installation*

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AMYGDALA

Installation by fuse* presents sentiment analysis of Twitter data via both a series of LED panels outside and a room of interactive screens:

AMYGDALA listens to shared thoughts, interprets states of mind and translates the data gathered into an audiovisual installation capable of representing the collective emotional state of the net and its changes on the basis of events that take place around the world.
The aim is to make visible the flow of data and information that are constantly being created by users, and that may be heard and interpreted by anyone, in the attempt to stimulate a reflection on the opportunities and dangers of the digital revolution that we are currently going through. Big Data may in fact be used to monitor the spread of an epidemic in real time, or to prevent a crime and improve the safety of a city; likewise, they may also be exploited by companies and institutions to store – often unknown to us – infinite quantities of information on our own private lives. We believe that gaining awareness of these mechanisms may be of help in the protection of individual and collective free speech.

More Here

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The Art Institute of Chicago Recreates Van Gogh’s Famous Bedroom to be Rented on Airbnb

The Art Institute of Chicago is launching an interactive experience alongside their latest exhibition entry to a full-size replica of Van Gogh’s painting The Bedroom. The room, available on AirBnB, includes all the details of the original painting, arranged in haphazard alignment to imitate the original room.

Van Gogh’s Bedrooms” features approximately 36 works by the artist and will run through May 10, 2016. via

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Caitlind BrownCloud (2012)

Conceived by Calgary-based artist Caitlind Brown, her project ‘Cloud’, a life-sized interactive light installation, engages the public to participate by standing beneath the structure and pulling lights on and off, creating the flickering aesthetic of an electrical cloud. Developed using steel, metal pull-strings, and over six-thousand illuminated and burnt light bulbs, the project reimagines waste and implements the excess in an interactive art exhibition.

See video…

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Life is a Time-Based Medium

Life Is a Time-Based Medium (2015)—the most recent work included in the exhibition,  Diana Thater: The Sympathetic Imaginationwas filmed at the Galtaji Temple (a Hindu pilgrimage site) in Jaipur, India. A monumental installation, it conflates the projected architecture of the temple with that of the gallery in which it is shown. Focusing on the behavior of the resident monkeys, Thater’s work questions distinctions between the tame and wild by reference to the divine status of the animals in Hinduism. 

When asked about this particular work Diana responded, "I’m very interested in the scale, intricacies, and simplicities of architecture. I’ve worked with very complex and very simple architectural spaces. For Life is a Time-Based Medium, I filmed a Hindu temple, which was idiosyncratic, asymmetrical, and interesting for any number of reasons. The most interesting thing was that it was just a façade built on a cliff. There is no inside. The temple actually has a door that doesn’t go anywhere. So I brought it into the installation—I cut out this beautiful scalloped doorway and gave the temple its own interior, a projection of a little tiny movie theater, with a screen. On the screen is a video of monkeys. The temple is a temple to Hanuman, the Hindu monkey god, and it just happens to be inhabited by wild monkeys. A friend of mine went on vacation to India and showed me a photo of it on his iPhone and I thought, I want to go there. Because a temple to a monkey god inhabited by monkeys—who made this for me? Rhesus monkeys, known in the West as the subjects of torturous scientific experiments, are sacred in Hindu culture and allowed to run wild in the temple. I examine the spaces inhabited by animals and those inhabited by humans, as well as how these intersect. The space within the image, the space of the temple, and the space of the museum itself merge.”

Text excerpted from Unframed and “Diana Thater Sympathetic Imagination Brochure”

FREE Lecture— Roy Scranton Responds to Diana Thater: The Sympathetic Imagination

On February 16, Professor Roy Scranton, alongside artist Diana Thater, will discuss specific works in relation to rhizomatic identity, geology, and the complex relationships that Thater creates in seeing animals as reflections of ourselves. Details: http://bit.ly/23V9SvN


This series examines highlights from Diana Thater: The Sympathetic Imagination, on view at LACMA through February 20, 2016. Follow #DianaThater on Tumblr for upcoming posts, or check out an overview of the exhibition on Unframed.  

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and we break… [insp]

Everyone please stop saying that the art exhibition is exploiting fans for profit. It is not a commercial gallery, so the works aren’t there to be sold. It’s exploiting fandom for a number of things (notoriety, media mentions, invitations for further work and residencies) but I guarantee you there is no profit involved here. That criticism misses the mark entirely about why the work was made and therefore fandom reaction is fundamentally missing the mark because it’s playing right into the artist’s agenda.

I’m gonna talk instead about how it’s fundamentally bad art with the poor conceptual rigour typical of fuckboy white artists trying to get a rise out women and a pat on the back from other men and in this case I doubt there’ll be any profit involved because no one is buying this (stupidly expensive to make) art.

panorama shot of an installation i did over the weekend for a friend’s music video. excited to show off the finished product a lil later. shout out to my talented homies who let me do sick shit in their houses, this project was a dream, my life is a dream xoxo