Google Maps are made of several satellite pictures shot in a long time period and clustered together to let us explore and navigate through the Earth. It is exactly in this complex process of combining images that some inconsistency can happen, and that’s what Elena Radice finds out during her journeys. The artist started to focus on what she calls “joints” – the junction points where, say, a snowy mountain meets its green sunny summer version – emphasizing the aesthetic and visual value of these images, framing and collecting her screen shots.
This kind of discrepancies work like a powerful antidote able to open our eyes and show us what we really see when we navigate on Google Maps, reminding us that what we are observing is actually a map, a representation of reality, and not reality itself. And it is exactly in this moment that some satellite pictures stitched together by some special image processing algorithms returns to look like abstract painting compositions. But the images collected by Elena Radice are not just that: they are also a powerful representation of time, and a comment on what she calls the useless effort of keeping memories.
A selection of these images will be exhibited at the Link Point, displayed in various set-ups and formats.
 
Elena Radice (http://leraneacide-portfolio.tumblr.com) lives, works and studies between Milan, Genève and the Internet. Starting from a “being user” condition, she builds objects in evolution whose shapes translate themselves into one another. She keeps track of these ongoing processes on http://leraneacide.tumblr.com, a blog followed – for some odd reasons – by 82.173 people.

“That’s the idea that pictures from satellites have given us: we can look from above, we can see the world the way it is, its truth. But is it true?”
Elena Radice

“Thanks to an odd discovery, we have a new way to watch the world change before our eyes. It’s called Abstract Season Changes, and it’s a Tumblr, and it’s amazing.”
Oliver Miller on Thought Catalog

“She came to think about the satellite pictures more aesthetically, framing her screen shots to compose images that look almost like modernist abstract art. Now she uploads the results to a mesmerizing Tumblr blog that she calls Abstract Season Changes.”
Emily Badger on Co.Exist

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Link Editions is proud to announce the release of “After Brad Troemel”, by US based artist Chris Coy. The book is the first of a selection made out of an open call for proposals, by a jury including Andreas Broeckmann, Ben Fino-Radin and Domenico Quaranta, to be released in our series “In My Computer” along 2013.

“After Brad Troemel” (ABT) is an artist book conceived for the JstChillin exhibition “Read/Write” at 319 Scholes in Brooklyn in 2011. The book – originally published in a limited edition of 20 – took as its conceptual core the characterization of artist Brad Troemel as a genius and a mastermind analyzed through the lens of conspiracy theory and amateur internet sleuthing. According to artist and writer Artie Vierkant, who wrote the introduction to this edition, ABT is not “about Brad Troemel, nor any of the myriad names or identities that are mentioned in its pages. ABT is about the construction of identity in a mediated public space – largely concerned with social interactions on the Internet, but most prominently through textual and visual communication. If it could be said to be about Brad Troemel, or even about Chris Coy himself, then these two are taken as case studies of two very divergent methods of approaching mediated identity.”

The book, which disappeared from circulation soon after its first release, is now made available by Link Editions as a print-on-demand paperback through Lulu.com, and as a freely downloadable PDF available on Lulu.com, Issuu.com and on Link Editions’ website.

Chris Coy (www.seecoy.com) is an artist and filmmaker currently living and working in Las Vegas. He has shown work at the New Museum in New York, the Sundance Film Festival, the Netherlands Media Art Institute and numerous international art festivals and group exhibitions.

“In My Computer” is a series of books collecting unpublished material available in your computer. The book can take any shape compatible with POD’s production and distribution standards. A new call for proposals will be announced soon.

Link Editions (http://editions.linkartcenter.eu) is a publishing initiative of the Link Center for the Arts of the Information Age. Link Editions uses print on demand and digital formats to create an accessible, dynamic series of essays and pamphlets, but also artist books, catalogues and conference proceedings. A keen advocate of the idea that information wants to be free, Link Editions releases its contents free of charge in .pdf format, and on paper at a price accessible to all. Link Editions is a not-for-profit initiative and all its contents are circulated under an Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) license.

Until June 15, all Link Editions books will be available on Lulu.com with a 20% discount.

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On Wednesday, April 3 2013, from 6.30 to 7.30 PM, artist Elisa Giardina Papa will make a presentation about her work at the Museum of Santa Giulia in Brescia, as part of the series Brescia Contemporanea: incontri che sorprendono. Everybody can attend the event. More info

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On Saturday April 6, 2013, the project Drawing From Life (2011 – 2013), by artist Elisa Giardina Papa, will be presented in a specially designed installation at the Link Point in Brescia, Italy. The show will be open to the public from 6.30 to 9.30 PM. The artist will be present.

Drawing From Life is a series of 120 digital drawings printed on paper, and based on casual encounters occurred online. More specifically, the drawings were made in the online chat website Chatroulette, “that pairs strangers from around the world together for webcam-based conversations. Visitors to the website begin an online chat (text, audio, and video) with another visitor who is chosen at random. At any point, either user may leave the current chat by initiating another random connection.” (Wikipedia)

The system also provides a drawing tool that allows you to interact with your random partner via manual writing or drawing. Elisa Giardina Papa decided to employ this tool to turn her presence on Chatroulette into a long, silent, enduring drawing performance. Any time a new partner connected to the chat, she started drawing what she saw on the screen, refusing any other form of communication. She didn’t talk, she didn’t write: she just draw. Each drawing is, therefore, the record of the artist’s interaction with her “audience”: some got bored and changed partner in a few seconds, leaving the portrait incomplete; some tried to talk; some posed; some kept doing what they were doing; some contributed to the drawing.

A live record of an uncanny interpersonal experience – now available to everybody – Drawing From Life is also an archive of memories, a transfiguration of reality as it is experienced on the web, and the re-enactment of a popular way of interacting online – Giardina Papa is, of course, not alone in drawing people in online chatrooms: all strategies often explored in her recent body of work.

Elisa Giardina Papa (www.elisagiardinapapa.com) lives and works in Milan, Italy and Providence, Rhode Island, USA, where she is completing her MFA at RISD (Rhode Island School of Design). Recent exhibitions include: Pixilerations [v.9], Providence, Rhode Island, USA 2012; Trickle Down Electronics, CAVE Gallery, Detroit, MI, USA 2012; Collect the WWWorld, The Artist as Archivist in the Internet Age, Spazio Contemporanea, Brescia 2011 – House for Electronic Arts, Basel 2012 – 319 Scholes, New York 2012; BYOB Art Basel Miami, Grand Central, Miami, USA 2011; Internet Pavilion, 54° Biennale di Venezia, Venice, IT 2011; Open, New Gallery London, London. GB 2011.

On Wednesday April 3, 2013, at 6.30 PM, Elisa Giardina Papa will have a presentation at the Museo di Santa Giulia, Brescia, in the frame of the show “Novecento Mai Visto”.

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Best of Rhizome 2012 is a selection of texts published on the editorial platform of Rhizome in 2012. In the words of Rhizome’s Executive Director Heather Corcoran, the book is “not just a best of Rhizome’s work, but a portrait of the year that we hope will gain significance over time for its contextualization and articulation of artists’ practices. Artists are predictors and barometers of change, and sensitive to their cultural surroundings. From texts on production in the digital age, to the influence of the Occupy Movement, from drones and surveillance, to online vernacular – these collected essays give a sense of what was informing artists’ work, and by extension culture, in 2012.”

Best of Rhizome 2012 includes texts by Orit Gat, The Piracy Project, Rahel Aima, Angela Genusa, Adam Rothstein, Joanne McNeil, John Powers, Sarah Jaffe, Harry Burke, Giampaolo Bianconi, Jason Huff, Clement Valla, Rachel Wetzler, Yin Ho, Ben Fino-Radin, Paul Graham Raven, Honor Harger, Jordan Crandall, Maura Lucking, and Cole Stryker.

Purchase & Download:
http://editions.linkartcenter.eu/
http://www.lulu.com/spotlight/linkeditions
http://issuu.com/linkeditions

Founded in 1996, Rhizome (http://rhizome.org/) is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology.

Joanne McNeil (http://joannemcneil.com) is the former editor of Rhizome. She was a 2012 USC Annenberg / Getty Arts Journalism fellow. Her writing has appeared in Modern Painters, Wired UK, Frieze, The LA Times, the Paris Review Daily, The Boston Globe, n+1, and other web and print publications.

Link Editions is the Link Art Center publishing branch, that releases its books in print on demand and as e-books available for free download.

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Recently, Spanish art critic and curator Pau Waelder interviewed us for art.es – one of the best Spanish contemporary art magazines. The five pages feature has been published in the last issue of the magazine (art.es # 52), now available worldwide. In Italy, you can find it at the following venues: ART BOOK (Milano); Bonelli Arte Contemporanea (Padova); Carla Sozzani (Milano); Galleria Continua (San Gimignano); Ecoteca / Artificialia (Pescara); Instituto Cervantes (Milano); Instituto Cervantes (Napoli); Instituto Cervantes (Roma); Marco Noire (Torino); Galleria Pack (Milano); Umberto Di Marino (Napoli). The full list of distribution points is available here.

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On January 1, 2013, artist Susi Law – its last temporary owner – brought the MINI Museum from Bergen, Norway to Hong Kong to use it in the frame of her exhibition A Taste of Nordic Sea – Moving Still, that took place at attic of NEW KWONG TAI Dry Seafood Store, Hong Kong. A Taste of Nordic Sea – Moving Still is a small review by caretaker/ active listener/ value-sniffer Susi Law, who returned to Hong Kong for a short visit during her post-graduate fine art study in Norway. It is a one-day event takes place at the attic of a dry seafood store at Yuen Long, runs by her family and located at where Susi was born and grown up. The event came into her mind after she heard that her father is constructing a nice room at the shop attic, so that they could take a nap there, or place a mah-jong table for relatives occasionally. She still feels surreal in witnessing her mum from being a hawker in the 90s to become a shop owner this year.

The MINI Museum displayed Chasing a Tree from Far (2012), which is now part of its permanent collection. Chasing a Tree from Far is a loop of six images in which Law used her camera lens to chase a tree until she lost it, found it and lost it again. The work is part of a series of minimal, poetic works in which the artist uses her camera to record fragments of reality or to explore behaviors of the device that suddenly got her attention.

Susi Law lives and works in Bergen, Norway, and is a master student in fine art at Bergen Academy of Art and Design. Being surrounded by great nature and people makes her relate herself closer to the world in a natural way, sometimes she forgets about art/artist/exhibition-related stuff. Currently Susi cares more about her surroundings (people, space, nature) and pay very much attention to the relations in between. She treats wondering, reinterpreting, active listening, connecting and value-sniffing as her practices.

Additionally, on January 6, 2013 the original Mini Museum press image has been playfully appropriated by artist and curator jonCates for his online curatorial project I Am Curating. The project invites people to use pictures of frames that have been previously emptied of their content in order to digitally contribute new content for them. If you want to contribute, check out this link and follow the rules!

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Silvio Lorusso (http://www.silviolorusso.com/) is an artist and designer, PhD Candidate in Design Sciences at IUAV University of Venice. A former student at the Piet Zwart Institute in Rotterdam, Lorusso already developed many online and offline projects that show his interest in technology, interfaces, digital folklore, internet cultures, and hybrid publishing.

Sebastian Schmieg (http://www.sebastianschmieg.com/) is an artist and designer currently based in Berlin, where he is completing his education at the University of the Arts (UdK). A former student of the Merz Akademie in Stuttgart, he took part in many festivals and exhibitions worldwide.

“a bit of wry gadget iconography”. Cory Doctorow on Boing Boing
“a startling set of images”. Nate Hoffelder on The Digital Reader
“an interesting and visually arresting commentary”. Laura June on The Verge
“a really weird, extremely meta project that juxtaposes some of the pros and cons of high- and low-tech reading”. Eric Limer on Gizmodo

“We are fascinated by the way in which various ‘strata’ of content and device features, such as pages, cover illustrations and interface elements, mix and merge. Functional parts of the screens cohabit with broken ones constituting a multifaceted composition. We find them haunting as well, because when they break they stop being a window into the content. The device itself becomes the focus, its materiality is very different to that of a printed book and this is something it needs to be remembered.” Silvio Lorusso and Sebastian Schmieg on Co-DESIGN

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On Monday, December 3, the MINI Museum has been shown in Bergen, Norway, in the studio of the artist Susi Law. On display there was the last entry in the MINI Museum collection: Stone and Plastic (2012) by Ellen Henriette Suhrke.  Stone and Plastic is a slideshow of photos documenting four individuals in the process of moving a stone from its original position outside the forest cabin Hellebou and towards an unknown destination. Having no proper tools at hand, they are left with the materials that are given by the surroundings. Decaying tree trunks, thin ropes and a plastic sled. Hellebou is the last place that the MINI Museum was on display and later handed over to Suhrke. After presenting Stone and Plastic at the studio of Susi Law, the museum was handed over to the owner of the studio.

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After a long discussion due to the number and the quality of the proposals, the Jury decided to award the right to be published in the series along 2013 to the following projects: After Brad Troemel by Chris Coy; Diff in June by Martin Howse; and Let the Right One In by Damiano Nava.

After Brad Troemel, by Los Angeles based artist Chris Coy (www.seecoy.com) is the updated version of a book produced in 20 copies in March 2011, for the JstChillin exhibition “Read/Write” at 319 Scholes in Brooklyn. The book took as its conceptual core the characterization of artist and writer Brad Troemel as a genius and a mastermind analyzed through the lens of conspiracy theory and amateur internet sleuthing.

Diff in June, by Berlin based artist Martin Howse (www.1010.co.uk), is a project in which the artist attempted to track every single change to the data on his hard disk on a daily basis for one month along June 2011. Using a small custom script, each chunk of data which has changed within the filesystem from the previous day’s image, was written to a new file. Each file was converted in audio and video files. Excluding binary data, one day’s sedimentation is to be published in book form, a novel of data archaeology in progress tracking the overt and the covert, merging the legal and illegal, personal and administrative, source code and frozen systematics.

In Let the Right One In, Italian born, Berlin based artist and photographer Damiano Nava (damianonava.tumblr.com) collects the email exchange he had with people interested in modeling for him, after placing an announcement on Craiglist and Exberliner. Edited together, these emails and the photos of the few who felt at ease with the photographer display a different kind of intimacy, in a continuous overlap between representation and self-representation.

“In My Computer” is a series of books collecting unpublished material available in your computer, produced by LINK Editions and circulated both in digital and printed form through the print-on-demand (POD) service Lulu.com. The book can take any shape compatible with POD’s production and distribution standards.

LINK Editions (editions.linkartcenter.eu) is a publishing initiative of the LINK Center for the Arts of the Information Age. LINK Editions uses the print on demand approach to create an accessible, dynamic series of essays and pamphlets, but also tutorials, study notes and conference proceedings connected to its educational activities. A keen advocate of the idea that information wants to be free, LINK Editions releases its contents free of charge in .pdf format, and on paper at a price accessible to all. Link Editions is a not-for-profit initiative and all its contents are circulated under an Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) license.

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Founded in 2009 by Johanne Birkeland and Ellen Henriette Suhrke, Hellebou is a traditional log cabin that functions as an artist residency, publishing house, and as a venue for exhibitions and live events. Since the initiative began, more than 50 artists have lived and worked in Hellebou, for a stay of their own chosen duration. The guests are encouraged to bring along a companion, and explore the surrounding fishing lakes, forest and mountain trails.

Nature Copies Us is a digital picture featuring a close-up of the leaves of an ornamental plant, digitally manipulated to simulate a Rorschach Effect. The “fearful simmetry” of the image is stressed by the title of the work, which reverts the usual saying according to which art copies nature. The image has been displayed hanging the MINI Museum at a tree in the forest outside the cabin, where nature is confronted with itself.
The MINI Museum is currently in Norway, and Hellebou’s co-founder Ellen Henriette Suhrke is the new “temporary owner”. For more informations, visit the Museum’s website.

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An early review of the show has been published by the online magazine The Verge, while SFAQ Online focused on the curatorial concept and our Tumblr collection. More updates soon!

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“Suddenly one day some little fat girl in Ohio is going to be the new Mozart… and make a beautiful film with her father’s little camera-corder, and for once this whole professionalism about movies will be destroyed forever and it will become an art form.” – Francis Ford Coppola, 1991

“Don’t Watch If You Dislike”. For a long time, this was the title of Wendyvainity’s YouTube Channel. Wendy is not a professional artist, she is not famous, she doesn’t take part in shows, biennials and other art events. She doesn’t have a gallery or collectors. What we know about her is that she lives in Australia in Adelaide’s suburbs, that she loves cats, gardening and “free stuff”.

Wendy is one of the many web users that decided to take the risk and show her creative work online. Her creativity doesn’t follow the usual paths: her videos are rough, surreal, disturbing, genuine and inexplicably refreshing. The online amateur is the new “primitivist”. What’s unprofessional, low-definition, unseemly, sometimes extreme and crude seems to bear an higher rate of “truth”. This fashion, the same that brought to success reality shows, spread in any cultural field, and relates to the emergence of a global context in which users become prosumers, and cultural consumption becomes cultural exchange.

This video selection is a small sampling of online amateur creativity, a patchy, vital cultural movement that happens outside of institutional frameworks and that is triggering a new culture, that fights against professionalization and forces us to rethink creativity and its role in society. What’s more surprising, however, is the way these new amateurs make use of aesthetics, languages and codes that belong to high contemporary art, more or less recent: remix, détournement, surreal, subversion of meaning, the collecting and reuse of archive material, the mix of highbrow and lowbrow. An heritage absorbed more or less willingly, but that comes to new life thanks to the wild life blood of the web.

Valentina Tanni is an art critic and curator. She is mainly interested in the relationship between art and new technologies, and she often works in multimedia publishing projects. She is one of the founders of Exibart and since 2011 she’s a member of Artribune‘s editorial staff.

She curated the Net section of the art show Media Connection (Rome and Milan, 2001), the exhibitions Netizens (Rome, 2002) and L’oading (Syracuse, 2003) and she collaborates with various digital arts Festivals (Interferenze, Peam). She is currently one of the guest curators of FotoGrafia. Festival Internazionale di Roma (photography and new media section // 2010-2012). She lives and works in Rome.

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Art preservation is normally associated with museums, archives and collections, that is with authority and power – be it institutional, cultural or economic. It has not always been like this. Museums and archives emerged in modern times, and art collecting as an elitist practice started in the Renaissance. Along history, art has been saved by graveyards, natural catastrophes, copies, reuse and abuse, chance, monks, and ordinary people.

In the digital age, artists started making art with digital means and circulating it online, and computer users started saving and archiving it, as they do with any other kind of cultural content. Of course, the art world started applying its rules and conventions to digital art as well, pretending that some files are poor copies and others are original, and talking about editions, resolution, certificates of authenticity and so on. The file you downloaded is not the same file Mr. Saatchi bought. That’s fine. But what if your file survives, and Mr Saatchi’s one gets lost? What if the artist pretends that the original artwork is the one he put on the net?

Kevin Bewersdorf wrote in 2007:

“I would drop [my laptop] off a cliff without hesitation… The seeds of my data are already safely spread across the web, and this data is what concerns me.”

Then, at some point, he removed everything from the Web, but the seeds of his data survived. They survived in the work of other artists that responded to them. They survived on other websites that reblogged them. And they survive in the disk space of many anonymous users who saved them, and that keep them jealously or just forgot about them. These are the true collectors of Kevin Bewersdorf’s work: a work that was available to anybody, and that’s now subject to the condition of scarcity that is the premise to any act of collecting.
Share Your Sorrow invites them to share the seeds of Kevin’s data again; to allow them to circulate online again, to be downloaded, manipulated and remixed by other users, to keep being part of the cultural dialogue, that is the best way for art to survive.

To contribute:

- go to http://shareyoursorrow.tumblr.com/submit and submit your content, or
- upload it on Tumblr and tag it “share your sorrow”, or
- just send an email to domenico.quaranta@linkartcenter.eu. And,
- please try to provide as many contextual elements as possible (name, date, original location, etc.)

More info: http://shareyoursorrow.linkartcenter.eu/.

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Installed next to the Link Point exit door, the Link Dead Drop is a contribution to the ongoing project launched in October 2010 by German artist Aram Bartholl, and rapidly turned into a worldwide phenomenon, with about one thousand dead drops installed all around the world.

A dead drop is a USB flash drive embedded into a wall, that becomes part of an “anonymous, offline, peer to peer file-sharing network in public space.” The Link Dead Drop will be used by us to share with you Link Editions’ e-books, works by featured artists, and site specific exhibitions, but can also be used by you to share whatever you want with us, and with everybody else. So: when you come to the Link Point, come with a USB enabled device.

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Adam Cruces: Refresh is the Link Point opening event: a one-night exhibition that will take place on September 29, 2012. Refresh is an attempt to re-contextualize the artist’s recent digital work in a physical space. Born in Huston, Texas, in 1985, Adam Cruces lives and works in Zürich, Switzerland, where he is currently attending the Zürcher Hochschule der Künste. His work makes a consistent use of vernacular material appropriated from the web, and of concepts, images, aesthetics and practices that, introduced by the most common and popular interfaces, ended up populating our imaginary, and our subconscious.

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On September 29, 2012, the Link Center for the Arts of the Information Age will launch its brand new project space, the Link Point. The Link Point is the Link Art Center’s multi-functional space: a small white cube that will work as “base” for an institution that is, and will go on to be, nomadic, and that will serve, from time to time, as a project room, a workshop room, a meeting point and a window on Link Art Center’s traveling projects. The new space – located in Brescia, Via Alessandro Monti 13, takes the place formerly occupied by the Fabio Paris Art Gallery, recently restored to better serve its new mission.

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Evan Roth, Internet Cache Self Portrait: July 17, 2012, 2012. Latex saturated wet strength wallpaper, 12′ 2″ x 9′ 4″

The Link Center for the Arts for the Information Age is proud to announce that the show Collect the WWWorld. The Artist as Archivist in the Internet Age , after its premiere in Brescia (2011) and its presentation in Basel (2012), will open soon in New York, in a brand new display conceived for the space of 319 Scholes in Bushwick, Brooklyn.

Collect the WWWorld is an attempt to show how art responds to the information society. The last decade has witnessed an incredible growth in the production and distribution of images and cultural contents. The availability of inexpensive production tools has seen an exponential rise in amateur creativity, while the Internet provides a new distribution platform for this kind of production, which previously remained private. The show investigates the impact of this process on art practices and on the role of the artist, that more and more evolves into a filter, a collector, an archivist, a post-producer of already existent cultural material.

Clement Valla, The Universal Texture, 2012. Installation (prints, inkjet on canvas, 44 x 92 inches each)

Furthermore, Collect the WWWorld sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of cultural material produced by popular culture and advertising.

The presentation at 319 Scholes will feature a number of new artists and works. The show relies on an ongoing research project, that can be followed online at http://collectheworld.linkartcenter.eu.

Brad Troemel, BTSJ Etsy Store, 2012. Installation

The show will include also a reading area with the catalogue of the show, other books by Link Editions, artist books, texts and catalogues that provided inspiration for the show. The exhibition will be also the occasion for the launch of a new book project: Ryan Trecartin‘s Ryan’s Web 1.0, an e-book featuring his W Magazine set and the documentation of the research process beyond the work, made available as a freely downloadable pdf.

With work by: Alterazioni Video (I), Kari Altmann (US), Gazira Babeli (I), Kevin Bewersdorf (US), Aleksandra Domanovic (D), Constant Dullaart (NL), Elisa Giardina Papa (I), Travis Hallenbeck (US), Jason Huff (US), Jodi (NL), Olia Lialina & Dragan Espenschied (D), Eva and Franco Mattes (I), Oliver Laric (D) Jon Rafman (US), Ryder Ripps (US), Evan Roth (US), Ryan Trecartin (US), Brad Troemel (US), Penelope Umbrico (US), Clement Valla (US).

Curated by: Domenico Quaranta

Location: 319 Scholes

319 Scholes Street, Bushwick, Brooklyn (NY)

When: October 18 – November 4, 2012

Opening: Thursday October 18, 7:00 p.m. – 10:00 p.m.

Gallery hours: Thursday – Sunday, 2:00pm – 6:00pm and by appointment

Press folder

For info, contact: info@linkartcenter.eu or lindsay@319scholes.org

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