‘Dead Drops’ is an anonymous, offline, peer to peer file-sharing network in public space. USB flash drives are embedded into walls, buildings and curbs accessable to anybody in public space. Everyone is invited to drop or find files on a dead drop. Plug your laptop to a wall, house or pole to share your favorite files and data. Each dead drop is installed empty except a readme.txt file explaining the project. ‘Dead Drops’ is open to participation. If you want to install a dead drop in your city/neighborhood follow the ‘how to’ instructions and submit the location and pictures.
via FLUXO » Dead Drops.
Dead Drops ‘How to’ – NYC from aram bartholl on Vimeo.
FLUXO » appropriation of public space.
Urban intervention project from Epos 257 in Prague: The appropriation of public space with no apparent intent
Duration: 54 days (September 04 — October 27, 2010)
Location: Palackeho square, Prague — the so-called ‘Czech Hyde Park’ — allegedly the most liberal spot in the country, approved by the authorities for holding any unannounced public gatherings.
Have we grown accustomed to having our living space curbed by just anyone? Is public space a mere myth?
In the current society, our living space is defined by legal norms and regulations, the same way as fences demark the choices of our free movement.
Only by attempting to cross those boundaries, we learn how limited the space we live in really is — that we are not as free as it may initially seem. We are getting the sense that the individuality of today is destined to an existence amidst restrictions.
“I have joyously shut myself up in the solitary domain where the mask holds sway, wholly made up of violence, light and brilliance.”
—James Ensor
The urgency of slowing down — to find the time and space to think — is nothing new, of course, and wiser souls have always reminded us that the more attention we pay to the moment, the less time and energy we have to place it in some larger context. “Distraction is the only thing that consoles us for our miseries,” the French philosopher Blaise Pascal wrote in the 17th century, “and yet it is itself the greatest of our miseries.” He also famously remarked that all of man’s problems come from his inability to sit quietly in a room alone.
When telegraphs and trains brought in the idea that convenience was more important than content — and speedier means could make up for unimproved ends — Henry David Thoreau reminded us that “the man whose horse trots a mile in a minute does not carry the most important messages.” Even half a century ago, Marshall McLuhan, who came closer than most to seeing what was coming, warned, “When things come at you very fast, naturally you lose touch with yourself.” Thomas Merton struck a chord with millions, by not just noting that “Man was made for the highest activity, which is, in fact, his rest,” but by also acting on it, and stepping out of the rat race and into a Cistercian cloister.
This will be the first major project devoted to the Dutch artist by a Canadian institution for over two decades. Presented in Canadian exclusivity in Ottawa, Van Gogh: Up Close will break new ground in exploring the artist’s representation of nature in particular his innovative use of the close-up view. The artist depicts nature in very particular ways: he experiments with depth of field and focus, zooms in on a verdant tuft of grass or a single iris and or provides shifting perspectives of a farmer’s field or the corner of a garden. This exhibition will feature approximately 50 paintings including works that have rarely been shown publicly, as well as a selection of Japanese prints. Organized by the National Gallery of Canada and the Philadelphia Museum of Art.Presented by Sun Life Financial.
via Van Gogh: Up Close – Exhibitions – National Gallery of Canada | National Gallery of Canada.
One of the most influential figures in the history of art, Caravaggio (1571-1610) overturned the artistic conventions of the day and created stunningly dramatic paintings, both sacred and secular. This ambitious exhibition explores the profound impact of his work on the wide range of painters of Italian, French, Dutch, Flemish, and Spanish origin who resided in Rome. Arranged by theme, it includes over 50 paintings, with Caravaggio’s compelling images juxtaposed with those he inspired. This is the second largest display of his paintings in North America and only the third Caravaggio exhibition to be held in the United States.