A single object is sent to different manufacturers and workshops to have various ‘processes’ applied to it. Each process is chosen, in secret and in turn, by the collaborating artists. After 10 processes, the object — whatever it looks like and whatever it becomes — is complete and made public.
My Holy Nacho is a transactional and transnational art project between two artists who enjoy misunderstanding each other, using the gaps in communications via electronic media to create an artwork. My Holy Nacho is a sculptural object built from fissured transmissions and mistranslations — even the title of the work is the result of a misunderstanding: A mis-hearing of the name Moholy-Nagy in a noisy pub in Northern England; a mumbly mispronunciation in a Canadian accent to an Austrian not-so-native speaker.
A 1:1 scale model of an art institution for the wireless belle époque.
The Palais des Beaux Arts is a conceptual art space set between the historical and stylistic presence of the pre-Secessionist Jugendstil landmark from 1908 and the material and electromagnetic layers of the public space around it. Selected international artists and curators are commissioned to create site specific works and interventions on our wireless network and the unmarked space around it. The vernissage is on the trottoir. Bernhard Garnicnig is the Very Artistic Director since 2014.
"A gorgeously acquired coincidence of two definitively modern statements in musical sensuality presented in an utterly flawless collision of divergent intents and aesthetics. The outcome, a 5-track EP that layers Ciara acapellas with Ryoji Ikeda, comes across as the next-next ultra-flection, what we all been waitin’ for long before we even realized but we greet like a panacea the moment it drops." (Gwilly Edmondez)
The internet tribe abandoned the global village when it started to resemble a shopping mall. After the digital natives were promised that their new ideas would lead to fame and success on global markets, they are now confronted with totalitarian networks and corporate structures. Consequently they turned their heads away from the screen. Facebook owns the copyrights to their ideas, shared infinitely to only disappear in the clouds.
Among all the possible realities imaginable, artists start to look for common ground in products, hardware and brands – commodities made from global materials. A form of recursive materialism emerges. The common ground between seven billion people is that we can all share a micro USB connector. An empty coke bottle will be found in the desert sands and nomads navigate the dunes with a Samsung tablet. Global materials seem to override all phantasies of unique visions and subjective expressions.
But the internet tribe moves to the outskirts of physical production, reusing artifacts from the world of corporate mythologies. They work with concepts of the “Archaic” instead of “New”, choosing to be ‘poorsumers’, transforming ideological waste into something magical. For them, art is a poetic freight and the trade system a collective parable of desire. By imitating commodities in almost shamanic rituals, a higher form of cargo is summoned: be it future wealth, success or even art.
A project exploring orbital and personal approaches to Brasilia, a place as much mystified by local spiritistic belief systems as by eurocentric critiques of the post-modern condition. This project is currently work-in-progress.
A pioneering browser performance format
Soundwwwalks are an emerging genre of live browser-based performances where improvisation meets plugin sound-collage and multitab mixing, shamelessly blending the traditions of acoustic ecologies, pro-surfing and laptop performance. The artists take the audience on a sonic detour through the World Wide Web.
A Soundwwwalk considers the act of surfing the World Wide Web as a form of sonic action in the networked space of the Internet, a place where multitudes of sound sources, sonic events and acoustic phenomena converge. All performances follow the Soundwwwalk One-Line-Manifesto: “All sound sources must be played in a browser, must not be self-produced and must be publicly accessible.” The artists perform their Soundwwwalks in person on stage or transmit the notation, sometimes in real time, to a local interpreter operating the browser.
The performance series was initiated by Bernhard Garnicnig in 2009, inspired by the world wide web becoming the largest possible library of sonic artefacts and recordings, considering any sound and video file uploaded to the web as potential but fluctuative material for sonic ideas and actions.
Exhibition at Magazin, Wien
Ast fällt auf Tonspur explores correlations within the fields of experimental and popular music. In particular, the respective strategies of visualization, image production and paradigms of performance and sychronisation have been crafted into a audio-visual constellation of works.
Solo Exhibition at Lust Gallery, Vienna
Five unique Snapchat accounts were offered for sale. Collectors purchased the accounts with usernames such as "meegaasaatchii", "borghese2k" and "esslectic" as encrypted hardcopy certificates and have since then been sent artworks, which are available to view for 10 seconds, via the app. The collectors are free to save, re-distribute and re-sell these digital ephemeral works based on the terms agreed in the certificate.
It's been known for quite a while now that the U.S. intelligence community (I.C.), which includes the NSA, CIA etc, runs it's own suite of web apps, like Twitter, Facebook and Pinterest, of course on their private and secure networks.
These web applications have their own tech support, which you call for help using a kind of I.C. version of Skype. Their tech support barely runs any more efficiently than any other tech support hotline, you call and might or might not get an answer to your problem. Yet you'll find exceptional people among these system administrators answer phone calls. One of them was Edward Snowden.
It turns out that Edward Snowden has been a systems administrator and infrastructure analyst for another special web application: The intelligence communities own version of Snapchat, which much like it’s civilian version of the ephemeral photo messaging app, quickly became one of their most popular apps.
Why the CIA would make their own Snapchat? Back in the days, spies would get their instructions and would burn them after reading. I.C. Snapchat became the burn-after-reading app, praised for making any information or instructions - basically any evidence of communication - disappear after it has been read and acknowledged by the recipient.
What this has to do with the Snowden leaks? Well there has been a lot of abuse of I.C. Snapchat. No, it wasn't only used by agents to send nudies across the tightly secured network. The real problem was the secsnapping, a practice that describes taking a snapshot of a top secret document or powerpoint slide that is then sent by one agent to the other. But this would not happen for reasons of communicating secret information itself, but only to show off what projects you were working on, what access level you obtained and what info you'd have seen. Basically it was used to represent your status among peers.
And with Snowden being the "IT guy" for I.C. Snapchat, he had access to every secsnap ever sent out - which as we now know, he of course would all permanently save. This is how Edward Snowden got access to so much of the data he leaked to the press afterwards.
(From Benjamen Walker's Theory of Everything: Artifacts I)
Three magazines bought on the way to an exhibition install.
DONE TO A DEAD END & THE DEAD OR ALIVE SALE, Curated by Lee Welch.