Beverly Fishman: Future Natural + Pill Spill

Fishman's new Pill Spill installation contains more than 120 unique glass capsules, ranging in size from 6 to 15 inches, placed in glass-enclosed architectural spaces at the Toledo Museum of Art Glass Pavilion. Pill Spill treats the Glass Pavilion as a “body” by releasing capsules into the curved glass hollows between its exterior and interior glass walls, transforming them into an architectural circulatory system. The installation was created as part of the Museum’s Guest Artist Pavilion Project (GAPP).

Interlude: Art Placebo

Don't you think the pharmakon library would be a perfect addition to their research 'hallway'?

Behring | Institute for Medical Research

--I'm very confused by this CFP.

--I checked the medical references. They appear to be fictitious. The institutes, medical schools etc mentioned do not seem to exist. The pharmaceuticals don't exist. There is a Dr. Kristina U. who is a prof at University of Puget Sound, they mustve picked her name out of random searches for a cool doctor name.

-- I especially appreciate how close 'Behring' is to 'Schering,' which does fund a lot of art in their own self-interest. It's also amusing how the title is "Placebos for Art" but is asking for "Art Placebos." The latter is certainly more innovative. The world is full of 'placebos for art.'

--They at least have enough funding to buy an e-flux ad...

--very amusing! now what if e-flux is yesman-ized...

-- was seriously considering entering the pharmakon library. i mean. Get down.

-- ‎...by rich Dutch medical students who are tired of their government giving so much money to art...

-- I can't imagine a better placebo.

-- did you check out their 'research facilities' photo? it's called hallway.png.

-- After all the Museum of Hygiene is in Dresden, for real. Maybe that 's where "Mrs. Andersom" did her post-doc fellowship.

-- That hallway is great. Imaginary researchers sunning themselves in the hall... And they have an alliance with the "Banned Substances Control Group." What a riot!!

--AKA BS Control Group.

--I think the term "Paramedicine" is too good to be left to languish on a hoax website. I'm gonna resuscitate that one sometime...

-- Okay okay... one last thing: "Nocebo is used to label the harmful, unpleasant, or undesirable reactions (or responses) that a subject manifested (thus, "nocebo reactions" or "nocebo responses") as a result of administering an inert dummy drug or placebo, where these responses had not been chemically generated, and were entirely due to the subject's pessimistic belief and expectation that the inert drug would produce harmful, injurious, unpleasant, or undesirable consequences. "

-- The. Best.

-- "Exclusions (conditions that would prevent a volunteer from participating in this study):
Persons taking Rosiglitazone, Popglitazone, steroids, and immune suppersants."

Popglitazone!!! who knew??




Christine Callahan: Trine (3) Blz


TRINE: Finding the Cosmic in Queens

I am quick to tilt my camera at an arc, bending before the lightning ghosts dissolve. Pockets of grey places flicker in and out of grace.

Trine: Term in astrology, of or pertaining to the trigon aspect of two planets distant from each other 120°, or the third part of the zodiac. The distance between planets corresponding to one side of a triangle.

More trine....


Christine Callahan: Trine (4) Fur

Trine: Finding the Cosmic in Queens

I am intoxicated by harsh lens flare, water, hair, the fringes of raw edges and parking lots. I hold still to harness the shine.

Trine: Term in astrology, of or pertaining to the trigon aspect of two planets distant from each other 120°, or the third part of the zodiac. The distance between planets corresponding to one side of a triangle.

More trine....


Christine Callahan: Trine (2) Floyd

Trine: Finding the Cosmic in Queens

I wait for the guillotine of light. It splits the object's body from its soul. I try to catch it, severed, airy, bouncing and bowing.

Trine: Term in astrology, of or pertaining to the trigon aspect of two planets distant from each other 120°, or the third part of the zodiac. The distance between planets corresponding to one side of a triangle.

More trine.... 


Christine Callahan: Trine (1) Trine

Trine: Finding the Cosmic in Queens

When I see a slant of light refracted, I feel the gods breathing.

Trine: Term in astrology, of or pertaining to the trigon aspect of two planets distant from each other 120°, or the third part of the zodiac. The distance between planets corresponding to one side of a triangle.

More trine.... 


Christine Callahan is a native New Yorker. She earned her MFA from the International Center of Photography - Bard  College and her BFA from the School of Visual Arts. She has had solo exhibitions in New York, Atlanta and Derry,Northern Ireland. She is a recipient of the ISE Cultural  Foundation Grant, National Lottery Fund, Arts Council of Northern Ireland and the British Arts Council in cooperation with the Cardiff School of Art and Design.
She teaches photography at the International Center of   Photography and Nassau Community College. Her work is represented by the Jen Bekman gallery.


Justin Kruse: Check out my new arm (D/DD)


Justin Kruse is an architect and designer living and working in New York City. His recent collaborative graphics project won an award in the competition White House Redux, Storefront for Art and Architecture, 2008.

Justin Kruse: Check out my new arm (C/CC)


Justin Kruse: Check out my new arm (B/BB)


Justin Kruse: Check out my new arm (A/AA)

Over my shoulder.


Micha Cardenas and Elle Mehrmand : Mixed Relations (1)


These images portray the technology used in the series mixed relations, a collaboration between Micha Cárdenas and Elle Mehrmand. mixed relations consists of a series of performances and workshops that explore the relations between bodies and technology within mixed realities. The performances focus on using the body as an instrument to produce live audio, linking the physical and virtual worlds. The goal is to look at bodies in relation to each other, as well as in relation to the technologies which extend and multiply them, sonically, visually and physically. The performances explore themes of affective tension andanticipation, techno-fetishism, and D.I.Y. cyborg bodies.

Micha Cardenas and Elle Mehrmand : Mixed Relations (5)


The wires hanging from our bodies conjure at once torture, medicine and DIY open technologies. The blinking lights both hint at the mechanical repetition and the scopic pleasure in seeing, the enjoyment of brightly colored pixels petting our retinas and shimmering across our skin. Biometric technology can be seen as a post-contemporary pharmakon, seeming to decentralize knowledge of the body, but quantifying and shaping the form of that knowledge, presupposing its usages and facilitating surveillance. We acknowledge the problematics of the economies which bring us these devices while embracing our potential to open our bodies up to new hybrid experiences of flesh and electricity.

Micha Cardenas and Elle Mehrmand : Mixed Relations (4)


Here, the devices act as a pharmakon, both remedy and poison, oscillating between the two, both/and simultaneously. In looking at technological mediation of relationships, we see both the failure of the technology, adding distance between us, hearing noise in the recording, transmitting out pain, and the new depths opened by the technologies, hearing each other's heartbeats, bridging worlds, providing the raw excitement of the hack.

Micha Cardenas and Elle Mehrmand : Mixed Relations (3)


In technésexual the performers commit playful erotic acts in physical and virtual space simultaneously, using devices to amplify the sound of their heartbeats for the two audiences. At the Hemispheric Institute for performance art and politics in Bogota, Colombia, an analog stethoscope was connected to a piezo sensor to amplify the actual live heartbeat sound. At GLAMFA, in Long Beach, CA, an electrocardiogram was used to monitor the heart rate, playing a recording of the heartbeat at the correct rate using Puredata. The sound is used here to bridge the two spaces, finding ways of exploring the space between realities.

Micha Cardenas and Elle Mehrmand : Mixed Relations (2)


slapshock consists of a performance with a pain-sharing device, exploring symbiotic relationships. A transdermal electro nerve stimulation unit was wired to a piezo sensor through a Freeduino, creating a device which would send a painful electric shock to the other performer when each performer slapped themselves.


Christina McPhee after Carolee Schneeman: MEAT OIL JOY PAINT (2)



a video installation by Christina McPhee

A tribute to Carolee Schneemann's MEAT JOY (1964) set in petroleum fields and dipped in red paint...bodies/becoming/petroleum, how to rebel? 

Shot at the San Ardo Petroleum Fields, Monterey County, California;

Christina McPhee is a visual and media artist based in the central coast of California and San Francisco.Forthcoming solo exhibitions include emptycube, Lisbon 2011.Recent press includes the cover image (film still, SALT 2004) and Ella Mudie's feature article, "The Spectacle of Seismicity" for LEONARDO, MIT Press Journal, April 2010.FMI  Silverman Gallery, San Francisco.

Christina McPhee after Carolee Schneemann: MEAT OIL JOY PAINT (1)



A video installation by Christina McPhee 2010 now at BABY GRAND NYC  June 8 to July 20, 2010

A tribute to Carolee Schneemann's MEAT JOY (1964) set in the oil fields and dipped in red paint. Shot at the San Ardo Petroleum Fields, Monterey County, California.

MEAT OIL JOY PAINT (Tesserae-Vermillion) 2010


Christophe Bruno: Global Artists 9 [Marx-Lenin] and Ars Longa

3D Virtual Socialism
Karl Marx (conception) & Vladimir I. Oulianov a.k.a. Lenin (programming)
Brussels, Belgium - Moscow, Russia, 1848 - 1917

We have created MMORPG (Massively Multiplayer Online Role-Playing Game) which mimics
social behaviours but with slightly different rules : pulsions such as greed or love for money
are discouraged. Instead, collaborative or socially oriented behaviours are rewarded.
But we left the goal of the game open, otherwise it was to easy to win... 


"Global Artists" was first conceived in 2003 as an online work. The project was reactivated and reworked
in March 2010 in a non virtual context, on the occasion of the exhibition "Le paradoxe du petit monde",
curated by Judith Lavagna and Cyril Verde, at Galerie Ars Longa in Paris.

3D realization for the Marx&Lenin piece: Frederic Lepeltier.



About the artist: 

Christophe Bruno lives and works in Paris. He began his artistic activity in September 2001. 
His polymorphic work (installations, performances, conceptual pieces) is a critical take on
network phenomena and globalisation in the field of language and images.

He divides his time between his artistic activity, curating,teaching, lectures and publications.


Christophe Bruno: Global Artists 8 [Bruni-Sarkozy]


Multiverse Ideology Remix (FR) keraoke video

Nicolas Sarkozy & Carla Bruni
Paris, France, 2007

(In french only)
Notre projet est une étude des paradoxes de l'identité. L'univers logique qui sous-tend le médium de la pensée est une logique des processus non apprivoisés. On ne peut plus décemment séparer ce monde en dichotomies du type vrai ou faux, haut ou bas, gauche ou droite, fini ou infini... Au contraire, la normalisation émerge de l'immanence du dispositif médiatico-conceptuel global auto-régulé, comme solution naturelle au problème de la dissension idéologique qui grève la pensée politique depuis l'origine de la civilisation.

En achevant la destruction de ce qui restait de modernité dans l'identité nationale française, nous avons pu, grâce à une série de détournements médiatiques soigneusement orchestrés par notre équipe, rétablir le statut irréductiblement marchand de toute idéologie quelle qu'elle soit. La forme marchandise de l'idéologie et le dévoilement de sa valeur d'échange permettent d'envisager l'identité sous une forme plus stable et régulée, loin des affects issus de l'enfance de l'homme, et débarrassée du fantasme d'une Loi qui serait imposée à tous depuis un extérieur transcendant.

Christophe Bruno: Global Artists 7 [Bush Bin Laden]

A new meme: the September 11th Commandment
George W. Bush & Osama Bin Laden (collab. work)
New-York, USA, 2001

"Memes" are the symbols of our postmodernity. The uncertainty principle they are associated with 
replaced the old conception of a supposed metanarrative. They evoke so many contemporary themes
from the potentially infinite duplicability of the digital medium, to the burning issue of genetic cloning 
or the scale-free network theory.

Our world has become an unstable self-disregulating memeplex. The fluidity and the pervasive 

aspect of global information demand a scientific control which is still beyond our reach.
In order to handle this fluctuating mediascape, we focussed on creating a large-scale 
informational wave by launching a mediatic tsunami that will strike people's imaginations
for hundreds of years and dissipate the fuzziness of postmodernity and chaos theory.

As a result, individuals (minimal media units that are susceptible of maximal damages

) will have to obey a new meme, The September 11th Commandment: "Suspect your neighbor as yourself".

Christophe Bruno: Global Artists 6 [Jesus Christus]

L.O.V.E.: self-portrait as a virus
Jesus Christus
Jerusalem, 30 A.C.

I have programmed a semantic virus that is able to spread and infect any neural network for thousands of years. It's called L.O.V.E. It is a self-referential quantum-like virus, so that when a system tries
to fight it, it automatically gets infected. 

The more it fights, the more infected it is.

The virus is actually harmless for short scale neural interactions. 

But it has long-range effects that can produce interesting
collective phenomenons on disoriented networks.

Christophe Bruno: Global Artists 5 [A. Hitler]


Adolf Hilter
Berlin, Germany, 1939-1945

I created a website where people can leave their mobile phone number. The idea is that when the number of people is large enough, a SMS instruction is sent to all of them simultaneously by the server. When they receive it, people have to perform the instructions. The instructions are simple ones, like raising an arm, but the effect is amplified by the fact that many people do it in the same place, at the same time, as in a symphonic orchestra.

Christophe Bruno: Global Artists 4 [Spartacus]

Free slaveware
Capua, Italy, 73 BC.

Free slaveware is a matter of the user's freedom to run, copy, distribute, study, change and improve the slave. 
More precisely, it refers to four kinds of freedom, 
for the users of the slave:
  • The freedom to run the slave, for any purpose.
  • The freedom to study how the slave works, and adapt it to your needs.
  • The freedom to redistribute copies so that you can help your neighbor.
  • The freedom to improve the slave, and release your improvements to the public, so that the whole community benefits.
Access to the genetic code of the slave is a precondition for this.

Christophe Bruno: Global Artists 3 [Mao Zedong]

Facebay: cultural revolution 2.0
Mao Zedong
Beijing, 1965-1969

I have organized a global performance wherein
millions of people switched their lives for ten years. 
They followed the specifications I had established, on how to perform each other.

During the experiment, we were able to track the effect

of the permutations on global economic indexes
and to observe the social implications.

Christophe Bruno: Global Artists 2 [Charles de Gaulle]

The day I killed postmodernity before it was even invented.

Charles de Gaulle
Paris - Baden Baden, May 29, 1968

In May 1968, I organized my own disappearance to study the effect of the
presence/absence phenomenon (fort/da) on a selected network
of people that I used to be close to, with a love/hate relationship.

The resulting piece consisted in the study of the evolution

of this network of people and the phase transition
(from chaos to order) that followed the disappearance.

Christophe Bruno: Global Artists 1 [Torquemada]


HyperBody Markup Language (H.B.M.L.)

Tomás de Torquemada, Grand Inquisitor
Sevilla, Spain, 1482
The intimate narrative history of a human being can be related to painful events of his life. Thus in our installation : Internauts ask questions to a volunteer thanks to a website. When a question is not satisfactorily answered by the volunteer, a non-verbal painful signal is sent to him by the administrator. The output is that our software-art installation allows us to display the resulting speech of the volunteer in real time on a weblog exhibited on the Web, joining intimacy to globality.


Lena Lapschina: Under the Water / Above the Water (2)

The portraits are showing two of my voluntary victims of icy arctic circle photo shooting. Great colors thanks to Swedish sea characteristics and midnight sun!

Underwater portraits passing by remind the viewer of Ichtiander, the personage from Beljaeff's science fiction novel Amphibiousman.

Exhibition history:

"RISK" Lulea Art Biennial, Lulea Sweden, 2009
"Idyll" Atelier 030202, Bucharest, 201-

Technical data:

Under the water / Above the water
125 x 83 cm (50 by 33 in) / Ilfoflex/Diasec/Alu
edition of 6 (+2 EA)

Lena Lapschina: Under the Water / Above the Water (1)


"Under the water": mind-expanding, 100 % natural!

Existence without sound and verbal communication can turn out into an advantage – at least in the short term. This is what the participants in the photo sessions for the "Under the water / Above the water" project easily find out. Cold water may limit the fun.
Hot and cold all over. Both under the water and above the water, life can be pretty harsh. Even on tropical islands – if you aren't a tourist. "Sich über Wasser halten", a German metaphor, is not about fun at all, but about the basis of one's livelihood.

Lena Lapshina 

Born 1965 Kurgan, Western Siberia.
State Stroganow University of Fine and Applied Arts, Moscow 1991;  Ph.D 1996.
Lives and works in Vienna and Lower Austria.
Artist, co-founder of State of the Art magazine, curator for M21.

curriculum vitae

Born in 1965 in Kurgan, Western Siberia.
Graduated from the State Stroganow University of Fine and Applied Arts, Moscow, in 1991 and made her Ph. D. in 1996.
Lives and works in Vienna and Lower Austria.
Artist, co-founder of State of the Art magazine, curator for M21.

Selected exhibitions:

Space, Kunsthalle Wien, Wien (AT)
Biennial of Young Artists, Bukarest (RO)
OSTRALE '010 Internationale Ausstellung für zeitgenössische Künste, Dresden (DE)
Festival de l'Image Environnementale, Paris (FR)
Resistance, Museumszentrum Krasnojarsk, Krasnojarsk (RU)
Princely Halali, Esterhazy Privatstiftung, Forchtenstein (AT)
Idyll, Bukarest (RO)
Performance III – Gender, Politik, soziale Fragen und Intercultural Studies, Fotogalerie Wien, Wien (AT)
My favorite late-night television watching pencil's diary, Kunstencentrum Signe, Heerlen (NL)
Exposition Fleuves, CNEAI, Paris (FR)
Weite, VIII. Biennale Krasnojarsk (RU)
Risk, Kunstbiennale Luleå, Luleå (SE)
unfiction, University Galleries, Illinois State University, Chicago (U.S.A.)
Videoreflex, Synagoge Trnava, Trnava (SK)


Caitlin Berrigan : Marshmallow Crash 8

Marshmallow Crash (digital video, 8 min looping), 2008

Caitlin Berrigan is an artist who works at the intersection of performance, edible sculpture, participatory actions and the life sciences to initiate dialogue about biopolitics and culture.

Berrigan has presented her work internationally, including at the Whitney Museum’s Initial Public Offerings, Storefront for Art & Architecture, Gallery 400 Chicago, Anthology Film Archives and the Center for Contemporary Art Tel Aviv. She has been an invited speaker at the New Museum, Harvard Medical School, and the Max Planck Institute. Berrigan received an Agnes Gund fellowship to attend the Skowhegan School of Painting & Sculpture (2008) and was an artist in residence at PROGRAM in Berlin (2009) and the Bioarts Initiative at Rensselaer Polytechnic Institute (2007). She holds a Master’s in visual art from MIT (2009) and a B.A. in art history and production from Hampshire College (2004). Raised in Mendocino, California, she has lived in Massachusetts, New York City and Paris. She currently lives in Berlin.

Caitlin Berrigan : Marshmallow Crash 7


...we do little more than hold our breath..

Caitlin Berrigan : Marshmallow Crash 6


marshmallow suicide...

Caitlin Berrigan : Marshmallow Crash 5


That buoyant fluff promised by the giant marshmallow is never quite delivered...

Caitlin Berrigan : Marshmallow Crash 4


Violent confrontation with an oversized marshmallow amidst an idyllic pastorale....

Caitlin Berrigan : Marshmallow Crash 3


After the crumbling of capitalist monuments in the Fall and the uncertainty of American empire, the metaphors of Marshmallow Crash are oddly prescient

Caitlin Berrigan : Marshmallow Crash 2


I was compelled to create work based on the insidious, fluffy iconography of the marshmallow and the American landscape.

Caitlin Berrigan : Marshmallow Crash 1


Just before the market crash in the Fall of 2008 and the imminent departure of the Bush administration, I sensed impending doom....


Ian Giles: Desert (6)

If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.

Ian Giles is an artist based in London. Forthcoming: Blind Alchemy, with Rachel Adams, at the Royal Standard, Liverpool, opens 12 February 2010

Ian Giles : Desert (5)