Kopimi Totem is a new piece created in collaboration with Piratbyrån for the exhibition Piratbyrån and Friends at Furtherfield Gallery in London. It was honor to meet, work and share wall space with my cultural heroes. For those in London, I suggest spending some time with the exhibition as there is so much more to their story than what is found online (bring a hard drive and maintain hardline Kopimi).
Geraldine has a great set of photos of the exhibition. I also have some here.
More about the piece here:
The Kopimi Totem is a sculpture composed of seven open wireless routers arranged in the iconic Kopimi pyramid. The shape of the sculpture is also mirrored in ASCII form when a visitor opens the wireless settings on her laptop or mobile device. The network names (SSID) of each of the routers are arranged by default alphabetically to create a mirrored digital totem within the connecting device’s operating system. When visitors connect to each of the routers, they will have access to download archival media (text, images, video, etc) from the 10 year history of the Piratbyrån organization. Kopimi, an idea created by Piratbyrån member Ibi Kopimi Botani, is an alternative to copyright that not only expressly allows all forms of copying, but encourages it. In addition to downloading files, visitors to the Kopimi Totem can also upload their own files, thus contributing to the harmony of the data life cycle of copy (yin) and paste (yang). When a visitor connects to all seven of the routers in the sculpture, the network names will be saved (“collected”) in the operating system’s list of visited/preferred networks, recreating the ASCII pyramid once again and acting as a token of this pilgrimage.
More about the exhibition here:
“Piratbyrån and Friends traces the stories of cultural sharing and affinity-building among the activities and values of the members of Piratbyrån (The Bureau of Piracy). This Swedish artist/activist group was established in 2003 to promote the free sharing of information, culture and intellectual property. The exhibition presents screenings, installations and artworks by founding and more recent members, keen to tell the story of the group on their own terms”
LINK Center for the Arts of the Information Age is an Italian-based multidisciplinary organization that promotes artistic research, curates exhibitions and presentations, and publishes an active book series. This is a very worthwhile cause and I encourage everyone to take a look at the auction site, which includes pieces from an exciting collection of artists:
Alterazioni Video, Anthony Antonellis, Aram Bartholl, Erik Berglin, Enrico Boccioletti, Heath Bunting, Marco Cadioli, Martin John Callanan, Gregory Chatonsky, Adam Cruces, Caroline Delieutraz, Harm Van Den Dorpel, Constant Dullaart, Electroboutique, Herbert W. Franke, Elisa Giardina Papa, Matteo Giordano, Emilio Gomariz, IOCOSE, Janez Janša, Janez Janša, Janez Janša, JODI, Joan Leandre, Jan Robert Leegte, Jonas Lund, Rosa Menkman, Filippo Minelli, Vera Molnar, Jaakko Pallasvuo, Angelo Plessas, Evan Roth, Alexei Shulgin, Clement Valla, Carlo Zanni
Since You Were Born, a piece from my Memory exhibition at Niklas Belenius gallery, is now available in print and pixels as part of the LINK Center for the Arts of the Information Age’s In My Computer series. I’m very thankful to Domenico Quaranta for his thoughtful introduction as well as his role in its production and publication.
“Since You Were Born is a book composed of the chronological
history of every website visited on the artist’s computer over a three
month period beginning with the birth of his daughter Octavia
(July 19, 2013)… (It) offers a picture of the web, taken at
an instant that is meaningful in the personal life of one of its users,
but completely random in the life of the medium, and from a
very specific point of view (a single user’s computer) that is rarely
christopher-george-latore-wallace.com counts down to the moment when the work of Christopher George Latore Wallace (aka the Notorious B. I. G.) enters the public domain and is free of copyright. This clock is based on U.S. copyright law, which extends to the beginning of the calendar year 70 years after the death of the artist. On New Year’s morning January 1, 2068 (GMT -5), this page will play Wallace’s work for the first time in the public domain.
We Make Money Not Art’s Régine Debatty wrote a nice piece about my Flight Mode exhibition at the Aksioma Institute for Contemporary Arts in Ljubljana. The text can be downloaded here (.pdf). You can download other publications in this very interesting series here.
In connection with the publication, I am also releasing a new web piece: flight-mode.net
Documentation from Flight Mode can be viewed here and here. Big thanks to Régine Debatty, and to Janez Janša and Sonja Grdina, who curated and produced the exhibition and publication.
Welcome to the 10th annual X-MIX, an end of the year mixtape celebration (admittedly a bit late). As always, these aren’t necessarily songs that were released last year, but just a collection of favorite things I listened to in 2013. Merry (late) X-MIX Internet!
– Len Smith, Copyright Basics: How to Protect Your Work from Piracy
– Paul Simon, Diamonds On The Soles Of Her Shoes
– Jay Z (Ft Rick Ross), Fuck With Me You Know I Got It
– 2 Chainz, Where U Been?
– Velvet Underground, Sunday Morning
– A$AP Ferg, Let It Go
– James Blake, Life Round Here
– Killer Mike and El-P, Run The Jewels
– David Bowie, Rock n Roll Suicide
– 2 Chainz, Fork
– The Beatles, A Taste of Honey
– Rockabye Baby, Sweet Child O’ Mine
– Jay Z, Tom Ford
– Boldy James, BOLD
– Wu-Tang Clan, For Heaven’s Sake
– FeDEX, Hold music
– Len Smith, Copyright Basics: How to Protect Your Work from Piracy
Or, skip the mix and head straight for the hit single Sweet Child O’ Mine (lullaby version) –Vs— Tom Ford (Jay-Z):
In Memory, Evan Roth stages a confrontation between human memory and the unconscious of the Internet.
Our technical devices remember much more than we want them to. The computer cache memories register all our movements in digital space. Roth turns these memories inside out and brings forth a manifold of hidden stories. Thereby he is letting us view ourselves with the indifferent eyes of technology.
The exhibition is an archive of an archive, with portraits of various person’s daily online activities, a 42 meter long vinyl print with four months of Internet history compressed to a sculpture, laser etchings and the thoughtful little book Since You Were Born, dedicated to the artist’s daughter. The book can be read in two opposite ways: as a beautiful story about the relation between a father and his new-born child, and as a reflexion of our intimate relationship with the web.
I find it disturbing that it is SXSW's policy not to pay fees or cover costs to artists and speakers. To say that this is "due to the scope of our event" seems counter intuitive to me. Perhaps they are confused, it is usually SMALL events that offer little or no money. Large events, especially ones sponsored heavily from the largest peddlers of beer, caffeine and cars (http://sxsw.com/sponsors) are the ones that should be paying at least a minimum wage to the talent that make up the event.
I hope in the future as artists lay homeless in the streets eating somebody else's leftover Chinese food, they can close their eyes, turn their face towards the sun and remember fondly that time they were featured on the SXSW mobile app.
I know this is not your policy, but if you could please pass the message up the chain of command that this "compensation" is insulting and the Internet is publicly ridiculing them.
For reference, here are my past SXSW rejection letters (of which this one will join shortly):
Thanks again. I know your personal invitation comes from an honest place (and I appreciate that), but I can't support a system that shows such little respect to creative people.
All the best,
To: Evan Roth
Thanks for getting back to me. This year SXSW takes place March 7th-16th in Austin, TX. The stage where we have a speaking slot available runs Sunday March 9th – Tuesday March 12th, and currently we have slots on each day still.
Last season SXSW had 65,000+ registered attendees representing nearly 70 countries. Overall, our audience is diverse and ranges from designers, musicians and filmmakers, to entrepreneurs, innovators and thought-leaders.
Next Stage focuses on new media projects that cross industry boundaries, as well as explores the common themes between film, music and interactive. We often focus on creative platforms for telling stories, and I think your work explores new ways to communicate very well. It’s inspiring, and would really resonate with our audience.
We can offer complimentary SXSW registrations, as well as promotion on sxsw.com, the official SXSW schedule, mobile app listings, SXSW pocket guides and onsite signage. It is SXSW policy across all our conferences that we don’t cover costs for speakers due to the scope of our event unfortunately. However, I am working to develop an art element at SXSW by creating a fund to offer grants for art installations. I will definitely enter your name/F.A.T. into the running. I’m hoping to have all the mechanics in place by end of the month and start working on the grant program in December.
As soon as I have more info on the artist grant program I will let you know.