[no/copy/right]

no/copy/right

Talia Israeli | The printer |

[silk screen print, drawing, 60x40cm]

[he] [es]

Cultural changes invoked by the development of the Internet and cybernetics transformed the issue of free exchange of artworks, and more broadly that of art objects and knowledge to one of the most challenging in contemporary art. New rules have been developed to ascribe freedom to an art object or to lock it under control. Copyright, no copyright and copyleft, turned to subject matters identifying work patterns (modus operandi), often setting standpoints and modus vivendi among cultural text producers.

These topics, these legal procedures, call into question and redesign the definition of authority on cultural texts. Every art object can be potentially reproduced, be copied, mutate or infinitely evolve, giving rise to a new culture of weblore: exclusive type of creation of the net, where a motif, a certain detail, a floating cultural text obtains through the recreation of an other (viewer-navigator-artist), a new artistic, poetic, cultural status, continuing the transformation process of collective creation. An artwork might get over transformation every time and in order with new cultural connections of the viewer co-creator. To this capableness, to its legal boundaries, and to its cultural, social, economical, and political impacts relate the works exhibited on the current show.

The works approach the definitions of author, authority, and authenticity from many different angles.

Stealth Waltz relate to methods of constraining the free transfer of data, art objects, and knowledge over networks, by ridiculing control procedures and bureaucracy associated with the system of rights protection for art copying and distribution.

Co~Dec deconstructs copyrighted data of a mass-media chain - CNN: dissects it, compresses it - in time, space, and color - and then decompresses it to its original length, creating a new artistic product appealing to the values of authority of the information, and of the information itself. Formalistic art-remake obliterates and renderes the banality of the source's content.

tooGle deploys the breaking news articles generated by one of dominating the network search engines, decomposing them by translation of interpretive language to visual imagery coming from an image archive of the very same search engine. An intention is to deconstruct the data in poetic and humorist way up to a point where it turns into a new visual and absurd kind of news, detached and disconnected from the source.

Talia Israeli | The recorder |

[silk screen print, drawing, 60x40cm]

In the AfterSherrieLevine project the art object is given away to cloning, copying, and changing. Weblore emerges. Different versions can be created, or similar ones of the same artwork can be multiplied undermining the status of the original. Definitions of original and authenticity get blurred. Every copy is original and a special certificate of authenticity can be printed for each. Every copy is authentic.

In Beadgee the navigator is invited to deconstruct an art object for the sake of creating a new one, continuing the conversation with a previous navigator and the following one. The network is diachronic. The artwork turns to be multi-voiced even if a single artist created its joining structure.

In A New Movie the everyday motion of a PC user's mouse can be translated into a data-stream re-creating and re-shaping somebody else's movie. Creative process becomes unconscious and influences (consciously or not) an infinite creation process.

Lastly, the digital garbage can also be recycled and donated for reuse by others, by releasing the garbage ownership institution and creating a collective garbage stock. Digitalrecycling invites to an active anonymity in a digital green community.