drawing created on an IBM 360/75, printed on a CalComp Plotter 565

Via the compArt Database of Early Computer Art

Takeshi Murata’s Melter 2 at Gosen Skole from “Keep On Moving, Don’t Stop”

I tracked down curator Hanne Mugaas, one of the organizers behind New York’s Art Since the Summer of ‘69, for a 1 question interview, à la Rafaël Rozendaal’s One Question Interview blog. Mugaas is the first to curate a new public video art initiative in Stavanger, Norway called Public Screens. In the spirit of Boston’s Lumen Eclipse or Creative Time’s At 44 1/2, Public Screens presents video art around the city on large public screens. Mugaas’s exhibition for this new project “Keep On Moving, Don’t Stop” brings together animations by a young generation of artists who grew up under the specter of the internet, television and video games. Artists include Michael Bell-Smith, Vidya Gastaldon, Ezra Johnson, Yui Kugimiya, Takeshi Murata, Adam Shecter, and Espen Friberg. (More shots of the exhibit after the jump.) Given the topic of the show, I thought it would be fitting to ask Hanne about her childhood exposure to animation.

What was your favorite animated television show as a child and why?

My favorite animation as a kid was Flåklypa Grand Prix (Pinchcliffe
Grand Prix) from 1975. It was made by the legendary Norwegian animator
Ivo Caprino. It’s about the inventor Reodor Felgen who’s living with
his animal friends Ludvig, a nervous, pessimistic and melancholic
hedgehog, and Solan, a cheerful and optimistic magpie. One day, the
trio discover that one of Reodor’s former assistants, Rudolf
Blodstrupmoen, has stolen his design for a race car engine and has
become a world champion Formula One driver. Solan secures funding from
an Arab oil sheik who happens to be vacationing in Flåklypa, and to
enter the race, the trio builds a gigantic racing car: Il Tempo
Gigante—a fabulous construction with two extremely big engines.

My dad used to show me this and another film by Caprino, Karius and
Baktus (Caries and Bacterium), about two little trolls living in and
destroying your teeth, on a film projector and projection screen in
our living room.

Here is a clip of Flåklypa Grand Prix (Pinchcliffe Grand Prix):

And a clip of Karius and Baktus:

Adam Shecter’s Hydra at Vitenfabrikken

Michael Bell-Smith’s Smoke Screen at Clarion Hotel Stavanger

This gallery-installation/internet-art hybrid automatically created sculptures using spam and e-mail to trigger the sculpting process. It consisted of a steel frame surrounding a large block of biodegradable (starch-based) Styrofoam. Attached to the frame is the Eroder: a mobile sprayer that squirted colored water on to the foam.

— DESCRIPTION FROM THE ARTIST’S STATEMENT

Combining Robert Morris’ Box With the Sound of Its Own Making with Baudrillard’s writing on the art auction this sculpture exists in eternal transactional flux. It is a physical sculpture that is perptually attempting to auction itself on eBay.

Every ten minutes the black box pings a server on the internet via the ethernet connection to check if it is for sale on the eBay. If its auction has ended or it has sold, it automatically creates a new auction of itself.

If a person buys it on eBay, the current owner is required to send it to the new owner. The new owner must then plug it into ethernet, and the cycle repeats itself.

This work is discussed in the catalogue for The Value of Nothing, a 2009 exhibition.
Buy or download it.

Follow the current auction here: http://atooltodeceiveandslaughter.com

–DESCRIPTION FROM THE ARTIST’S STATEMENT