Any thing

September 2015, I was commissioned to produce a 30sec video to be played on big LED 'Urban Screens' in train stations all over the Netherlands.  I put the work in. I made it. I rendered it and send it to them. But upon reception, their reply was: "its too strange, we can't use it."   Blah!  left it since then, but now dugg it up for a screening this May in London!  \party/ ▇ ▉ █▅▋▅▎ ▍ ▇▌▇❚▝▊ ▊█ ▇▉ █ ▅▋▅▎▍▇▌▇❚▝▊▊█ ▇▉ █ ▅▋▅▎▍▇▌

▉    ▉                 ▉      ▉      ▉    ▉ ▉             ▉      ▉           ▉ ▉      ▉ Rosa Menkman. Etched in DCT: BeyondResolution, 2016. Last week I took part in a four-day-long etching workshop at Plaatsmaken . I learned that sometimes I do like the end product of an etch, [[~Not my personal work, the plates and prints I produced had to many flaws~]] One of the things I made was this small print of "BeyondResolution", encrypted in DCT, which seems like a pretty small outcome for a 4 day work of labor... I do like the look that this kind of prints can have on the paper when its done thick black dirty grime vs clean white. But I am not good enough to produce this kind of outcome. I have not worked a lot in crafts processes' like this before - I am a perfectionist and can pixel push for d...

  ▇▉█▅▋▅▎▍▇▌▇❚▝▊▊█ ▇ ▇  ▇▉█▅▋▅▎▍▇▌▇❚▝▊▊█ ▇ ▇   0,1 // assume both Participating artists: Dries Depoorter, Jan Robert Leegte, Rosa Menkman, Zsolt Mesterhazy, rad0van Misovic, Karina Pálosi, Alex Zakkas, Joubin Zargarbashi Exhibition: 26.03 - 30.03.2016 Does 0 mean off? Does 1 mean yes? // 011100110110111101110011 The nature of the real is disputable. Is the digital any different? Are they even seperate? Even though it is presumed that digital spaces are neatly organised - they are in fact as kludgy as the next space. Every slot has its own standard, every platform its own handle, every socket its own protocol. With "0,1 // assume both", BrowserBased illustrates some of these ambiguities in a playful manner.  ▇ ▉ █▅▋▅▎▍▇▌▇❚▝▊▊█▇▇  ▇ ▉ █▅▋▅▎▍▇▌▇❚ ▝ ▊▊█▇▇  For 0,1 // assume both, I worked on a render of one of the last chapters of the DCT:Syphoning.  "Madness or Hell?".  I don't consider this render a final one, I think it will be final only...

_ _    _ __ _     _ _   _   _ _ ●◣⚈◕ 27/03/16-29/05/16: installation of DCT: Legibility during  Design my Privacy , Z33, Hasselt, BE  10/04/16-31/07/16: installation of A Spomenik [for Resolutions] during  Queens international : Dance with flARmingos, NY, US.  06/04/16-14/04/16: Zwaar Metaal Residency, Plaatsmaken , Arnhem, NL.  17/04/16-30/04/16:  Books.org exhibition,  Arebyte , London, UK.   22/04/2016: Paradise is Exactly Like Where You are Now...Only Much Much Better at the sad.gif show 4 Manchester rd, Richmond, Vi, US.    26/04/2016: Screening of 45 76 65 72 79 74 68 69 6e 67 20 during Fractured Gestures at HeK, Basel, CH. 28/04/2016: Screening of Lunar Storm, as part of Vertical Cinema @Gegenkino , Leipzich, De.   09/05/16-15/05/16:   Screening of DCT: Madness or Hell in window Kuenstlerhaus Bethanien , Berlin, DE.  14/05/2015: Paradise is Exactly Like Where You ar...

by Lucas van der Velden and Rosa Menkman  Susan Schuppli was in Rotterdam recently to give a presentation about her new installation that is included in the exhibition Asymmetrical Warfare at the Witte de With (11 September 2015 – 3 January 2016) . As far as idols go, Schuppli is definitely one of mine, so I was very excited to have a chance to sit down with her and Lucas van der Velden to talk not only about what it means to be an artist and theorist working in the field of practice-based research, but also to ask her some more in-depth questions about the research she conducted for her forthcoming book Material Witness: Forensic Media and the Production of Evidence and will present during the Dark Ecology Journey . 
 Lets start with a question about your process. From the outside it looks like your work is a great example of artistic research, but it also takes on a very concrete form. Where do you start, do you work from a case, towards a theory? Or is it a hybrid for you? ...

  For Dance with flARmingos as a part of the Queens International 2016, Kristin Lucas collaborates with 21 national and international artists to create 3D augmented reality works that are geolocated to different locations around the Queens Museum. Drawing parallels between the phantom presence of augmented reality and equally intangible notions of “the future”, given the rapid progression of global technological and environmental changes, Lucas prompted each artist to create a virtual work envisioning the future of Land Art and land use. By using digital tools to envision physically improbable scenarios, the artists produce haunting new realities that provoke broader conversations about culture, social issues, climate change and environment. Visitors can access the virtual sculptures via Layar, a free Augmented Reality camera app that can be downloaded onto any smartphone. Once the app is downloaded use the instructions on the map to locate each work in the museum and Flushing Mea...