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Working with Rebecca Bray and Britta Riley.

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Working with Rebecca Bray and Britta Riley.

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The Urine to Fertilizer Kits were on display at the Museum of Modern art as part of their exhibition for Earth Day. Other works in the show included Isabella Rossellini's fabulous Green Porno series, Superflex's Flooded McDonald's, and Michel de Broin's Pedal-powered Buick.

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“How to Win” is a work in progress by Stephen Duncombe, an academic, and Steve Lambert, an artist. We are both long-time political activists and both of us believe that using art and culture to transform the world is a good idea. But we are both haunted by the same question: How do we gauge the success of our projects? Hell, how do we even think about success when our goal is utopia?

This site is a place to explore this and related questions. It is an evolving repository for our research. While far from a finished product, we’re offering it as an open window into our process.

We held a How To Apply - Eyebeam Residencies forum here in New York.  I expected maybe 30 people, but over 100 showed up.  It was a great chance for applicants to ask questions about the residency program.  A lot of commonly raised issues were ironed out, with insights provided by recent Residency Curatorial Panelist Robert Ransick (Bennington College, Vermont) and current Eyebeam Senior Fellow Steve Lambert (Parsons/The New School and Hunter College).  Thanks to them both, and Amanda, for taking the time out to help make the application process as clear as possible for everyone involved.

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Nina Katchadourian was born in Stanford, California and grew up spending every summer on a small island in the Finnish archipelago, where she still spends part of each year. Her work exists in a wide variety of media including photography, sculpture, video and sound. Her work has been exhibited domestically and internationally at places such as PS1/MoMA, the Serpentine Gallery, New Langton Arts, Artists Space, SculptureCenter, and the Palais de Tokyo. In January 2006 the Turku Art Museum in Turku, Finland featured a solo show of works made in Finland, and in June 2006 the Tang Museum in Saratoga Springs exhibited a 10-year survey of her work and published an accompanying monograph entitled "All Forms of Attraction." The Museum of Contemporary Art San Diego presented a solo show of recent video installation works in July 2008. Katchadourian is represented by Sara Meltzer gallery in New York and Catharine Clark gallery in San Francisco.

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Nina Katchadourian's The Recovery Channels consists of footage from loose video tape collected off the streets of New York starting in 1998. The video tape is often found hanging in ribbons from trees, wrapped around lampposts, around fire escapes, on traffic islands etc. After being meticulously cleaned, restored and wound back into cassette shells, the footage is digitized and each "find" of tape becomes one of the "recovery channels." The viewer then uses a remote control to channel surf this television which contains cast off, unwanted, or perhaps shamefully thrown away material. The Recovery Channels comprises over 14 hours of footage on 38 different channels. The diverse material includes a Chinese action movie, hip hop videos, a ballet, an educational video on geriatric depression, an episode of Barney, and professional as well as amateur pornography. Videotape is gradually disappearing as VHS players become exinct in favor of digital technologies, and so The Recovery Channels also serves as a kind of local urban archeology.
Television, laptop, remote control, 16 hours of footage transferred from collected videotape, 2005.
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Jordan Crandall is an artist, theorist, and performer based in Los Angeles.  He is Associate Professor in the Visual Arts Department at University of California, San Diego.  His video installations, presented in numerous exhibitions worldwide, combine formats and genres deriving from traditional cinema as well as military and surveillance culture, exploring new regimes of power and their effects on subjectivity, sociality, embodiment, and desire.  His most recent video installation, HOTEL (2010), produced in advanced, 4K high definition technology, probes into the realms of extreme intimacy, where techniques of control combine with techniques of the self.  He is the 2011 winner of the Vilem Flusser Theory Award, given by the Transmediale, Berlin, and the Vilem Flusser Archive.  He is also the founding editor of the new journal VERSION.  He is currently developing a new body of work that blends performance art, political theater, philosophical speculation, and intimate reverie.  The work, entitled UNMANNED, explores new ontologies of distributed systems  -- a performative event-philosophy in the form of a book and a theatrical production.  

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UNDER FIRE is an ongoing art and research project that explores militarization and political violence. It delves into the structural, symbolic, and affective dimensions of armed conflicts: the organization, representation, and materialization of war.

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Synaptic Bliss: Villette is a 4 channel video/audio installation that presents a re-composed techno garden that evokes the seasons and the cycles of life. It is a world halfway between organic and digital, where the subtle play on scale blurs the boundaries between the microscopic and the microscopic, as well as between interior and exterior.