miércoles, 22 de diciembre de 2010

Dear Google... How do I write my artist statement?

I need to write an artist statement but I'm a bit confused. What if I ask Google?
Here are some extracts I found:

- I am a child at heart, wandering through the world awestruck at the vastness of God's creation.

- Art is my path to the best part of me, my inner child.

- I twist old myths, legends, folk stories, literary classics to reflect upon contemporary life. Although I draw mostly from Vietnamese sources, Western ancient and urban legends. (...)

- In Zen, a koan is a device_a rhetorical question, or a gesture such as yelling_that challenges the audience to directly grasp the truth behind the preconceived, the real behind the illusionary. My paintings are visual koans of a sort.

- The paintings that I make come from eyes and heart that have been thoroughly beguiled by half a life spent sojourning in a place both ephemeral and eternal... eyes that have dazzled and enchanted by an ancient place of deep and resonant character... by entracing light, by arresting faces, by syncretic and surreal dances. My work is a paean to this world.

- My textile art pieces convey simplicity, strength, quiet energy and the yin-yang of balancing forces.

- The longer you look, the more you see. The layers of life are methaphors for my art.

Drugs for... / Medicina para....

I typed into Google "Drugs for..." and "Medicina para" and transcribed here the suggestions (based on the most popular queries).
I find shocking that 7 out 10 results in English are problems related with mental illness, personality disorders or depression.
On the other hand, Spanish-speaker users seem less concerned about these issues (just 1 out 10).

miércoles, 8 de diciembre de 2010

1111 images on 1111

This books contain one thousand, one hundred and eleven images extracted from the internet related with the number 1111: Images, Twits, maps, Web and Wikipedia entries, you-tube snapshots, shopping items, etc.
The piece was commissioned as part of Herzog and De Meuron's new building on 1111 Lincoln Rd. Miami. FL

miércoles, 10 de noviembre de 2010

lunes, 11 de octubre de 2010

Artist Bio (Emilio Chapela)

Emilio Chapela Perez
Born in 1978.
Lives and works both in Mexico City and the Forgotten Realms of the Earth.

Emilio Chapela works with the latest technology from Japan and China. His artistic practice is concerned with the development of a system that allows the operator to control various processes such as those used for conventional and unconventional methods to determine the relative importance of individualize factors. He also investigates the effect of increasing importance of the different methods used to identify the specific factors involved in the production and dissemination of a particular type of information.
In such a way, he has worked with several different methods to determine how the various systems respond to the needs identified through their own resources.
He has participated in shows both at galleries, museums and other cultural institutions, at places like the U.S. Geological Society of America and at the Museum of Modern Art in New York.
He was awarded with the prestigious award for gallantry in the field of public procurement and disposal. In 2010, he published his first book on the history of the world.
In the near future, he will be showing his work at the National Institute of Technology and Information Ethics in Washington DC.

*This artist bio has been generated by an online text auto-suggestion application.

jueves, 7 de octubre de 2010

Reflexiones Colectivas I

1.-El gandaya no se hace responsable de comentarios fuera de tema.

2.-Los derechos de propiedad intelectual y cualquier reclamo de falta grave, serán eliminados y penalizados por la ley de Dios.

3.- Aquellos que quieran publicar fotos y reseñas bajo licencia de FNAC S.A. © Copyright Internacional, tendrán que hacer frente a los retos que enfrentó la humanidad en el siglo XV.

4.-La Administración General del Estado de Gobierno de la Ciudad de México y el Centenario de la Revolución Democrática, enfrentarán a muerte por lapidación a los usuarios del Foro Económico Mundial de Davos.

5.- Los autores de este estudio son los mismos que se encuentran en la parte superior de la cabeza del cuerpo descompuesto de la República Bolivariana de Venezuela.

6.- Joel Omar Reyes Velázquez de León y Castilla se encuentra perdidamente enamorado de la hija de la pareja de baile de Michael Jackson.

7.- Si por fuerza mayor el concierto de Metallica en Chile termina siendo una kermess, el presidente electo Barack Obama tendrá que elegir entre el reembolso o el reemplazo del personal.

8.-No se admitirán posturas que no reúnan todos los elementos esenciales para garantizar la seguridad pública del proyecto de ejecución del contrato de trabajo y los procesos sociales de participación ciudadana en el marco del Programa Integral de Fortalecimiento Institucional de la Comunidad Autónoma del Estado de México.

9. Es muy improbable que estemos solos en el universo.

10.- La guerra entre los Autobots y los humanos no debe politizarse por ninguna de las causales contempladas por el anteproyecto para agricultura urbana y periurbana en la periferia sudoeste de Puerto Príncipe .

miércoles, 29 de septiembre de 2010

Wikipedia articles (Pecha Kucha vol. 26)

10 strange and useless wikipedia articles. Selected for my presentation at Pecha Kucha vol. 26

What if?
Zimmermann Telegram

True or hoax?
Dorabella Cipher

The most mysterious manuscript:
Voynich manuscript

350 years unsolved...
Fermats Last Theorem

Familiar with this?
Blue Screen of Death

Another PC endless loop:
Abort, Retry, Fail

Unix sense of humor:
Printer on Fire

The mayor of Argleton:

Tomato IS a vegetable:
Nix vs Hedden

Sex in space:
Document 12-571-3570

jueves, 23 de septiembre de 2010

Democrazia, Democracia, Democracy, Démocratie, Demokratie

Volume of searches in Google for:

1) "Democrazia" (Italian)
2) "Democracia" (Spanish)
3) "Democracy" (English)
4) "Démocratie" (French)
5) "Demokratie" (German)

* from left to right

miércoles, 22 de septiembre de 2010

lunes, 6 de septiembre de 2010

Coca-colonized. Vienna, Austria. 16 sept.

curated by Claire Breukel

Exhibition dates
September 16 - November 20, 2010
Opening: September 16th, 7pm

Brot Kunsthalle
1100 Vienna, Austria
Absberggasse 27 / Stair 1

Anton Kannemeyer (South Africa), Peterson Kamwathi Waweru (Kenya), Cameron Platter(South Africa), Baudouin Mouanda (Congo), Maria Jose Arjona (Colombia), Simon Vega (El Salvador), Omar Obdulio (Puerto Rico), Reynier Leyva-Novo (Cuba), Emilio Chapela Perez (Mexico)

Production at Objektlabor, Berlin.

Production Process at Objeklabor in Berlin
Dollar, Euro, Peso, Pound (acrylic on canvas)

lunes, 2 de agosto de 2010

Hello Chicago!

I processed Obama's inaugural speech using a voice to text computer application. The subtitles display the "translated" speech while the audio remains the same. It is part of a series of pieces that talk about miscommunication generated from human-computer interactions.
This is just a fragment of the piece 17 minute long video.

viernes, 9 de julio de 2010

Miami Herald on "Human Rites" at the Bass Museum

Bass Museum's new exhibit, 'Human Rites,' pairs pieces from permanent collections with contemporary works
By Tom Austin
Special to the Miami Herald

As Terentius, the Roman playwright, famously observed, ``Nothing human is foreign to me,'' and Human Rites, the new show at the Bass Museum of Art, pretty much covers the waterfront. It examines the alliance between art and ritual, mixing borrowed contemporary work with pieces from the Bass' permanent collection. A sculpture of a Buddhist monk from the Yuan Dynasty (1206-1368), for instance, enters the same playing field as Rirkrit Tiravanija's Buddha Project, 200 hand-carved wooden Buddha figurines arranged on corner-shaped, stainless-steel shelves and straddling the line between devotion and kitsch.
The show, curated by the Bass' Silvia Karman Cubiñá and Steve Holmes, is the second of three exhibitions in the Endless Renaissance Series. This is a continuing effort to pair the museum's permanent collection -- lots of old-fashioned, positively ancient stuff done in that long-ago time when art was supposed to be about moral uplift and improving the human condition -- with the pop-goes-the-weasel punch of contemporary work, which is often bent on leading the charge to the gutter. As usual, the dark world of humankind is more intriguing than the spiritual realm.

Human Rites begins on a cheery, transcendent note with Ringhead (Exorcism from Style), a downstairs installation by Cesar Trasobares, the former director of Miami-Dade's Art in Public Places program. Trasobares began using rings, self-created and found at shops, as a retreat from the public realm of his job. Some of his rings function as a homage to artists he liked or worked with, from Claes Oldenburg to Purvis Young; other pieces, such as a kitschy quince ring and rings made from dollar bills, expand on his previous museum shows. The found-object rings -- biker rings with skulls, a huge affair used for Jewish Orthodox weddings, Miccosukee rings that resemble alligators -- offer a telling glimpse at varying cultures.
(Apart from Human Rites, the Bass has a Kolkoz exhibition in a small room downstairs, the Cabinet. The French art collective continues its dumbed-down Dada series of exploring the framing of art with two pieces, ornate gold frames within frames leading to nothingness.)
Human Rites occupies the entire second floor. On the staircase wall is Thomas Hirschhorn's Necklace CNN, 2002, an eight-foot chain of gold wrapping paper with the CNN logo writ large, in the manner of hip-hop bling. The chain, with the letters of the icon of infotainment and hung like a crucifix, would give Ted Turner the ego boost he doesn't need. At the top of the stairs is Allan McCollum's 240 Plaster Surrogates, 1982-1991, enamel-on-plaster repetitive pieces that explore the notion of constructed objects as surrogates for the real thing -- sort of like Facebook.
Throughout the galleries are some smart pieces, starting with photographs of Gotham Handbook, 2000, a Sophie Calle installation that utilized a set of instructions from novelist Paul Auster on the challenge of creating a public personal space. The urban intervention entailed placing an array of objects in a New York phone booth -- water, cigarettes, flowers -- next to the simple sign ``Enjoy.'' Calle charted the responses in her field study (``125 smiles given for 72 received''), also incorporating written comments from sensible pedestrians: ``You should replace the cigarettes with sunflower seeds.''
A Massimo Vitali photograph, San Marco, Venice, 2005, is all about the rite of milling around in scenic public squares dominated by heavy-duty religious imagery. It's paired with 16th century Venetian votives. One of the strongest pieces in the show bridges the old and new worlds: two powerful photographs from Shirin Neshat's Rapture Series, 1999, images of Iranians caught between traditional and modern culture.
Christian Boltanski's Untitled (Reserve), 1989, is a wall-mounted installation with folded clothes, photographs and lights, resembling an altar piece. (The clothes are from lost-and-found boxes at train stations; the photographs are of 1931 Jewish schoolchildren facing the horror of the concentration camps.) It's counter-pointed by old Greek and Italian altars.
The Ghanaian artist El Anatsui contributed Bukpa Old Town, 2009, a tapestry made of flattened metal caps from African liquor bottles strung together with copper wire. Paolo Cane-vari's video Bouncing Skull, 2007, contains irresistible images of a boy in Belgrade who plays soccer with a rubber skull. Subodh Gupta's Dubai to Mumbai, 2006, chronicles the ritual migrations of grossly exploited workers around the world. The piece consists of a bronzed airport luggage cart, along with an aluminum rendering of one of those huge, tied-together parcels the underclass is forever lugging through airports.

Ai Wei Wei's Forever Bicycles, 2003, a sculpture made from 72 bicycles built by the Chinese company of the piece's title, is another gem, as is the piece by Mexican artist Emilio Chapela. Various Titles (From Ask Google), 2010, consists of questions posed to Google, from ``Why are Mexicans lazy?'' to ``Why are artists crazy?''
As usual, a dark world is more intriguing than the spiritual realm. This is an age of not particularly amusing ironies, when everything is better on paper, and life is lived as one big conceptual art installation. One of the best things in the show -- Mark Dion's Brockton Cabinet, 2001 -- is also one of the most abstract, sharp as all get out.
The piece examines the exhaustive obsession and rituals entailed in collecting and scientific exploration, particularly with regard to the gentleman explorers of the Victorian era, who put together encyclopedic system-of-knowledge collections that went off on bizarre tangents. Within a hand-built oak cabinet, the sort of thing you might see at the British Museum, are glass-topped drawers with an array of objects -- from plastic swizzle sticks to discarded shoe heels -- in the drawers. The objects were culled from the trash heaps of Brockton, Mass.
As one Bass employee observed, ``You open up the drawer, expecting priceless archaeological artifacts, and it's just a bunch of useless s - - - that doesn't mean anything.'' But in the right context, it kind of means everything.

jueves, 3 de junio de 2010

domingo, 16 de mayo de 2010

The World...

Shir Khan, Kondoz, Bagram, Mazar-e Sharif, Bagram, Kabul, Towraghondí, Herat, Shindand, Zaranj, Kadahar, Ghazni, Jalalabad

Shkodër, Shënjing, Durrës, Tirana, Elbasan, Korçë, Vlorë, Sarandë

Abalak, Agadez, Aguié, Arlit, Birni Ngaouré, Birni Nkonni, Dakoro, Diffa, Dogondoutchi, Dosso, Filingué, Gaya, Gouré, Guidan Roumji, Illéla, Kollo, Madaoua, Magaria, Maïné-Soroa, Maradi, Matameye, Mirria, Nguigmi, Niamey, Say, Tahoua, Tânout, Tchirozérine, Téra, Tessaoua, Tillabéri, Zinder.

El Serrat, Soldeu, Encamp, Les Escaldes, Saint Julià de Lòria, Andorra la Vella.

Soyo, Ambriz, Luanda, Malanje, Porto Amboin, Lobito, Luena, Benguela, Huambo, Menongue, Lubango, Namibe.

Antigua and Barbuda
Codrigton, Saint Johns, English Harbour Town.

Salta, San Miguel de Tucumán, San Juán, Cordoba, Santa Fe, Concepción del Uruguay, Mendoza, San Loranzo, San Martín, Rosario, Buenos Aires, La Plata, Bahía Blanca, Viedma, San CArlos Bariloche, Punta Colorado, Comodoro Rivadavia, Río Gallegos.

Alaverdi, Ijevan, Vanadzor, Gyumri, Hrazdan, Ejmiastsin, Yereban, Vardenis, Kapan.

Darwin, Calms, Townsville, Port Hedland, Dampier, Mackay, Alice Springs, Gladstone, Brisbane, Perth, Fremantle, Newcastle, Adelaide, Sydney, Canberra, Melbourne, Launceston, Hobart.

Linz, Vienna, Weis, Salzburg, Bregenz, Innsbruck, Graz, Klagenfurt

Xaçmaz, Säki, Mingäçevir, Gäncä, Yevlax, Läki, Sumqayit, Baku, Kürdämir, Äli Bayramli, Xankändi, Naxçivan, Astara

South Riding Point, Frreport, Nassau, Matthew Town

Al Muharraq, Manama, Mina Salman, Jidd Hafs, Madinat Isa, Sitrah, Ar Rifa ash Sharqui, Awáli

Rangpur, Mymensingh, Rajsháhi, Sylhet, Tungi, Dhaka, Narayanganj, Comilla, Jessore, Khulna, Barisat, Mongla, Chittagong, Cox's Bazar.

Speightstown, Bathsheba, Holetown, The Crane, Bridgetown

Polatsk, Vitsyebsk, Orsha, Mahilyow, Minsk, Hrodna, Babruysk, Baranavichy, Homyel, Brest, Pinsk, Mazyr

Zeebrugge, Oostende, Brugge, Antwerp, Gent, Mechelen, Aalst, Leuven Brussels, Liège, Mons, Namur, Chaleroi, Bastogne

Corozal, Orange Walk, Belize City, Belmopan, Big Creek, Punta Gorda

Malanville, Kandi, Natitingou, Djoungou, Parakou, Cové, Bohicon, Abomey, Lokossa, Porto Nove, Quidah, Cotonou

sábado, 6 de febrero de 2010

Aquiles y la Tortuga...

  1. Pintar un gris cualquiera A
  2. Pintar un gris cualquiera B diferente de A
  3. Pintar un gris C con tonalidad entre A y B
  4. Pintar un gris D con tonalidad entre B y C
  5. Pintar un gris E con tonalidad entre C y D
  6. Pintar un gris F con tonalidad entre D y E
  7. Pintar un gris G con tonalidad entre E y F
  8. Pintar un gris H con tonalidad entre F y G
  9. Pintar un gris I con tonalidad entre G y H
  10. Pintar un gris J con tonalidad entre H y I
  11. Pintar un gris K con tonalidad entre I y J
  12. Pintar un gris L con tonalidad entre J y K
  13. Pintar un gris M con tonalidad entre K y L
  14. Pintar un gris N con tonalidad entre L y M
  15. Pintar un gris Ñ con tonalidad entre M y N
  16. Pintar un gris O con tonalidad entre N y Ñ
  17. Pintar un gris P con tonalidad entre Ñ y O
  18. Pintar un gris Q con tonalidad entre O y P
  19. Pintar un gris R con tonalidad entre P y Q
  20. Pintar un gris S con tonalidad entre Q y R
  21. Pintar un gris T con tonalidad entre R y S
  22. Pintar un gris U con tonalidad entre S y T
  23. Pintar un gris V con tonalidad entre T y U
  24. Pintar un gris W con tonalidad entre U y V
  25. Pintar un gris X con tonalidad entre V y W
  26. Pintar un gris Y con tonalidad entre W y X
  27. Pintar un gris Z con tonalidad entre X y Y
  28. Pintar un gris A1 con tonalidad entre Y y Z
  29. Y así sucesivamente....

Un gris casi blanco....

Un gris casi blanco.

Un gris clarito, más obscuro que un gris casi blanco.

Un gris claro, más obscuro que un gris clarito más obscuro que un gris casi blanco.

Un gris medio, más obscuro que un gris claro más obscuro que un gris clarito más obscuro que un gris casi blanco.

Un gris obscuro, más obscuro que un gris medio más obscuro que un gris claro más obscuro que un gris clarito más obscuro que un gris casi blanco.

Un gris bien obscuro, más obscuro que un gris obscuro más obscuro que un gris medio más obscuro que un gris claro más obscuro que un gris clarito más obscuro que un gris casi blanco.

Un gris casi negro, más obscuro que un gris bien obscuro, más obscuro que un gris obscuro más obscuro que un gris medio más obscuro que un gris claro más obscuro que un gris clarito más obscuro que un gris casi blanco.

viernes, 5 de febrero de 2010

Una palabra larga

Una palabra larga
Una palabra larguisima
Una palabra largusisima
Una palabra larguisisisima
Una palabra larguisisisisima
Una palabra larguisisisisisima
Una palabra larguisisisisisisima
Una palabra larguisisisisisisisima
Una palabra larguisisisisisisisisima
Una palabra larguisisisisisisisisisima
Una palabra larguisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisisisisisisisima
Una palabra larguisisisisisisisisisisisisisisisisisisisisisisisisima