TRANSMEDIA 2OO2
FIFTEEN SECONDS OF FAME

October 24 - November 15, 02
Isabella & Yonge Street
Toronto, Canada


Doing it in Public
Video Art on Outdoor Video Screens


The path through the centre of the city is strewn with logos, slogans and a few words from a sponsor. The city's inhabitants are moving targets in a supersaturated visual culture, hence the flow of product placements begins to move as well. Mounting a huge rotating billboard in the back of a moving truck, or dispatching fleets of roller-bladers with ads mounted like fins on their backs, are simply necessary measures in the info-war.

Arguably, the most arresting method for delivering corporate messages is the video billboard. Massive, luminous rectangles of colour attach themselves to buildings like glittering barnacles. As one industry publication notes, these public screens "enable advertisers to bring a specific message at a specific time to a specific audience."1 With a mere flip of a switch at headquarters, the content of the screens can be changed at the speed of cool.

In a détournement of the representational space of the video billboard, twelve artists interject their visions between advertisements. Transmedia 2002 - 15 Seconds of Fame is intended to give the artists just that: a 15 second opportunity to subvert, imitate, or comply with this public form. Occupying a space that is, by its nature, interstitial, lends the pieces a poignant fragility. As though drifting on a river, these works become separated from each other, and thus lose some curatorial context. However, the new context presented by occupying interstitial space forces a new analysis of these works: how do they inform the culture into which they are inserted?

Michelle Kasprzak, 10.02

1) http://www.signindustry.com/led












Year Zero One gratefully acknowledges their supporters who made TRANSMEDIA 2002 possible

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
AMBER - Ricardo Rendon, Mexico

The idea of a virtual body - the perfect commodity of the post-industrial age. Like any other electronic information, this body guarantees your complete satisfaction. Thousands of pornographic images represents any kind of body; cheaply produced and easily distributed. The virtual pornography is free of infection, without any kind of physical and emotional risk. No possibility of physical contact other than the keyboard or the mouse click. Virtual pornography is an intimate exercise of fantastic imagination and introspection. All that we save on our hard drives surely represents an image of ourselves.

BUS STOP - Maris Mezulis, Canada

How long will this salaryman wait for the bus?

CELEBRITOY - Alistair Gentry, UK

Celebritoy represents the advertising industry’s logical (or illogical) next step. It’s an advertisement for a product that exists but is not directly purchasable.

15 SECOND BLOWJOB - Michael Alstad, Canada

Andy Warhol created the seminal film Blow Job in 1964, the year I was born. He extended the duration of his early silent works by having them projected at a slower rate than what it was originally shot at (16 frames per second instead of 24). For Transmedia 2002 I had to speed things up a bit, the 35 minute Blow Job has been condensed into 15 seconds - the duration of a standard video billboard ad slot.

THE HUB - Jason Bader, USA

The Hub is a metaphorical video artwork relating to the idea of how a hub works in a networking environment to how an intersection works in a physical environment. This is the second version of this work, reducing the original 3 minutes to 15 seconds. The image captured within this work is one of the busiest intersections in Los Angeles and America. The video shows the activity (or absence thereof) of Los Angeles at 4:15 AM. The viewer then gets a glimpse into 5 different times during the day to see the massive contrast of activity at that intersection.

LIVE IN INFAMY - Jillian McDonald, Canada

One year after the WTC was attacked, there has been a spotlight on official memorials: TV network executives have promised to exercise caution in their use of alarming images, already burned into the collective memory. This detail of the falling buildings I saw without leaving my Brooklyn doorstep is covered with poppies - living memorials at once fragile, ephemeral, and alive.

LIPSERVICE - David Jhave Johnston, Canada
All human life arises from a mysterious ocean of swirling energy, immersed in time so vast it's beyond comprehension while our multiplexed identities frolic onward, demanding immediate gratification, requited love and reciprocated desire. Lipservice is dedicated to the coexistent paradoxes of fame and famine in one flesh

MISS CANADIANA - Camille Turner, Canada

This video encapsulates highlights of the prestigious "Miss Canadiana Pageant" which earns an "all Canadian girl" the opportunity to make appearances across Canada and internationally to promote Canadian culture. Who will she be?

NOTE TO SELF - Michelle Kasprzak, Canada
Note to Self is an fantastic illustration of inserting private thoughts into a public space. Imagine having the ability to transmit warnings, messages, and reminders to yourself via the landscape of the city. If the city were a "programmable" space in such a way, this customization of the public environment would be both utilitarian and playful at the same time.

PARTHENOGENESIS - Marina Zurkow, USA
Rumi asked, "What is the heart? It is not human, and it is not imaginary." Parthenogenesis is an animated, allegorical nano-opera. It uses a vocabulary of mutated, pictographic icons to tell the story of loneliness, heartbreak, and renewal. This piece was made in the aftermath of Sept. 11th with the hope that out of heartbreak, compassion can come.

PLAISANCE - Isabelle Hayeur, Canada
Time appears suspended above this peaceful district of the city of Chicoutimi (Quebec) In this quiet world, everyone has its place under the sun and its sightseeing on the waterfall. Plaisance proposes a critical view on a rather widespread type of rural development. This short animation raises the question of responsibility - for our planning of space and for our imaginative powers. The media promote our common taste for the grandiose and the landscape spectacle. When we see things in close-up, we can only have one point of view on them. That's why I wanted to show this postcard off-screen.

SWEET OR SALTY (Madonna's Poor Days) - Ana Rewakowicz, Canada
Sweet or Salty (Madonna's Poor Days) refers to the construction of cultural identity in the context of stardom. In this piece, coming from personal experiences of being compared to Madonna, I impersonate her to examine how the image of a star creates a longing and a sense of endless possibilities. The title of the video references Madonna's line from her interview, in which she describes her poor days in New York when she was eating popcorn for dinner while watching films. She once said, "the only thing that I keep in the fridge is popcorn". I use this line as a pertinent example of the American Dream with its promotion of becoming anyone you want (a star) from 'nothing'.