bienalden bikaç isim // canavarlar

bienale gelcek sanatçılardan bazıları nefs-işler var
johanna billing bi tanesi-
http://www.makeithappen.org/johannabilling.html
http://www.makeithappen.org/film/atlantisslideshow.mov

), ola perhson başka bi santçı aşşada işlerinden birinin tanımı -
With this we are getting close to the subject of Ola Pehrson’s latest works:
the Market. We are fed daily with reports about the state of the financial
markets: The market reacted thus and thus to the statement of the Prime
Minister; The market reacted negatively to a forecasted reduction in
unemployment, etc. If it has long been claimed that political decisions are
increasingly being made on the terms of capital rather than on ideological
grounds this is at least evident today.
Ola Pehrson’s Yucca Invest Trading Plant can be seen as a picture of the
market’s logic, or lack of logic. A Yucca palm has been coupled to a
computer using electrodes, and the electrical currents that are registered
govern purchasing or selling indications for a number of shares. If the
Yucca palm does not give a positive result it gets no water, whereas if it
succeeds it is given water and can grow more. Here the market undeniably
appears as the nervous and irrational system that it is, in which every
decision is as dependent on gut feeling as on intellectual and technical
calculations. The work also links to the terminology that pervades economic
language — growth, offshoots — words that seem to indicate a natural
law. The ‘market’ is increasingly depicted in this fashion by the frequently
paradoxically servile media. Was it not Fredric Jameson who said: We are
living in a time when it is easier to imagine the end of the world than to
conceive of a non-capitalist economy.
Ola Perhson works with various techniques, often conceptual, even though
painting is his base. In one of his paintings he has, for example, tried to
recreate every brush stroke of Zorn’s self-portrait with a view to being
able, in due course, to reproduce the ‘genius’’ painting mechanically.
Simulations and translations are two recurring concepts as in the works in
which the artist has played with computer simulation of imagined physical
objects but which do not necessarily have any simple physical reference. In
his Desktop Ikonostas [Desktop Iconostasis] we meet, instead, a physical
model of a normal icon-based Windows interface. The religious terminology
causes me to think of what Sherry Turkle in ‘Life on the Screen’ (1995) calls
the ‘Macintosh Mystique’: users in an interface constructed in accordance
with a simulation aesthetic remain on the surface, at a level of visual
representation, without being able/needing to know anything about the
underlying mechanisms.

nedko solakov 'un eski bi işi
http://www.cca-kitakyushu.org/english/project/solakov_project.shtml