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Rhizome Today: Fav Links of 2014 (Hamishi Farah)

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Rhizome invited a few of our collaborators to submit a few of their favorite links of 2014. These are published as part of Rhizome Today, a series of "ephemeral" blog posts. This post will be taken offline on January 2, 2015.

Screenshot of Anthony Marcellini and Heman Chong’s Twenty Plots for Things to Come (2013).

Hamishi Farah:

  • black internet sunday helped me thru a couple crises in 2014, with advocation for black bodies trending in my mostly white circles kurt's selected memes was a hilarious safe space http://instagram.com/kurthunte
  • interpol's archive of stolen work really sat w me this year, between my opposition to pigs, concern re: image surplus, documentation as medium, and search for stateless objects. try this as a detox from contemporary art daily's glossy magazine unrealistic beauty standards and flattening of work. http://www.interpol.int/notice/search/woa 
  • this work was made last year but i only caught on after reviewing a show it was in. heman chong and anthony marcellini's work recycles and displays images from science and technology museums, playing them in random sequence until the original image links die. also heman chong has a pretty good fb links feed, (as far as article well filtered fb links feeds go, shout out to heman chong, josephine bosma, and devin kenny) altho heman never accepted my friend request, i'm pretty satisfied being a "follower" tho sometimes i'd like to comment. http://twentyplotsforthingstocome.org/ 
  • this work was made a few years ago but kind've ongoing and re-realised during david brazier and kelda free's studio residency at Gertrude Contemporary. I feel like it is extremely relevant in terms of advocation and occupying an implicated space for white artists to discuss post-colonialism and imperialism. a uk residency program wanted to send them to new delhi to essentially do missionary work guised as social practice. they outsourced the "artist in residence" role to ashish sharma, a new delhi expat working for "business process outsourcing". He assumed the role of social practice artist, given the same brief supplied to david and kelda, ashish set out engaging w the designated community "helping" people on the terms set by a UK "cultural organisation" (i'm being crude + would love to write a bit more about this work another time). The work was displayed w documentation and reports by ashish, accompanied w him on skype ready for conversation to reflect on his work in the community. http://www.brazierfree.com/index.php/projects/virtual-employee/

Hamishi Farah is an artist in residence at Gertrude Contemporary in Melbourne. You can find his work at http://hamishi.asia/


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