Thursday, 30 October 2008


Oliver Laric's show is reviewed on RHIZOME. Read the review here.

Wednesday, 29 October 2008

Oliver Laric

Oliver Laric
50 50 2008 ↓ ↑ TOUCH MY BODY
Wednesday 29th Oct - Sunday 30th Nov 2008

Berlin based artist Oliver Laric is adept at subtle restructuring of existing popular media. With gentle emphasis he diverts images, turning them in on themselves to such a degree that they come to reflexively represent their own critique. For this exhibition he presents three new video works.

50 50 2008 (2008) is an entirely new version of an earlier work produced by Laric. The video compiles multiple YouTube clips of amateur acolytes of hip-hop icon 50 cent rapping and performing Karaoke-style over three of his hits - In Da Club, Candy Shop (2003) and How We Do (2004). A few seconds from each clip are sampled then synchronised with further abridged clips to form a continuous musical rendition of all three songs. That 50 50 2008 is a new version of an earlier work produced in exactly the same way by Laric suggests that YouTube is a uniquely plural media platform - a zone where multiple possibilities of the same thought or idea can be maintained simultaneously.

DOWN UP (2008) is a two channel video work in which the hypnotic 'before and after' temporality of Christian baptism is explored. As in 50 50 2008, the multiple segments of video footage that comprise the film have all been taken from YouTube.
The final work in the exhibition, Touch My Body (Green Screen Version) (2008), is a reworking of Maria Carey's music video for the track of the same name. By Masking everything in the video other than Carey's physical form in Chroma Key green screen, Laric created a template over which others were able to edit further new versions of the video. In the final video both Laric's original re-edit and those made subsequently by others who located his green screen version online are shown alongside each other.

Oliver Laric (1981) studied at the University of Applied Arts Vienna and is - together with Aleksandra Domanovic, Christoph Priglinger and Georg Schnitzer - one of the co-founders of the platform VVORK. Recent exhibitions include 'I love the Horizon', Le Magasin-Centre National d'art Contemporain, Grenoble, 'Montage: Unmonumental Online', New Museum of Contemporary Art, New York, and 'Becks Fusions', ICA, London.

This will be the fourth exhibition at SEVENTEEN's basement exhibition space - curated by Paul Pieroni. 

For more info visit here

Saturday, 25 October 2008



(left) Paul B. Davis [BEIGE] - Video Compression Studies I/II & B.Y.O.B.B (2007/8) / (Centre) Charles Broskoski – Two Terminators (2008)

Oliver Laric – Aircondition (2006)

Richard John Jones - ‘New Display Strategies: rich masterplans that can sustain complex and
successful institutions’ (2008)

Paul B. Davis [BEIGE] - ‘Notorious B.I.G. quote appropriated and used to propose a unified
medium among Turing-complete machines’ (2008)

Monday, 20 October 2008

Tobias Putrih / Thorsten Brinkman: Book Reviews

Two book reviews in  issue 7 of Art World. Tobias Putrih and Thorsten Brinkmann .

Friday, 17 October 2008


Three of my penned texts feature in the latest issue of PAPERBACK. One on Aaron Rose of Alleged gallery, another on Les Blank's film Werner Herzog Eats His Shoe - shown at SEVENTEEN earlier in the year - and a final text on Sister Corita Kent.

Saturday, 4 October 2008

Dazed & Confused - Project

I recently contributed a 6-page project to the October issue of Dazed & Confused. The other contributing curators were Kathy Grayson (Deitch Projects, NYC), Margherita Belaief (Peres Projects, LA/Berlin), Haruka Ito (Magical, Art Room, Tokyo). The project was arranged by Francesca Gavin.

You can view the full PDF here


Saturday 4th Oct - Sunday 19th Oct 2008
SEVENTEEN at The Wharf Road Project



The artists gathered together for this exhibition are variably engaged in the 'art of the electronic age'. This determination does not refer to the outstanding presence of electrical technology in their work - though as you can see the predominant modes are electric; comprising video, personal computers, gaming consoles, mpeg movies, flash, etc. - rather what it means is that the art on display can be read in terms of its relationship to the perpetually shifting topography of a world increasingly dominated by new electronic media.

A hyper-technical world, a world Marshall McLuhan would have described in communicative terms as a 'global village', enfolds us: digital radio, multi-channel television, home computers, computer games, email, mobile phones and, perhaps most importantly, the Internet - all inventions with an everyday impact.

New aesthetic approaches based on 'glitch' and compression, novel distribution structures that exploit the open access potentialities of web 2.0, ruminations on the technological dialectic, mass media critique, innovative information systems, snappy-hyper-pop-cultural sensibilities, sonic and percussive montage, code cracking - be it opening them up, or just breaking them down ... these are just some of the artistic moves presented for your pleasure in The Steve Guttenberg Galaxy.
In itself, as an exhibition title, 'The Steve Guttenberg Galaxy' is a joke; a pun coaxed from the admittedly moronic observation of a singular similitude. In the main it is lifted from Canadian media theorist Marshall Mcluhan's (1911-80) 1962 publication - 'The Gutenberg Galaxy'. However, with a simple twist the title is smoothly re-directed away from its proper reference to Johannes Gutenberg (c. 1400-68), the inventor of the printing press and towards Steve Guttenberg (1958 - present), a now faded actor memorable to a generation of movie goers as the all American star of a number of notable Hollywood film franchises.

A joke then ... however further contemplation reveals that things are not quite so simple... By spuriously opposing Johannes Gutenberg (the eponymous hero of McLuhan's exploration of the pre-electric age of print) with Steve Guttenberg, a sort of sad anti-icon for our electro-technical, mass media, 'entertainment as culture' age, this exhibition, beyond a pun or joke, gestures both towards the newly hyper age as well as to the emergence of a generation of artists operating directly in concert with it, reflexively contributing to its ongoing mapping.

More info