1,571 days, 2,407 entries ...

Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
● 24/01/2024
“Creating a single artwork on a small website at this point is a kind of Land Art. To view it you have to leave the urban centers of the feed and go to some off-grid locale. Nobody is coming to visit, but everyone says they want to.”
– American software artist Andrew Benson, on the platform consolidation of the internet—and escaping it. “Out there you can have more freedom, the access to raw material is abundant, and it feels better to feel like you made something real,” Benson muses. “But if you aren’t posting pics [on social media], does it even matter?”
X / Twitter
● 07/12/2022
“A dreamy Edisonian wonderland awaits, where a rolling landscape of electrical conduits and vintage-style lightbulbs undulates like waves, or like gentle hills or playground jungle gyms.”
– Art critic Shana Nys Dambrot, describing Nancy Holt’s Electrical Systems (1982) at Sprüth Magers Los Angeles. “It feels good to see this erasure being corrected,” Dambrot says of the inclusion of 1960s photo series by the land artist, noting similar work by Holt’s male peers has (historically) received more attention.
Artillery
● 21/09/2022
“There’s money involved, there are systems and governments involved to make it. It’s a misdirect from the real history of that place, and the meaning and kinships that people have built there over millennia.”
– Assiniboine Native American art historian Alicia Harris, on the problematic politics—erasure of Indigenous culture—enacted by Michael Heizer’s City (2022), and other land art (by settler artists) sited in the American Southwest
Hyperallergic
● 02/07/2022

Art Safiental, a biennial outdoor exhibition of land and environmental art, returns to Grisons, Switzerland, to inspire “Learning from the Earth.” 15 artists including Ursula Biemann, Julius von Bismarck, !Mediengruppe Bitnik, and Dharmendra Prasad contribute works that are “both campaign, methodology, and intervention.” Bismarck’s Trees Without Borders (2022, image), for example, permanently transplants a native larch above the local tree line, anticipating the effects of a warming climate.

Art Safiental
● 13/04/2021
“When invited to make temporary pieces for exhibitions, she would sculpt them so well they’d be impossible to dismantle. And then she’d refuse to gift them to the institution.”
– Writer Dale Berning Sawa, on the determination of late land and conceptual artist Nancy Holt. In a genre that “appears as an almost perfect distillation of the art world’s history of male privilege,” (critic Megan O’Grady), Holt was making sure that her voice was there to stay.
The Guardian
● 24/02/2021
“We have been told there would still be access to Double Negative, but the power of the place would be lost forever.”
– Lisa Childs, founder of Save Our Mesa, on how a solar power plant currently in the works near Overton, Nevada, could occlude views surrounding Michael Heizer’s iconic 1969 Land art work. Once finished, the plant will occupy some 9,000 acres atop the nearby Mormon Mesa.
Artforum
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