“Branching out from Guy Debord’s definition of “psychogeography” as “the study of the precise laws and specific effects of the geographical environment…on the emotions and behavior of individuals,” this exhibition looks at the use of digital tools in mapping the interplay between psychological states and urban environments. The participating artists are all using sophisticated technologies, from biofeedback to GPS, as a way to augment the experience of their surroundings, to record or map their passage through both physical and mental spaces”

Dates are > November 14 – November 17, 2011

More info here

BACKGROUND TO THE MUSEUM
The Museum of Ordure explores the cultural value of ordure through its projects and ongoing public collections. It takes inspiration from Dominique Laporte’s “History of Shit” (first published in French in 1978), to verify that modern power is founded on conditions for the management of human waste. Laporte insists that in parallel to the cleansing of the streets of Paris from shit, the French language was similarly cleansed of Latin words to establish official French without “foreign leanings” (according to an edict of 1539). Thus language was purged of its “lingering stink” to become purer and invested with authority. Can the same can be said of the technologies that are now found on the streets (installed in mobile devices and such-like), that they are purged of their stink too? This is the Apple paradigm of software development with specially conceived proprietary “apps” (for iPhones and iPads) that close off users from the underlying stink of code. If the health of the (social) body can be detected in the examination of its shit, then current mismanagement is clear for all to see in the vile products that proliferate.

THE ONGOING ORDURE COLLECTION
See the growing collection of ordure at http://www.ordure.org/collection/ and share with us #ordure content on Twitter.
Actually at the moment Twitter has suspended the @museumofordure account, confirming the status of its tweets as ordure; despite this, ordure continues to circulate and results for #ordure can be found at http://twitter.com/#!/search/%23ordure.

The Museum is also currently showing some objects from its collection as part of the Museum Show at Arnolfini, Bristol, UK (Sept-Nov 2011). See http://www.arnolfini.org.uk/whatson/exhibitions/details/1076

The Museum Website
www.ordure.org

The Permanent Collection
www.ordure.org/collection

Share #ordure on twitter
http://twitter.com/#!/search/%23ordure

Supported by Arnolfini
http://www.arnolfini.org.uk

Surveillance technologies surround us – in CCTV, on the web, in our phones. Can we turn these technologies on themselves? Can we subvert and play with them, turning them into devices to make art and film from? How can we create devices that render surveillance technology useless?

Subveillance is a unique screening event at Lighthouse. In this dynamic series of short films, we see how artists have turned surveillance on its head – by turning CCTV cameras into filmmaking equipment, making anti-surveillance devices, and turning online surveillance technologies into subversive games and art-making tools.

This screening is part of White Night, the city’s annual all-night arts festival that returns with this year’s edition themed around Utopias. Use your extra hour wisely on the night the clocks go back, by joining in with the city’s cultural reclaim of the streets. There are more than 60 unique and extraordinary ‘one night only’ cultural events taking place across the city, in cultural venues, cafes, parks, squares, streets, pop up spaces, sporting facilities, and on people’s smart phones and iPods. Come along and do something different in the middle of the night.

Artists in the subveillance programme include:
Les Liens Invisibles – an imaginary italy-based duo comprised of Clemete Pestelli and Gionatan Quintini
Paolo Cirio – a media artist that has worked in various fields from net-art to software art and experimental storytelling
Alessandro Ludovico – editor in chief at www.neural.it
David Valentine – a Writer, Director and Filmmaker interested in the way technology affects society and human behaviour

http://www.lighthouse.org.uk/programme/white-night-subveillance

http://todaysart.org/be/events/speed-show/

Curated by Anne Roquigny and Yves Bernard

The Speed Show exhibition series was conceived by the artist Aram Bartholl in June 2010. The basic idea of this exhibition format is to create a gallery like opening situation for browser based internet art in a public cyber-cafe / internet-shop for one night. The exhibition format is free and can be applied by anyone at any place. (See how to instructions)

The format:
Hit an Internet-cafe, rent all computers they have and run a show on them for one night. All art works of the participating artists need to be on-line (not necessarily public) and are shown in a typical browser with standard plug-ins. Performance and life pieces may also use pre-installed communication programs (instant messaging, VOIP, video chat etc). Custom software (except browser add-ons) or off-line files are not permitted. Any creative physical modification to Internet cafe itself is not allowed. The show is public and takes place during normal opening hours of the Internet cafe/shop. All visitors are welcome to join the opening, enjoy the art (and to check their email.)

“A sign that genuinely remained only related to itself and thus totally in the category of firstness would in itself be a contradiction. Namely, if a first relates to itself, then this is conditional on a relation and therefore necessarily a second.” (1) Each sign exists in a time continuum between a preceding and a following sign. If one thinks of such a continuum as a changeable flow, then it suggests the conclusion that no sign can relate to something that would stand as an object outside this flow—a paradoxical mind game that thinks about thinking, in a loop that starts from the beginning again as soon as it reaches the end.

more on CONT3XT.NET

The main purpose of the project is to fill the augmented space of the Biennal with a stream of signs and symbols,in an attempt to emphasize the flowing condition of producing art in the “always-on” age.

All the people with a smart-phone (iPhone or any other Android-based phone) in the area of the Giardini in the Biennale, will be able to move around the traditional pavilions and watch through the phone screens to another immaterial/invisible exhibition using the popular app Layar.

During the period of Venice Art Biennale (June – November 2011) a group of selected international artists have been invited to give their personal contribute to the project, performatively contribute posting multimedia pieces that should reinterpret somehow the public space of the Biennale and its symbolic aura in the field of contemporary art. The art pieces will be visible also on the Internet on the Invisible Pavilion website.

As Simona Lodi says in the curatorial text, “The Invisible Pavilion is a hallucinatory experience of rewriting the world, an encouragement to increase the whirl and flow of information on invisible r/Reality.  The Invisible Pavilion contains a r/Reality that is open and spontaneous, drawn and analysed from shared data. The double r reflects its double connotation—the lower case r refers to the everyday reality that we all know; the upper case R to a proprietary name, the augmented Reality that is produced.“

Participating artists

• Artie Vierkant
• Constant Dullaart
• CONT3XT.NET
• IOCOSE
• Jon Rafman
• Les Liens Invisibles
• Molleindustria
• Parker Ito
• REFF – RomaEuropa FakeFactory

The DEberlusconiZER is proud to announce DE_ZER Vol. 3, the third of a series of exhibitions in which some contemporary artists are invited to give a new meaning to the informational space “liberated” from the unwieldy presence of the Italian Prime Minister. Every show includes three works by three different artists and lasts ten days, in an unprecedented adaptation of the codes of street art and public art to the online environment.
From May 16 to May 25, 2011, three works will alternate randomly into this public space: Offresi piazze italiane per aspiranti rivoluzionari, by Maddalena Fragnito; Your Face Here, by Les Liens Invisibles; and The bigger a man’s gun the smaller his doodlewick, by Jon Cohrs.

Maddalena Fragnito uses the space provided by the DEberlusconiZER to set up a marketing campaign for her brand new project: http://offresipiazze.wordpress.com/, the website of a company renting out city squares of different sizes to wannabe revolutionaries. The work ironically plays with the celebrated revival of Italian’s public spirit, but behind this playful facade it offers a real service: providing useful informations for activists, and explaining the history and the current use of places that should be considered, but not always are, public spaces.

The Italian collective Les Liens Invisibles also made a marketing campaign promoting A Fake is a Fake, a web publishing tool that let you use, for your website, the readymade interfaces provided by the most inportant news platforms, from the New York Times to Repubblica. The work pokes fun at the savoir faire of the Italian Prime Minister, but it’s also an invitation for everybody to contrast, with the tools provided by the internet, his videocracy.

With his animations of young, sexy, armed women and his quote by Calamity Jane, the American Jon Cohrs puts together his interest in Internet memes and the macho, patriarchal model embodied by Silvio Berlusconi on the international media.

The DEberlusconiZER is a web tool that replaces the images and words related to the Italian Prime Minister. The software subverts the media machine created by one of the most controversial figures in Italian politics by reclaiming the space devoted to him and using it for new porpuses.

The DEberlusconiZER is a project by Elisa Giardina Papa, Fabrizio Giardina Papa, Giovanni Salerno and Floriano Lapolla.
The artists have been selected and invited by art critic Domenico Quaranta.

info@de-zer.com
www.de-zer.com