|(curator) Where 2 with Lucy Hunter, A.E. Benenson||2013|
Curated by A.E. Benenson, “Where 2” (December 15, 2013 – February 14, 2014) recontextualizes Douglas Gordon’s super-durational appropriation work, “24 Hour Psycho” (1993) within contemporary networks of live-streaming and digital media piracy. Working as an act of recursive appropriation, the exhibition screens Hitchcock’s “Psycho” once daily in the gallery at 6:30pm and streams the footage via webcam to gallery’s website at Gordon’s prescribed speed of two frames per second to create a continuous, unauthorized digital version of 24 Hour Psycho.
The related publication “Where 2” contains a conversation between the directors of Where and David Joselit, essays by David Phelps and A.E. Benenson, as well as a flipbook and photo documentation.
Where can be viewed and contacted through
|(curator) Where 1 with Lucy Hunter||2013|
Where is a semi-public, high security security shipping container and publishing project in Brooklyn, New York. It is grounded in the assertion that art and its discourse manifest the same properties present in all complex systems, and that the mechanisms which produce change and growth in other systems can also be applied directly to the field of artistic production vis-à-vis the exhibition format.
“Where 1″ ran from October 26 – December 4, 2013 and explored the possibilities of assemblage as a format for the group show. The exhibition combined the discrete works of three independent sculptors – Lea Cetera, Jesse Greenberg, and Alexandra Lerman – as a single quasi-object on display. The related publication, also entitled “Where 1,” contains essays by Brian Arthur and Carlos Castellanos.
Where can be viewed and contacted through
Phiadon.com is a publishing house for art books and coffee table objects, while also functioning as a fictional corporate empire within some of the books it publishes. Best known for the multi-part JS/RL Periodicals, and “Pussy Catalog” other works to be released include the museum guidebooks “Smashed Dicks of the Metropolitan Museum of Art,” and “Walking tour of the Vatican,” as well as the coffee table volumes “Famous Artists’ Fat”, “Really Messy Tables” “Photographs Taken While Driving My Car at 60 Miles Per Hour,” “Condoms of Europe,” and the page a day butt-model calendar entitled “BM1-BM365.”
|Phiadon.com: The JS/RL Periodicals||2012 -|
The JS/RL Periodicals are a multi-volume series of books, published by Phiadon.com documenting years of hyperactive text messaging between the collaborators. The Periodicals shimmer between everyday life and an orgy of unpredictable fictions. The text’s layers of insular code, innuendo, primitive languages, and purposeful misinterpretation germinate a plastic fantasy world of parasitic clones, illusory publishing houses, butt modeling agencies, ex-Mormon alter-egos, house-cat graphic designers, and the occasional apocalypse. The published Periodicals, Periodical commentaries, and reviews are available for purchase and online reading at the Amazon links below:
|Raphael Amadeus Frankenstein (RAF)||2010 -|
Raphael Amadeus Frankenstein (RAF) is a contemporary keyboard composer working in the modern style. Born in Milan and later adopted by Mormon families, RAF studied at Julliard School of Music, periodically working with such luminaries as “The Boss” and composing scores for hit TV shows such as “Who’s the Boss?” Renouncing the concert hall and determined to “take it out for the people” RAF can be found performing his original works in diversified venues including diplomatic receptions, birthday parties, gallery openings, jazz outlets and piano lounges. Contact RhythmandLyrics.com for bookings.
|Flat works, misc||2011 -|
|尸Γσ₠§§㏌⅁ with Julieta Aranda & Fia Backström||2013|
“尸Γσ₠§§㏌⅁” was a collaboration between R. Lyon, Julieta Aranda, and Fia Backström for the exhibition “End(s) of the Library” at the Goethe-Institut in New York, curated by Jenny Jaskey. “尸Γσ₠§§㏌⅁” broadly investigated the limits of reading and writing in the digital age, and produced a variety of artifacts, many of which were re-introduced into the library stacks and are now in circulation. They include two compressed videos, “Hitler” and “Kafka,” as well as a publication of the library’s raw 23,000-page catalog database as an Amazon print-on-demand 100-volume corpus, and a three-hour audio recording of performers reading a section of that catalog. The noise band Wretched Worst played unannounced in the middle of the afternoon, and Lydia Liu, Princeton professor and author of “The Freudian Robot,” presented a series of game-theory exercises central to the development of the thermonuclear bomb and the modern computer. A free downloadable keyboard entitled “The Human Readable Type,” α ʞ㏌ď ℉ єи␍ƴρʈєď ẘΓįʈ㏌⅁ ṃαďє ẘįʈң ңσṃσ⅁Ɩƴ㏗§˛ Ɩє⅁Ӹє ʈσ ң∪ṃαи§ ♭∪ʈ Γє§ʪʈαиʈ ʈσ ⊂σṃρ∪ʈє␞ αиď ďαʈα ṃٱи㏌⅁ αƖ⅁σΓįʈңṃ§․
|The Limits of Perception and The Rectangular Frame #4||2013|
The Limits of Perception and the Rectangular Frame 4 is concerned with the problem of visualizing and representing gravity in a two-dimensional plane. It proposes that the solution offered by some simple video games to describe a gravitational field may in fact point to a method by which perspectival painting and flat abstraction can be reconciled.
|The Limits of Perception and The Rectangular Frame #3||2013|
Performance involving Google predictive search engine, burning hair, and firecrackers, with music by Area C. The artist types into Google’s predictive search bar, letter by letter, in two-second intervals for approximately 45 minutes. As Google attempts to predict words and phrases, an essay slowly constructs a history of noise from Futurism, to the sound of thermonuclear detonation and the modern universal Turing machine.
|The Limits of Perception and The Rectangular Frame #2||Pending|
The contents of a 16-foot photograph are memorized in a “memory castle,” an ancient Greek mnemonic device for visualizing information as objects in an imagined space. In a later performance of several hours, the artist proceeds through the memory castle, describing the visual qualities, materiality, and form of the photograph’s contents, but none of the details of the imagined space in which they are remembered. The performance survives as an audio recording and a photograph, to be installed in separate rooms.
|Golden Champagne with Jessie Stead||2013|
“Golden Champagne” is a touring exhibition in collaboration with Jessie Stead, working as JS/RL. “Golden Champagne” is both performative documentation and poetic excess culled from the JS/RL Periodicals, a multi-volume series of books published by Phiadon.com, which documents years of hyperactive text messaging between the collaborators. In the exhibition “Golden Champagne”, the cosmos described in the Periodicals are submitted to a hermeneutic interpretation, generating performances, works of cinema, insular books of criticism and other elaborations in an ongoing recursive production cycle.
|Phiadon.com: Pussy Catalog||2013|
Series literally defaces an entire exhibition by the artist Sebastian Black in 2012. The painted aluminum top layer of Di- Bond was ripped from replicas of the show’s 14 unique paintings, revealing an adhesive rubber substrate. The works are then aggregated into a single object.
Rubber and aluminum (Di-Bond) on wood.
Installation views of the modular installation “Alias Units” from The Fisher Landau Center, New York. May 15, 2012
|(curator) Essential Items: the artists’ work as a series of four inch cubes||2012|
On the eve of their thesis exhibition, the graduating artists of the Columbia University MFA program were asked to compress their practice into the space of four cubic inches for display at the Metro Deli in Williamsburg. The works in the show range from Kristina Lee’s indexical paint drippings on concrete, to Sebastian Black’s dandyish studio name tag, to Sandy Smith’s iconic painted lightbulb, to Mira Hunter’s urn of ashes. The exhibition finished with an offsite postcard dispenser at the Fisher Landau Center and a reception at an impossibly small apartment. Full documentation, including an essay by A.E. Benenson is available at www.essentialItems.org and through an on-demand publication by the same name.
|The Limits of Perception and The Rectangular Frame #1||2011|
Six-minute looping video with floor seating, involving audio composition for three mechanical window blinds with remote controllers, and video recording through an electronic iris set for automatic exposure.
|Nerd Lesson in Entropy||2012|
7minute video loop for horizontal monitor.
Waiting spectators are asked to pay a dollar or have their rear photographed as admission. Once inside they are given a glowing, 8 pound sledge hammer head by which to view a series of partially legible works. They are told they must not put the hammer head down- when it inevitably becomes to heavy they should exit the installation. The sledgehammer gives off light for approximately 4 minutes, by which time the viewers eyes have adjusted to the dim scene.
mudboy’s “Wolf!” is a party game that pits an uninformed majority of “townspeople” against an informed minority of “wolves.” The game alternates between night and day phases: each night, while the townspeople’s eyes are closed, the wolves silently choose one player to devour (and remove from the game). By day, the townspeople use a blend of guesswork, bullying, and crowd mentality to lynch a suspected wolf. The game is a variant of a Soviet-era sociological study, which escaped academic circles to achieve international cult status in the ’80s as the game “Mafia.” mudboy’s version of “Wolf!” highlights the strategic differences between rational operations and unconscious manipulations. Illustrated by the artist and published by Mousse magazine, the game cards and rules are available for free as a two page downloadable PDF.
The acrylic on glass (12″ x 10″) paintings are produced through serial copying. Originating with a print out from a corrupted and “unreadable” JPEG, each painting is produced mechanically by hand. Each new painting begun by laying a piece of glass over the previous iteration. As the image is subjected to multiple iteration (feedback), small errors become magnified. New “branches” of the mutating series can be created by making more than one copy of the same slide, and iterating those copies forward independently. The images here represent only a single branch.
|Installation for various black balloons, wind.||2010|
Installation for various black balloons, wind.
|mudboy’s Night Eyes||2010|
This installation is a re-imagining of the artist’s “Night Eyes” musical performance for pipe organ, cell phone and electronics, which was performed for ISEA 2010 in Dortmund, Germany. The musical composition collides in the installation with the visual objects and projections to deliver communications from the 1984 film, Nightmare on Elm Street, itself a meditation on the dream state. The show invites the viewer to become engulfed in a darkness, dimly lit by analog hand-made holographic light projectors called “attractors” and populated by spectral and often terrifying sculptural figures.
|mudboy’s True Magic||2009|
True Magic is an installation composed of an chaotic micro-LED light cloud, cardboard constructions, and a variety of optical illusions and light mobiles set to an atmospheric soundtrack. A series of light sensitive illuminated prints, boxes, and wall drawings were available for sale in the installation’s established “gift shop.”
|mudboy- Assorted Installations and Objects||2008 - 2010|
|mudboy- videos||2005 - 2008|
“Othern Lights” with Dave Fisher
Part of the Slomo Video Compilation
mudmantra with Dave Fisher
Banned Muppet Scene Featuring: mudboy:Dracula Lewis:The Fear You Hear
|mudboy||2003 - 2010|
mudboy is a performance, installation, video, and recording project that began at Fort Thunder in Providence, RI in the early 2000s. mudboy performed throughout the United States and Europe on homemade and experimental electronic keyboards with the occasional foray into adapted pipe organs. He appeared with such acts a Tony Conrad, Black Dice, Charlemagne Palestine, Fenez, Lightning Bolt, Paper Rad and Extreme Animals. Accompanied by controlled lighting, surround-sound speakers, firecrackers, and smoke, mudboy’s was a self-proclaimed “spell caster,” exploring fantasy, power, control, and the uncanny through a guided musical experience. Though mudboy released nearly two dozen albums and “kits,” and mounted four solo exhibitions, the vast majority of the nearly pitch-black performances were unrecorded and un-photographed. mudboy’s most recent and perhaps final performance was on massive electro-acoustic pipe organ in Dortmund, Germany as part of the International Symposium on Electronic Art in 2010, and is the basis of the Night Eyes album (unreleased) and an installation of the same name at the Mountain Fold gallery in New York City in 2010.
Nearly all of mudboy’s albums are out of print, though some have been curated into WFMU’s free music archive. An entire live performance recorded at WFMU in 2009 is available for download and streaming.
|Free Matter For the Blind: Psicklops||2005|
Psicklops was produced by Free Matter for the Blind in 2005 with a grant from the Rhode Island State Council on the Arts. Based loosely on the events of Kafka’s “The Trial,” but updated for the Bush Presidency, the 50-minute foray investigates capitalistic meme making, psychological warfare, and constant slippages between guerrilla recordings, found sounds, and scripted performances. It re-imagines the possibilities of an audio theater as “Dark Cinema” by establishing a “point of listening” for the audience akin to the cinema-goer’s “point of view.” Psicklops’ point of listening creates an immersive and embodied experience of recorded sound, challenging Duchamp’s maxim that “One can look at seeing; one cannot hear hearing.” Nearly 25 individual artists and musicians were involved in Psicklops, including Jim Drain, who also made the poster and album cover, as well as Jo Dery, Luke Fishbeck of Lucky Dragons, Khaela Maricich of the Blow, Ron Rege Jr, Dennis Typhus, Jake Vida, and many others.
|Free Matter For The Blind (FM4TB)||2003 - 2010|
Free Matter For The Blind (FM4TB) is a music label of sound art, experimental field recordings, and investigations into the possibilities of cinematic audio. To date FM4TB has released 37 limited edition recordings on CD-R, cassette, and posters with audio download. Along with several one off titles, FM4TB released a series of themedaudio “zines” between 2003 and 2004 – compilations of found sounds, commissioned works, guerrilla recordings, and unauthorized reproductions. Following this series was the “Haunted Cobblestone Sunset Concert Series” – single-take recordings of musicians invited to perform, unseen, out of Lyon’s third-floor window as the sun set. Performances ranged from Area C’s melodic looping guitars to Solemn Man’s amplified smashing of furniture, accompanied by the sounds of field artillery, on the anniversary of the September 11th attacks. Recordings were made at street level, where the audience would sit and listen. The album reproduces equal parts planned performance and unpredictable sounds of an urban neighborhood. Most of the catalog which is entirely out of print has been curated into WFMU’s Free Music Archive.
|Fort Thunder||2001- 2004|