#rosa menkman

[fckyeahnetart]

Rosa Menkman

JPEG FROM A VERNACULAR OF FILE FORMATS, (2009 - 2010), 2023 REVISITATION WITH HIDDEN MESSAGE IN DCT.

x

[yhancik]

In a not-too-distant future, a media archaeologist has tasked herself with compiling an atlas dedicated to lost or unknown ways of seeing. During this mission she finds herself captivated by a NEON Rainbow Fairy Light, an object seemingly plucked from a child's bedroom. The archaeologist proclaims the fairy light to be a quintessential artifact that encapsulates the entire history of the decline of nature's original "glitch"—the atmospheric rainbow. Proper observation of rainbows has become rare due to a double process of pollution. On the one hand, climate change, environmental degradation, and light pollution have dulled atmospheric rainbows’ brilliance, making their occurrence increasingly unusual and their sightings more precious. On the other hand, within the realms of image processing, digital pollution has corrupted and distorted the representation of rainbows even more: as generative artificial intelligence struggles to differentiate between symbolic representations—the rainbow-alike—and actual depictions of natural phenomena, images of authentic rainbows have become anomalous.

🔗A Spectrum of Lost and Unnamed Colours

[regretrien]

from Rosa Menkman on flickr

[clarestrand]

SIZE MATTERS. SCALE IN PHOTOGRAPHY. Kunstpalast, Berlin Group Show. 31st Jan 2024.

"Everything changes in an image when the zoom slider is adjusted: certain things are highlighted, detached from their context, exaggerated or reinterpreted. They move closer to us, allowing us to study them, or blur before our eyes"

The scale of a pictorial subject or image format harbours great creative possibilities – but also the potential for manipulation. For the first time, an exhibition comprehensively examines the considerable yet often subtle shifts in meaning that accompany changes in size in photography. Works from the late nineteenth century to the present day raise questions about how scale affects our perception and handling of photographic images.

Photography can change its dimensions more easily than any other medium; pictures can be effortlessly blown up into large images on museum walls and billboards, or shrunk down to a thumbnail on a mobile phone screen. While photography traditionally reproduces the world in miniature, it can also present things in a life-size or even larger-than-life-size format and render the invisible visible.

“While painters have to determine the size of their canvas before applying the first brushstroke, photography is a medium without fixed measurements at the moment of its creation when the shutter is released. It is only afterwards that a decision is made about whether an image will materialise and, if so, in what dimensions,” explains Felix Krämer, general director of the Kunstpalast. “A defining and unique feature of photography is that size is a mutable quality, which is something we want to highlight with this exhibition.”

Bernd und Hilla Becher, Kristleifur Björnsson, Karl Blossfeldt, Georg Böttger, Katt Both, Renata Bracksieck, Natalie Czech, Jan Dibbets, Josef Maria Eder und Eduard Valenta, Leonard Elfert, Claudia Fährenkemper, Hanna Josing, Alex Grein, Andreas Gursky, Franz Hanfstaengl, Erik Kessels, Heinrich Koch, Jochen Lempert, Rosa Menkman, Duane Michals, Joanna Nencek, Floris M. Neusüss, Georg Pahl, Trevor Paglen, W. Paulcker, Sigmar Polke, Seth Price, Timm Rautert, Amanda Ross-Ho, Evan Roth, Thomas Ruff, August Sander, Adrian Sauer, Morgaine Schäfer, Hugo Schmölz, Karl-Hugo Schmölz, Katharina Sieverding, Kathrin Sonntag, Lucia Sotnikova, Simon Starling, Clare Strand, Carl Strüwe, Andrzej Steinbach, Julius Stinde, Anna Stüdeli, Wolfgang Tillmans, Moritz Wegwerth, René Zuber

[glitchartistscollective]

In the beginning there was noise – thus writes Rosa Menkman in her influential Glitch Studies Manifesto (2011), a work that laid the foundations for the critical exploration of art works that incorporate noise & error as a means to examine and interrupt the normative function of the image and the media itself.These works do not only present pleasurable aesthetic objects (because, yes, dirty glitch can be indeed very pretty) – they also act as a magnifying glass drawing attention to the material basis of the technology used to reproduce moving images, whether it be celluloid, analogue video or digital apparatus.Using various means to distort the recognizable imagery, they bring us exciting, vibrant & noisy alternative visions that radically challenge the dominating clean, sterile imagery of contemporary digital cinema. As such, they pose fundamental questions regarding the political nature of technology, image and the reality itself.The selection divided in two blocks will showcase 16 eye- & mind-bending contemporary audiovisual works that offer a journey through a myriad of creative & critical uses of glitch followed by the Q&A discussion with the artists.PROGRAM 09.10.2023.Introspective landscapes & limits of memory in the post-internet wildernessDuration: 50′Death Orgone Absorption fœtale – Pulsion panspermique (CA, 2023,6′)Sabato Visconti – Origin Story (Best Price USA), v01 (US, 2023, 2′)Sarah Lasley – Welcome to the Enclave (US, 2023, 12′)Autojektor – robyn (2021, UK, 4′)YOVOZOL – Purplenoia (Parts 1 & 2) (NL, 2023, 10′)le désert mauve (Charline Dally + Gabrielle HB) – dickinsonia. les archives sensibles (CA, FR, 11′)Niloufar Baniasadi, Farbod Hamedi – Flower of Life (Fractal Geometry of the Carpet) (IR, 2023, 2′)Artiom Constantinov – You Never Happened, You Never Existed (IT, 2023, 4′)PROGRAM 10.10.2023.Hacking, playing & (de)constructing (new) realitiesDuration: 50′André Oliveira Cebola – ultraCritical() (BR, 2023, 1′)Chris Coleman with Music by George Cicci – Threaded Tracing (US, 2023, 7′)Josh Brown – First Wave (IE, 2023, 3′)Gino Battiston – Beware Spamart (AR, 2023, 2′)Theo Rosemffet and Rocco.FX – Descontrol (ES, 2023, 6′)aitso + ex_mortal – release decay (CA, US, 2023, 2′)Jan Swinburne – CRACKERS a brief history of code (CA, 2020, 4’20)Toma Ștefănescu – Entropy (RO, 2022, 25′)Curated by:EJLA KOVAČEVIĆA freelance film critic, curator and independent/experimental cinema researcher. She’s a member of the curatorial team at the International Experimental Film and Video Festival 25 FPS and a selection committee member at Belgrade-based International Analog Film Festival KINOSKOP. Since 2011 she’s been active in the film labs community dedicated to the promotion and preservation of analog film practices. In Zagreb-based filmlab Klubvizija she organized numerous workshops, screenings and held lectures on experimental and photochemical cinema. As an Erasmus scholar she spent a semester working in filmmakers’ cooperative LIGHT CONE in Paris. She earned her MA in French Language at the Sorbonne Nouvelle University and MA in Comparative Literature at the University of Zagreb

[euphonyfragrance]

(kaolu_euphony)

*The additional arranged of the original submitted track for 'BIFSC 2023'

www.bifsc.org/

*Original Image :

Rosa Menkman - "Lost in Time – Shutter Interface #SonicActs #SonicActs2012"

www.flickr.com/photos/r00s/6926526603/

Catherine Poh Huay Tan - "Summer Palace, 颐和园, 北京, 中国"

www.flickr.com/photos/68166820@N08/43879413680/

[connorchen-saddog8]

Week 1 tech class

Introduction to website creating tools!

Are websites still relevant?

Artist websites or just personal websites seem to be a lost art from early internet. It's rare you see anyone casually having a website / blog if not for portfolio reasons. I think they are still pretty important to have, not only for yourself but as a part of an internet ecosystem. To carve out a space for yourself online in a more archival and concrete way than an account on any social media platform. For the internet to have more spaces that are personal and non-corporate entities.

Website examples:

Rosa Menkman

website design reflects her practice of glitch and disruption, intervening of the digital space

showcases portfolio in an interesting way

https://luyang.asia/

Lu Yang

organised by works

animated background

Cate Wurtz / lamezone

archival / organisation for her comics

old internet aesthetic

[wyattutdblog]

GLITCH in Photography

The first artist I will be discussing is Sabato Visconti. At first glance at his website you can tell what the vibe is going to be without ever looking at any of his works. The website is set up on it's homepage with computer code font or typewriter font. The website is simple, like technology that glitches, it gives the feeling that something will break. Visconti's focus in the realm of glitches is the aspect of technology, surveillance, and social issues. Visconti has a heavy focus on mass surveillance systems showing the negative aspects of photography or at the very least, the aspects we don't generally regard in the art world. Visconti works with gif glitches, 3D Art, ROM corruption, and many more.

The second artist I will discuss is Rosa Menkman. At first look at her website, she definitely has more going on than the home page of Visconti. The whole webpage is set up in a massive glitch like the website is crashing. The images will spin around when you hover over them, and there are trippy barcode-style glitches all around. Everything is very meticulously done to create the feeling that something is wrong with the page. When you hover over buttons to click on, instead of having the pointer curser it replaces it with the typing cursor. Menkman focuses on glitches, impossible images, and lost and unnamed colors. She also focuses on noise artificats.

[linnealong]

WEEK 8 / GLITCH Tech

Malfunction

Short-term pulse wave interference

Automatic or human-made bug

Not necessarily limited to the digital environment

Originates with engineers and astronauts

Glitch Art Movement: using digital or analogue errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices.

Glitch art does convey a widespread acknowledgement of system failures and our own vulnerable and often fragile relationship with technology -> Critique reliability

Datamoshing -> made by compression

Artwork by Len Lye, he was actually one of my inspirations last semester (you can see his work at AGNSW!) Early explorations of the concept of moving images may have influenced much of today's glitch art. Plus I really like the texture of scratch film.

Distotrion

Rosa Menkmans' s website & Nam June Paik, Magnet TV, 1965

The effect of human interference

Compression artifacts: a noticeable distortion of media

In class practice:

During class, Harry’s youtube videos has been ‘glitching’ all the time. Unexpectedly echoed today’s topic Glitch hahahaha, which is super interesting!

After class practice:

By using Hex Fiend and mac text app

Marine life has always been my favourite. I was fascinated by jellyfish when I was young, and it also reminded me of the screen saver when computers were first invented in the millennium. Combined with Glitch Art, it expresses the feeling of memory error and vagueness.

Glitch with pano:

[yhancik]

rosa menkman + luzi gross : im/possible images reader

The im/possible images exhibition conceptualized by Rosa Menkman and produced by Luzi Gross, presented research-based works by international artists that open the black box of everyday image processing technologies. Questions they asked were: how do resolutions shape images and how does the process of resolving compromise other forms of rendering? When do aberrations and translations turn into false representations? And how has the field of computer simulation expanded the rules and functioning of our imagery?

[crash-stop]

Glitch cinema: 2023-10-09 MON & 2023-10-10 TUE

In the beginning there was noise – thus writes Rosa Menkman in her influential Glitch Studies Manifesto (2011), a work that laid the foundations for the critical exploration of art works that incorporate noise & error as a means to examine and interrupt the normative function of the image and the media itself.

These works do not only present pleasurable aesthetic objects (because, yes, dirty glitch can be indeed very pretty) – they also act as a magnifying glass drawing attention to the material basis of the technology used to reproduce moving images, whether it be celluloid, analogue video or digital apparatus.

Using various means to distort the recognizable imagery, they bring us exciting, vibrant & noisy alternative visions that radically challenge the dominating clean, sterile imagery of contemporary digital cinema. As such, they pose fundamental questions regarding the political nature of technology, image and the reality itself.

The selection divided in two blocks will showcase 16 eye- & mind-bending contemporary audiovisual works that offer a journey through a myriad of creative & critical uses of glitch followed by the Q&A discussion with the artists.

PROGRAM 09.10.2023.

Introspective landscapes & limits of memory in the post-internet wildernessDuration: 50′

Death Orgone Absorption fœtale – Pulsion panspermique (CA, 2023,6′)

Sabato Visconti – Origin Story (Best Price USA), v01 (US, 2023, 2′)

Sarah Lasley – Welcome to the Enclave (US, 2023, 12′)

Autojektor – robyn (2021, UK, 4′)

YOVOZOL – Purplenoia (Parts 1 & 2) (NL, 2023, 10′)

le désert mauve (Charline Dally + Gabrielle HB) – dickinsonia. les archives sensibles (CA, FR, 11′)

Niloufar Baniasadi, Farbod Hamedi – Flower of Life (Fractal Geometry of the Carpet) (IR, 2023, 2′)

Artiom Constantinov – You Never Happened, You Never Existed (IT, 2023, 4′)

PROGRAM 10.10.2023.

Hacking, playing & (de)constructing (new) realities Duration: 50′

André Oliveira Cebola �� ultraCritical() (BR, 2023, 1′)

Chris Coleman with Music by George Cicci – Threaded Tracing (US, 2023, 7′)

Josh Brown – First Wave (IE, 2023, 3′)

Gino Battiston – Beware Spamart (AR, 2023, 2′)

Theo Rosemffet and Rocco.FX – Descontrol (ES, 2023, 6′)

aitso + ex_mortal – release decay (CA, US, 2023, 2′)

Jan Swinburne – CRACKERS a brief history of code (CA, 2020, 4’20)

Toma Ștefănescu – Entropy (RO, 2022, 25′)

Curated by:

EJLA KOVAČEVIĆ

A freelance film critic, curator and independent/experimental cinema researcher. She’s a member of the curatorial team at the International Experimental Film and Video Festival 25 FPS and a selection committee member at Belgrade-based International Analog Film Festival KINOSKOP. Since 2011 she’s been active in the film labs community dedicated to the promotion and preservation of analog film practices. In Zagreb-based filmlab Klubvizija she organized numerous workshops, screenings and held lectures on experimental and photochemical cinema. As an Erasmus scholar she spent a semester working in filmmakers’ cooperative LIGHT CONE in Paris. She earned her MA in French Language at the Sorbonne Nouvelle University and MA in Comparative Literature at the University of Zagreb

[layzb24]

Artists and Photographers

The ones that stood out to me more were Rosa Menkman and Heitor Magno.

When I see works from Rosa Menkman, it gives me matrix vibes which I like how she was able to change a lot of her work to look as if it is in 1's and 0's. It is what I think it would look like when I hear glitch in a photograph. She portrays it very well in my opinion finding different ways to alter an image.

The other Heitor Magno, I enjoy his work very much. It reminds me a little of abstract art but images that are easy to tell what they are and added more to it. A simple photo altered very differently that has some sort of amazing effect with exposure. It is very pleasing to the eyes for me. An image within an image. Reminds me a little of dimensions in the science world.

[maddyvilven]

GLITCH PROMPT:

When researching Glitch and reading the class materials, a few artists that stuck out to me were

Glitch art uses errors and electronic "glitches" to challenge the idea that digital art should be flawless and perfect. It allows for imperfections, questions conventional, "perfect," artwork, and highlights the possibilities of digital media, creating unique and unexpected effects that differ from typical expectations.

When researching Glitch and reading the class materials, a few artists that stuck out to me were Sabato Visconti, Rosa Menkman, and Elena Kulikova. Each of these artists use Glitch as artistic expression in their work. When glitch is used, it operates differently than a normal image because it is challenging usual assumptions regarding art and photography. Each image holds a different meaning than it had before it was glitched, whether it is covering. a face, or emphasizing a part of the image that otherwise wouldn't be noticed. Glitch is a great way for artists to explore their style and aesthetic without needing to be "perfect" in any way.

[colortheory-makayla]

1st is the original piece by Rosa Menkman, then it’s my color analysis, then my collage of the two, and finally my artist statement telling my purpose behind decisions I made.

The collage turned out SOOO MUCH BETTER than I expected!! When I thought I was done was no where near where it ended up being finished. The addition of the distress with the eraser lines really completed the piece and added to the idea of the possibility of destruction of art described by the article.

[vulpiano]

From the Video Hook-Ups Archive:

Worship the Glitch

This week’s selection of glitched-out videos: video game worlds, feedback loops, the error, degradation, and decay.

Johnny Rogers – NES Glitch Compilation

https://www.youtube.com/watch?v=oayy4cuSYx0

Rosa Menkman – Beyond Resolution :: Pattern recognition lost its resolution

[no longer available]

Kit Young – Perceptual Accuracy

https://vimeo.com/266818660

Sara Bonaventura – stakra

https://vimeo.com/228832384

Mark Fingerhut – New Nostalgia

https://vimeo.com/81248224