Tuesday, November 25, 2014
Wednesday, November 19, 2014
DEADplanetFINE* on view at the More Than One Way exhibition at Southern Exposure in SF
More Than One Way
Opening Reception: Friday, November 21, 2014, 7:00 – 9:00 PM
Screening: Saturday, December 13, 2014, 7:00 – 8:30 PM
Exhibition on View: November 21 – December 13, 2014
Gallery Hours: Tuesday – Saturday, 12:00 – 6:00 PM
Exhibition Artists
Ted Andersen
Alexis Arnold
EfrenAve
Trent Davis Bailey
Audrey Chen
Cathleen Clarke
Serena Cole
Eliza Dennis
Mark M. Garrett
Jenne Giles
C.A. Greenlee
Patricio Guillamon
Julia Aurora Guzmán Conde
Lauren Hartman
Luke Heimbigner
Jamil Hellu
Tania Houtzager
Nolan Jankowski
Timothy Kelly
Sarah Klein
Ryan Lambert
Sara Lankutis
Wei Li
Andrea Martin
Chiyomi McKibbin
Melissa Miller
Joyce Nojima
Dawline-Jane Oni-Eseleh
Carrie Ann Plank
Nina Dolores Potepan
Jeff Ray
Rachelle Reichert
Kate Rhoades
Meghann Rienpenhoff
Jamie Servais
Matt Shapiro
Sarah A. Smith
Jess Smith
Lorna Stevens
Josh Stulen
Ruth Tabancay
Chris Thorson
McKenzie Toma and Haegen Crosby
Jürgen Trautwein - DEADplanetFINE*
Lindsay Tunkl
Peter Warren
Southern Exposure is pleased to announce More Than One Way,
the organization's Annual Entry-Fee-Free Juried Exhibition and Screening
of New Works by Northern California Artists. This annual event is the
premier showcase of contemporary artwork by promising local talent. With
a different open-ended theme each year, artists are encouraged to
pursue a broad range of artistic expression across media.
The juried exhibition and screening features Northern California
artists living north of King City and south of Red Bluff. Jurors Aandrea
Stang and Kevin McGarry select the works by blind process, choosing
pieces across media that exemplify Southern Exposure’s commitment to
supporting new, innovative, risk-taking contemporary visual art
practices.
About the Jurors
Aandrea Stang is the director of OxyArts at Occidental
College. She serves as the director of the college's Weingart Gallery
and its Wanlass Artist in Residence program. From 2002 until 2012 Stang
was Senior Education Program Manager at The Museum of Contemporary Art,
Los Angeles (MOCA) where she developed and produced the museum's public
programming. While there she developed special programming for
exhibitions such as Allan Kaprow — Art as Life (2008); William Leavitt: Theater Objects (2011) and Under the Big Black Sun: California Art 1974-1981
(2011). From 2008 to 2012 she oversaw MOCA's Engagement Party, a
program that offered residencies to artists exploring socially engaged
artwork.
Kevin McGarry is a writer and curator based in Los Angeles. He writes about art and culture for publications like Artforum, New York Times Style Magazine, e-flux, Art Agenda, Modern Weekly China and several others. He co-organizes Migrating Forms film festival at BAMcinématek in Brooklyn.
Saturday, November 1, 2014
Saturday, October 18, 2014
Thursday, September 11, 2014
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
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 <
|
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.
Wednesday, September 3, 2014
Exhibition announcement SKINS at Gallery 60six in San Francisco, Oct.4 - Nov.1, 2014
Sk-Bk acrylic on collage, 69" x 64", 2013
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
Wednesday, August 20, 2014
Tuesday, August 5, 2014
Saturday, July 26, 2014
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
Saturday, June 28, 2014
NIESATT 014 @ZeroArts gallery Stuttgart
Thursday, June 26, 2014
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
Friday, June 20, 2014
NIESATT 014 exhibition @ ZeroArts Stuttgart
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
Thursday, June 12, 2014
Drawing while dying
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
Wednesday, June 11, 2014
Love Darts, or who can draw a perfect line?
Sunday, May 25, 2014
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.
|
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