LETTERINCA: Institute for Neo Connotative Action
750 Delaware St. Detroit, MI
JANUARY 12 2012 — Curated by Bergman/Salinas —
Available as a printable PDF from Private Circulation
Globari is a “monument” to .yu, the now defunct web domain for Yugoslavia, by artist Aleksandra Domanovic. It consists of a stack of letter size paper printed to the edges. Domanavic uses images from the web of flares lit by soccer fans and hooligans. The images reflect brutal episodes by violent supporters of the Belgrade football club Partizan, and are “chosen as emblems of the continuing violence of a former country, which has lost the last official form of its identity, the virtual one.”
Aleksandra Domanović was born 1981 in Novi Sad, Serbia. She lives and works in Berlin. Recent exhibitions include her upcoming solo show at Kunsthalle Basel (2012), and Western Front, Vancouver (2011). Selected group exhibitions include “Imagine being here now”, The 6th Momentum Biennial 2011, Moss, Norway; “Free”, New Museum, New York (2010/11); “A Painting Show”, AUTOCENTER, Berlin (2011); “Turbo Props”, The Institute of Social Hypocrisy, Paris, and “Surfing Club”, Plug.in, Basel (2010). She is currently an artist-in-resident at the Künstlerhaus Bethanien and is a member of the vvork.com collective.
Letter models: Flat, Curved, Spherical
Letter size laser prints. 3 motifs.
Johannessen makes use of analogies between both the scientific and capitalist market interpretation of expansion and abstraction. Visitors are invited to take one sheet from each pile.
Toril Johannessen was born 1978, from Harstad, Norway. She lives and works in Bergen, Norway . She has a BFA and a MFA from the Bergen National Academy of the Arts and she later attended Mountain School of Arts in Los Angeles. Recently she has had solo shows at Volker Bradtke in Düsseldorf, LAUTOM Contemporary in Oslo, Bergen Kunsthall and Hordaland Art Centre in Bergen. Johannessen had had group shows at Kunsthall Oslo, Witte de With in Rotterdam and Kunstnernes Hus in Oslo among others.
Immer höher. 2006
Immer höher is a 209 page Excel document, and 1 page Excel chart. This Microsoft Excel document lists 546 cells with increasing heights from 1 to 546 pixels. This way, all possible row heights are displayed in a sequence. This way as well, a thin stripe grows into a square. For deeper analysis, the chart offers additional information on the rows´/cells´ spatial relation to the document’s and page’s size.
Ignacio Uriarte was born (1972) and raised in Krefeld, Germany. From 1992 to 1995 he studied Business Administration in Madrid and Mannheim and subsequently worked for corporations such as Siemens, Canon, Interlub and Agilent Technologies in Germany, Spain and Mexico. He studied audiovisual arts in Guadalajara, Mexico (1998 to 2001) and quit his last serious job in November 2003, dedicating himself since then to what he calls “office art”. Since 2007 he lives and works in Berlin. He has had many solo exhibitions including at Perth Institute of Contemporary Arts, Art Basel in Miami, Casa Encendida in Madrid, Galleria Gentili in Italy and Taka Ishii gallery in Tokyo. Group exhibitions include Temporäre Kunsthalle in Berlin, Matadero in Madrid and Kunstverein Arnsberg among others.
Thy Future. 1966
The pages of Thy Future were taken from computer printouts Porter lifted from the 1960s Saturn moon project at Huntsville, Alabama. A low-level technician on the project, Porter used the numeric printouts that came across his desk to make this work.
Bern Porter (1911–2004) was an artist, writer, philosopher, and scientist working for NASA and was involved with the invention of television. His posthumous retrospective exhibition in a forlorn basement mezanine at MOMA New York in 2010 was not very respectful. However, his early and prolific use of and anti-precious “found poetry” aesthetic is gaining dedicated fans. He combed through trash (often at the post office, after sending off a fresh batch of mail art) to find new poems. What others discarded he appropriated and claimed its authorship. In his life he scavenged for everything, not just language and imagery, but also food, clothing, and rides.
“The xeroxing of copyrights” could describe his aesthetic and intellectual stance.
Cuaderno de Yokohama. 2005
MACBA Barcelona published in 2009 Cuaderno de Yokohama, a collection of 17 graphic scores that Barber did in Yokohama in 2005, making the book available to download online. The scores are visual exercises and/or pastimes that the composer compiled in a small notebook. Joel Peterson will interpret and perform the 17 graphic scores on contra bass.
Llorenç Barber is a composer, performer and musicologist born in Aielo de Malferit in 1948, and lives in Madrid since 1972. From 1979 to 1984 he directed the Aula de Música of the Complutense University of Madrid. From 1987 to 1990 he worked with Spanish National Television on the program El Mirador. Since 1990 he has been a professor at the Institute of Esthetics in Madrid and since 1992 he directs Paralelo Madrid, a concert series at the Circulo de Bellas Artes dedicated to “other musics”. Since 1998 he organizes also “Nits d’Aielo i Art” an annual event devoted to experimental art. Since 1980 he has utilized overtone singing, improvisation, bells, plurifocal music, phonetic poetry, urban concerts with bells and the marathon concerts “from sundown to sunup” (“de sol a sol”).
Joel Peterson is a Detroit based composer, improviser and concert organizer. He studied double bass with Robert Gladstone and Dan Pliskow from Detroit Symphony Orchestra, but he also plays guitar. He played in many bands including Immigrant Suns, Scavenger Quartet, Lac La Belle, ODU Afrobeat, Xenharmonic Gamelan and BoxDeserter and collaborated with Rhys Chatham, Eugene Chadbourne, Damo Suzuki, Faruq Z. Bey, Frank Pahl, Thollem McDonas, Tatsuya Nakatani, Steve Cohn, Amy Denio, Gino Robair, The Violent Femmes.