By Sophia Gambitsis
Interactive Installation – Publication website
Toronto, ON /// 2008
September 27, 2008 – January 4, 2009
Project Team: Lateral Office
Mason White, Lola Sheppard, Joseph Yau
Photographs: Peter Legris
For more than 40 years, Harbourfront Centre has believed to have been both current and creative, bringing together the best in Canadian culture and various other cultures world wide.
Harbourfront Centre is an innovative, non-profit cultural organisation. Whilst I did not see this in-person, the information on the show was very detailed and successful as I felt well informed on the Later office web page . Documenting an interactive normally has some pictures and a summary, but this one had diagrams of the artists interaction and how people interacted. This created a parallel between knowing and the unknown.
The project was to highlight the unseen parts of personal space. This meant people would take some round disks to hold the hair like wire. Clearing is a commission for a room-sized interactive space that invites visitors to investigate the politics of personal space.
This is an interesting work which plays with human interactions such as making way for people. It looks like a very fun work that I would want to play in because it’s inviting and open. The images online showed an empty work and a filled one. The contrast of an interactive work with and without participants was a successful way of photographing the project. After seeing this way of documentation and the diagram, I wish i photographed my installations better as I always a did an untouched installation photograph. While the information was good on this project it could have had a better understanding of the work if video was used as well, since the movement of people on a time lapse would have been very interesting, as the space would change and dance in a way.
By Annalise Enoka
- An endearing term that can be used for either sex
- A person you love a lot and want to call a cute name
Baby, Baby, Baby. Art Baby Gallery is an online exhibition space managed by the artist, Grace Miceli. Art baby is an accessible platform to showcase art that is under-represented in the ‘art world’. Art Baby Gallery aims to praise multimedia artists in their early stages of their career by forming monthly solo shows. Art baby also curates group shows such as ‘girls get busy: In Colour’ which is formed from the collective ‘Girls get busy’. Art Baby has show cased over 30 emerging artists, two shows I would highly recommend would be the solo show of Chole Wise and the group show from ‘Girls get busy’. Wise show consists of a video parody performance inspired by MTV’s show ‘The Real World’, photo collages and even a photograph of her a nipple pizza. I am attracted to wise’s ability to appropriate her self into units of television and Internet culture. Wise trolls these trends by bringing them to the surface. In some way she is sort of an art- comedian. The group show ‘Girls get busy’, consists of drawings and photographs from 21 artists. Each artist in this show is formed through ‘Girls get busy’ Tumblr website. The website is a feminist platform that supports artists, writers and musicians
Grace Miceli was inspired to form Art Baby Gallery because she wanted to keep that ‘art buzz’ she formed through college. Leaving college Miceli wanted to have a space that was accessible and affordable. The Internet became the perfect platform to show case this experience. Miceli found she could also connect with an artistic community online. Through Tumblr and other social media platforms Miceli could source multimedia artists to curate new shows. Grace Miceli also runs a shop from her website where she sells her zines, drawings and clothing inspired from Drake!
By Judith Yeh
‘a gallery’ opened in February 2011 at 393 Princes Street, Dunedin, and closed in September 2012. Strategically placed south of the centre of town nestled between tattoo studios, sex shops and a needle exchange. What was integral in the selection of the gallery space was that it would be able to be viewed from the street through the street level floor to ceiling windows. This would allow the artists showing to be exposed not only to viewers visiting the gallery, but also those walking past, as a gallery was to represent artists that did not fit within the commercial gallery context or the so called experimental project space’s.
Inspired by sealed collectables like Garbage Pail Kids and kid robot, each copy of the publication ‘Hated, The Rise and Fall of a gallery’ comes sealed in a black envelope with an unique, original artwork by one of nine artists that showed at a gallery.
This project is produced to fundraise for the exhibition ‘a gallery Presents: Sure to Rise’ in Wellington 2014, which features artwork by the same artists featured in the publication. The little 50gram black parcel is filled with a mixture of love, hate, and surprises; with a limited number of 100 copies. When I open the seal of this black mysterious package, so full of anticipation, like a kid who opens the little Kinder Surprise capsule – the first surprise I encounter is that it’s a spray-painted Courier Post cardboard envelope. I can hardly imagine the laboriousness of spray-painting a hundred envelopes, yet the look is surely effective. In contrast to the all black packaging, the publication itself has a blank all white cover. Not a chance for one to judge a book by its cover.
The publication reminisces the exhibitions, openings, art, reviews, parties, after-parties, and after-after parties that a gallery had put on over its twenty glorious months; with photographs provided by various friends to a gallery. What I find the most amazing and impressive thing about this project is that: as it serves as a fundraiser, it means that it would be produced under a very strict budget. And possibly relied heavily on donation, sponsors and friends. But the publication was so well put together, which makes one forgets the bills one could of paid with a hundred dollars. For a gallery, well worth it.
By Jesse Bowling
Panther Modern is an online platform (“gallery”) that supports “post internet” art. Panther Modern invites artists to exhibit within this platform in “rooms” that are created each time an artist is about to be shown. These “rooms” are virtual and can be created by the artist using 3D programs; these “rooms” are then attached to the previous rooms to build Panther Modern into a larger virtual space. So far Panther modern is compiled of 8 rooms, the 9th room has been announced featuring the work by Mark Dorf. I wanted to pay particular attention to room 8 by Kim Laughton; Kim has created a 3D architectural space that resembles a gallery that is defunct or vacant/forgotten about. Kim’s “room” is a hyper-realistic rendition of a gallery space that brings into question our perception of the “ reality” of space and its construction. This brings to question art and object and how physical art objects exist only in a gallery and homes of art appreciators but what happens to these objects when they are in transitional periods/storage. Art objects are catalogued on the Internet and books, so why cannot art only exist on this platform of a book or Internet platform. This can also relate to video work and projection works, we justify these being physical because this medium is viewed through something physical- but then so is this website, because I’m looking at it through a screen just like viewing a video work on a TV screen in a gallery. The difference here that can spark argument is that video or projection work is set up as a spectacle, a temporary artwork that is viewed during a certain time frame- then documented on the Internet and/or books.
Panther modern is for everyone at every moment of the day/year/month who wishes to engage with this platform, an interesting idea of what could be a “public” gallery.
By Maddy Plimmer
(screenshot by Maddy Plimmer)
4298 likes is as good as 4298 visitors to a gallery that exists entirely on Facebook. #0000FF is a non-profit art gallery space that focuses on net art, 3D rendered art and a particular shade of blue. The hexadecimal colour #0000ff is made up of purely blue. It is a shade of blue seen frequently in computer displays, which is difficult to imitate outside of a digital screen. What a light emitting pixel can do, is very different to what paint can do. Aesthetically speaking, the choice of blue for the gallery also sits harmoniously against the Facebook template, which certainly adds visually to the experience of the online gallery.
Several of the artworks have never existed in physical space. They were created digitally, and then displayed digitally, which is certainly referential of how the introduction of the Internet changed the distribution and storage of information. The gallery’s goal was to promote art of emerging new media and net artists, through the format of a Facebook fan page. This format is definitely fitting for the types of works being exhibited, as a lot of the works are made referencing the Internet and digital technology. However, I also feel this format lends something to the theme of the space, as it situates all the works in a context of social media. The works are most usually viewed in amongst viral videos, trending articles, Buzzfeed quizzes and whatever else might make up your newsfeed. It quite literally situates the works in popular culture, comparing, relating and contrasting them to the culture of the moment. Though all the works can be seen together, in isolation from the rest of the posts in newsfeed, they are still framed by Facebook advertising, suggested pages and likes. Discussing these art pieces in a Facebook framework could be seen as to alter the way in which we interpret them. Discussion is sometimes even completely eliminated from these works, as the ‘like’ function operates as a way for the viewer to state their satisfaction with the work without words. Overall, #0000FF’s exhibition space places its works in a relevant and unique space, opening itself up to a wide audience and fresh interpretations.