… A story about (2014) by Eliza Mante & LCVS

What can we learn from stories about living in the future? If technology advances, will our morals and the way we interact with each other equally follow? Sci-fi movies allow us to take a glimpse  ahead of our own time.  More than often they show that our basic human instincts stay the same, despite enhanced senses through technology. A lot of times they also take place in societies which tend to be more bureaucratic and repressive. The only way for us to be alert and not to recede in such technologically driven rigid living environments, is to keep on telling each other stories about our future fears and dreams.

Video @ Beyond the Senses, Design Column #8 Droog Gallery, Amsterdam, Oct 1 – Nov 9, 2014

DSC_0263 DSC_0338 DSC_0439

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Hoax. The Archive II – The Fredou Files (2015)

Hoax. The Archive

To what extent could art with video be a sanctuary for image and sound?

The Baxter robot can see 88 learn-how-to-cook videos and on the 89th, via deep learning algorithms, he has learned himself how to cook. This is the frame of singularity: robots detect things themselves and learn from it without any human intervention. Video is a major input for self-learning robots. Today our internet is packed with audiovisual material, the archive of Youtube videos seems endless. But what if this av-input critically questions the official state narrative, or even ridiculises and undermines it? Will we then have subversive, anarchistic, self-learning guerilla robots?

The installation series Hoax. The Archive exist of diverse video footage uploaded onto the internet by amateurs and professionals, who use this to question images related to the ‘official truth’ regarding two sensational events in the western world. Youtube contains a whole archive of such videos. This av-material is made by using all kinds of editing programs, Google Earth, and other digital technologies. The video-makers come up with very inventive rebuttals. They offer alternative perspectives, show discrepancies in the images of the official state narrative, and produce a counterbalance. It causes an information-war between the self-organizing decentralized citizens and the top-down centralized government.

In Hoax. The Archive various ‘debunk’ videos have been remixed, causing a new layer of meaning to the presented ‘truth’. The question is: do self-learning robots know what to do with this? Can they filter out the official state narrative, or do they label the videos as subversive? Or is it anyway unusable for them and will they throw aside this av-material as utter nonsense? Would they recognize it as art?

Hoax The Archive I – The Silverstein Files (2014)

Installation: Two videos on flat-screens facing the ground, hanging with four cables wrapped with cloth from the ceiling. The observer needs to lie underneath these ‘twin towers’. On one screen is remixed found footage from the internet, on the other an orange veil loosely flapping which blocks the view but gives a soothing experience.

The subtitle refers to the owner of the Twin Towers who received billions of insurance money after 9/11.

Hoax The Archive II – The Fredou Files (2015)

Installation: Three videos, red-white cordon tape, winding sheet with dead body, candles, hotplates, flowers, little bundles of pencils. On (a) an Ipad an Ipad-commercial sliced with footage in which is being claimed that the Ipad-commercial contains a prediction. On the wall a video about a getaway car. On the winding sheet a projected video about a melon and AK47 shots. People are invited to add flowers, hotplates, teddybears, bundles of pencils, et cetera to this installation.

The subtitle refers to the police officer commissioned to investigate the shootings in Paris, and who allegedly committed suicide.

Material description

1 Ipad/flat-screen/projection (video a)

1 flat-screen/projection (video b)

1 projection (video c)

1 winding sheet with ‘body’

red-white cordon tape

candles

hotplates

flowers

little bundles of pencils

Installation view

installation view - Hoax. The Archive II

Video stills

still image video a 2 still image video a 7 still image video b 1  still image video c 2still image video c 3

FORTHCOMING EXHIBITION – JUNE 6 – JULY 5 – HYBRIDS – GALERIE HELDER (THE HAGUE, THE NETHERLANDS)

Galerie Helder Recommendation letter ‘Hybrids’

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Hoax. The Archive I – The Silverstein Files (2014)

Hoax. The Archive

To what extent could art with video be a sanctuary for image and sound?

The Baxter robot can see 88 learn-how-to-cook videos and on the 89th, via deep learning algorithms, he has learned himself how to cook. This is the frame of singularity: robots detect things themselves and learn from it without any human intervention. Video is a major input for self-learning robots. Today our internet is packed with audiovisual material, the archive of Youtube videos seems endless. But what if this av-input critically questions the official state narrative, or even ridiculises and undermines it? Will we then have subversive, anarchistic, self-learning guerilla robots?

The installation series Hoax. The Archive exist of diverse video footage uploaded onto the internet by amateurs and professionals, who use this to question images related to the ‘official truth’ regarding two sensational events in the western world. Youtube contains a whole archive of such videos. This av-material is made by using all kinds of editing programs, Google Earth, and other digital technologies. The video-makers come up with very inventive rebuttals. They offer alternative perspectives, show discrepancies in the images of the official state narrative, and produce a counterbalance. It causes an information-war between the self-organizing decentralized citizens and the top-down centralized government.

In Hoax. The Archive various ‘debunk’ videos have been remixed, causing a new layer of meaning to the presented ‘truth’. The question is: do self-learning robots know what to do with this? Can they filter out the official state narrative, or do they label the videos as subversive? Or is it anyway unusable for them and will they throw aside this av-material as utter nonsense? Would they recognize it as art?

Hoax The Archive II – The Fredou Files (2015)

Installation: Three videos, red-white cordon tape, winding sheet with dead body, candles, hotplates, flowers, little bundles of pencils. On (a) an Ipad an Ipad-commercial sliced with footage in which is being claimed that the Ipad-commercial contains a prediction. On the wall a video about a getaway car. On the winding sheet a projected video about a melon and AK47 shots. People are invited to add flowers, hotplates, teddybears, bundles of pencils, et cetera to this installation.

The subtitle refers to the police officer commissioned to investigate the shootings in Paris, and who allegedly committed suicide.

Hoax The Archive I – The Silverstein Files (2014)

Installation: Two videos on flat-screens facing the ground, hanging with four cables wrapped with cloth from the ceiling. The observer needs to lie underneath these ‘twin towers’. On one screen is remixed found footage from the internet, on the other an orange veil loosely flapping which blocks the view but gives a soothing experience.

The subtitle refers to the owner of the Twin Towers who received billions of insurance money after 9/11.

Material description

2 flatscreen TVs, approx. 80cm from the ground in juxtaposed position.

2 yoga mats

2 pillows

8 foam plates, or 2 cloths, approx. 4m in height

8 cables

video (a) Hoax: The Archive I

video (b) Hoax: The Archive I

Installation view

Hoax: The Archive - gallery installation -

Video stills

still image video1 a still image video1 a 4 still image video1 a 8 still image video2 a still image video2 a 3

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LC von Sukmeister in: The Jakarta Globe, September 9, 2013

Catriona Croft-Cusworth. ‘Art of Deception Unveiled at RuRu’s OK. Video Biennial.’ In: The Jakarta Globe, September 9, 2013 .

 jakarta globe

2013.9 18 september jakarta globe II

 

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LC von Sukmeister Artist Statement

portrait

BIOgraphy

L.C. von Sukmeister Esq. MA (b. 1981) is the pseudonym of Suki, a para-performative artist-historian since 2005. He is born in East Java, but is raised in the Netherlands. Trained as an systems theoretical art historian at Radboud University Nijmegen, he is an autodidact chaotic art maker based in Amsterdam.

Artist stateMENT

I invent artistic concepts for installation art, performance art, and video art. I try to raise questions both on the authenticity and originality of art’s nature (and the allographic nature of digital arts in particular), as well as on the institutionalized context of art (the space, site, platform for art exhibition and distribution) and its corporatization/financialization in the culture industry. The duplication of the image and exclusion mechanisms are my central themes.

International EXhibitions

FORTHCOMING EXHIBITION | VIDEO INSTALLATION/PERFORMANCE | Hoax. The Archive I and/or II (2014-2015) @ Hybrids, Galerie Helder, The Hague, The Netherlands,  June 6 – July 5, 2015

SINGLE CHANNEL VIDEO | Construct Me! Droog Hardware (2015) @ Commissioned by Droog for Salone Internazionale del Mobile, Milan Design Week, Milan, Italy, April 14-19, 2015

SINGLE CHANNEL VIDEO | ...A Story About (2014) in collaboration with Eliza Mante @ Beyond the Senses, Design Column #8 Droog Gallery, Amsterdam, The Netherlands Oct 1 – Nov 9, 2014

SINGLE CHANNEL VIDEO + PAINTING | The Art Collector (2013) @ OK.Video 6th Jakarta International Video Festival organized by ruangrupa, Jakarta, Indonesia, September 5-15, 2013

MULTI CHANNEL VIDEO | Friendly Video Graffiti Project (2009-2011) @ The Saints of The New Age, Istanbul, Turkey, June 20, 2012

MULTI CHANNEL VIDEO | Friendly Video Graffiti Project (2009-2011)  @ OK.Video 5th Jakarta International Video Festival organized by ruangrupa, Jakarta, Indonesia, October 6-17, 2011

SINGLE CHANNEL VIDEO | Friendly Video Graffiti Project (2009-2011) @ SMart Multimedia Arts Festival, Grand Rapids (MI) United States of America, April 4-8, 2011

INTERNET VIDEO | Banned Wikipedia Art Attempts to Intervene with Banned Airlines into Art Venues in Vienna (2009) @ Venice Biennial 2009 – Padiglione Internet, in the Wikipedia Art Project by artists Scott Kildall and Nathaniel Stern

PRESENTATION MULTI-MEDIA INSTALLATION | Concept XIII (2009) @ ‘Think Ahead! Open Platform’ Award Competition by Netherlands Media Art Institute (NIMk), Amsterdam, The Netherlands, May 9, 2009

Featured in the PUBlications

LC von Sukmeister. ‘OK.Video.’ In: Metropolis M, October 6, 2013.

Catriona Croft-Cusworth. ‘Art of Deception Unveiled at RuRu’s OK. Video Biennial.’ In: The Jakarta Globe, September 9, 2013.

OK Video MUSLIHAT 6th Jakarta International Video Festival 05 – 15 September 2013 Catalogue 2013, p. 60.

OK.Video FLESH 5th Jakarta International Video Festival 06 – 17 October 2011 Catalogue 2011, p. 117.

R.S. de Boer. ‘Site-Specific Work of Art in a Corporate Context: An Exploratory Guideline for Critical Artists.’ In: Continental Breakfast. Place of Encounter. Fifth CEI Venice Forum for Contemporary Art Curators (ed. Giuliana Carbi), Trieste Contemporanea, 2011, pp. 166-187.

R.S. de Boer. ‘Kunstige bedrijvigheid: Apenrots of Kunstwalhalla? Professionalisering van corporate collecting en de noodzaak van kwalitatief onderzoek.’ In: Kunstlicht, 30: 3/4, 2009, pp. 14-20. ISBN 978-90-73588-48-6. ISSN 0921-5026

R.S. de Boer & Stefano Mirti. ‘…les boys got leather straps les boys got SS caps…’ In: Fetisch + Konsum (eds. Jean-Baptiste Joly, Catherine Perret, Julia Warmers), Akademie Schloss Solitude, Stuttgart (Germany) 2009, pp. 221-241. ISBN 978-3-937982-24-3

R.S. de Boer. ‘De waarneming van de beschouwer waargenomen.’ In: Desipientia, zin & waan, 14:12, November 2007, pp. 34-37. ISSN 1386-1069

Daily newspaper nrc•next: Karin Quint (2009). ‘Zij proberen zo ergens binnen te komen.’ In: nrc•next, Wednesday, February 25, 2009, pp. 22-23

Ad Valvas VU University newspaper: Daphne Lentjes (2009): ‘Kunst voor plant en publiek.’ In: Ad Valvas, June 18, 2009, pp. 16-17.

LCVS

Co-curATEd exhibitiONS

Construct – de – Construct, Droog Gallery, Amsterdam, The Netherlands, July 23  – August 31, 2014.

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The Art Collector (2013) by LCVS

The Art Collector (2013) by LCVS @ OK VIDEO 6th Jakarta International Video Festival organized by ruangrupa, Jakarta, Indonesia, September 5-15, 2013.

The first sin and possible crime is voyeurism. What are you doing now? Is the art gallery the legitimate place where we permit ourselves to be licensed voyeurs?

Work description:
An untitled painting by LCVS with a peephole in the middle on the wall. Through the peephole the gallery visitor can see a single channel video.

Article in Jakarta Globe

Article in Metropolis M

Material description:
1 Painting by LCVS
1 14 inch Digital Photo Frame
1 SD memory card The Art Collector (2013) by LCVS                                           7.22min

Installation view:

OK

peepin'

video

LC VS

OK

video video

Screen stills:

55 53 62 58 still 60

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Nite Clubbb – Painting for the Closed Museum (2013) by LCVS

Nite Clubbb - Painting for the Closed Museum 2013

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June 29, 2013 · 7:49 pm