Rachel Greene
Since the beginning
Works in New York, Nebraska United States of America

BIO
Rhizome is friends and family for Rachel, who has been involved with the org. in one capacity or another since 1997 when it was rhizome.com!!
Rachel wrote a book on internet art for thames & hudson's well-known WORLD OF ART series: it was published in June 2004. She was a consultant and catalogue author for the 2004 Whitney Biennial. She has also written for publications including frieze, artforum, timeout and bomb.
Discussions (824) Opportunities (20) Events (0) Jobs (0)
DISCUSSION

Fwd: Dorkbot-NYC featuring: Cary Peppermint, Honeygun Labs, & Jeannie H. Lee


Begin forwarded message:

> From: Cary Peppermint <cp70@restlessculture.net>
> Date: February 3, 2004 5:41:14 PM EST
> To: circulation@restlessculture.net
> Subject: Dorkbot-NYC featuring: Cary Peppermint, Honeygun Labs, &
> Jeannie H. Lee
>
> dorkbot-nyc
> people doing strange things with electricity
>
> Wednesday, February 4th, 2004 at 7pm at the Columbia University
> Computer Music
> (see directions below)
>
> featuring the lovely and talented:
>
>
> Cary Peppermint:
>
> Cary Peppermint will talk about his work (past and current) that
> weaves its way across multiple media technologies. Peppermint will
> discuss how he does not simply include multiple media as part of his
> work's formula of distribution and dissemination but rather how his
> strategies for media synaesthesia include actively "performing" the
> media. Peppermint will also debut two audio works from his upcoming
> audio CD release titled, "THE FUN STARTS HERE.

DISCUSSION

Alexei Shulgin at Location One


>
> From: locone-admin@mail.location1.org
> Date: February 3, 2004 3:26:36 PM EST
> To: locone@location1.org
> Subject: Alexei Shulgin at Location One
> Reply-To: location1@location1.org
>
>
> Location One is proud to present
>
> ALEXEI SHULGIN
>
> 386 DX
> WIMP
>
> February 13, 2004
> 8pm
> Admission: $15, members free
> No advanced ticket sales;
> Doors open at 7:30 pm
>
> Location One
> 26 Greene Street NYC 10013
> Subway: Canal Street - N, R, Q, W, 6, A, C, E
> www.location1.org
>
> Alexei Shulgin created Cyberpunk six years ago. At last, he's bringing
> his bizarrely affecting techno-pop musical art to New York, for a
> single performance on February 13th at Location One.
>
> Shulgin's Cyberpunk "band", 386 DX, consists of an archaic computer
> that plays MIDI tunes with speech-synthesis "vocals" accompanied by
> Shulgin who "operates" the machine through a computer keyboard slung
> over his shoulder with a guitar strap. Their music spans 30 years of
> pop music (from The Mamas and The Papas to Nirvana), and is by turns
> satirical, sentimental, innovative and just plain weird - -
> accompanied, as always, by Shulgin's irreverent insight into net art,
> techno, and the contemporary entertainment scene.
>
> Shulgin has performed concerts extensively throughout Europe and
> America, most notably through a chain-link fence from the American
> side of the US/Mexican border at Las Playas de Tijuana while his
> computerized counterpart was free to perform on the Mexican side of
> the border. The computer has performed as a solo act as well, singing
> pop songs to crowds on the streets of Graz, Austria and receiving tips
> for its musicianship.
>
> WIMP (Windows Interface Manipulation Program or Windows, Icons, Menus
> and Pointing device - the prehistorical GUI of the 1970's) is a
> program for creating full- screen visual animations synchronized with
> sound in real time. WIMP utilizes the graphical user interface (GUI)
> of the Windows operating system as its only visual source of
> inspiration. Standard interface elements from the desktop such as
> applications, windows, icons, images, pop-up menus and text are
> manipulated and transformed through the use of VJ effects. These
> animations are generated by simple 2- and 3-D effects and filters and
> their superimpositions. The versatile nature of WIMP allows it to be
> used as a VJ tool, a screensaver, a cool grafix generator or as a
> piece of conceptual art.
>
> WIMP was created by Shulgin in collaboration with Victor Laskin and
> had its world premiere in October of 2003 at Dorkbot Rotterdam
> (http://dorkbot.org/dorkbotrotterdam/). It is downloadable as freeware
> at http://www.wimp.ru.
>
> Alexei Shulgin is a Moscow-based artist, musician, curator, activist
> and professor. Shulgin has participated in numerous exhibitions and
> symposiums on photography, contemporary art and new media. He is the
> author and curator of several Internet projects including Form Art,
> which first introduced this new art form based on the aesthetics of a
> computer interface to the internet community in 1997. He also
> collaborated on the development of Runme.org, launched in January 2003
> as an open database for people around the world to showcase their
> examples of software art. Since the creation of 386 DX in 1998,
> Shulgin has released two albums with the band including The Best of
> and Legend of Russian Rock.
>
> An on-going archive of Shulgin's projects, including 386 DX and WIMP,
> can be found on his website, Easylife.org (http://www.easylife.org).
>
> ABOUT LOCATION ONE
>
> Location One is a not-for profit art center whose mission is to foster
> the convergence of classic and new media for the development and
> presentation of new work. Emerging and established artists in all
> mediums from all over the world are invited to collaborate and
> experiment with advanced technological tools and delivery
> systems. Location One presents visual arts, performing arts and online
> programming. It maintains on its premises an International Residency
> Program that is open to artists from different fields of expression at
> all levels of experience in technology.
>
> To be removed from this mailing list, kindly hit "Reply" and type
> "remove" in the Subject line. Thank You.
>
>
>
> _______________________________________________
> locone mailing list
> locone@mail.location1.org
> http://mail.location1.org/mailman/listinfo/locone
>
>

DISCUSSION

Fwd: Carlo Zanni - AltarBoy Interview


Begin forwarded message:

> From: "cz" <cz@zanni.org>
> Date: February 2, 2004 9:14:51 AM EST
> To: "Rachel Greene" <rachel@rhizome.org>
> Subject: Carlo Zanni - AltarBoy Interview
>
> Translated from:
>
> Exiwebart_FOCUS
> Altarboy - Carlo Zanni
>
> by Domenico Quaranta
>
> Friday. 30 - 01- 2004
>
> Firstly, Altarboy is a sculpture. An aluminum case, with steel
> edgings, upon an iron pedestal. A 15'' screen peeps out through the
> top shell sheet, in white enameled aluminum; the bottom shell sheet
> hosts a little glass box, designed by the artist. The box contains
> fresh rose petals that have to be scattered at the foot of the screen.
> On the whole, a minimal, polished and solid object that hides all its
> complicated technology in the inside.
> Actually, the heart of the sculpture is not that sort of bios made of
> rose petals, but a computer that acts as a server for the work of art
> stored in its hard disk; a work that remains invisible on the net
> until the owner decides to switch on the server.
> So, Carlo Zanni 's first sculpture is also his answer to some basic
> questions: Is it possible to sell network-based artworks? If yes, in
> which form? How can I buy something public? How can the concept of
> property merge with the sharing one?
> These questions already got a lot of answers, but none succeeded in
> raising the issue in such a radical way. Buying Altarboy, the
> collector buys a server containing a net project, a piece of software
> that works only if connected to the network, shared with all its
> users. And yet, there is a preferential experience of the work: the
> one that uses Altarboy, with its touch screen and its rose petals.
> You can say: it's as plain as the nose in your face! But this seeming
> plainness hides all the complexity of the questions answered by the
> work.
> Now Altarboy hosts Cyrille, a fresh evolution - together with the 4
> Untitled Portraits, a recent commission from Kultursekretariat,
> Gutersloh - of the newnewportraits: a new genre of portraits, that
> joins someone appearance with his/her identity as it comes out of the
> net, or as it is reflected by his/her hard disk. Cyrille, director of
> Analix Forever Gallery, has pupils designed by different search engine
> live queries: the right one is filled of images coming from an
> automatic Google search based on keywords chosen by Cyrille; the left
> one is filled with images coming from user entries. They both are
> browseable. The first pupil mirrors the image of himself everyone
> builds up; the second, the image of himself everyone shows to the
> world; and they both mirror the face of the net in a given time.
>
>
> 5 questions to Carlo Zanni
>
> DQ. What 'aesthetic' need gave rise to Altarboy?
>
> CZ. I feel closer to Donald Judd than to Matrix. That's the reason why
> I hided the tech devices in Altarboy (probably the next one will have
> neither the screen). They aren't the subjects of my work, so there is
> no reason to make a tech bricolage.
>
> DQ. Altarboy raises a matter in a complex way: who can be considered
> the owner of a work based on a public network? How is this work
> related to the wonderful accessibility net art inherited from the
> network, and that for a long time has been its most charming (and most
> claimed) aspect?
>
> CZ. Think about an abusive pipe. I acted as a plumber, opening a
> faucet for private use. Running it, Altarboy uses water from the main
> pipe (Google); when they close it or there are problems with the main
> pipe (or when the net will not exist anymore) it starts cycling stored
> waters. Altarboy follows its way; it doesn't care about nothing. It's
> a godfather in a splendid villa in Sicily, sunbathing and drinking
> clean water in champagne glasses.
>
> DQ. Strangely, Altarboy joins the maximum of private and the minimum
> of intimacy: people who download the project on their PC seem much
> closer to Cyrille than people who enjoy it through Altarboy, secluded
> and distant as an altar icon. How do you explain this distance?
>
> CZ. This distance is due to the sculpture element. Despite it is more
> or less a system you can find on many desks, its aesthetic form avoid
> people to recognise it, emphasizing its contemplative side. People
> joining it through the web could feel closer because they type a url
> entering in it: they are also very close to the screen, probably
> alone, in a very private situation/environment. Altarboy, thanks to
> its touch screen, allows to have a different approach to the code, a
> really physical one, touching and slipping your fingers on the screen.
> It's a work about property and sharing, public and private, and its
> aesthetics and space dimension reflect these subjects.
>
> DQ. Do you think this solution is strictly connected to your way of
> exploring the network, or could any other artist adopt it for their
> work?
>
> CZ. It is of course something functional to my way of doing. It is
> also a very flexible idea, that you can apply to support/manage many
> different net projects. And yes of course, I hope other artists will
> use it.
>
> DQ. In Cyrille your interest shifts from the face to the eyes ('the
> windows of the soul'): their look is conditioned by the keywords
> chosen by the collector, but also by the life of the net. What kind of
> soul does Cyrille mirror?
>
> CZ. I think you should tell me that. The only thing I can tell you it
> is related to its conception.
> According to me, this way of making net drawings renders both
> aesthetically and conceptually the harvester ant's behaviours.
> Like them there is a continuous update and shifting of knowledge due
> to the Macrobehaviours (colony / society) and Microbehaviours (single
> ant / single person) relationship.
> Think to all those pixel-images forming the Cyrille's pupils like a
> colony of ants. They shape in a harmonious form filling the pupils
> (Macrobehaviour) but they are an addition of different aesthetics and
> meanings. This is how Google runs on my projects. How I feel to use
> it. In Cyrille you select a keyword (following your own
> idea/concept/memory of that word) receiving back what the society
> "thinks" about it, like a global meaning (with all those 'chance
> encounters'). So there are many aesthetic and conceptual levels like
> in a Photoshop file. It's up to you to decide which layers to merge in
> order to visualize from the piece, your temporary own soul.
>
>
>
>
>
>
> What about Altarboy? Views from the art world
>
> "When Analix Forever discovered Carlo Zanni and his innovative
> approaches to art, it was a revelation. Altarboy is the piece that
> most strongly combines the delicate beauty and the advanced netart
> developments that characterize Zanni's art. With the creation of
> Altarboy, people can now buy and sell netart, thus opening a new
> market. The ultimate proof of this: we bought this unique piece!"
> Cyrille Polla, director Analix Forever Gallery, Geneva - Switzerland
>
> "Altarboy's juxtaposition of fresh rose petals with web-based content
> serves as a refreshing memento mori, reminding us of the fragility and
> fleeting quality of net art. The owner's option to share it online or
> not underscores the ephemeral nature of net art works, a quality that
> sometimes goes unnoticed when servers are online 24/7."
> Sara Tucker, Director of Digital Media, DIA Center NY
>
> Links
>
> Carlo Zanni
> Cyrille
> 4 Untitled Portraits
> Analix Forever
>
>
> Exiwebart_focus - a project bydomenico quaranta
>
> [Exibart]

DISCUSSION

Fwd: Vernisaz Londyn


Begin forwarded message:

> From: Marketa <marketa@bankova.cz>
> Date: January 30, 2004 7:27:45 AM EST
> To: Marketa Bankova <marketa@bankova.cz>
> Subject: Vernisaz Londyn
> Reply-To: Marketa <marketa@bankova.cz>
>
>
> Zvu VA

DISCUSSION

Re: Images for New Museum publication


Thank you to those who sent images. I have more than enough so no need
to send anymore... we have gone to press! Best, Rachel

On Jan 30, 2004, at 3:37 PM, Rachel Greene wrote:

> Hi -- The New Museum is putting together one of their seasonal
> publications which will include a feature on its affiliation with
> Rhizome.org. I am trying to help them illustrate the story and am
> hoping some Rhizomers will contribute images.
>
> If anyone has images of 300 DPI or higher and would like them to be
> published in a feature introducing Rhizome, please send them to me at
> rachel@rhizome.org (and not to list@rhizome.org). Please include how
> the credit line should read -- name, title of work, date and medium.
> We might add some copy explaining the inclusion -- i.e. Art from the
> Rhizome Community by XYZ, etc., etc.
>
> I only need a handful and will use the first ones I receive.
>
> Thanks and very best, Rachel
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>


CURATED EXHIBITIONS (1)