On 15 July 2017, a speedshow titled “Dufus Tidious” took place as the last one on location at the Paleis van Mieris.
Just a sec…
– an untimely intervention –
Saturday New Year’s Eve Dec 31 2016 23:59:60 and lasts one second until Jan 1 2017 00:00:00 (UTC).
Check what UTC (Coordinated Universal Time) is at your location: https://www.timeanddate.com/time/leapseconds.html
Check when the leap second happens at your location to make sure you don’t miss it: https://time.is/leapsecond/
During the leap second all the works in the festival are exhibited, executed, performed.
This year we’ve emphasized collaborative, experimental, project-based works that in various ways embed the leap second idea and function as leap second events in themselves.
The festival is a distributed, decentralized event coordinated on the net.
There are around 140 participants in the festival, including the residency program.
&(Barbora Trnková & Tomáš Javurek), Agam Andreas, anonymous74, Dan Arenzon, William Bain, Domenico Dom Barra, Dennis De Bel, Diego Bernaschina, Sissel Berntsen, Browserbased group, Igor and Ivan Buharov, Christian Bøen, jonCates, Anna Chatziioannidi, Nick Collins, Martin Conrads, det0une (Edoardo Gaudieri), Dim Dx [Dmitry], Eros Dibra, g_host, Cleber Gazana, Emilie Gervais, Kyriaki Goni, GrandLapin, Gottfried Haider, Samantha Harvey, Erik Hesby, Isaac Andrés Espinoza Hidrobo, Tibor Horváth, iEstupor, INTERLICHTSPIELHAUS, Jan-M. Iversen, iwbdjdyatmvezdmnekzawvb, Timo Kahlen, Martin Kleppe, Jan Robert Leegte, Dimitris Leontzakos, Patrick Lichty, Robert B. Lisek, Anita Lugomer, Riccardo Mantelli and Sara Savini, Sherwin Altarez Mapanoo, Konstantina Mavridou, Microfost, Ortensio Lando, Lorna Mills , Laura Netzzz, Maia Nichols, Anne Niemetz, Pancrazio Leonardo de Padova, Simon Perathoner, Klaus Pinter, Dominik Podsiadly, PolakVan Bekkum, Miriam Poletti, Frère Reinert, Michael Ridge, Stefan Riebel, Nigel Roberts, Bence Rohánszky, Natallia Sakalova, Giovanni Salice, Vijay Kumar Sappatti, Alan Sondheim, Shivkumar K V, Filippo Tassinari, Sacha Toncovic, Andrew Topel, Juergen Trautwein, Jules Varnedoe, Matt Vogel, Thomas Wernberg, Joonas Westerlund, Alexis Williams, William Wolfgang Wunderbar, Pawel Wocial & Kamila Tuszynska.
One Second Residency Program:
Artists: Jordan Topiel Paul, Douglas Repetto, Joseph Moore, Maja kalogera, Nina Sobell, Micheál O’Connell, Bartis Noémi, Krishan Mistry, h/ lev, Jak Bobby, Denise kehoe, Erica Mena, Dirk Vekemans, Nhawfal Juma’at, ronnie s, Heike Endemann, Bron Belcher, didem erk, Jessica Earle, judithS bauer, Faith Wilson, Victor Matthew Ablorh, Daniel Giordano, marcela jardon, Filippo Tassinari, Rodrigo Arenas-Carter, Mattias Hellberg, Tamsin I Irwin, Wei Hsinyen, Okwei Odili, Nathan Markham, Alex Ness, Jedrzej Cichosz, Patrick Lichty, maia nichols, Igor and Ivan Buharov, Sara P, Eylul Dogruel, hizzy, The Best (Najbolja), Ramon Bonilla.
Residencies: CeRCCa, China Residencies, Art in Motion – Imagine Residency, nonesuch @main & Station leap second residency, Ayatana Artistic Research Program, King Island Arts & Cultural Centre Chris Green, Y, ARTErra rural artistic residencie (Portugal), Drunken Boat One-Second Residency, The Only Real Time Based Net Art Girl Adspace Residency, Laboratory, Wave Farm Residency Program, Nonesuch Paper, Gushul Residency Program, R.A.R.O, redpoint, OPEN A.i.R., Sklad Air, North & Found, Neptune Base Station, Perfect Users, the icing room, https://www.PerfectUsersCollective.tumblr.com
Art, new technology and precarity raise some issues which the leap second can exemplify and realize.
The leap second adjustment is a consequence of technology, practically immaterial, virtual, untimely – outside of time so to say – awkward, unsuitable and is a glitch or a wobble on global scale in earth’s rotation and in electronic time systems (OSs). In the same way, the festival is scalable from extremely big to extremely small, somehow mirroring the extension of technology. It’s also a metaphor for the precarity caused by technology. And it’s questioning its own existence: A leap second is an extra second between :59 and :00 that is left invisible on our watches and most computer systems. It’s usually faked using one of three glitchy processes – repeat, freeze, smear – to adjust clock-time. And finally. with its awkward, impossible format, the focus of the festival could very well be exactly that: a questioning of art and its appearance, materiality, objecthood, to tie onto traditions of conceptual and postconceptual art, net art, ao. and lead to an exploration of media in search of itself (as an ‘appearing’ form, or questioning its form). A festival or non-event like this could bring these questions to the front as its main character or theme.
SPECIAL SECTIONS / VENUES
Leap Second Net- & Codework
Description: Works dealing with networks, code, interactivity and real-time processes related to the leap second. Highly recommended!
One Second Film Festival
Description: A show with one second moving images works.
Songs for the Leap Second
Description: A soundtrack album for the leap second. 29 Songs and audio-works made, adapted, or remixed to fit the leap second event in various ways – repeat, freeze, smear!
One Second Residency Program
Description: A dating service between artists and art residencies that lasts one second. 19 institutions have provided residencies to 41 artists for the leap second!
Radio Patapoe Broadcast
The radio will have a dedicated broadcast of the album “Songs for the Leap Second” during the festival.
Schedule: Dec 31 2016 23:59:60 to Jan 1 2017 00:56:00 (UTC – Universal Coordinated Time), which equals: Jan 1 2017 00:59:60 to 01:56:00 (CET – Central European Time).
Happy leap second! And (after that) new year!
–Leap Second Festival Team
THE MAKING OF LEAP SECOND FESTIVAL 2016
– video –
VERY SPECIAL THANKS TO
Katerina Gkoutziouli for advice, Igor Buharov and Tibor Horvath for conversations about LSF, and Karina Palosi for the flyer.
The same thanks also goes to Ana Buigues for discussions, encouragement, and El-Estudio gallery space, Tom Klev for advice, and Arts Council Norway/Visual Arts for funds.
The festival is organized by
Ars Publica/noemata http://www.noemata.net (Bjørn Magnhildøen).
Browserbased Group http://www.browserbased.org (Zsolt Mesterhazy and Radovan Misovic).
Contact: firstname.lastname@example.org / email@example.com
Lawn Enforcement is a section of the #nfcdab proposed and organized by BrowserBased to cheer on and partake in Dominik Podsiadly’s 2nd iteration of #nfcdab, a DIY biennale. Dominik P. is an active presence on the scene and has been a member of BrowserBased on Facebook. But cooperations with Mr. P. also go way further than Facebook and take place IRL, too. (See: NFC biennales, Wroclaw; ADAF 2015, Athens; Yami-Ichi, Amsterdam and Bring Your Own B*, Amsterdam).
At the core of the DIY biennales are NFC and QR techs that provide and establish, as a figure of speech, access points in versatile contexts of urban settings such as vacant plots, forking paths in parks and commuter trams. The temporary as well as independent character of these biennales preserve and fertilize much valued informal channels for participating artists and audiences.
The planter signs we chose because they are just as easy to place as to take away and re-enforce an important aspect, in the #nfcdabs, of whimsy!
Cem Berendsen, Dave Hagen, Domenico Dom Barra, Dominik Podsiadly, Eltons Küns, Emilie Gervais, Florian Kuhlmann, Guido Segni, Jan Robert Leegte, Jeannot GrandLapin, Jonaas Westerlund, Joubin Zargarbashi, Julianne Aguilar, Karina Palosi, Laurus Edelbacher, Maaike Stutterheim, Maarten Schuurman, Philipp Teister, Rad0van Misovic, Tibor Horvath, Tobias Rothe, Wouter Smit, Zsolt Mesterhazy.
Opening: 5 – 7pm, 17.06.2016, Wyspa Słodowa, Wroclaw.
Lawn Enforcement – Location: HQ, Wroclaw – Day -2:
Lawn Enforcement – Location: Wyspa Słodowa, Wroclaw – Day 1:
Lawn Enforcement – Location: Uniwersytecka, Wrocław – Day 2 & + +:
Athens, Greece. Ever since the crisis set in, an exploding body of graffiti, marker writings, flyers and stickers has been crawling allover the city’s surfaces. One of the highly frequented places, as we found, is the eye-catching number of pay-phone booths left standing regardless of being defunct or vandalized. As telephony hops onto private mobile networks we observe how the booths recycled by the use of scratch, paste and pen. Parts of the withering public phone infrastructure become quizzical nodes of these new anarchic networks.
In their freshly assigned role, the phone−booths re−enter the city’s communication channels. They quote, from URLs of conspiracy theory videos to tags by local hooligans, all mingling with signs indecipherable (for most readers), with scrawls and smudges, and private messages, from romantic confessions to sexual services offered with names and mobile phone numbers. 69 is the prefix for commercial mobile networks in Greece which all work with real name bound accounts.
To get a closer look at these flows of messages, we documented phone−booths in various parts of the city. The result is a series of over 800 photographs, which, by their sheer number, asked for some structure to be accessible. Using keywords, we arranged them by categories, into galleries at geolocations on openstreetmaps. We have come to regard most of the ones of sexual nature as advertisements for the simple reason of the frequency of their re−occurrence and frequency of updates allover the city. A frequency that even a most frantic wrath would fall short of to write, if the motivation was of a personal nature
Let’s pause for the dilemma of motivations here: Are they indeed advertisements or are they meant to be outing people with their names and numbers, in a form of hate speech?
Since the numbers are mostly coupled to male names, we looked at legal aspects of male prostitution. There are contradictions concerning male sexwork in Greek law which make the legality of male sexwork unclear. This may very well contribute to the reasons for this thread of handwritten phenomena, next to the difficult to imagine levels of poverty and exposedness. http://www2.keelpno.gr/blog/?p=4934&lang=en
69.numbers.suck presents the documentation and our findings as offline maps. To protect the writers and their characters as best as we could we do not expose it online as a Google map gallery and we took the following steps.
We present the 69 database only offline to lessen exposure to data mining or the scope of doxing. We serve 69.numbers.suck, locally, from an encrypted and modified wifi router that is toned down in range to limit wifi reception to the exhibition area.
To have a recourse to the rule of law, even if weak, we copyrighted the database and the images to discourage unwanted reuse. The landing page also asks all visitors to observe the issue.
The request reads: “69.numbers.suck” is presented as an offline collection to keep a measure of protection from data crunchers. BrowserBased Group kindly requests you to refrain from reproducing and putting online any of this material! Further, the image files, the database and the resulting tracks are there for the sole purpose of consideration. Any data extraction, disclosure, dissemination or copying of content is prohibited without the authors’ prior consent!
69.numbers.suck is a subjective overview and in no way is it all encompassing.
Alex Zakkas, Joubin Zargarbashi, rad0van misovic, Zsolt Mesterhazy