Skins - acrylic paintings on collage at gallery 60six in San Francisco - reviewed by Kenneth Baker

 Exhibition views

Skins at Gallery 60six
Review by Kenneth Baker

Blinky -Noir

DeadPlanetFine* featured @ Screengrab6, International Media Arts Award in Townsville, Australia

Exhibition Dates:

20 September - 26 October 2014

Exhibition Venues:
Pinnacles Gallery Riverway Arts Centre, 20 Village Blvd

Opening Hours: Tuesday - Sunday: 10am - 5pm

eMerge Gallery Building 300, JCU Douglas Campus, Townsville

Opening Hours: Monday - Friday: 8.30am - 4pm

 

2014 Finalists

Artist/s	Title	Year	Country	Venue
Andrew Chalmers & Oliver Ellmers	godComplex	2013	New Zealand and Australia	Pinnacles Gallery
David Chesworth and Sonia Leber	We Are Printers Too	2013	Australia	Pinnacles Gallery
Coalfather Industries	Seem	2014	USA	Pinnacles Gallery
Maia Conran	Trace	2014	United Kingdom	eMerge Gallery
Callum Cooper	Constant and the Flux	2012	United Kingdom and Australia	Pinnacles Gallery
Will Copps	Target	2014	Germany	eMerge Gallery
Zlatko Ćosić, Eleanor Dubinsky and Laura Ferro	Shifted	2014	USA	Pinnacles Gallery
Francesca Fini	WHITE SUGAR	2013	Italy	Pinnacles Gallery
Parisa Ghaderi	Keep Calm	2014	USA	Pinnacles Gallery
Brooke Griffin	Instruction to Hearing Persons Desiring a Deaf Man	2014	USA	Pinnacles Gallery
Paul Harrison	Deviant Dream: Part I	2014	United Kingdom	Pinnacles Gallery
Stephen Hilyard	Waterfall	2013	USA	eMerge Gallery
Iaroslav Ianovskyi	On the Horse	2014	Ukraine	Pinnacles Gallery
IOCOSE	Spinning the Planet	2013	Italy, Germany and United Kingdom	Pinnacles Gallery
Anantha Krishnan	My Internal and External World	2014	India	Pinnacles Gallery
Tang Kwok-hin	Present <> 3/18,Central and Western District	2012	Hong Kong	Pinnacles Gallery
Mauri Lehtonen	Jump	2014	Czech Republic	Pinnacles Gallery
Justin Lincoln	One Image After Another	2014	USA	Pinnacles Gallery
Justin Lincoln	SlipStream 2	2014	USA	eMerge Gallery
Malcolm Litson	SYNTAX	2012	United Kingdom	Pinnacles Gallery
Emily McFarland	Zabriskie Point Reversed	2014	United Kingdom	Pinnacles Gallery
Lawrence F Mesich	A Building Explains Itself	2014	USA	Pinnacles Gallery
Jonathan Monaghan	Office	2013	USA	Pinnacles Gallery
Katarzyna Parejko	WIATR/ODDECH [WIND/BREATH]	2014	Poland	Pinnacles Gallery
Stuart Pound	Shooting Loops	2013	United Kingdom	Pinnacles Gallery
Silja Puranen	Pigwalk	2014	Finland	Pinnacles Gallery
Arya Sukapura Putra	Passage (loco-motion)	2014	Indonesia	Pinnacles Gallery
Johan Rijpma	Descent	2014	Netherlands	Pinnacles Gallery
Dénes Ruzsa and Fruzsina Spitzer	Job Interview	2014	Hungary	Pinnacles Gallery
Antoine Schmitt	7 billion pixels	2013	France	eMerge Gallery
Joana Silva	Black Horse	2013	United Kingdom	Pinnacles Gallery
Billy Sims	Tempo Rubato	2014	USA	Pinnacles Gallery
Rose Staff	The Space Between Us	2014	Australia	eMerge Gallery
Theodore Tagholm	Plain Sight	2013	United Kingdom	Pinnacles Gallery
Luhsun Tan	Twilight Shimmer	2014	Australia	Pinnacles Gallery
David Theobald	Jingle Bells	2013	United Kingdom	Pinnacles Gallery
Jurgen Trautwein	DeadPlanetFine*	2014	USA	Pinnacles Gallery
Anna-Lena Tsutsui	Loops	2014	France	eMerge Gallery
Ivar Veermäe	Crystal Computing (Google Inc., St. Ghislain)	2014	Germany	Pinnacles Gallery
Yandell Walton	Remains	2013	Australia	Pinnacles Gallery

2014 Theme: Velocity

Change. At speed. Everywhere.

image: NASA & ASF (2000) Lambert Glacier Velocity Map (asf.alaska.edu)

The rushing up of the earth from below as we leap into the unknown is a strong pervasive force.The comings and goings of objects, the rhizomatic fever of life - of memories and of perception - is the stuff of both nature and the machine but also the stuff of change - of a compelling need to move forward, at pace. Since the millennium we have been moving away in linear time from the trauma of the 20th century, history accumulating behind us as we hurtle towards an undefined future.Yet there also seems to be a reductive velocity at work, the future appears to be expanding only in our mind’s eye - in the stories we tell ourselves, in the frames of the cinematic moment and the pixels of our most fantastic dreaming. If we stand still long enough the hyper-reality becomes apparent. Information is expanding at an exponential rate – images, sound and text – authoring a new present-future space of mobility, of interconnectedness and most of all of rapid accelerating change. Equal parts chaos and perfection – of truth and of fiction - a dark and light exposure.

It is the making of us, this velocity of things. It is both our return to Earth and our mastery of its physics. Our identity and our collective history is fast becoming a vast data repository of machine vision - a rapid prototyping of our future selves.Financial transactions, personal communications, intimate moments exist inside this simulation of machine speed.Artificial intelligence observes, correlates, measures and makes split second decisions on our behalf.Notions of surveillance, fears for our privacy, the dilution of our identity and the voyeuristic connotations of relational databases make up the machine’s vision of us and our world. Can we keep apace of these algorithmic patterns? Can we author new vistas new dreamscapes new directions?

Meanwhile history keeps up a steady persistent pace: the image loops, the velocity increases and the hyper-real resumes its seductive play.

DeadPlanetFine*

DEADplanetFINE* 

An Uber-Wahnsinn paranoid trembling project 

DEADplanetFINE*, is a web 1.0 retro-renaissance remixology project consisting of looped animated mouseover-gif-film-crawls.

DEADplanetFINE*, are animated acid humorous social-commentary-line-drawings interwoven with abstract blink-scrolls, that reflect on the nightmarish state of the world.The project touches issues of war, race, rape, violence, loneliness, torture, sexism, porn, gadgetism, obsenity, power, greed, intoxication, pollution and the human folly in general.

Depending on the movement of the mouse the animations take on various speeds and directions of motion.

DEADplanetFINE*, uses a poly-linguistic-sound-blur-drone. The languages are used for their phonetics and not for the meaning of the words. 

DEADplanetFINE* attempts to expose, in a funny way, the crazy world we live in, which seems to have followed the same principle over the past aeons, which is the perpetual reoccurrence of the same.

 

Exhibition announcement SKINS at Gallery 60six in San Francisco, Oct.4 - Nov.1, 2014

    Sk-Bk acrylic on collage, 69" x 64", 2013

Skins

acrylic paintings on collage


Jürgen Trautwein is an interdisciplinary artist working in a variety of mediums including new media, hypertext works, temporary inferences, installations, painting, drawing, and photography. His process oriented practice often brings attention to notions of time and duration, where the works themselves become manifestations of immediate, everyday and present experience.


“Skins” presents Trautwein’s recent body of monochromatic acrylic paintings, constructed on geometrically ordered collages on letter-sized paper. The collages are made from ‘time-sheets,’ a collection of unwanted drawings, paintings, prints, sketches, notes, flyers, form-letters. These materials are created and saved by the artist over time, the personal content of which spans about 20 years. Trautwein joins together these time sheets, which he works on from both sides, in an intuitive process which allows for accidental fusions of various moments in time, and preserves the provisional nature of the recycled elements. Trautwein consolidates several years of information, scattered experiences and thoughts into physical objects which transcend the notion of content, and confront the viewer in an immediate, material and bodily mode.



Artist's Reception:
Saturday, October 4, 6-8:30pm

VIP Preview:
Thursday, Oct 2, 5-7:00pm

Closing Party
Saturday, Nov 1,   2-5pm



HOURS:
Fridays 1-7pm
Saturdays 11am-7pm
First Thursdays 5-7:30pm

by appointment weekdays
call Gwen
415-577-4396

66 Elgin Park
San Francisco CA 94103
http://www.gallery60six.com
by appointment 415-577-4396

Walking meditation 2

more on walking as art form

Walking meditation 1

 

 

    

 more on walking as art form

sister 7, or when the daughters of Atlas are taking a shower

Selected images from the painting series "sister7", acrylic on Polyethylen, each 100 x 71cm, 2014-15

NIESATT 014 @ZeroArts gallery Stuttgart

selected images from the NIESATT 014 exhibition @ZeroArts Stuttgart

Selfie Fools Show/ New media Installation @ ZeroArts in Stuttgart

Jurgen Trautwein's NIESATT 014 exhibition opens Friday the 27th of June at ZeroArts in Stuttgart.

https://twitter.com/jtwine09/status/482058872623222785

selected images from the "Selfie Fools Show" installation.

NIESATT 014 exhibition @ ZeroArts Stuttgart

Jürgen Trautwein 

„NIESATT 014“

Eröffnung: Freitag 27. Juni 2014, ab 20 Uhr
Showdown: Freitag 25. Juli 2014 ab 20 Uhr
geöffnet nach telefonischer Vereinbarung 0176 294 906 85

Zeichnung, Malerei und Multimedia Installation

Jürgen Trautwein zeigt die Rauminstallation NIESATT 014 aus dem Arbeitszyklus
Strategien zum Schutz vor dem Komplettwahnsinn,
Teil des sich seit 2001 in ständiger Verwandlung befindenden Werkzyklus NIESATT.
Die Ausstellung NIESATT 014 ist eine experimentelle, raumspezifische
Zeichnungs- und Multimedia Hybridisierungsinstallation,
die sich kritisch mit der Welt, in der wir leben, auseinandersetzt.
Das Wort NIESATT ist ein Neologismus, der aus den Wörtern nie und satt besteht;
liest man das Wort rückwärts und ersetzt das Doppel T mit D liest man Dasein,
somit ein Palindrom. NIESATT verweist, wie das Wort schon sagt, auf das von
Unersättlichkeit geprägte Dasein des Jetztmenschen in ständigem Hunger nach immer mehr,
ohne Rücksicht auf Umwelt und sich selbst.

Jürgen Trautwein ist ein multidisziplinärer Künstler, dessen Arbeiten sich kritisch mit
zeitgenössischen Themen auseinandersetzen. Sein künstlerisches Schaffen
bewegt sich zwischen Zeichnung, Malerei, raumspezifischer Installation, Netzkunst, Video, Animation,
interaktiven Sound Screens, Photography, temporäre Intervention, Performance und Ephemeral-Land art.
Er hat an der Universität der Künste in Berlin studiert und als Meisterschüler abgeschlossen.
Seine Arbeiten wurden weltweit ausgestellt.
Er hat unter anderem in den späten Achzigern in Stuttgart im Kunsthaus Schaller seine Malerei gezeigt,
in den Mitt-Neunzigern wurde seine Netzkunst in der Stuttgarter Zeitung besprochen,
zur Jahrtausendwende wurde seine Netzkunst im Net-Art Guide vom Fraunhofer Institut in Stuttgart publiziert
und er war letztens beim Stuttgarter Filmwinter 2012, mit seiner Arbeit onspeed, vertreten
- ein Projekt das sich mit dem Datenfluss auf Twitter beschäftigt.

Mehr Informationen zu Trautwein’s Arbeiten erhalten Sie unter dem folgenden Link:

http://www.jtwine.com

Zero Arts e.V. Ostendstraße 16 70190 Stuttgart www.zeroarts.de 0711-935 7582 0170-325 0573

Drawing while dying

Death Struggle - slime drawings by slugs eating or having eaten molluscicides.

Molluscicides /mɵˈlʌskəsaɪd/, also known as snail baits and snail pellets, are pesticides against molluscs, which are usually used in agriculture orgardening, in order to control gastropod pests specifically slugs and snails which damage crops or other valued plants by feeding on them.

A number of chemicals can be employed as a molluscicide:

• Metal salts such as iron(III) phosphateand aluminium sulfate, relatively non-toxic, also used in organic gardening
• Metaldehyde
• Methiocarb
• Acetylcholinesterase inhibitors, highly toxic to other animals and humans, acts also as a contact poison

Love Darts, or who can draw a perfect line?

Cernuella virgata

the common vinyard snail.

http://en.m.wikipedia.org/wiki/Land_snail

This species of snail makes and uses love darts.

Thinking of Walter de Maria and the line in infinite space

Walter de Maria :"... but it is, that the real notion of an infinite space is perhaps one of the few thoughts that is worth thinking about more than once."

	MEANINGLESS WORK
	Meaningless work is obviously the most important and significant art form today. The aesthetic feeling given by meaningless work can not be described exactly because it varies with each individual doing the work. Meaningless work is honest. Meaningless work will be enjoyed and hated by intellectuals - though they should understand it. Meaningless work can not be sold in art galleries or win prizes in museums - though old fasion records of meaningless work (most all paintings) do partake in these indignities. Like ordinary work, meaningless work can make you sweat if you do it long enough. By meaningless work I simply mean work which does not make money or accomplish a conventional purpose. For instance putting wooden blocks from one box to another, then putting them back to the original box, back and forth, back and forth etc., is a fine example of meaningless work. Or digging a hole, then covering it is another example. Filing letters in a filing cabinet could be considered meaningless work, only if one were not considered a secretary, and if one scattered the file on the floor periodically so that one didn't get any feeling of accomplishment. Digging in the garden is not meaningless work. Weight lifting, though monotonous, is not meaningless work in its aesthetic since because it will give you muscles and you know it. Caution should be taken that the work chosen should not be too pleasurable, lest pleasure becomes the purpose of the work. Hence, sex, though rhythmix, can not stictly be called meaningless - though I'm sure many people consider it so. Meaningless work is potentially the most abstract, concrete, individual, foolish, indeterminate, exactly determined, varied, important art-action-experience one can undertake today. This concept is not a joke. Try some meaningless work in the privacy of your own room. In fact, to be fully understood, meaningless work should be done alone or else it becomes entertainment for others and the reaction or lack of reaction of the art lover to the meaningless work can not honestly be felt. Meaningless work can contan all of the best qualities of old art forms such as painting, writing, etc. It can make you feel and think about yourself, the outside world, morality, reality, unconsciousness, nature, history, time, philosophy, nothing at all, politics, etc. without the limitations of the old art forms. Meaningless work is individual in nature and it can be done in any form and over any span of time - from one second up to the limits of exhaustion. It can be done fast or slow or both. Rhythmically or not. It can be done anywhere in any weather conditions. Clothing, if any, is left to the individual. Whether the meaningless work, as an art form, is meaningless, in the ordinary sense of that term, is of course up to the individual. Meaningless work is the new way to tell who is square. Grunt Get to work WdM March, 1960.

           go here and here for more on his work

jtwine posing as Nike of Samothrace at the Devils Golf Course in Death Valley, USA

JT as Nike of Samothrace is a set of reenactments of the famous Hellenistic sculpture and is part of a series of performances in Death Valley, California, which are investigating the idea of "body in space". They are part of the evolving body wrap performances staged at various locations around the world. The project explores ephemeral sculptural concepts.

The Winged Victory of Samothrace, also called the Nike of Samothrace, is a 2nd-century BC
marble sculpture of the Greek goddess Nike (Victory). Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. H.W. Janson described it as "the greatest masterpiece of Hellenistic sculpture."
The Nike of Samothrace, discovered in 1863, is estimated to have been created around 200–190 BCE. It is 8 feet (2.44 metres) high. It was created to not only honor the goddess, Nike, but to honor a sea battle. It conveys a sense of action and triumph as well as portraying artful flowing drapery through its features.

Flight Exercises in Death Valley - waiting for updraft

Selected images from UPDRAFT a flight exercises performance for drive-by tourists at the Artist's drive in Death Valley. An area of multi-colored claystones from the ancient ash-falls of the Artist's Drive Formation, where various metals have oxidized the clay creating eye-popping reds, yellows, greens, blues, and purples.