Melissa E. Logan

 Melissa E. Logan, Photo: Knut Klassen

Melissa E. Logan, Photo: Knut Klassen

Melissa E. Logan  (US/DE) is an interdisciplinary artist living in Cologne who works in performance, installation, painting, pop music, sound and new media. Logan’s approach to her work is proactive, initiating collaborations between artists, theaters, media institutions, instigating cross-pollination between fields. The subject matter is informed by a questioning and critical approach to social structures such as gender roles, national identity and ecology while utilizing painting, apps, found fabrics or thermal photography. Her work has a strong connection to the human as chimera, humanoid animals, reference points span prehistory and concepts of a distant future simultaneously. It embraces a bright palette and includes sign language, visual communication and pop elements and graphic design. The seemingly sweet sound and imagery is the playful veneer overlaying themes of the human angst in a ricochet between utopia and dystopia.

Melissa E. Logan is represented by Galerie Gisela Clement, Bonn. As Chicks on Speed, represented by Galerie Milani, Brisbane Australia and 401contemporary, Berlin. Logan founded University of Craft Action Thought, a company to produce performances, release music and to host symposiums.

Copy to the right, copy to the left – poetics of publishing and the porous area of authorship

The point of departure of this talk is copy right and author rights, publishing and the new European  Commission law for the Digital single market. This sounds like the field unsuitable for a cocktail party until we zoom into the terminology of Orphaned Works or until we dig into the bottomless pit of self generating content, the ricocheting of remixing clips, best of video compilations. The murky depths of a field where passionate life  works, compositions, documentaries, how to videos and lectures are the building blocks of multi billion $ cooperations. Among the murky depths we have the ghosts, our digital footprints which will live longer then our physical incarnations. Copy to the right, copy to the left is not a sorting out and an explanation. It is a deconstructing and reconstruction approach, a mental playground on the battleground of digital rule, toying with the human creative output and where machine learning achieves independent copyrights.
Where does the human influence fade out and our machines become the creative producers and the copyright owners?
Find out this and more in the poetics of publishing and the porous area of authorship.

Zane Cerpina