Commissioned by curator Edwin Carels of Muhka Media,  E8Z have remade an old experiment in realtime 3D, entitled "The Kiss: Incorporator". This remake will be premiered at Nano Nu this weekend, in Brussels. For the occasion of the installation, a special pedestal was made that allows the visitor to navigate through the piece by means of two sturdy joysticks.

 http://muhka.be

 "The Kiss: Incorporator" is part of a series of works made with a 3D scan of our naked bodies, kissing. The errors produced by the scanning technology expecting to find a single body, form an essential part of the piece. The result is a single mesh of two painfully stitched together naked human bodies, welded together in an eternal, devouring kiss.

 "The Kiss-Incorporator" allows you to navigate the cavernous "ocean of blood" inside of this mesh, through a threedimensial soundscape of industrial and natural sound loops and towards the single eternally beating machine-heart, shared by both bodies.

 "The Kiss-Incorporator" was originally made in 2001 for the Korea Web Art festival but has been remade with contemporary technology and a few additional features.

 http://kiss.entropy8zuper.org/the/incorporator

OK, still working on this week's radio playlist - everything's a bit hectic at the moment, so it may take a day or two. Meanwhile, here's the competition details:

PRIZE - TWO TICKETS TO SEE SUNBURNED HAND OF THE MAN & STEFFEN BASHO JUNGHANS on Fri 23 Nov 2007 at Bar Abbey, Sheffield.

Questions:
1. What major influential group is the person who runs Sunburned's Massachusetts' based label associated with?

2. What was the controversial name of the group which Sunburned rose from?

3. What was drummer John Maloney wearing as the band opened at the acclaimed Matilda Artspace gig last year?

Answers on a postcard to:

Sunburned Competition
Freenoise
PO Box 3979
SheffieldS8 2BZ

Tickets are £6 and available from RARE AND RACY - the legendary Sheffield music, books and art shop, and online at www.freenoise.co.uk

Deadline for the competition is very first thing on Tuesday 20th November, and the winner will be announced on that day's radio show.

I’d been looking forward to the Teamphoto exhibition ever since hearing Brian Griffin mention it at a BJP event last year, but I somehow missed out on the news that it had opened in September, and only stumbled upon it by accident a few days before it closes, as I was killing time waiting for a train at the newly renovated St Pancras station (nice brickwork, shame about the half-mile walk to the tube station).

Griffin was commissioned to document the building of the High Speed 1 rail link to the Channel Tunnel, “the UK’s first high speed railway for over 100 years”. The result is a monumental series of portraits which really lives up to my expectations of it.

I had a great time wondering around and around the show, looking and looking again at all the photos, and it’s one of the few photo exhibitions where I have actually laughed out loud. Griffin’s photos fall roughly into two categories: his portraits of the workers are epic, mainly black & white studio portraits. In a similar manner to much Soviet artwork, they clearly portray the worker as hero. By contrast, the photos of management are very much in the style which Griffin utlised during his many years as photographer for Management Today: the subjects are placed in Kafkaesque scenarios where they seem unsure or unaware of what’s happening to them and what they’re supposed to do. Even more than with the Management Today photos, I was left wondering “how the hell does he get away with it?”

For the rail project’s American project managers, Griffin had reserved an even more bizarre approach: they were captured in what seem to be half-staged, half-candid poses which remind me of nothing quite so much as Twin Peaks. Their American suburban location adds even more to the strange disconnect from anything to do with the UK-Europe rail link.

There were also a few group photos styled as Frans Hals paintings. On their own these seemed a little uninspired, given the frequency with which photographers seem to be ripping off the Old Masters nowadays, but thrown into the melange of strangeness which made up the Teamphoto exhibition, they added a little extra spice.

It’s a very daring move from Griffin’s corporate client, and one which leaves them open to ridicule, but I’m very glad that they’ve apparently allowed him free reign on this project, and I think the results are something of a landmark.

As I was walking around the exhibiton, I overheard one woman saying to another “The only thing I would have done: I would have kept it all black & white, I wouldn’t have had any colour. I think that would have been really powerful”. That made me laugh nearly as much as the photos did.

If you’re in London, get yourself down to the Gymnasium (in between St Pancras and King’s Cross) sharpish: the exhibition ends on 16th November.

Sheffield-based art parctitioners No Fixed Abode have a cool new website, detailing their various interventions including their Sheffield-wide mobile cinema, and their performance at Robin Close and Webster Gotts’ art-karaoke night:
http://www.nofixedabode.org.uk/

Tuesday November 6th

Rod Barton, Lost Boys, group show of female artists, 6-11pm, info: www.rodbarton.com

The Future of Arts Magazines, discussion/presentation including Maria Fusco, Sally O’Reilly, Simon Grant, Matthew Slotover, 6.30-8.30pm, South Bank, info: http://www.kingston.ac.uk/design/docs/Bargehouse%20Debates%20invite.pdf

Wednesday November 7th

Whitechapel Project Space, Mini City Centre with Elliot Dodd and Brian Moran, show open 6-9pm from tonight and then every night till Sunday 11th when there is a closing party. Info: www.whitechapelprojectspace.org.uk

All That Remains, group show at Auto Italia, 82-86 Queens Road, SE15, Richard Gilligan, Sam Griffin, Thomas Lock, Vicki Thornton, info: www.113project.com

South London Gallery, Marcia Farquhar, 12 Shooters, 7-9pm, and tomorrow, info: www.southlondongallery.org

The Approach, The Four Colour Contingency, Mandla Reuter, Tom Humphreys (ex flaca), Nora Schultz, Alexander Wolff, 6-9pm, info: www.theapproach.co.uk

Thursday November 8th

Sartorial, How Men Are, group show curated by Harry Pye (with special guest appearance by Mark McGowan), 6.30-9pm, info: www.sartorialart.com

ALMA Enterprises, Basement Art Project curates My Still Life as a Personal Object, group show, includes David Blandy, 6-9pm, performance at 8pm, info: www.almaenterprises.com

If you happen to be popping across to Barcelona…

ROJO Artspace, Jon Burgerman, Hypercolourphagia, info: www.rojo-magazine.com/bcn/

Friday 9th November

Climate of Change, group show includes, Dylan Atkins, Steve Smith, Bob and Roberta, 235-241 Union Street, 6pm til late, info: basia@londonart.co.uk

Saturday November 10th

RATIONAL REC RETURNS – third season of the artistic, intellectual and alcoholic social club begins again at The South Bank, 7.30pm –  www.rationalrec.org.uk

WHITE MISCHIEF, From the Earth to the Moon, Scala, Kings Cross, info: www.whitemischief.info

Chisenhale TALK, Lucy Reynolds, on Jaki Irvine, 3pm, info: www.chisenhale.org.uk

And if you are lucky enough to be in Los Angeles, California…

PawnShop Gallery, Sculptrue, (sic) group show, includes Julie Verhoeven, 6-8pm, info: www.pawnshopgallery.com

Monday November 12th

Seventeen, Bill Drummond’s The17, check it out: www.seventeengallery.com

Last night I went to the opening of Neil Webb's (AKA Bocman) latest show at Bloc space, Sheffield: The Stars In Us All.

The work is inspired by astronaut Dave Bowman's last words before entering the black monolith in Stanley Kubrick's 2001: A Space Oddyssey: "My God, it's full of stars". Webb has positioned three black monoliths around the studio, each highly polished and perfectly reflective. The monoliths, the room itself, and a bench in the room all act as loudspeakers, broadcasting a 45-minute sound piece. The only faint light in the gallery is provided by blue neon lights behind each monolilth.

The result is suitably awe-inspiring, frequently meditative and contemplative, and occasionally disturbing. As with previous works by Webb which I'm familiar with, there is a perfect relationship between the auditory and the visual, and every element seems perfectly judged to contribute to the overall experience.

The show is also reviewed in today's Guardian Guide .