Purple-Goo app for iPhone and iPad

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.

The furthest distance between two points

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

Skip Arnold
Eli Langer
Nicolas Lobo
Jeff Ostergren
Daniel R. Small

From the press release

Nicolas Lobo’s Grape Syrup Action for Paul Octavian Nazca’s “U Smile 800% Slower” cross-contaminates ascending mega-trends in a deadpan video documenting an enigmatic mark-making activity. The imagery captures a person, covered head to toe in protective painting gear, spraying purple fluid onto the large interior walls of a warehouse. This ambiguous action is set to the sounds of hypnotic distant howls surging in wavelike rhythms. The purple fluid sprayed from a hacked fire extinguisher is grape cough syrup, Screw music’s drug of choice. Lobo’s weaving line of oozy, evaporating purple syrup embodies a drawing practice he refers to as Palsy Drawing, which he explains as a technique derived from non-representational early childhood mark making that is directly tied to developing neurological patterns.

Meanwhile, echoing inside the industrial space, the soundtrack for Lobo’s narco-action painting is the semi-authorless viral phenomenon “Justin Bieberʼs U Smile 800% slower”. This track is part of a surging trend of extremely slowed pop songs that carry DJ Screw’s eponymous Hip-Hop genre a step further into total hallucinatory disfigurement. Lobo’s video functions as a kind of multi-sensorial echo chamber for pop culture and its endless zombielike permutations.

 

Feature in Flaunt Magazine

Somewhere Between 87.9 MHZ and 91.9 MHZ
Written By:  Matthew Bedard

Download .pdf here

 

Timber, lakes

“Michael Jackson’s Ear”©Goff Images

Gallery Diet
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.

DOMESTIC ANIMAL GHOSTS

Salon Zurcher

Studio Zurcher
March 4 – 10, 2013
33 Bleecker Street
New York NY 10012

Etruscan Monochromes

A book documenting collaborative radio based projects
Split published by [Name] and de la Cruz Collection

Khamsa-izm

Khamsa-izm
Gallery Diet
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.

Featuring work by: Kenneth Tam, Martijn Hendriks, Alyse Emdur, Harun Farocki, Bill Daniel, Peter Bagge, Unica Zurn, Daniel Newman, Emmett Moore, and The Tabloid by Gean Moreno and Ernesto Oroza. 

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 20^th 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?

StoreFront exhibition

Image technique
2012
Lightjet print
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”.

DARPA Innovation house residency

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“

7″ Vinyl with Tracy K. Smith and Gabrielle Calvocoressi

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.

SFCC Fellowship Exhibition

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

T-Shirt availlable from [NAME] publications

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]

Reboot(y) Bass Night

The Nightclub
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.

-Gean Moreno

ASTRAL WEEKS

ART BLOG ART BLOG

Curated by Van Hanos.

Gallery Diet
174 NW 23rd Street
Miami, Florida 33127

JULY 19TH – SEPTEMBER 1ST 2012
JULY 19TH 6 – 9 PM

Works by:

LIZ DESCHENES
BROCK ENRIGHT
KELTIE FERRIS
JACKIE GENDEL
BRION GYSIN
CORINNE JONES
JON KESSLER
NICOLAS LOBO
GENESIS BREYER P-ORRIDGE
RORY PARKS
CHAD SCOVILLE
PATRICK WALSH

Show review by Daniel Feinberg on ArtSlant

SPRING BREAK @ The Biscayne Wireless Corporation

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

Interview with Ciara LaVelle

Gum, dropped

Nicolas Lobo
Gum, dropped
Marlborough Chelsea
545 West 25th Street
New York, NY 10001
Opens Thursday, December 15th from 6 to 8 p.m.

Interview with Andrew and Andrew on East village radio

20 questions on artinfo.com

Whitewall review

“Four minutes, thirty-three seconds”

 

“FOUR MINUTES, THIRTY-THREE SECONDS”, CURATED BY OMAR LOPEZ-CHAHOUD
LegalArt
1035 N Miami Ave
Miami, FL 33136
Exhibition runs from November 30th to January 31st (Tuesday – Friday 12pm – 5pm)

Wireless

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 50^th 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.

Behind the curtain, a lock of hair falling

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

Artforum pick

A broadcast against recording

Performance and radio broadcast by Nicolas Lobo and Terence Hannum at the de la Cruz Collection.

“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.”

[Slowed and Mirrored]

Audio cassette release on the Augurari label

Available from Printed Matter, 195 Tenth Avenue New York, NY 10011

Liquid Matter

Improvising Architectures curated by Gean Moreno

Albatross (Room divider)
Wood, steel, rubber, highway sound barrier form liner, Zip-ties
12 x 6 x 1 feet

Chopped and Screwed Up Nelson Bench

Project on view at the de la Cruz Collection

Chopped and Screwed Up Nelson Bench
2010
Wood, terrazzo, grape cough syrup play-dough, stone

LIMESTONED

Solo show at Charest-Weinberg

Installation view 1

Installation view 2

Catalog available
Hardcover, 78 pages.
Essays by Christian Viveros-Fauné, David Hunt, Michael Wilson
Designed by Ernesto Oroza
Online version here

Catalog cover

Artpapers feature

A feature in the July/August 2010 issue of Artpapers.  Writen by Gean Moreno.

Download a .pdf of article here

Album Graphics

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

COMEDY/TRAGEDY At Marvelli Gallery.

Marvelli Gallery
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.

Installation view.

Installation view.

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

Transcript of 89.5 fm. pirate radio in Dade County.

Artist book in edition of 50.

6″x9″, Spiral bound, 100 pages. card stock cover.

Signed and numbered by the artist.

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