August 8 2019

Social Nationalism


A2 Poster

August 8 2019

The Future of the LRI


A2 Poster

July 17 2019




June 22 2019


Volodymyr Bilyk aka Bill Sabab

--Digital Poetry

May 30 2019

beautiful unsigned world

Francesco Aprile

--Digital Interventions

May 4 2019

Voor Volk en Vaderland

Digital Painting

--Digital Interventions

April 21 2019


Poetry on the Blockchain

See: CryptoPoetry on the Blockchain

--Digital Interventions

April 6 2019

21st Century Fix

Wie man sich bettet so liegt man

--From a series of Digital Paintings

February 10 2019

21st Century Fix

Not Google Earth

--From a series of Digital Paintings

January 5 2019

21st Century Fix

The Match

--From a series of Digital Paintings by Andreas Maria Jacobs

December 27 2018

21st Century Fix


--From a series of Digital Paintings by Andreas Maria Jacobs

December 26 2018

21st Century Fix


--From a series of Digital Paintings by Andreas Maria Jacobs

December 16 2018

21st Century Fix

Not a Film still

--From a series of Digital Paintings by Andreas Maria Jacobs

November 7 2018


Under the Beach, the Soviets - Andreas Maria Jacobs 2018

-- Non-Photography by Andreas Maria Jacobs

Octobre 24 2018

Aos Ulvhi


-- Aos Ulvhi

September 13 2018

Ryoji Ikeda

Test Patterns - Ruhr Trienale 2013

Ryoji Ikeda Test Pattern 100 meter Version (2013) Installation -- Ruhrtrienale 2013 - Ryoji Ikeda Test pattern 100 meter version

A digitized environment as an immersive experience seen in Kraftzentrale Duisburg as part of the Ruhrtriennale 2013

Ryoji Ikeda takes visual and sonic information from the world surrounding us and reduces it back to bits and bytes

In his automated erosion of this information he employs highly sophisticated techniques to (re)project and to translate images into a series of black and white patterns in an insanely fast rhytm, synchronized with loud electronic noise music

The result is an extremely immersive experience in which our understanding of the technological dominated 'outside world' gets imploded inwardly, directly communicating with our decoupled senses. Sound and image work together to bring the audience into an almost narcotic state of mind.

The audience is not just experiencing the work 'as is' but rather is part of an psycho-acoustical experiment which subverts and transcends supposed certainties about what exactly our sensory conditioning is made of and how it is subdivided in seperate discongruent pieces.

By accentuating the binary divide between technological instruments and the human senses, we are becoming part of the machine, becoming bodies without organs in a Deleuzian sense, thereby looping mental energies back into the system.

Without questioning the ongoing technicalization of our living world Ikeda is not taking a political position but rather is showing us to enjoy(?) or undergo this accelerationistic move towards its implosion

-- Andreas Maria Jacobs

<== More ==> Eye Filmmuseum Amsterdam from 15 september to 2 december 2018

August 10 2018

Nikita Dmitriev

Critical Dictionary - In homage to G. Bataille

Left: Donald Judd, untitled, 1991, oil on plywood and aluminum, 19 1/2 × 45 × 30 inches (49.5 × 114.3 × 76.2 cm) © 2018 Judd Foundation/Artists Rights Society (ARS), New York Right: Guido Reni, Saint Jérôme, c. 1605–10, oil on canvas, 25 5/8 × 19 3/4 inches (65.1 × 50 cm). Courtesy Galerie Canesso, Paris

Two Millennia of Art History at Gagosian Paris

"Critical Dictionary - In homage to G. Bataille", the show curated by Serena Cattaneo at Gagosian Paris, brings together a dozen works from different époques, and, as its title suggests, celebrates the principle, used by the thinker in his Critical Dictionary - an unfinished series of essays on the philosophical significance of everyday objects or parts of the human body from 1929 - 1930.

This principle, described by Georges Bataille in a highly sophisticated and opaque way, is essentially the free association, drawing its source from Freudian psychoanalysis.

Placed by the futurists of the early twentieth century, whom Bataille was close to, at the heart of their artistic and literary practice, it would have a long life and an extremely wide application field in Western culture; and even though the Critical Dictionary method is not specifically Bataillesque, nor does the exhibition in question reflect the deepest intuitions (the anchoring of human nature in the fragility and baseness of the body) of the philosopher, it is nevertheless refreshing, that someone other than Jacques Derrida, Edward Said and Judith Burtler is evoked as inspiration for an artistic event.

The sculptures, installations and paintings, among which works by Louise Bourgeois, Anish Kapoor, Wassily Kandinsky and Guido Reni, are divided into duos, or dialogues, each around a pictorial or semantic counterpoint.

For the sculpture of Donald Judd and the portrait of St. Jerome by Guido Reni it is the red color, for the geometric painting, reminiscent of the Greek key, by Frank Stella and the Roman statue of the second century is unsurprisingly the antique imagery, for the installation - lamp of Dan Flavin and "Grasses", the expressionist painting of Helen Frankenthaler it is the neon - both color and type of lighting, associated with the post-war Golden Age of Capitalism, illuminating its car parks, shopping malls, highways and red-light districts.

Frankenthaler’s piece, in which her talent to make vibrate a whole landscape behind the perfectly abstract pictorial tissue expresses itself with the greatest might, is a true opus magnum of the show.

The juxtaposition of works, created between the second and twentieth centuries in so many different aesthetics brings to life an electric field, where the pieces, as free electrons, establish spontaneous connections with each other and bring to light the unexpected aspects of one another.

The artistic effect produced by "Critical Dictionary - In homage to G. Bataille" reminds us of imaginary landscapes of Renaissance painters, such as Botticelli or Piero della Francesca, who, the information on the material environment being virtually absent from the Bible and antique writers, had a perfect freedom to invent them an architecture, flora, fauna and costumes.

Serena Cattaneo, she has it too.

-- Nikita Dmitriev, Assistant Curator at the Musée d'Art Moderne de la Ville de Paris

<== More ==> Critical Dictionary, In Homage To G. Bataille

Micheál O’Connell a.k.a. Mocksim

Poetic Misuse of Technology, Functional Systems and the Supply Chain

First published in: The Fabrication of Art and Beyond: Making and Inventing in Digital Culture, Proceedings of the 30th Conference of Computers and the History of Art (CHArt), held at King’s College London, UK, 17 October 2015, vol. xvii, ed. by A. Bentkowska-Kafel, forthcoming at Republished with permission

By the 1990s it had become unimpressive to point out that ‘art’ could be produced using computers too. The suggestion that hardware and software amounted to an additional tool in the box like a set of brushes or musical instrument revealed naivety on two fronts.

Firstly, new media and the emerging network represented not just a change in degree but one in kind. Secondly the fact that a self-critiquing and at times self- destructive ‘art system’2 had evolved during the twentieth century was overlooked.

In this undermining of itself in fact art had voluntarily embraced, if not predicted, what would become inevitable across many arenas with the emergence of computing.



Saulo Alencastre

The Desacralization of Art

"[...] The act of harming a painting may be interpreted as a critique to the contemporary art institution for valueing so much trash, and ultimately to the whole chain of production and commercialization of unnecessary products which requires the submission of huge masses to subhuman conditions of work, such as miners in Africa whose occupation aims to feed the vanity of rich ladies with diamonds on their necks. Beyond that, as breaking the world of symbols into the experience of raw feeling."

--- Saulo Alencastre

Saulo Alencastre was born in Brazil in 1980 and studied Media at the University of São Paulo. He published in Portugal the poetry book O Muro (The Wall—Corpos, 2011) and important translations in Brazil such as Robert Fludd (Madras, 2007), Stockhausen on Music (Madras, 2009) and William Blake’s masterpiece Jerusalem: The Emanation of the Giant Albion (Hedra, 2010). From 2010 to 2012 he worked at the São Paulo Museum of Modern Art (MAM-SP) as Assistant Editor.



Joseph Nechvatal

This is not a Tub

About The Stedelijk Museum Amsterdam

Dissing Amsterdam’s Stedelijk Museum’s new wing by Mels Crouwel of Benthem Crouwel Architects, New York Times critic Michael Kimmelman off-handedly compared the building to a “ridiculous” bathroom tub that suggested to him the sensation of “hearing Bach played by a man wearing a clown suit” in his essay “Why Is This Museum Shaped Like a Tub?”[1]

On the speed-rail ride back to Paris, it occurred to me that he completely got it wrong. Mels Crouwel did not give the Stedelijk (a museum known for its collection of classic modern art) a tub. He gave it a captivating sarcophagus, an often tub-shaped funeral receptacle designed to hold a corpse.[2] And that is as it should be. After all, modernism is long dead.

The Stedelijk Museum opened its doors first back in 1895[3] and is widely acknowledged to be among the world’s most important collections of modern art and design.



March 13, 2018

Olchar E. Lindsann

How Do We Know? On Reclaiming Knowledge for Life

Original published in Slova Nr. 17, Smolensk , Russia, March / April 2018

As information becomes dematerialized – soon we will no longer own our own copies of music, films, programmes, or many texts (including those we create), but rather rent them, like Feudal serfs, from a supposedly-dematerialized information-bank appropriately euphemized as the Cloud.* Capital has followed it, dematerializing into the abstract world of finance, pure capitalism, wherein all use-value has been obliterated and exchange value alone exists uninhibited, as if within some endless cloud. Abstraction, alienation, which has always been the basis of capitalist power, is congealing exponentially, and the no-space of information (not knowledge, which is use-value) has become the space of Power...

Read full essay

Also in Slova nr. 17:

Джим Лефтвич / Jim Leftwich

Митя Безыдейный / Mitya Bezidey

Агам Андреас / Agam Andreas

Алексей Веселов / Alexey Veselov

Марко Джиовенале / Marco Giovenale

Джон М. Беннетт / John M. Bennett

Николай Вяткин / Nikolay Vyatkin

Ещё один способ зрения (рецензия) / One more point of view (book review)

March 4, 2018

Bone Music

Illegally recorded music on X-Ray's in the former USSR during the Cold War Era

In collaboration with Radio Patapoe Online Amsterdam

X-Ray Audio, underground music from the former USSR

Banned and censored music recorded illegally on X-Ray's taken from hospitals during the reign of dictator Stalin via the cold war era to the late sixties, early seventies. After the death of Stalin the gradual relaxation of the censorship allowed the people to own taperecorders which introduced the end of the practice

Listen to the archived broadcast from sunday March 4 2018 here

See below of an example of the so called "Music of the Ribbs", much more information is to be found on the dedicated site:

January 19, 2018

Broken Idol, seen from behind

Andreas Maria Jacobs

January 8, 2018

Living among Objects

Andreas Maria Jacobs