DONTPOSTME #8 (SPRING ISSUE - GLITCH) by DONTPOSTME

DONTPOSTME

A MAGAZINE ABOUT CONTEMPORARY ART

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PHOTOGRAPHY FINE ARTS

SPRING ISSUE/GLITCH

si ereht gnihton tra ni wen tpecxe tnelat vohkehC notnA

there is nothing new in art except talent Anton Chekhov

DONTPOSTME #8 SPRING ISSUE / GLITCH DONTPOSTME - A QUARTERLY MAGAZINE ABOUT THE LATEST TRENDS OF CONTEMPORARY ART.

IN OUR MAGAZINES, YOU CAN FIND WIDELY POSTED ARTWORKS AND INTERVIEWS WITH

FAMOUS ARTISTS FROM OVER THE WORLD.

............................................................................................................................. EDITORS-IN-CHIEFS, ART-DIRECTORS:

AZAMAT AKHMADBAEV & ZULYA KUMUKOVA EDITOR:

ALIMA KUMUKOVA

............................................................................................................................. DESIGNED IN SAINT PETERSBURG, RUSSIA PRINT: PEECHO, ROKIN 75, 1012 KL AMSTERDAM, THE NETHERLANDS

ON A COVER: FAILED MEMORIES 04 (DORASFLAME), 2013 BY DAVID SZAUDER, GLITCH ART

TYPOGRAPHY FONTS: NEVIS BY TEN DESIGNED BY TWENTY AND NEUE HELVETICA® FONT FAMILY

............................................................................................................................. NO PART OF THIS MAGAZINE CAN BE USED

WITHOUT PRIOR WRITTEN PERMISSION OF “DONTPOSTME” ANY CONTENT OF THIS PUBLICATION

(ILLUSTRATIONS, PHOTOS & OTHER TYPES OF MATERIALS) COPYRIGHTED BY RESPECTIVE OWNERS

............................................................................................................................. 18+

#8 | SPRING ISSUE / GLITCH

............................................................................................................................. VK.COM/DONTPOSTME

WWW.DONTPOSTME.COM 2014

Feel The Difference

FINE ARTS

GLITCH

YOSHI SODEOKA.......................................................9

KARBORN..................................................17

LINN WIE...............................................................27

NICHOLAS BALLESTEROS...................................35

ANDRE SCHMUCKI.............................................43

DAVID SZAUDER...................................................57

JENNIS LI CHENG TIEN..........................................65

袖岡由英 YOSHI SODEOKA

VIEWS OF DISSONANCE

http://www.sodeoka.com/

Rainbow-colored lights, intri-

cate forms, and amazing to the

human eye images as if obtained through spoiled VHS - all these can

be seen in the works of the Japanese

artist Yoshihide Sodeoka. Having more than 10 years of experience in

the area of the glitch art, Yoshihide is one of the most prominent glitch

artists in the world of today. In spite

of his collaborating with commer-

cially successful bands (such as

Tame Impala, Yeasayer and The Presets) and creating original mate-

rial with innovative glitch art meth-

ods of work, Yoshihide’s projects are shown in a great number of galleries

of contemporary art all over the world.

A series of images «Views of

Dissonance» is a new project created

by Yoshihide Sodeoka, and we are

honored to be the first to publish the works of this gifted artist.

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:: : : KARBORN

EVIDENCE OF TIME TRAVEL

http://www.karborn.com/

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EVIDENCE OF TIME TRAVEL ONLY RADIUM HALOES AND THE SHADE OF TREES SHE BIT MY LIP SO I TURNED HER INTO A LASER BEAM GAME$HOW SUNSET EATER

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EVIDENCE OF TIME TRAVEL

â&#x20AC;&#x153;Created & manipulated on Amiga 1200's and fed through a series of scan converters, VHS formats and Wobulators to Sony Trinitron broadcast monitors. The output is then photographed with film & digital camerasâ&#x20AC;?.

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LINN WIE

THE SCANNING EXPERIMENTS PT. 1 & 2

http://www.linnwie.com/

T H E

S C A N N I N G E X P E R I M E N T S P T . 1 & 2

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S C A N N I N G E X P E R I M E N T S P T . 1 & 2

T H E

S C A N N I N G E X P E R I M E N T S P T . 1 & 2

Linn Wie is a highly talented Norwegian graphic designer working and studying in the city of Copenhagen in Denmark. 'The Scanning Experiments pt. 1 & 2' started with a fascination of the visual phenomenon interference, and need to investigate visual glitch aesthetics, and different ways of deliberately interacting with it.

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NICHOLAS BALLESTEROS

DISTORTION

http://www.nicholasballesteros.com/

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DPM: I’d like to ask you several questions about one of your masterpieces called ‘Distortion’. Where did your inspiration for this project come from?

Nicholas: I was first inspired when I saw a series of distortions of monuments by Assaf Shaham called "The American Dream". The rainbow effect was so brilliant. I also began seeing graphic designers distorting typography and it looked similar. So I asked a friend studying graphic design how this effect or manipulation was created and he revealed the "secret" to me. DPM: How did you create this project? What tools and methods did you use? Nicholas: It’s all analog. It requires a flatbed scanner and a hard copy of an image. Manipulating the image -through pulling and pushing- generates the wave-like effect as the scanner beam moves across the plane. I will do this twenty to thirty times sometimes before I have a distortion I end up using. The process is really an exploration of time. How the flat-bed scanner works is the light doesn't capture the image in one instantaneous moment, but it scans lineby-line- adding up to the image as it moves along the plane. Through the level of resolution, the rate of the scan and the level of physical distortion -time literally pulls the image apart. This is the conceptual value of the process -the image reads like a score.

DPM: How would you define the notion of glitch art? Does this art form already have its own place in contemporary art or is it just gaining popularity nowadays? Nicholas: I think this art form is gaining traction because of the aesthetic beauty it creates. Also because it subverts the digital operations; it is a part of the analog resurgence. I think it certainly has a place within contemporary art for the conceptual reason I explained above. As well as for the pure beauty it can often create. Also artists take this in different directions. I've seen many different styles arise while they all utilize the same technique.

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ANDRE SCHMUCKI

PAINTINGS

http://www.andreschmucki.net/

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DPM: When did you get interested in art? And how soon did you realize it has become an integral part of your life and personality? Andre: The interest for painting began early in my childhood. I was very fascinated about Vincent van Gogh’s art. In the early twenties, I studied first visual design and illustration but it didn’t make me feel much happy, after that, I decided to make an art-study at the university. My desire to paint, respectively pictorially to understand the world we’re living in, is like how a virus, which grow this necessity and has become part of my life and it has remained. DPM: Andre, how did you come to your own original style in art? Where did your inspiration come from and whose paintings impressed you the most? Andre: My personal style was found when I was nearly forty years old. Before that I was never quite so happy with the results. The whole purpose is for me to invent something new, or to go further. The main sources of my inspiration were the French impressionists and American photo realistic painters: Francis Bacon, Sigmar Polka, and some of Gerhard Richters early works for sure. DPM: What tools do you usually use to create your paintings? Andre: The base is always a photograph, I reproduce first a photo with airbrustechnique (photorealistic), and then I switch to oil painting, glaze techniques, or pointillism, or spatula technique. DPM: As for the notion of glitch art, could you define it in your own words? Andre: Well, what about glitch art, I find this kind of art very interesting because it, again, shows new or different sequences. Other moments make visible again in the picture.

On the right page: Lying (2013), oil on canvas - 95cm x 100cm x 2cm Shielding (2013), oil on canvas - 120cm x 100cm x 2cm

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DPM: Could you tell us about your series of paintings created in collaboration with Carsten Witte? How did you begin to work together with this photographer? Andre: Carsten asked me one day if I was interested on the basis of his photographs - to make something picturesque. We worked together for almost two years. I like his photos in the quiet charisma - the light guide, the dark colors, the room, and of course the beautiful models. It was really exciting for me to convey or transfer his photos in my paintings. DPM: Who or what has astonished you in art recently? Andre: Nothing - really, for me has to show art the whole purpose, visually, mentally something new, because I think at the moment hardly anything exciting. Repetitions. Then it will return to the decor. DPM: And aside from work, what are you in to? Andre: Well - I'm teaching a little - like to read, like to visit exhibitions, art fairs, vernissagen - and I'm curious to find new trends :) DPM: Andre, have you get any exciting new projects what you would like to show us in closer future?

Proximal (2013), oil on canvas - 90cm x 70cm

Andre: I am invited to participate in exhibitions and am interested in art fairs in the next year, in Germany, Artfair Karlsruhe, Cologne and have an exhibition in Berlin by gallery Lux.

Await (2012), oil on canvas - 30cm x 40cm x 3cm

C Expectancy (2012), oil on canvas - 100cm x 80cm x 2cm

C Conceive (2012), oil on canvas - 100cm x 80cm x 2cm

Convey (2013), oil on canvas - 80cm x 70cm x 2cm

DAVID SZAUDER

FAILED MEMORIES

http://www.davidszauder.com/

DPM: To start with, Daniel, could you share your story of having become an artist with us and our readers? How did you get interested in art? David: I wanted to be an art historian originally, I began my university studies, but one day when I was sitting in the library to write about medieval art, and attempting to find the proper background literature I found a really interesting book about the art of photocopy. I was shocked for days. I realized that what I am doing with my computer is something very similar. Having some knowledge of programming and other technical details I took a deep breath and decided to jump in the middle. At the beginning I changed my school and I started to learn new medias, such as video art, interactive programming and prototyping, and worked a lot with live visuals, audiovisual performances. Then I got a scholarship to Finland. That time I turned to the generative art, and started to create generative animations and still images. I found generative art really clean, neutral and attractive. But what I missed badly was the concept vise and visuality as well. Then I got acquainted with glitch and began to experiment with digital artifacts. What I am doing right now is a bit far from the ‘classic’ glitch, i.e. it is becoming more and more clear and conceptually more and more stronger. DPM: When did you understand you’ve finally found your personal, specific style in art? David: To be honest I don’t know what did I find. I found something in many ways, but am ascertained that it will change, sooner and later. I am not a static person presumably, I like to move on with things, I like to experiment and enjoy every step of my ‘vial journey’. What you see here are but important steps on this way. DPM: When did you start working with glitch aesthetic? What methods do you use while creating your glitch artworks? David: I do not use the so called classical methods of glitch creation. To find my own style I needed to create my custom codes, compositions, not just visually, but technically as well. But it is not just a simple technology, it is more. It is always related to the concept and the composition. Sometimes I start to work on an image and to use my code I am applying usually to different transformations, and it turns out that it can work in a very different way. So I embark on the development of a new code to create a new kind of transformation. In this level the composition and the process cannot be divided clearly. I mean that there is a big dependency in my case. And I use a number of many different platforms right now, quartz composer, open gl, processing, core image kernel, or javascript.

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DPM: What message do you want to convey to your audience? Could you describe your philosophy? David: I am a big fun of this question because according to my series entitled “failed memories” people assumes that my intention is to demonstrate somehow the parallel mechanism of the memory loss by the human–machine relationship, what is a mere misunderstanding. What I want to show is related to the emotions, to emotions by a digital, computer based relationship to the past, in a digital computer based era we live in. The failed memories are parts of this concept, parts of the ‘big plan’ of mine. :) DPM: David, could you please name the most important features of glitch art (both for the viewer and the artist)?

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David: For the artists it is a really interesting platform, because it is totally independent of the object. Artists can work with any kind of input image, doesn’t matter whether it is a found footage or a self-made one. The aim of the glitch transformation can be multiple. And the way to achieve the result is really open. So it is a really free medium, with unlimited possibilities, but the result visually in most cases is ravishing interesting. That is how imperfection becomes perfectly enjoyable. This last remark is true for the viewers as well. By the special visual elements of a well designed glitch composition the viewers can enjoy it so easily.

DPM: Is there any source of inspiration for you in your everyday life? What is it if yes?

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David: Many things, to be true. I like people; I like to watch people as an observer. I like to fantasize about where they are coming from, what is their mood, what is in their mind. If I could get a ‘super ability’ I would like to be a mind reader. Maybe this is why I create private stories for my compositions. I like to read private stories, diaries, memories for example, and I like the history in a special way: private histories, history from the point of view of the private person. But on the other hand technology attracts me in many ways, too. I like to see how it is developing from minute to minute and to think about how it will influence me and the rest of the world.

DPM: Could you name any artists who have made a strong impression on you lately?

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David: There are many, many great artists. Classics as Warhol or Francis Bacon could be mentioned, but it doesn’t matter, I think. I like art because I like to see what other artists do or did, though I am not that kind of fun of anyone. I just like them. Somewhere inside, privately..

DPM: And could you please give us two or three artworks which, in your opinion, have changed a sense of contemporary art in XXI century? David: I would skip this question, I have no answer or I just can’t find the answer. There are important artworks and artists, though their influence is not changing the contemporary but (trans) forming it. It is true that there are artworks coming from nowhere without any prefiguration. Sometimes it is possible to see how an art movement was formed, or how artists affect each other but I am not convinced that it is the right way to observe art as a phenomen or to think about it in the term of change. It is a process.

JENNIS CHENG TIEN LI

HAVE A NICE DAY

http://dasplayhaus.tumblr.com/

‘Have a Nice Day’ is an ongoing glitch art project launched by Jennis Li Cheng Tien in 2012. It is a series of collages containing random pictures of anonymous people sourced from the web. The images are reprocessed with digital manipulations, so that the results are ghastly, vibrant and abstract portraits. According to Jennis’ own words, «This series can be perceived a form of digital recycling as well as a satirical act on how our perception of aesthetics has been greatly influenced by the digitally altered images».

on this page: I open my possessions out into the room (top), Carbon Copy Soul: cc me. on the right page: For my bloody valentine. on the next pages: Liberation from the horizontal life.

EUGOLIPE

EPILOGUE

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