{"id":375,"date":"2010-11-28T12:33:01","date_gmt":"2010-11-28T11:33:01","guid":{"rendered":"http:\/\/www.factory73.de\/?p=327"},"modified":"2010-11-28T12:33:01","modified_gmt":"2010-11-28T11:33:01","slug":"here-comes-cory-arcangel","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/here-comes-cory-arcangel\/","title":{"rendered":"Hier kommt Cory Arcangel"},"content":{"rendered":"

\"\"<\/a><\/p>\n

The Brooklyn based artist Cory Arcangel (*1978) is a master of digital manipulation. In his work, Arcangel explores the practices and myths that have built up around Internet\u00a0culture, pop music and experimental music by means of processing visual and\u00a0audio material with the use of available\u00a0computer programs but also with adapted or self-developed, manipulated programs. In addition, the artist\u00a0highlights the rapid obsolescence of technologies and codes.<\/p>\n

On the occasion of his first show in Berlin, at the Hamburger Bahnhof Museum, I met up with the eloquent and amiable young artist to talk about his upcoming performance, pop culture and gadgets:<\/p>\n

Hili Perlson: You have two major shows open within days of each other. One in Paris, at Thaddaeus Ropac, and one here in Berlin, entitled \u201cHere comes everybody\u201d at a distinguished state-run museum. How did this come about?<\/strong><\/p>\n

Cory Arcangel: One of the works in the show, \u201ca couple thousand short films about Glenn Gould\u201d (2007)\u00a0was gifted to the museum and they decided to show it together with related work.<\/p>\n

HP: Gould was as much an engineer of sliced up recordings in the studio as he was a celebrated classical pianist. He made some explicit views on authenticity and creativity, which, within the context of music, were considered radical at the time.<\/strong><\/p>\n

CA: Gould was one of the first musicians to use different takes for his recordings, which was a huge deal for classical musicians at the time. He became a sound reader, and tape slicing became a part of the recording vernacular. [In the show] I look at it as an historical trajectory of that kind of manipulation in music that leads, in the end, to youtube.<\/p>\n

\"\"<\/a><\/p>\n

HP: Is that why the piece is\u00a0compiled from snippets that you downloaded\u00a0off the Internet? The images alternate at a bewildering rate, one image for each note. And then each note is played on a different instrument.<\/strong><\/p>\n

CA: I used the first variation from Johann Sebastian Bach’s Goldberg Variations, which is a very fast piece. When I was making the art work, there were no editing programs that allowed producing a video with this speed, so I had to write my own software in order to make it.<\/p>\n

HP: For another piece on view here you manipulated the computer game Guitar Hero to play a song that\u2019s made up of only two notes. Do you see yourself as a hacker, too?<\/strong><\/p>\n

CA: Well, no, I\u2019m a fine artist. But maybe in the original sense of the word hacker, meaning to hack different technological elements up and poorly fit them together, then yes. I\u2019m interested in the type of technology that has no context except for online. That\u2019s why my website looks the way it does. Out of context, some of the things are almost made for the internet, and I think it\u2019s funny. I encourage that. Like for example in the Arnold Sch\u00f6nberg piece [in the exhibition] I used images of cats and kittens because I knew it was going to get passed around on websites with names like \u201ccute kittens\u201d and leave its context. I love the internet.<\/p>\n

HP: Sch\u00f6nberg is considered to be one of the fathers of atonal music, and John Cage is, in turn, considered to be amongst his most well-known students – at least in the art world context. Does John Cage\u2019s use of chance play a role in any of your pieces?<\/strong><\/p>\n

CA: No, that\u2019s interesting, but I rarely work with chance actually. There\u2019s one work in this show which I had made using a pen point printer \u2013 it\u2019s what they used before there were inkjet printers, I found it on ebay one late night and bought it. It took me seven months to figure out how to work it! Then I wrote a program to make the pen point move in different patterns on the paper, and made countless tests to try it out. Then I looked at all these tests and realized that this was the piece. I\u2019m done! So that\u2019s the only time I worked with the use of chance.<\/p>\n

\"\"<\/a><\/p>\n

HP: A lot of your work deals with obsolete technological developments, or even useless gadgets.<\/strong><\/p>\n

CA: Yes, with technology that demonstrates its own possibility. I\u2019m personally not interested in the \u201cwow\u201d factor; I tend to be suspicious of things like that. Like in my performance \u201cMusic for stereos\u201d where I play different songs on bad stereos. It\u2019s about tacky gadgets demonstrating their own ability.<\/p>\n

HP: Is the music you\u2019re playing on the tacky stereos also tacky?<\/strong><\/p>\n

CA: It\u2019s a music history research project. The music shows a continuum, the genealogy of current Top 40, shopping mall pop \u201cpunk.\u201d It\u2019s a kind of hyper melodic diatonic pop punk filtered through early millennium teen cultural poles… This crossover pop-punk from The Ramones, to The Strokes, Blink 182, April Lavine, Taylor Swift and culminating in Lil\u2019 Wayne\u2019s \u201crock record\u201d Rebirth. My audio performance is an argument for the possible boundaries of this style. This is not the story of punk, not even close, we\u2019re talking the real deal Britney Spears style top 40 trash \u2013 with affection.<\/p>\n

“Here Comes Everybody<\/a>” at the Nationalgalerie im Hamburger Bahnhof Berlin, 30 November 2010 until 1 May 2011.<\/p>\n

Image is Everything, at \u00a0Thaddeaus Ropac Gallery<\/a>, Paris, 24 November – 24 December, 2010<\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

The Brooklyn based artist Cory Arcangel (*1978) is a master of digital manipulation. In his work, Arcangel explores the practices and myths that have built up around Internet\u00a0culture, pop music and experimental music by means of processing visual and\u00a0audio material with the use of available\u00a0computer programs but also with adapted or self-developed, manipulated programs. In…<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[8,10172],"tags":[10,11,12,13],"class_list":["post-375","post","type-post","status-publish","format-standard","hentry","category-berlin","category-film","tag-belaid-le-mharchi","tag-cory-arcangel","tag-hamburger-bahnhof","tag-interview"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"\nHere Comes Cory Arcangel Here Comes Cory Arcangel<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/here-comes-cory-arcangel\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Here Comes Cory Arcangel Here Comes Cory Arcangel\" \/>\n<meta property=\"og:description\" content=\"The Brooklyn based artist Cory Arcangel (*1978) is a master of digital manipulation. 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