It's Time is a conversation between Prof. Sean Cubitt (Goldsmiths and Harvard) and Prof. Lanfranco Aceti (MIT and BU) on issues of time and its relationship to the contemporary databased and mediated narratives. The lecture will take place in the Plimpton Room, Barker Center, Room 133, Harvard University on Monday, December 4, 2017, from 6:30pm to 8:00 pm. Inspired by Italo Calvino's Six Memos for
The Museum of Contemporary Cuts presents a painterly and sculptural text work by Dutch artist, Willem Jan Smit. At the Sculpture Garden pavilion on the New Sea Waterfront of Thessaloniki, Smit marries the two media with the complexity of the positive and negative architectural space. “The Sculpture Garden pavilion presents and shines a light on a fissure in the homogeneous representation of the community,”
Supported by the Museum of Contemporary Cuts, the Mediterranean Garden pavilion on the New Sea Waterfront of Thessaloniki has a contemporary art installation by Lanfranco Aceti, curated by Camilla Boemio. Known internationally for his socio-political stances and performances that have taken place over the past thirty years, the artist has conceived a site-specific installation that engages directly with the theme of the Thessaloniki Biennale,
What is in a curse? And who are the accursed? The artist, Lanfranco Aceti, has created a performance titled Accursed and curated by Areti Leopolou that addresses the theme of the Thessaloniki Biennale, Imagined Homes, by bringing the privacy of the home into the public space. The accursed plebs—lower class and middle class alike—voice their angers and frustrations at the Thessaloniki Concert Hall in the form
To ‘celebrate’ the forthcoming conflict between Rocket Man of North Korea and Dotard of the United States of America the artist Mischa Kuball (DE) has been commissioned to create an installation and music score to be placed on The Fifth Column of the White House. Named Curator Of The United States (COTUS) by the Museum of Contemporary Cuts, Lanfranco Aceti announced this new video and
“[....] there are all the folds that come from the Orient—Greek, Roman, Romanesque, Gothic, classical folds .... But it twists and turns the folds, takes them to infinity, fold upon fold, fold after fold. [....] is the fold that goes on to infinity.” Gilles Deleuze, “The Fold,” Yale French Studies 80, Baroque Topographies: Literature/History/Philosophy (1991): 227. Where Is the Problem? ‘Empathy - Apathy’ is a
SHIMMER is a new solo show by Lanfranco Aceti and Willem Jan Smit who came together under the curatorial framework of Irini Papadimitriou, curator at the Victoria and Albert Museum. The two artists merged their aesthetic practices for SHIMMER and generated for the Museum of Contemporary Cuts and the Athens School of Fine Arts in Hydra (GR) a scathing visual analysis of contemporary political
In a contemporary world of suppositions presented as a healthy suppository of systemically administered fact, the current exchange and special relationship between the United Kingdom and the United States of America is providing exciting new prospects. The UK has proposed to offer Oboddaddy 1, by Sarah Lucas, as an instrument of justice to beat down efforts of fake news and propaganda alike. Oboddaddy 1, a
One of my new essays is out and is entitled Wet Me: Cupio Dissolvi ad Nubes et Lumina, for the issue of Leonardo Electronic Almanac titled Cloud and Molecular Aesthetics published by MIT Press. I also edited the full volume with Paul Thomas and Edward Colless. Thanks, in particular go, to two new members of LEA Team of assistant editors: Candice Bancheri and Ashley Daugherty. It is
Cloud and Molecular Aesthetics is a volume that situates a critical discourse on the molecular data–cloud and aesthetics within contemporary experiences of art and society. It reflects varied perceptions and current thinking by artists, curators, scientists, and theorists in comprehending the appropriation and colonization of the cloud. The cloud can be seen as a veiling of information, where it becomes clouded, foggy, fuzzy, obscure, or
