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# How gentrification and mass tourism destroyed the former Dutch contemporary arts capital Amsterdam.

This map shows the Dutch art spaces supported by Mondriaan Fonds in 2019, with Amsterdam now down to 3, The Hague having 4, and Rotterdam with 6 (factually 7 including De Player).

Concerning DIY artist-run spaces, the discrepancies are even more pronounced. (In our research at WdKA, we counted 50-100 for Rotterdam depending on one's tighter or looser definitions of "art"; in Amsterdam, there's simply no longer room/affordable space for such a number of initiatives.)

However, the same shrinkage that affected Amsterdam is about to repeat itself in rapidly gentrifying Rotterdam.

Mixed Business 15

Visual e-zine of the Woodstone Kugelblitz collective producing its collective issue at Varia Rotterdam, consisting of 61 animated GIFs embedded into one HTML page:
mixedbusiness.pleintekst.nl/00

Easy download as a single, 180 MB HTML page: mixedbusiness.pleintekst.nl/00

-zine

fcr boosted

my video from the production of the collective issue of the zine L'Intolerant by the Woodstone Kugelblitz collective at Varia Rotterdam:
vimeo.com/303133237
(PeerTube upload to follow)

On , overlooked epistemic issues of & , and how everything is connected to , , , non-participation artists and the .

Filippo Lorenzin interviewed me on my contribution to the book "Pattern Discrimination":

wwwunderkammer.net/2018/11/26/

Our book is finally out - in print from University of Minnesota Press, Open Access from Meson Press:

Clemens Apprich, Wendy Hui Kyong Chun, Florian Cramer, Hito Steyerl, Pattern Discrimination

meson.press/books/pattern-disc

# Performance aan de Laan #1, The Autobiographical

with Heyer Thurnheer, Gj Derook, Toine Horvers, PQI (Patricia Qi Pluijmers), Marcus Bergner, Kathrin Wolkowicz & Rachel Carey. Programmed by Kathrin Wolkowicz, hosted by Gerwin Luijendijk, Johanna Monk & Vanita Monk - my video:

vimeo.com/298894586

IBM buys RedHat for $30 billion. This value was mostly created by the labor of volunteer, un- or underpaid developers of Free/Libre/Open Source software who will not see a dime of IBM's money. There need to be discussions of economic flaws in the FLOSS development/distribution model.

my video of WORM Pirate Bay performed at WORM’s Slash Gallery, Rotterdam, Netherlands.
with The WORM Pirate Bay Zine Club, Re#sister (Zeynep, Oyo, Mariette, Tarik), Tarik Speelman, Owen Storni Hoogenboezem + Victor Suy Bio:

vimeo.com/297271523

transmediale looks for a new artistic director:

(For potential applicants: The salary is on German public service tariff E14, equivalent to the Dutch art school/HBO salary level 12. To prevent all myths that people get rich working on these jobs.)

transmediale.de/content/announ

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Blackmagic Pocket Cinema (v1) Survival Guide

Just wrote a hands-on guide for users of the first-generation Blackmagic Pocket Cinema Camera (1080p), summing up 5 years of practical experience with the camera. The focus is on practical tips & tricks and the things that one should know when working with the camera:

data.pleintekst.nl/Blackmagic_

Topics covered:

HDMI port
Infrared pollution
Moiré
Mic & pre-amp
Storage media
Power
Which format & color space?
Which lenses?
Which system?
Which focal lengths?
Exposure
Pulling focus
Stabilizing the camera
Which computer for editing?’
Getting good color:
Method 1: LUTs
Method 2: Color Space Transform with Tone Mapping
Method 3: Color Chart
Method 4: RAW control sliders
Method 5: Hybrid
Note on Styling LUTs

Stewart Home's and my joint presentation on fascist undercurrents in counter-cultural and avant-garde movements is online:
youtube.com/watch?v=gBSLrwTdJz

-right -culture

fcr boosted
fcr boosted

@fcr I agree with you. It seems that Ulrich's argument is quite weak. On this topic I found immensely interesting the work of Francesco Poli "Il sistema dell'arte comtemporanea". lafeltrinelli.it/libri/frances Unfortunately it is only in italian.... However, in it he offers historical details for explaining why the contemporary art world is what it is ....while also debunking popular myths such as the one that the success of an artist is due to the fact that his/her work is liked by the mass (in fact more often than not it is the opposite : a few galleries decide what it is to be liked and (then) wanted/valued by the mass)
...
btw what do you have in mind when you say that contemporary art "will split up into two entirely separate, largely unrelated disciplines and practices"? what are they?

Political scientist Werner Bonefeld on radical chic as commercialized scholarschip:

"The terms fordism and post-fordism were part of the academic Zeitgeist. The Zeitgeist had moved on from the terms affluent society and corporatism. After post-fordism it moved on to globalization, then neoliberalism, and now I hear post-neoliberalism and/or ordoliberalism is the phrase of the time. Zeitgeist thinking is commercialized scholarship. […]

The Zeitgeist is all too willing to find scapegoats. The Zeitgeist does not ask about the conditions of social reproduction, from the form of social wealth and the production of this wealth to the state as the political form of capitalistically organized social relations. It does not look into the eye of the storm. It looks on the bright site and puffs itself up with moral rectitude. The Zeitgeist agrees that nobody should go hungry again. Yet, it does not dare to spell out that the abolition of hunger requires a change in the mode of production. The Zeitgeist offers scapegoats and easy solutions. In this manner it mocks those who struggle to make ends meet."

cominsitu.wordpress.com/2018/0

Art as luxury merchandise -

my comment on art historian Wolfgang Ulrich's essay on the weaponization of copyright as a means of controlling the contemporary art market.

Ulrich was denied quality reproductions of art works, because the copyright holders - the gallery and the heir of artists - were not interested in any coverage that (a) they could not control and (b) that occurred outside the high-end international art market.

Quote:
"It could be called a reversal of the Ready Made principle. [...] just like the art audiences of the past had learned to perceive objects that didn’t originate as art, as art works, we now have to learn to perceive art as luxury commodities."

Full comment here:
pod.thing.org/posts/d88ff6f09c

my video of Dutch sound/visual poet Hans Clavin's last performance (2014, at De Player, Rotterdam), now on PeerTube:
peertube.social/videos/watch/c

forthcoming:

Clemens Apprich, Wendy Hui Kyong Chun, Florian Cramer, Hito Steyerl

Pattern Discrimination

University of Minnesota Press / Meson Press (Open Access)

Algorithmic identity politics reinstate old forms of social segregation — in a digital world, identity politics is pattern discrimination. It is by recognizing patterns in input data that Artificial Intelligence algorithms create bias and practice racial exclusions thereby inscribing power relations into media. How can we filter information out of data without reinserting
racist, sexist, and classist beliefs?

ISBN 978-1-51790-645-0

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post.lurk.org

Welcome to post.lurk.org, an instance for discussions around cultural freedom, experimental, new media art, net and computational culture, and things like that.