The Audible Picture Show is an international touring show of audio works created for cinema by a diverse range of people including visual artists, film makers, animators, radio makers, audio artists, sound designers, writers and musicians. Each show is compiled afresh from a growing archive of 100+ unique works with many pieces being created at the invitation of the show's curator.

Tonight's screening at Kino Tilsiter Lichtspiele is co-curated by Berlin audio artist Helena Gough & the show's founding curator, artist & film maker Matt Hulse & will feature new works by Gilles Aubry, Martin Clarke & Esther Venrooy.

Tilsiter Lichtspiele
Richard-Sorge-Strasse 25a , 10249 Berlin, Germany
http://anormalboy.wordpress.com/2009/02/01/the-audible-picture-show/

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The Art Yoga tribute to Marina Abramovic: Yoga in lab coats. Later, we sat around and stared at each other. (Screengrab taken from the live webstream.)

There's all kinds of goodness going down at #CLASS this weekend and in the coming week, starting today with a panel on the art world's shade of pale, organized by An Xiao, the motivational stylings of Rod Verplanck, and through the weekend, with working sessions and a contemporary art wake. This will be followed, mid-week, by balloon-popping with Man Bartlett, a feminist tea party with Suzanne Stroeb and Caitlin Rueter, a merciless Q&A with art dealer Magda Sawon of Postmasters, and a lecture, on Friday, by Yevgeniy Fiks, on Communist Modern Artists in the Art Market.

I attended Fiks' fascinating guerrilla tour of MoMA early this week, in which he led us through a number of the works in the permanent galleries created by communists and sympathizers. (See my Tweets from that event here.) The history nerd in me (I have a thing for Cold War-era politics) was totally loving it. You can see reports on the tour at Bloggy and jameswagner.com. Fiks' totally wonderful Russian accent just brings it all together.

Find a full schedule of events over at the official website. And I'll see you in #CLASS.

Last fall as the Dutch Landscape paintings idea was kicking into gear, artist Molly Dilworth emailed me a link to her rather awesome project, Paintings for Satellites.



For the last couple of years, since the dawn of the Google Earth Era, Dilworth has been exploring different techniques for creating giant paintings for the once-invisible, now-primary facade known as the roof.



As you can see above, she used a piece of Google/Aerodata's distinctive polygonal Dutch camo in the study for her most recent piece, which was executed in November on the roof of 547 West 27th street in Chelsea.



The finished painting is more free-form and organic, and is executed, as are all her rooftop works, out of found, discarded paint, so the color's always a surprise. Very nice work, I hope it's still visible when the snow thaws.



Paintings for Satelites photo set [flickr via c-monster]

I can't remember how I found out about The Museum of Modern Tweets, but it's one of the weirdest/best things I've come across in a while. The illustrator and designer, Odessa Begay, started illustrating tweets from celebrities, but imagined them in a very different way then they were probably meant to be.

My two favorites are above, just for the amount of creativity it must have taken to really a) find these tweets, and b) create the bizarre images that go with them. I kinda' hope that Nick Jonas does own a rocket pack and a pony that eats bundles of cash.

Bobby

Described by Irvine Welsh as the would-be product of Cormac McCarthy, Franz Kafka and Benny Hill had they been housed together in Brighton, England, Nick Cave's second novel details the depraved road trip salesman Bunny Munro embarks on (with his son in tow) after his wife's suicide.

At once detailing the already-flawed Bunny Senior's descent into degradation, the story largely hinges on the relationship between father and son and the blinding idolatry and love the latter possesses for the former, despite Bunny Senior's constant neglect of his son (who is left in the car to starve while his father goes about his perverse exploits).

Musician and former longtime guitarist of The Bad Seeds Blixa Bargeld tonight takes on the challenge of delivering excerpts from Cave's melancholic yet witty tale, as he helps launch the audio version of the book.

Babylon: Mitte
Rosa-Luxemburg-Strasse 30, 10178 Berlin, Germany
http://www.babylonberlin.de/literaturlive.htm

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Freelance artist and designer Henrik Leichsenring claims to have invented the world's first mixable YouTube video. But even if he didn't, "The Mixable Dancer" is still an eerie reel worth freaking, thanks to its Donnie Darko disco vibe.

"In terms of the creepy rabbit, we wanted some sort of animal costume because I'm a sucker for disguises," the 26-year-old Leichsenring told Wired.com in an e-mail from his Swedish homeland. "At first, we were going for a full-size panda or rabbit suit, but my girlfriend and creative partner Sofia Gillström is so damn cheap she only bought a half-mask."

It worked out anyway. Gillström decked herself out in black accessories and played the surreal disco puppet for Leichsenring's "The Mixable Dancer," which viewers can remix in real time using 11 different beats and a timing wheel.

It's either an excellent time-waster or an indie glimpse at the hopeful future of YouTube video. Or both.

"I think YouTube is a great forum not only for fun time-wasters but also for people to come in contact with noncommercial creativity," Leichsenring said. "You don't have to buy anything, learn anything or download anything to interact and mix this video."

Making the interactive clip was a different story.

"The Mixable Dancer" was shot in Leichsenring's apartment in front a black sheet. He filmed the reel with a Canon Digital IXUS 100 IS, mashed the beats in Ableton Live 8 and edited the clip using Adobe Photoshop and After Effects, all of which come with learning curves of their own. Good thing Leichsenring was a full-time art director at an advertising agency in Sweden.

He's currently on the move to Montreal and scouting for a new agency (see his show reel above). Given that it took Leichsenring and Gillström only a month to make "The Mixable Dancer," chances are he'll land a gig just as easily. Especially if the "world's first" claim holds up.

"Well, you can never be absolutely sure," he said. "We found clips with similar techniques, like Boone Oakley's website and Kokokaka's "Play the Piano" video. But no clip that involves an interactive mixing of music and video. I'm quite sure this is the first one and that's why we claimed it."

See Also:

• Kutiman's ThruYou Mashup Turns YouTube Into Funk Machine
• Eclectic Method Remixes the Future of Open Video
• Want a Remix Manifesto? Name Your Price, Says RiP Director
• Black Moth Super Rainbow Shines With Hairy CDs, Interactive Vid
• Negativland: In the Future, Nothing Will Remain Intact

The current exhibition at Musée Rodin is devoted to video artists who sought to emphasize the relation to the body in their artistic practice, particulary through performance. The third artist featured in the series is Sanja Ivekovic.

In the 1970s and 1980s, she developed an artistic practice which was far removed from "official art" and the predominant tendencies in the former Yugoslavian communist regime. Using photographic collage, performance or video, she questions the way feminine identity builds up itself compared to the social and political spheres, and reciprocal influences between public imaginery and intimate notions.

Musée Rodin
79, rue de Varenne, 75007 Paris, France
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Wasted Spaces was set up to provide a platform for up and coming artists, and to engage with communities through site-specific installations. By creating art that is both accessible and of high quality these projects provide a gateway for people who have traditionally felt suspicious or excluded from modern art.

Taking art out of the traditional white walled gallery, Wasted Spaces brings art to the people. Transforming Wembley's high street with guerrilla installations, video projections and interactive art, the project launched on Saturday 13th February and will pop up on various locations for the next two months.

In collaboration with Brent Council, the project kicked off on Saturday 13th February with a 50-meter outdoor video installation on Wembley High Road. In the next 6 weeks the installation will showcase 4 international and home-grown artists with works including Net Art, animation, interactive and open source coding. Artists include: Rafael Rozendaal, David Szakaly, Hellicar & Lewis and Robert Hodgin

In the next couple of weeks Wasted Spaces is hitting the streets, aiming to make Wembley smile. Keep a look out for this project - you never know when a smile is going to pop up ...

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Young German artist Ben Ross presents a collection of drawings for the first time in Vienna. Focusing on the notion of authenticity, Ross' playful illustrations belie a more serious theme, at times searching for parallels or distinctions between today's culture and culture from 60 years ago (particularly in the lead up to and during the Second World War).

In an age where any piece of information can be made public without verification, the lines between political ideologies are increasingly blurred and the quest for identity has become convoluted with distractions, Ross questions how it is we can define something or someone as authentic and, of course, how we arrive at a definition of authenticity itself.

Wood Wood
Zollergasse 29, 1070 Vienna, Austria
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Focus Daily renders the works of six young contemporary artists - Lukas Gansterer, Matthias Koenigswieser, Ulrich Nausner, Thomas Rhube, Clemens Wolf from Austria and Joseph Kosir from Netherlands - whose prolific and joint collaboration lead to their first collective exhibition in Los Angeles.

Diverse media (photography, video, installation and painting) merge to set conceptual images of an exposed contemporaneousness, engaging relations between individual and outer world, investigating and challenging dominant rules and social conventions, exploring new communicative visual imagery.

Photographer Lukas Gansterer is the author of the provocative 2009 photo campaign for the Austrian fashion label Wendy & Jim & DJ HELL. His work focuses on combining realness, acrimony and aesthetic, fast-forwarding imaginative boundaries.

Matthias Koenigswieser is director of photography of music videos, short films, documentary, commercials and style photography. His impelling creativity extends towards conceptual video installations, seeking limitless opportunities for creating multiple linkages between sound and visual imagery, aspiring to apply his creative energy within the sphere of mainstream feature film production.

Joseph Kosir stretches his work through diverse media (printmaking, streetart, site specific installations, audiovisual art, VJ-ing), unconcerned of the limits and constrictions set to them, and actively combining concept and aesthetics, contemporary image culture with traditional and experimental techniques.

Ulrich Nausner creative output focuses on poetry and textual art, exerting an ironic and linguistic evidence to engage the viewers to question the relationship between art, advertisement, sponsorship and the influence of commercial mechanisms on cultural production. His poems and advertising slogans are condensed into a volume of poetry entitled Free Poetry, published in 2006.

Thomas Rhube defines formal concepts through graphic art and painting. He creates typefaces, intellectual property of words-concepts. Color induces subjective moods, not its perceptions, but its composition. For Rhube, colors - derived from accurate pigment/binder combinations or reduced to black and white, neutral recipient of every color - and words result in gestural abstract actions

Clemens Wolf explores post-industrial metropolis, detecting dismissed public spaces behind fences, abandoned warehouses and obsolete industrial buildings' skeletons. Combining traditional oil painting and spray stencil technique, he transposes in negative on canvas their remains, the waste and chaos of declined modern urban landscapes, giving them new identities, representational and abstract at once, emphasizing light-dark contrast effects.His paintings evoke the desolate destruction of modern ruins, capturing their state of decay and imprinting their images into the collective memory as ominous testament of the times, places freed from control, visionary stages. Images open to interpretation,that triggers different experiences in the viewers, stimulating their imagination.

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Do you believe in reality? What a question, you'll reply. Reality isn't something you believe in. It proverbially catches up with you anyway, always. But then what are we talking about here? Maybe we could talk about the fact that you so often hear people saying something was different 'in reality'? Or about why it has become so customary to add a 'really' or an 'actually' or an 'in fact' to so many of the things we say?

Let's talk about the cracks in reality, about the gap between the world we talk about and the world that's really there. But why this distinction? Because reality is always the other? Or the others? Everything that's waiting out there? Let's talk about the self-deceptions where reality becomes too painful. Let's talk about the fictional arsenal of the mass media and consumerism, about the rhetoric of distraction and appeasement. Won't that ultimately lead us to question contemporary art, and its relationship to reality?

From June 11 to August 8, 2010, at several locations in Berlin, the 6th Berlin Biennale for Contemporary Art will bring together numerous artistic positions on the present. Michael Schmidt's photographic works are the first artistic contribution to the biennial and will accompany it in the public realm and the media throughout its duration.

The biennial will be contextualized by an exhibition with works by Adolph Menzel (1815-1905), curated - at the invitation of Kathrin Rhomberg - by the American art historian Michael Fried in cooperation with the Alte Nationalgalerie/Old National Gallery and the Kupferstichkabinett/Museum of Prints and Drawings of the National Museums in Berlin.

The 6th Berlin Biennale's curator Kathrin Rhomberg recently Roman Ondák's contribution for the Czech and Slovak Pavillon at the 53rd Biennale di Venezia. From 2002 to 2007 she was the director of the Art Association of Cologne (Kölnischer Kunstverein) and between 2002 and 2006 she conceived the project Migration together with Marion von Osten, an initiative of the German Federal Cultural Foundation. Between 1990 and 2001 Kathrin Rhomberg was the curator and director of Secession, Association of Visual Artists in Vienna. In 2000 she co-curated Manifesta 3 in Ljubljana - European Biennial for Contemporary Art - together with Francesco Bonami, Ole Bouman and Maria Hlavajova.

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curated by_vienna 2010 6 May - 5 June 2010 curated by_vienna encourages systematic cooperation between galleries and curators. In 2010, the focus is on the artist as curator. Each of the 20 participating Viennese galleries has selected one artist, who will curate a show on "art&film" in the gallery spaces. Thus, 20 exhibitions running in parallel will allow visitors to compare how 20 artists explore the theme of art&film as curators and which other artists and artworks they select for their respective shows.

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Keine neue Idee. Trotzdem immer wieder nett: Ron English hat ein paar Kühe bemalt. "We spent the weekend bombing some bovines down on the border! No cows were hurt... they seemed to like the attention!" Via

Sind Manieren die blank polierte Visage einer standesdünkelnden Unterdrückungsgeschichte? Ist gutes Benehmen nur die Maskierung von allfälligen Unzulänglichkeiten oder steckt in ihm das sozialverträgliche Missing Link zwischen Egoismus und Ethik? Kann der Kapitalismus mit einem vom Esstisch herüberwehenden "Nicht so gierig!" in humane Schranken gewiesen werden? Und was sagt die emanzipierte Linke zu alledem? Keine Ahnung! Fest steht nur eines: Umgangsformen sind Formen die zunehmend umgangen werden.

mit Katrin Grumeth / Jaschka Lämmert / Seraphine Rastl / Florentin Groll / Wilhelm Iben / Philipp Klinger

eine Produktion von dreizehnterjanuar
Fanny Brunner (Regie), Hans-Jürgen Hauptmann (Dramaturgie), Rita Nowak (Kostüme)
in Kooperation mit garage x

Publikumsgespräche mit Lotte Tobisch, Thomas Schäfer-Elmayer, Hans Söllner, Franz Schuh, Theo Ligthart, Gerald Matt u.a.

PREMIERE Fr. 19. Februar (20:15) &
Sa. 20. Februar (20:15), So. 21. Februar (18:00), Mi. 24. März (20:00), Do. 25. März (20:00) und So. 28. März (20:00)

€ 18, € 9 / www.garage-x.at / +43 (0) 1 53532 0011
garage x, Petersplatz 1, 1010 Wien

Nähere Infos unter www.dreizehnterjanuar.com

Anlässlich der Gugginger Irritationen II präsentiert SUBOTRON mit MARIO PAINT auf der SuperNintendo-Konsole ein interaktives Computerspiel von 1992, mit dem gezeichnet, gemalt, Animationen kreiert und Musik komponiert werden kann.
Das Bild wird auf eine Hauswand des art/brut centers projeziert und ermöglicht dem Publikum der Irritationen so, das Gebäude in ein temporäres Haus der Künstler zu verwandeln. Mit einfachen digitalen Werkzeugen können Werke der Gugginger Künstler weitergedacht
oder art brut-inspirierte Arbeiten kreiert werden.

Lineup:

* Kava & Christopher James Chaplin
* Bernhard Fleischmann
* Hans-Joachim Roedelius
* Wolfgang Schlögl
* Eberhard Petschinka & Franz Hautzinger
* Jogi Neufeld/Subotron
* Marshall.Yeti
* Christian Roesner
* FM4 Art Brut Gugging - Remix Contest Gewinner
...

Freier Eintritt.

Twenty years after the fall of the Berlin Wall, Centre Pompidou presents this exhibition highlighting the work of fifty artists whose backgrounds traverse multiple nationalities and generations. Challenging the idea of art history being something linear and continuous, the exhibition examines Europe's former East/West divide, the influence this had on a generation of artists and the impact of those artists on a new breed of creative minds.

Featuring a mixed palette of works, spanning photography, film, performance art and even documents detailing artistic exchanges between Paris and the East, Centre Pompidou presents more than 160 pieces, among them work from some of the region's most reputed artists such as the outspoken, Croatian-born activist and artist Sanja Ivekovic and pioneer of Polish conceptual art Edward Krasiński.

Centre Pompidou-Musée d'Art Moderne
Place Georges Pompidou, 75004 Paris, France
http://www.centrepompidou.fr/Pompidou/Manifs.nsf/AllExpositions/88B17B7A9002EDF4C125768000304105?OpenDocument&sessionM=2.2.2&L=2

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Ward Shelley paints these wonderfully intricate timelines of different things...his life, Frank Zappa's career, and the history of the avant garde.

Tags: art   infoviz   timelines   Ward Shelley