FIFTEEN SECONDS OF FAME
October 24 - November 15, 02
Isabella & Yonge Street
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
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,
Celebritoy represents the advertising industrys logical (or
illogical) next step. Its 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
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.
- 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?
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.
- 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
- 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
sun and its sightseeing on the waterfall. Plaisance proposes a critical
on a rather widespread type of rural development. This short animation
raises the question of responsibility - for our planning of space
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.
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'.