Augmented Reality Artwork Vandalized

©️Sebastian Errazuriz

Augmented Reality Artwork Vandalized – Sebastian Errazuriz

Medium: AR effect Location: New York’s Central Park Date: 2017

🐩🎨🏴‍☠️

Deface, vandalise, DDOS, breach, appropriate, override:

digital graffiti


What classifies as a counteraction to the corporatisation of the realm between public space and virtual space (a.k.a. social media corporations)? Where is this virtual public space? How do we experience virtual reality without being monopolised by corporate content? Social interactions take place as if they are merely a marketing play. Creativity as a virtual branding game. The ability to assemble virtual images of things that either are not physically present or are not conceived, created or considered by others -irl- in the same way. In 2017, a Snapchat X Jeff Koons augmented reality collab 3D sculpture of Koons’ famous Balloon Dog became digitally visible in New York’s Central Park. 24 hours after its online release, the artist Sebastian Errazuriz and his team from CrossLab administered a duplicate 3D AR Balloon Dog + graffiti. Connected by geo-tag to the exact coordinates, the “vandalised” AR sculpture replaces the original AR object owned by a company.

How to Disappear

How to Disappear – Total Refusal

Medium: Battlefield video game machinima essay film Date: 2020.

About How to Disappear

“How to Disappear” is an anti-war movie in the true sense of the word, searching for possibilities for peace in the most unlikely place of an online war game. It’s a tribute to disobedience and desertion – in both digital and physical-real warfare.

About Total Refusal

Total Refusal is an open artists’ collective which criticizes and artistically appropriates contemporary video games. However, as most mainstream game narratives employ the same infinite loops of reactionary tropes, the genre largely fails to challenge the values of their players and instead affirms hegemonial moral concepts. Acknowledging that this media is currently not realizing its cultural potential, we aim to appropriate digital game spaces and put them to new use. Moving within games but casting aside the intended gameplay, we rededicate these resources to new activities and narratives, looking to create “public” spaces with a critical potential.

Vimeo link

The Convenience Store

The Convenience Store – Jonne Hansson

video still from The Convenience Store, 2018, digital video from Grand Theft Auto V in-game editor (PC), voice-over by Jonne Hansson, August Bällgren and Evelina Maria Odette Jönsson, sound design by Agatha Lewandowski

The story follows three (not long time ago) graduated artists who went to Umeå Academy of Fine Arts in Sweden and then moved to the fictional city Los Santos (based on Los Angeles) in hope to succeed as artists. They have struggled in living and working within different artistic fields. Some years have passed since they all graduated, and one day they accidentally meet each other in a convenience store. In a setting, similar to Kevin Smith’s cult classic “Clerks”, they are awkwardly starting to have a strange, meta-referential conversation with each other.

Jonne Hansson

MILAN MACHINIMA FESTIVAL interview linkVimeo link

YOU

YOU (2022) by Maurizio Cattelan. Credits Roberto Marossi. Courtesy the artist and Massimo De Carlo. -artnet 6/4/2022

Maurizio Cattelan – YOU

A barefoot statue of the artist hangs from a noose in the gallery bathroom. It wears a blue suit and holds a bouquet of flowers in its right hand.

“YOU is a hallucination, a simultaneous image of control and failure. A generous welcoming gesture or a sad and inevitable farewell, YOU explores the role of the individual in the collective realm: an admission of surrender, or perhaps an affirmation of kindness. This new intervention by Maurizio Cattelan affirms the death of great powers, while infusing a new energy in the strength of the individual. Despite trying to create a distance between the work and the viewer, Maurizio Cattelan’s YOU is certainly all about us.”

-official press release via sybariscollection.com

Medium: platinum silicone, epoxy fiberglass, stainless steel, real hair, clothes, hemp rope and flowers Date: 2022 Location: Gallery bathroom Massimo De Carlo, Milan

It’s not you, it’s me. It’s not yours, it’s mine.

➡️ UPDATE 4/05: The maker, Daniel Druet, of Maurizio Cattelan’s wax prototypes is suing Cattelan for stolen intellectual property.

link to article

r/place

r/place was first launched by Reddit on April 1, 2017, and was revived a few days ago (April 1-5, 2022). Signed in Reddit users could place one pixel at a time, once every five minutes, anywhere on the digital canvas by tapping/clicking on it. The pixels or tiles form a real-time mosaic curated by (a.o. sub-Reddit and Discord?) groups who often fought to not be “painted over”, i.e. to keep their image on the canvas. A truly collective colourful piece. This image is a screenshot, the original digital artwork is wiped clean again.

For more information about the mosaic icons visit: https://place-atlas.stefanocoding.me/

Cool Cops Club

Uhm.. what happened to ACAB?

a collection of 10,000 “unique” Cool Cops generative NFTs— digital pfp collectables are put on the Polygon blockchain. First thing I noticed when opening the OpenSea marketplace today. Gotta love the internet 3.0. Think #police #protecttherich, think #property, think #pfp.

Call to Arms

Call to Arms – PentHouss

“Mirrors ring a claustrophobic space, fractalizing it into infinity. Lights flash. Enter the riot police. Obscured behind darkened face shields, they menace. And then they begin dancing. Conceived by London/Paris multidisciplinary collaboration PentHouss, Call to Arms blends movement, sound, light, and architecture in an immersive meditation on power, resistance, and control. Reacting to the crackdowns on people’s movements from the U.S. and the U.K. to Turkey and Hong Kong, where protests are met with overly-armored use of force, artists Anna Lann and Yonathan Trichter, curator and creative partner Helen Neven, and choreographer Ekin Bernay joined to mobilize a response.  

Call to Arms conveys the experience of political mobilization by appropriating the garb of the powerful themselves. The dancers in PentHouss’s performance skew the “us” versus “them” mentality the state profits on and challenge those who might steer clear of direct action to understand on-the-ground reality. By leveraging the uniform as costume and turning the synchronized movements of militarized police forces into a kind of dance, PentHouss exposes the theatrics inherent to such shows of force (what they refer to as “the instrumentalization of fear”).

PentHouss uses movement to evoke the power of physical solidarity and to show that, as its title suggests, modes of resistance remain. As PentHouss writes: “Movement is dance; movement is assembly; movement is a call to arms.””

[image and text copied from https://dis.art/call-to-arms%5D