Purple-Goo gives listeners the tools to deconstruct pop music into its atomic structure. Using music from your iTunes library, Purple-Goo can stretch a 3 minute pop song into a score lasting hours and even days by playing each sample audibly from a sound file containing 44,000 samples a second. Currently Purple-Goo allows a stretch of up to 100,000,000%. At the more extreme levels of stretching the songs can be used for brain wave modification. Purple-Goo is a collaborative project by Nicolas Lobo and Dylan Romer.
WHARTON + ESPINOSA
@pacific design center
8687 Melrose Avenue #B275 West Hollywood, CA 90069
May 16 – June 28, 2013
Opening reception Thursday May 16th from 6:00 to 8:30 pm
Somewhere Between 87.9 MHZ and 91.9 MHZ
Download .pdf here
“Michael Jackson’s Ear”©Goff Images
174 NW 23rd Street
Miami, Florida 33127
April 11th 2013 6 – 9 pm
From press release:
Nicolas Lobo and Gallery Diet invite you to a listening party for Justin Timberlake’s comeback album “The 20/20 Experience “. Derided by critics as a mediocre effort, “The 20/20 Experience “ serves as sonic fodder for Lobo’s ongoing experiments with deconstructed pop music. For one night the gallery will be filled with the sounds of Timberlake’s album disassembled into their most basic components, In addition to sound, a selection of Lobo’s recent collages and sculptures will be on view. Timber, lakes is the first in a series of ongoing one-night solo exhibitions by Lobo planned in between regular gallery programming.
Nicolas Lobo designs systems of assimilation, looking to digest as much cultural and physical material as possible. Absorbing discrete objects rather than attempting to invest individual artworks with meaning his primary goal is one of consumption rather than production.
March 4 – 10, 2013
33 Bleecker Street
New York NY 10012
November 30th 2012—January X, 2013
Organized by Nicolas Lobo
An exhibition in which the moral circuit between the eye and the hand is traveled.
Can the eyes project evil? What does the act of looking do to affect the things we look at? If the eyes function as a deterministic mechanism for the actions taken by the hands, it seems to be a very difficult mechanism to negotiate. The works included in this show interrogate the moral tension between the eyes, the hand or may be simply a result of the pressures of both.
One can sit on Emmett Moore’s bench: a toppled fiberglass trashcan in the center of the exhibition space. The trashcan is painted a saturated aqua color and its design suggests origins in a theme park or outdoor mall from the mid 20th century. Describing an act of delinquency by a hand in an environment we can imagine with wry familiarity, the seating sets the tone for what is to be viewed from it. For example, in Harun Faroki’s film Eye/Machine, we see images taken by the machines of war themselves; the pictures don’t quite fit the rubric of propaganda. Instead the film suggests a policy of image-making that may have eclipsed the other functions of armed conflict.
Where we can see these ethical traces we may be tempted to follow the morality described by them. First we should consider not only the images but also how they are seen. What ethical modifiers are the viewing conditions? Can the eye inflect these hand marks with its own possibly deviant urges?
12″ x 18″
“Shop windows and StoreFronts have been quiet conduits for the uncanny. As strange as one can imagine a play between a top hat and a pair of gloves may be, what may be really uncanny in Frederick Kiesler’s conception of the window display as the place where advanced art met mass culture is how prescient it was, when taken from a slightly different angle: it already announced, even if it didn’t know it, that the objects of advanced art would one day be no different from top hats and gloves. To the story of window displays and storefronts in the early 20th century, we have to add later developments: from Claes Oldenburg The Store (1961) to the storefronts that sustained the growth of the East Village scene in the 1980s to the widespread practice of artists opening small shops where ever they can. Taking all this into account, one wonders: How would artists react to the opportunity to consciously work in an empty shop? How does the artifice affect the production? Is a degree of self-consciousness mandatory? Can a weighty context be disregarded? Does display as medium or theme still have critical potential? It is around these questions that the exhibition StoreFront takes shape”.
- Adapted from text by Gean Moreno, StoreFront exhibition press release, 2012
ARTISTS IN EXHIBITION
Kevin Arrow, Loriel Beltran, Christy Gast, Daniel Clapp, Patti Hernandez, Christina Lei-Rodriguez, Nicolas Lobo, Justin Long, Robert Lorie, Hugo Montoya, Carlos Rigau, Viking Funeral.
September 15th – November 9th, 2012
From the request for proposals:
“Eight weeks of radical innovation in visual and geospatial data analysis
There’s a lot to be said for the road that is taken—it’s safe, it’s well lit, and you probably know where it leads. Rarely does an opportunity present itself to leave the road entirely and venture off in search of new vistas. The Defense Advanced Research Projects Agency (DARPA) seeks trailblazers to explore the unknown in the areas of visual and geospatial data analysis. Researchers will participate in a short-fuse, crucible-style environment to invent new approaches to the identification of people, places, things and activities from still or moving defense and open-source imagery“
From the Discosoma records website:
We are proud to present (in collaboration with O, Miami Poetry Festival) an original 5-Poem split 7″ featuring 2012 Pulitzer Prize-winner Tracy K. Smith and L.A. Times Book Prize-finalist Gabrielle Calvocoressi. A limited edition of 200 records was pressed, with each cover hand-painted as an original multiple by Miami artist Nicolas Lobo.
ARTISTS IN THE EXHIBITION:
Nellie Appleby, Domingo Castillo, Clifton Childree, Phillip Estlund,
Jiae Hwang, Eric Landes, Nicolas Lobo, Mark Moormann,
Ernesto Oroza, John Sanchez and Tom Scicluna
A remake of the shirt designed by N. W. Ayer advertising for AT&T’s early 90′s campaign advertising the world wide web. The campaign was centered around television spots directed by David Fincher and narrated by Tom Selleck. Available now through [NAME]
August 3rd 2012
801 SW 3 Ave. Miami, Florida 33130
From the press release:
Miami as a city has out-paced its artists in giving morphological expression to the forces that increasingly organize the social field. At the moment, it seems more interesting to present the auxiliary elements (promotional materials) that aid in the effort to produce urban form than actual art objects. Hence the visual element for this exhibition will be a promotional video for the “Miami World Center” development ( http://www.youtube.com/watch?v=9aLCqDZXxBM ). The artist’s productive role in the situation we are undergoing becomes, I think, one of inserting deviant (corrective?) and intereferential elements into what has conngealed as the normalized modes of presentation and delivery. To this end, and keeping in mind The Nightclub concept and its auditory connotations, I’ll invite a group of artists to re-soundtrack the promotional video that is being presented, taking as their starting point the idea of a post-booty bass–a stand-in for “dirty” and contaminated data, parasitically clinging to visual manifestations of transnational capital.
Curated by Van Hanos.
174 NW 23rd Street
Miami, Florida 33127
JULY 19TH – SEPTEMBER 1ST 2012
JULY 19TH 6 – 9 PM
Show review by Daniel Feinberg on ArtSlant
SPRING BREAK @ The Biscayne Wireless Corporation presents a happy hour liquidation & pop-up publication sale in conjunction with [NAME] Publications, Augurari, Roofless Records, Nicolas Lobo and Viking Funeral for the record release of Lobo’s [Slowed and Mirrored] audio cassette through Augurari. [Slowed and Mirrored] will be available for listening as well as drawings featuring Biscayne Wireless’s collection of Peruvian ceramics. Drinks will be provided. January 13, 2012 from 04:00-06:00PM, 2405 Biscayne Boulevard Miami, FL 33137
545 West 25th Street
New York, NY 10001
Opens Thursday, December 15th from 6 to 8 p.m.
Installation view of “Dye Trough” at “Four minutes, thirty-three seconds”
“FOUR MINUTES, THIRTY-THREE SECONDS”, CURATED BY OMAR LOPEZ-CHAHOUD
1035 N Miami Ave
Miami, FL 33136
Exhibition runs from November 30th to January 31st (Tuesday – Friday 12pm – 5pm)
At Santa Barbara Contemporary Arts Forum
653 Paseo Nuevo, Santa Barbara, CA
Opening Reception: November 5, 6:30 – 8 pm
Exhibitions on view: November 6, 2011– January 8, 2012
Installation view of “SSTV wildlife film” at Wireless
Wireless brings together an international group of artists, residing in New York, Los Angeles, London, Geneva, St. Gallen, and Santa Barbara, whose work is concerned with radio transmission. Conceived in honor of the 50th anniversary of local independent radio station KCSB, the artists featured in Wireless use the medium of radio as a jumping off point to consider how individuals convey ideas, memories, and information across distances long and short.
Wireless is organized by NY-based curator Elizabeth Lovero, formerly both a KCSB DJ and CAF Assistant Curator. While all their practices are grounded in a consideration of radio, the exhibited artists work in diverse mediums: from sculptural installations to drawings; from photography to video and sound. Included in the exhibition are Francis Baudevin, Dove Bradshaw, Nathan Carter, Tyler Coburn, Melissa Dubbin and Aaron S. Davidson, Ellie Ga, Nicolas Lobo, Neighborhood Public Radio, Marko Peljhan and Matthew Beiderman, Daniel Perlin, Roman Signer, and Jim Toth.
At Gallery Diet
174 NW 23rd Street
Miami, Florida 33127
September 1st – October 1st 2011
Reception, Thursday, September 1st 7 – 10 PM
with works by Joshua Abelow, Sarah Conaway, Talia Chetrit, Debo Eilers, Nicolas Lobo, Martin Oppel, and George Woodman
“As part of ongoing radio programming produced at the de la Cruz collection, Lobo and Hannum will present a performance, stage set and radio broadcast. Hannum will be performing a ritualistic vocal invocation disturbing the surface of a dye filled trough designed by Lobo spanning the rear courtyard at the de la Cruz collection. The sound will be broadcast on FM radio as well as audible throughout the building.”
Audio cassette release on the Augurari label
Available from Printed Matter, 195 Tenth Avenue New York, NY 10011
Albatross (Room divider)
Wood, steel, rubber, highway sound barrier form liner, Zip-ties
12 x 6 x 1 feet
Project on view at the de la Cruz Collection
Chopped and Screwed Up Nelson Bench
Wood, terrazzo, grape cough syrup play-dough, stone
Solo show at Charest-Weinberg
Installation view 1
Installation view 2
A feature in the July/August 2010 issue of Artpapers. Writen by Gean Moreno.
Download a .pdf of article here
A book, published by [NAME] publications.
Available now from [NAME]
“Album Graphics documents Nicolas Lobo’s temporary engagement with the Go-Go scene. For a year, Lobo worked as a complete outsider, offering free graphic design services to Go-Go bands and promoters. Because of the informal nature of Go-Go recording and distribution, the graphic identity of Go-Go is spread across a variety of mediums, from T-shirts and Twitter page layouts to jewel box sized .jpg files and animated .gif files culled from VHS tapes. Lobo’s attempts to produce album covers, concert flyers, myspace layouts and other graphic designs were met with varying levels of success and acceptance by the Go-Go scene. The results of his efforts, which marry Lobo’s signature scribbling with some version of the visual language native to the Go-Go scene, along with chat room threads and emails generated during the design process, are the contents of this book. Part hyper-extended liner notes for a non-existent album, part ethnographic coffee table book gone awry, “album graphics” settles in a third place: neither of the Go-Go scene nor entirely outside of it.”
Album Graphics is the third volume in [NAME] Publications’ Miami Artists Series.
Christy Ghast interviews Gean Moreno about [NAME] here
526 West 26th Street, 2nd Floor
New York, New York 10001
April 8 through May 6, 2010
Opening April 8, 2010, 6-8 p.m.
Curated by David Hunt
Featuring works by Anna Craycroft, Richard Dupont, Nicolas Lobo, Simone Leigh, Dave McDermott, Rosemarie Padovano, Todd Pavlisko, Marc Seguin and Nick van Woert
6″x9″, Spiral bound, 100 pages. card stock cover.
Signed and numbered by the artist.