Found furniture, electronics with sound, streamers, champagne bottle,

165 x 50 x 100 cm

In the gallery, we see a wardrobe. It omits the bass notes of muffled music and the indecipherable chatter of an enclosed party as if this wardrobe could transport us to some kind of adult Narnia or contains a rave for smurfs.

Yet when the viewer opens this door, the sound and vibrations stop and one is left pouring over the aftermath of a party that might have been. Once the door is closed again, the rumbles of the party recommence.

Adopting live recordings from a party at Space 3, a Sydney Artist Run Space of which Kyriakidis was director 2000 - 2006, the work points to the complex strata of art interactions and networks. Perhaps now more than ever, the aesthetics of the contemporary artist experience is foremost one of being a node in a network. Whilst this work could be construed as a critique of art’s exclusionary circles and rubbernecking, it also perhaps points to the agency that comes with this - no, corporate fat cats and socialites, you can’t come to our squat party, despite your FOMA (Fear of Missing Out) motto adopted by squeamish silicon valley life hacking entrepreneurs.

There is also something quite comforting in the artist’s emulation of a wrung-out dancefloor. The sticky streamers and footprints of walls and floors that have been worked over in cheap spirits and reverb, reminding us of the micro-political act of getting lost in the sound and a sea of bodies.

Actually, it was an ankle injury after a DJing gig. I messed up my ankle carrying a crate of records. I hobbled back down to my basement and started breaking them up in my basement, out of frustration. More than art, I wanted to be a DJ. I loved manipulating songs, acting behind two turntables and a mixer. Even to this day, I get a better rush DJing for myself. That’s how I was able to amass a large catalogue of records, which is probably 20,000 to 25,000. Three months later, I came back with the idea to repurpose them, and I’ve been doing that ever since. 


Indy Like a Local : Walter Lobyn Hamilton
https://www.visitindy.com/indianapolis-indy-like-a-local-walter-lobyn-hamilton

By turning the handle, recorded historical and current political quotes become audible, including dehumanizing statements that were and are used as demagogic means to degrade and objectify people.
https://ars.electronica.art/newdigitaldeal/en/time-based-interactive-media/

Amalia Ulman, Excellences & Perfections (2014) utilisation of a contemporary, digital everyday communication platform to host performance. subverting norms of a cultural-technosphere in creative ways. the internet as a dominating technology and mode of mass media, the internet and social media can be considered the ultimate media artwork. the internet and internet culture has become synonymous with life itself, the way we function is in terms of these advancements. Our mobile phones an extension of our bodies, wikipedia our memory, keyboards are our voices. Plurality is the richness of media arts, and plurality is what defines this internet culture we exist alongside/in.

Alvin Lucier, Music For Solo Performer (1965) reaction to technology, utilising technology for creative and artistic purposes, crossover of art and science, technology and the body, autonomy, ways of generating sounds through a network system comprised of technology and the body, with a baseline of artistic intent

Len Lye, Free Radicals (1958) break down of analog communicative media, experiments within and extension of a material, investigative process of materiality in the generation of media. deconstruction of materiality

interactivity as a key feature.
KEYWORDS: fluid. energy. transient. ‘malleable’. anti-static. amalgamated. interconnected. interwoven. stimulus. responsive. reactive. network.

REFERENCES so far

Gitelman, L. (2006). Always already new : Media, history, and the data of culture. MIT Press.

Paul, C. (2019). The Myth of Immateriality-Presenting & Preserving New Media.

Gere, C. (2008). New media art and the gallery in the digital age. New media in the white cube and beyond: Curatorial models for digital art, 13-25.

Taylor, G. (2012). The Soulless Usurper, Mainframe Experimentalism. Berkeley: University of California Press: 17-38.

https://artsandculture.google.com/asset/form-art-alexei-shulgin/wwGzKzE1h3uCqQ