BORING POSTCARDS FROM ITALY

We are delighted to announce the release of BORING POSTCARDS FROM ITALY by COLL.EO. Available in a limited edition of 99, this hardcover book is fully illustrated. Below is the description, both in English and Italian. You can purchase a copy on Amazon and read an interview with the authors here.

BORING POSTCARDS FROM ITALY

English

To create Boring Postcards from Italy, COLL.EO has collected more than one hundred of the most boring images from Forza Horizon 2. The result is a book that, in sharp contrast to the title, fascinates and surprises. Boring Postcards from Italy redefines the relationship between reality and simulation with "postcards" that are "boring" both in content and composition. The project is an appropriation and homage to Martins Parr's seminal Boring Postcards series: a commentary on videogame architecture, tourism and simulation, photography and representation. It is, above all, a provocation. Text in English.

Italian

Per creare Boring Postcards from Italy, COLL.EO ha raccolto oltre un centinaio delle "cartoline" più noiose dell'Italia simulata in Forza Horizon 2. Il risultato è un libro che, in aperto contrasto con il titolo, affascina e sorprende. Questo volume illustrato rappresenta uno strumento essenziale per comprendere la complessa interazione tra gioco e fotografia, documentazione e simulazione, arte e design. Sono qui incluse immagini "noiose" a livello di contenuto, composizione e soggetto dell'Italia immaginata dai programmatori di Turn 10 Studios. Boring Postcards from Italy offre uno sguardo inedito sugli ultra-luoghi videoludici, illuminandone tanto l'architettura quanto la sottesa ideologia (nonché patologia). Frutto di una duplice appropriazione - il videogioco Forza Horizon 2, ma anche la serie Boring Postcards del fotografo britannico Martin Parr che il progetto omaggia a livello formale e contenutistico - il volume porta in primo piano la natura auto-referenziale dell'arte videoludica e, in particolare, della fotoludica, termine che indica le pratiche fotografiche all'interno dei videogiochi. 

Here's the teaser:

EXTRA MILES. ESTETICA DELLA GUIDA VIDEOLUDICA

Concrete Press is happy to announce the release of its first book in Italian: EXTRA MILES: Estetica della guida videoludica by Matteo Bittanti. The book features twelve essays on the theme of simulated driving. Fully illustrated and gorgeously edited, the book forms a diptych with the previously released Orizzonti di Forza. Fenomenologia della guida videoludica (2015), the first academic study of a racing game, Forza Horizon 1 and 2. Like its "twin" Orizzonti di Forza, the book cover features an image by Mauro Ceolin aka rgbproject. To celebrate the book release, we published a conversation between the author and the artist collective Random Parts. You can read the full interview here. 

EXTRA MILES: Estetica della guida videoludica is available in limited edition (100 copies) exclusively through Blurb. Purchase your copy here

 

GRAND THEFT SAMO

San Francisco, September 1, 2015. Concrete Press is delighted to announce Grand Theft Samo, a critical catalog that documents COLL.EO’s eponymous 2014 project comprising an artistic mod, a series of in-game performances, a set of videos (machinima), a collection of screengrabs, and several digital prints.

The second of a series of interventions in Grand Theft Auto IV by COLL.EO that also includes Grand Theft Vito (2013), Following Bit (2013), and Arthur Rimbaud in Liberty City (2015), Grand Theft Samo puts the player in the streets of a fictional New York under the guise of a virtual Jean-Michel Basquiat.

Additionally, COLL.EO has faithfully reproduced several SAMO's graffiti and embedded them on the walls of Liberty City, replacing the existing ones. The book includes a gallery of SAMO's graffiti, never seen before images from SAMO IS DEAD, a machinima created by COLL.EO, a critical essay by Morgan Rachel Levy, and an introduction by the artists.

Grand Theft Samo is available in a limited edition of 99 copies.

Grand Theft Samo

Also available from Concrete Press:

Arthur Rimbaud in Liberty City

Grand Theft Vito

ARTHUR RIMBAUD IN LIBERTY CITY

San Francisco, March 5, 2015 - Concrete Press is delighted to announce the release of Arthur Rimbaud in Liberty City, a fully illustrated book based on COLL.EO's third Grand Theft Auto IV intervention.

The book includes two texts and features forty-eight photographs from the project. Arthur Rimbaud in Liberty City has a square format and is published on premium matte paper. 

Published in an edition of 99, its release coincided with the online exhibition COLL.EO, Arthur Rimbaud in Liberty City, which took place at Concrete Gallery in March 2015, a digital space where art can be experienced and remembered - or ignored and forgotten - all day, all night.

Arthur Rimbaud in Liberty City

Buy a copy  on Amazon

COLL.EO

COLLEEN FLAHERTY. SELECTED WORKS 2012-2015

San Franciso, February 10, 2015. CONCRETE PRESS is delighted to announce the release of COLLEEN FLAHERTY. SELECTED WORKS 2012-2015 a compedium of Flaherty's paintings produced in the last three years.

Available as a fully illustrated 44-page catalog, COLLEEN FLAHERTY. SELECTED WORKS 2012-2015 is now available for $19.99 on BLURB.

The publication coincides with Flaherty's new solo show, PATTERN RECOGNITION, at Random Parts in Oakland, California, which opens on February 21, 2015 (see below for additional details). 

A visual artist trained as a painter and a sculptor, Flaherty uses her craft and woodworking skills to create works that invite the viewer to engage with art in a tactile, tangible way. She received her M.F.A. in Painting from the San Francisco Art Institute in 2002 and her B.F.A. Cum Laude, with emphasis in Painting and Drawing, Minor in Music from San Jose State University in 1999. Her work has been presented in New York, Los Angeles, San Francisco, Oakland, Montevideo, Uruguay, and Pienza, Italy. In 2012 she started COLL.EO with Matteo Bittanti. Co-founder of Random Parts, an artist run space in Oakland, Flaherty lives and works in Northern California.

COLLEEN FLAHERTY

PATTERN RECOGNITION

February 21- March 18, 2015

Opening reception: Saturday, February 21, 2015  3:00 - 7:00pm  

Acoustic music set with the band Uncle at 4:30pm

Random Parts is pleased to present a solo exhibition with Colleen Flaherty.

In the seminal Understanding Media. The Extensions of Man (1964), Canadian media scholar Marshall McLuhan stated that “An abstract painting represents direct manifestation of creative thought processes as they might appear in computer designs.” In PATTERN RECOGNITION, Colleen Flaherty’s creative thought process is made visible for the viewer.  Acting as a juncture between the machinic and the natural, the archaic and the modern, she acts as a radar, a warning system. “The serious artist - adds McLuhan - is the only person able to encounter technology with impunity, just because [she] is an expert aware of the changes in sense perception”. The inorganic is thus unmasked, unpacked: behind the screen lies a microprocessor. But chips are made of silicon, that is, sand: under the technical, lies the natural. Sand snakes leave traces and Flaherty has captured them all: lines of codes, curves, layers of information. 

As Sherry Turkle wrote in Alone, Together (2012), "We shape our tools, and our tools shape us." They also redefine what it means to be human. The artist is a vigilant sentinel, because unlike others, she is immune to their subtle effects. According to McLuhan, “No society has ever known enough about its actions to have developed immunity to its new extensions or technologies. Today we have begun to sense that art may be able to provide such immunity.” What Flaherty does in her latest works is “to pick messages of cultural and technological challenge decades before its transforming impact occurs.” As such, she is a woman of “integral awareness”, one who can visualize the technical through the artist gesture.  

Flaherty’s intuitive yet highly sophisticated use of abstraction comes at no surprise. As McLuhan noted, abstract art “offers a central nervous system for a work of art, rather than the conventional husk of the old pictorial image.” PATTERN RECOGNITION is a set of maps of the contemporary visual age dominated by circuit boards. These paintings form the cartography of a new territory, both inner and outer. These paintings are not symptoms, but offer a diagnosis, a verdict. “Just as higher education is no longer a frill or luxury but a stark need of production and operational design in the electric age, so the artist is indispensable in the shaping and analysis and understanding of the life of forms, and structures created by electric technology.” 

 Flaherty's canvas is a framing device: screens and windows are transformed, and so are their values, purposes, and meanings. The Technical and the Natural. A new visual language for a new kind of viewer. Patterns await recognition. 

 A visual artist trained as a painter and a sculptor, Flaherty uses her craft and woodworking skills to create works that invite the viewer to engage with art in a tactile, tangible way. She received her M.F.A. in Painting from the San Francisco Art Institute, San Francisco in 2002 and her B.F.A. Cum Laude, with emphasis in Painting and Drawing, Minor in Music from San Jose State University, San Jose, California in 1998. Her work has been presented in New York, Los Angeles, San Francisco, Oakland, Montevideo, Uruguay, and Pienza, Italy. In 2012 she started COLL.EO,  with Matteo Bittanti. Co-founder of Random Parts, an artist run space in Oakland, California, Flaherty lives in Northern California.

randomparts.org

colleenflaherty.com