# data[].attributes.body
VENUS & MERCURY

https://www.vivianesassen.com/works/venus-mercury/carousel/#syph-01p

https://huismarseille.nl/tentoonstellingen/viviane-sassen-2/

# data[].attributes.attachment_link.description
The Netherlands is one of the richest countries in the world. So it comes as no surprise that the answer to the question 'what do you want for Christmas' is nine out of ten times: "nothing". That's why we came up with a solution for this problem.

# data[].attributes.body
We shall catch it on the beaches, 2020

# data[].attributes.body
Crab Game

# data[].attributes.attachment_link.title
Adding a Giant Crab to my Game So Netflix doesn't Sue me

# data[].attributes.attachment_link.description
Non-profit project by female collective Shevolution, founded by Lina Ekstrand, Louise Matell and Eva Paulsen. Bloody Yes! is an art calendar and powerful tool to give women better knowledge of their bodies and to understand how they can live a more productive, healthy and harmonious life in tune wit…

# data[].attributes.body
https://www.youtube.com/watch?v=Go2RjqQs-AA https://www.forbes.com/sites/joanneshurvell/2022/04/26/venice-biennale-2022-top-eighteen-highlights/?sh=389178f53e41

# data[].attributes.body
http://www.margemonko.com/index.php/work/i-dont-know-you-so-i-cant-love-you/

https://impakt.nl/events/modern-love/i-dont-know-you-so-i-cant-love-you/

# data[].attributes.attachment_link.title
The Artist is Distracted – Casey Jenkins

# data[].attributes.attachment_link.description
Long-form Participatory Performance / Installation / Selves Portrait

# data[].attributes.attachment_link.readable_text
CAMBRIDGE, MA - Conceived during months of close companionship with her cat, Roger, Candice Lin's Seeping, Rotting, Resting, Weeping at the Carpenter Center for the Visual Arts enacts a process of other-world-building wherein multi-species relations - earthbound and chthonic, human and nonhuman - are essential to our ongoing survival. Set in a realm where humans are no longer sovereign, Lin foregrounds the lives and deaths of felines, critters, microbes, and demons in a practice of making kin.

Near the gallery entrance, an animated video greets visitors, transporting them to the debris of a post-apocalyptic desert landscape. An open-structured canopy tent erupts out of earthen rubble, its base adorned with 3D-scanned ceramic palimpsests of Tang dynasty zhenmushou - amorphous multi-species tomb guardians. Inside, a cat demon commences the slow healing practice of qigong. As the feline lifts its paws above its ears and collapses into its knees, viral gifs of personified animals and spambot messages flare onscreen, inciting me to enhance my self-cultivation via paid subscriptions and bundle deals.

Detail of Candice Lin, Seeping, Rotting, Resting, Weeping (2021)

The exhibition's central installation, for which the show is titled, is an elaborate modular recreation of the animation's digital canopy and its hybrid demon companions. Undulating sheets of indigo-dyed textiles recount real and invented multi-species stories through laboriously hand-drawn and stenciled images made using glutinous rice paste, a Japanese resist-dye technique. A woman is digested by burrowing worms and spotted frogs; three-headed canines snarl and snap; and mischievous felines dance with long-tongued demons.

The indigo plant, the exhibition's central material, is embedded with its own multi-species narrative. Fermented by Lin in vats of broth, moldy fruit, and the artist's urine, distinctions between human and nonhuman are collapsed as the plant digests microbes of human excess in order to produce indigo's distinctive vibrant hue.

Beneath the lush drapery of this blue refuge, surrounded by multi-faced and multi-limbed tomb guardians, ceramic cat pillows lie on the carpeted floor. An animated feline by the name of White-n-Gray, based on a feral cat that lived on the artist's porch, ruminates on its mortality from a small TV in the tent. As I lie on the soft, stippled rugs, my ear turns cold from resting on one of the ceramic cats. This emphasis on tactility continues in A Journal of the Plague Year (Cat Demon Diary) (2021), a browsable personal archive of the year's collective terrors and Lin's anxieties, hopes, and material processes.

Detail of Candice Lin, Seeping, Rotting, Resting, Weeping (2021)

Two sculptures composed of textured surfaces on table-like bases sit just outside the main space. "Tactile Theater #1 (After Noguchi)" and "Tactile Theater #2 (After Švankmajer)" (both 2021) are best experienced with another person. As Lin states in a video on the gallery's website, viewers are intended to hold each other's gaze as they sweep their hands across the dips and curves of the surfaces, which reveal themselves to be a mélange of ribs, ears, and nostrils. Here, the discovery of these obscured body parts can only be achieved by the softening of our own corporeal boundaries as hands crash into, loop around, and overlap each other.

While the porous relationship between humans and nonhumans spurs fears of contagion, Lin offers an alternate interpretation of multi-species proximity as we advance toward the dire ecological consequences of capitalist progression and human exceptionalism. Rather than constructing barriers and enforcing borders, Lin considers a form of multi-species well-being rooted in the myriad ways human and nonhuman cohabitation occurs in this messy, entangled affair called life.

Detail of the surface of Candice Lin, "Tactile Theater #2 (after Švankmajer)" (2021), plaster, pigments, hide glue, fiberglass, epoxy, steel, 11 x 28 x 32 inches

Candice Lin: Seeping, Rotting, Resting, Weeping continues at the Carpenter Center for the Visual Arts (Harvard University, 24 Quincy Street, Cambridge, Massachusetts) through April 10. The exhibition was curated by Dan Byers, John R. and Barbara Robinson Family Director, the Carpenter Center for the Visual Arts, Harvard University; and Victoria Sung, Associate Curator of Visual Arts, Walker Art Center.

# data[].attributes.attachment_link.title
An Artist's Multi-Species Mythology, Inspired by Her Cat

# data[].attributes.attachment_link.description
CAMBRIDGE, MA - Conceived during months of close companionship with her cat, Roger, Candice Lin's Seeping, Rotting, Resting, Weeping at the Carpenter Center for the Visual Arts enacts a process of other-world-building wherein multi-species relations - earthbound and chthonic, human and nonhuman - are essential to our ongoing survival.

# data[].attributes.attachment_link.readable_text
Op vaderdag hebben we een fotoshoot georganiseerd voor 100 vaders en hun kind(eren). Samen met mijn team hebben we ervoor gezorgd dat de vaders na afloop van de shoot een fotoprint direct mee .

Vaderdag special

Photographer: Marwan Magroun
Production: Jeffrey De Roode, Marwan Magroun,
Giovanni Burke & Daniël Grmazion
Art Direction: Lisa Elean
Edit: Sima al Saig
Assistance: Souad Laaziz & Francesca Pigliaru

Locaties: Theater Zuidplein Rotterdam - Melkweg Amsterdam

Vormgeving: Friends for Brands

Financiering: Stichting Droom en Daad & Fonds ZOZ

# data[].attributes.attachment_link.description
Op vaderdag hebben we een fotoshoot georganiseerd voor 100 vaders en hun kind(eren). Samen met mijn team hebben we ervoor gezorgd dat de vaders na afloop van de shoot een fotoprint direct mee .

# data[].attributes.attachment_link.readable_text
Even further, 2020, custom mechanical music box, HD video inverse projection 15'14", paper screen, text on inverse projection

This installation encompassing video, text, and sound was conceived for the 2020 edition of PinchukArtCentre Prize nominee exhibition in Kyiv, Ukraine. The work delves into the multicultural roots of the artist's family, particularly his Greek background on his father's side and his Jewish roots on his mother's side, in addition to his family's ties with the Odessa region, which numerous imperial forces have sought, and some would argue continue to seek, control over.

The video, shown on a screen inserted into the wall, sees a tour group traveling by bus through the Kuyalnitsky estuary on the outskirts of Odessa, whose caves Jewish residents, including the artist's great-grandmother, took refuge in during the outset of World War II.

Even further, 2020, custom mechanical music box, HD video inverse projection 15'14", paper screen, text on inverse projection

In the opposite corner, a music box plays a song dating to the early 20th century. Both Greeks and Jews have their own songs based on this tune. But they are entirely different in meaning: the Greek version is about love for a beautiful girl, and the Jewish version is about sending a young man to war. The author images the possibility of Jews and Greeks hearing this song in this scenic, yet hostile landscape.

The work takes its title from Psychic TV, underscoring Karabinovych's urge to twist together personal history, cult subcultural personalities, and familiar, yet fringe terrains. A text, inserted in another corner of the room is based on Walter Benjamin's "The Storyteller."

Even Further refers to a tale told in Thee Psychick Bible of an "Even Furthur" bus driven by the cult English band Psychic TV, who were inspired by the name "Furthur," which was given to another bus, the Merry Prankster, driven by the American countercultural icon Ken Kesey.

My Even Further consists of three elements - video, sound and text - which seek to complement each other.

The film begins with a bus entering a fixed frame.

People step off and they follow a guide, of sorts, who leads them towards the water. The group stands in the distance at the water's edge, listening to the guide tell her story.

When she is finished, the crew boards the bus and leave the frame.

The moment the bus leaves the frame, a melody begins to play, performed by a mechanical music box located in the far corner of the exhibition space.

The music box plays a melody, the authorship of which cannot be reliably discovered. There is a Greek song about love, and there is also a Jewish song about a young man's farewell before departing to fight in the Russo-Japanese war. Both were written about 110 years ago, and became widely popular. Naturally, researchers, depending on their national preferences, attribute the authorship to the Greeks or the Jews.

In general, the relationship between Jews and Greeks, especially in the south of Ukraine, is filled with vivid and dramatic episodes. The first Jewish pogrom in the Russian Empire took place in Odessa in 1821, and was initiated by the Greek population, who spread the rumor that the Jews had killed the patriarch in Constantinople.

My interest in Greco-Jewish relations is due primarily to my background. On my mother's side, I have many Jewish relatives. My father's side of the family is Greek. Examining the similarities and differences between the fates of Greeks and Jews, I wondered, where could my Greek and Jewish relatives hypothetically have met? Perhaps this could happen on the shores of the Kuyalnitsky estuary, whose network of caves many Odessa residents took refuge in during outset of World War II, including my grandmother's family. Perhaps when they met they could each have sung the same song. A song each already knew.

The bus from the video is the vehicle which transports these tourists to this invisible ancestral meeting.

The last element of the work is a text that relates this story and expounds on the context in an allegorical manner. The text is based on Walter Benjamin's essay "The storyteller," in which Benjamin refers to Nikolai Leskov's texts and talks about models of relating myths and sustaining biographies.

-
Commenting on the work by first special prize winner Nikolay Karabinovych, the PinchukArtCentre Prize jury said: "Even Further is a poignant, moving work that deals with the challenges of histories while carrying possible futures within it. It employs a very precise, subtle and fine language, based on an emotionally resonant stillness. Every part of the work stands in perfect balance and complementarity to each other. The work poetically addresses loss, diaspora identity and the displacement of peoples in an ecumenical way. The jury commends the work for its very elegant orchestration of sound, image and concept.

The work addresses micro-histories without directly showing them, but rather speaks about them through their absence. The jury was impressed by both the thoughtfulness and the execution of the work, and by its complexity and depth via minimal means."

# data[].attributes.attachment_link.description
Even further, 2020, custom mechanical music box, HD video inverse projection 15'14", paper screen, text on inverse projection This installation encompassing video, text, and sound was conceived for the 2020 edition of PinchukArtCentre Prize nominee exhibition in Kyiv, Ukraine.

# data[].attributes.attachment_link.readable_text
Abyssal Seeker depicts a slow, aquatic journey to a fictional brine lake at the bottom of an unnamed ocean. Protagonists float in and out of the story, semi fictionalised versions of invertebrates, hybridised and constantly shifting. These arrivants are situated in two scenes -the first contains a photographic installation set in a rocky, arid landscape composed of architectural drawings of panopticons, subtle diagrams of DNA, human evolutionary charts - the landscape itself is formed of these diagrams and symbols of surveillance and categorisation, human interpretation of organic processes. The second is a liquid environment that transports the viewer to the sea floor where the oceanic abyss envelops the viewer.

This work initially might seem to recall Jules Verne's series of novels set under the sea, which transposed themes from Homer's Odyssey to the crucible of 19th Century colonial expansion. While the colonial project of exploration employed naming and categorization to enable ownership, the beings in Holder's world attempts to evade identification, classification and subsequent commodification. Holder's brine lake represents a place beyond mapping, the deep sea as a metaphor for the limit of human knowledge, a place beyond categorisation, beyond monetary value, beyond the colonial project of taxonomy.

This artwork represents an optimistic speculation of an acceleration to a dark future, an alternative metaphor for escaping surveillance and the cast of the net, and about a more positive future, an escape to a dark, safe place beyond data.

Creatures and film scenography by Yuma Burgess

Graphics by Raphaël de La Morinerie

# data[].attributes.attachment_link.title
Abyssal Seeker [DEMERSAL ZONE] - Joey Holder

# data[].attributes.attachment_link.description
Abyssal Seeker depicts a slow, aquatic journey to a fictional brine lake at the bottom of an unnamed ocean. Protagonists float in and out of the story, semi fictionalised versions of invertebrates, hybridised and constantly shifting.

# data[].attributes.attachment_link.readable_text
Semelparous

Digital prints, projection. laser cut MDF, living ivy, sound system

Springhealth, London + Galerie Lisa Kandlhofer, Vienna

Joey Holder presents Semelparous, a site-specific installation in the Pool and Spa of the now-closed Springhealth Leisure Center. Through decimated research of the European Eels complex migration, reproduction, and biological makeup, Holder examines the irreplicable forces of the natural world.

'Semelparous' characterises a species that undertakes a single reproductive episode before death. A unique and generative strategy in which the organism inputs all available resources into maximising reproduction at the expense of future life. Each autumn, European Eels leave their freshwater river homes and migrate more than 3,000 miles across the Atlantic Ocean, to the bottom of the Sargasso Sea, to breed for a single time. The eels' reproductive life has eluded scientists and philosophers for centuries, as humans have never witnessed nor recorded their spawning rituals.

Semelparous revolves around Holder's newest video work, situated within a complex physical structure, the eel is depicted as a mythological symbol, biological specimen, and it's most controversial role: food. Unable to replicate the species enigmatic reproductive life in captivity, young European Eels have been extracted and illegally trafficked to farms throughout various regions of Eastern Asia. These practices have severely impacted the populations, and as of 2011, the European Eel has remained critically endangered.

Responding to the eels population crisis, spawning migration, and structural characteristics of the Springhealth pool, Semelparous is a monument to the European Eel. Sculptural elements are extended from the existing architecture as plants and organic materials spill out from the skylights overhead to the depths of the pool. Through its immersive nature and biological sources, Semelparous speculates on our inability to replicate the encoded phenomenon present within an organism's biological makeup.

Curated by Julia Greenway Semelparous is presented in partnership with Harlesden High Street. This exhibition is generously supported by the Zabludowicz Collection and the artist's work appears courtesy of Seventeen, London

# data[].attributes.attachment_link.description
Joey Holder presents Semelparous, a site-specific installation in the Pool and Spa of the now-closed Springhealth Leisure Center. Through decimated research of the European Eels complex migration, reproduction, and biological makeup, Holder examines the irreplicable forces of the natural world. 'Semelparous' characterises a species that undertakes a single reproductive episode before death.

# data[].attributes.attachment_link.readable_text
there are no girls on the internet, 2020

4 channel Video, Commissioned by The Museum of Moving Image, New York, NY

This series of video works investigates the meme holding that the internet is strictly a man's world.

Wagenknecht recorded her search through hundreds of video chats looking for another woman, moving on as soon as her next potential conversation partner was revealed as anyone but. Within a few seconds, each of the works reinforces the disturbing gender imbalance and fundamental weirdness of the online experience, as the artist is served up a steady stream of dudes lying in bed, dudes wearing only a towel, serving active military duty-and nothing else except the occasional empty room. - Tim Schneider for

# data[].attributes.attachment_link.title
there are no girls on the internet - Addie Wagenknecht

# data[].attributes.attachment_link.description
there are no girls on the internet, 2020 4 channel Video, Commissioned by The Museum of Moving Image, New York, NY This series of video works investigates the meme holding that the internet is strictly a man's world.

# data[].attributes.attachment_link.readable_text
column #4: Sander over geld maken met geld

Veel mensen verdienen tegenwoordig meer met het rendement op hun vermogen, dan met werk. Dat verziekt de maatschappij, schrijft Sander Schimmelpenninck in de vierde column bij zijn serie 'Sander en de Kloof'.

Is werken voor de dommen?

Waarom levert kapitaal meer op dan arbeid?

alle artikelen

Waar baseert Sander zijn uitspraken over ongelijkheid op?

Weet jij hoe we met de kloof moeten omgaan? Schrijf het op!

Inzenden kan nog tot maandag

Sander en de kloof meet up

Meld je nu aan voor dit gratis online evenement met o.a. Sander Schimmelpenninck, Maaike Schoon, Marjolein Moorman en Djaffar Shalchi.

Vermogen verplicht

'Je kan niet tegen iemand zeggen dat hij het zelf maar moet regelen als diegene geen gelijke kansen krijgt.'

Met het programma Sander en de Kloof onderzoekt Sander Schimmelpenninck de groeiende ongelijkheid in Nederland. In Nooit Meer Slapen legt hij uit waarom hij als liberaal vindt dat kapitaal veel zwaarder belast moet worden. En hij vertelt over zijn eigen adellijke achtergrond en hoe het voelt om steeds tot je identiteit te worden gereduceerd. En waarom hij zo gelukkig is in ZwedenPieter van der Wielen ging met Sander Schimmelpenninck in gesprek.

meer over dit programma

Vanaf donderdag 20 januari op NPO 3. Lees waar de afleveringen over gaan.

# data[].attributes.attachment_link.description
column #4: Sander over geld maken met geld Veel mensen verdienen tegenwoordig meer met het rendement op hun vermogen, dan met werk. Dat verziekt de maatschappij, schrijft Sander Schimmelpenninck in de vierde column bij zijn serie 'Sander en de Kloof'. Is werken voor de dommen? Waarom levert kapitaal meer op dan arbeid?

# data[].attributes.body
populaire cultuur: reclame (2016/2018?)

https://www.youtube.com/watch?v=xhlH1KesFHQ

# data[].attributes.attachment_link.title
Infinite Bad Guy by YouTube Music, Google Creative Lab, IYOIYO, Plan8 - Experiments with Google

# data[].attributes.attachment_link.description
Since 2009, coders have created thousands of amazing experiments using Chrome, Android, AI, WebVR, AR and more. We’re showcasing projects here, along with helpful tools and resources, to inspire others to create new experiments.

# data[].attributes.body
Manifest over techism

# data[].attributes.attachment_link.readable_text
(Updated 2021 essay below)

2014

Web 2.0 has disrupted the way we socialize and see the world. Our current social media culture has become a series of learned habits through social participation on a digital platform such as Facebook and Instagram. This is changing the way we learn, communicate and process information.

But do we have real culture in Web 2.0? What is the beauty of being human in the digital age, and where is the beauty in it? Throughout history, culture was a balanced output of creative ideals for humanity by artists, writers, philosophers and poets, utilizing the technology of communication and art-making of the moment.

The Enlightenment began with scientific breakthroughs by Sir Isaac Newton brought about the scientific revolution, philosophers such as John Locke, Denis Diderot and Immanuel Kant presented a new vision for humanity as a democratic, rational, free-thinking society through education, science and individualism. Mozart and Bach reflected new ideals of equality and freedom.

Monet was able to bring newly invented mass-produced, individually packaged pigments into his garden, inspiring a new vision of "Impressionism" -- beauty and poetic representation of life in 18th Century France. He and his fellow Impressionists expressed newly found freedom in artistic expression, which inspired a cultural movement, free to enjoy the outdoors and to depict "joie de vivre", enlightenment through scientific innovation, freedom from political and religious dogmatic oppression and ignorance. Before him, great painters such as Rembrandt were subjected to painting still life portraits in the confines of their studios, using pigments that were prepared by hand. With every technological invention, came a new way to express beauty, and a new evolution of humanity.

In the 20th Century, abstract expressionist artists such as Rothko understood a greater need for human connection in a modern society, where there was a cultural void of humanity, connection to God and the meaning of life. With every generation there is change, and art reflects these shifts in our culture.

Now in 2017, the digital revolution is like no other revolution in history because of its speed and huge scale of disruption. The adaption of new technology and social media platforms has created sweeping changes in our global culture, and there has never been a more crucial time for artists and philosophers to adapt, to express, to create and to influence culture.

Algorithms are everywhere, and they are controlling what we see through social media platforms, and "sharing" and "liking" has created an narcissistic and egocentric society that is lacking in humanity and authenticity. It is our very "connectedness" on social media platforms that is diminishing real human connection. Our culture is being ruled by inhumane social media behaviour, and causing high levels of depression, addiction and sociopaths.

Artists express humanity in their work. Art is a force of nature that brings us together. The contribution of art using digital technology will create a more connected and humane culture, which will affect how our society chooses to use and innovate digital technology for the future. It is the demonstration of possibilities and expression of free thought, using digital technology that will create a more balanced culture.

Techism is a movement that recognizes technological innovation as an artistic medium, and encourages artists to promote digital humanism in the formation of culture. Collaboration, co-creation and dialogue with engineers and technology specialists is key to this movement, because we are in a transition phase between the institutionalized "painting & sculpture" tradition of artistic expression, into digital.

Freedom of thought, individualism and equality in a future of digital disruption and technological advancement is important for the future of humanity. I recognize the unique challenges that society will face from social media platforms, algorithms and AI in this new and unchartered future and we choose to express connectedness, humanity and transcendence at the forefront of technological innovation through collaboration, dialogue and freedom of expression.

Our future is unknown, but we are aware that hundreds of millions of dollars are being invested in AI, deep learning, brain computer interfaces and the opening of the space frontier. The importance of Techism, and its influence on humanity is crucial, now.

It is imperative that companies who are ushering in this new civilization such as Facebook, Google, Amazon and Neuralink, recognize the importance of creative human expression, and support the Techism movement for the preservation of a free-thinking society that is empathetic and humane. We need to transcend highly organized and complex digital constructs that connects human consciousness on a level that will forever transform our world and human existence. Empathy, humanity and rational free-thought must thrive in our future.

The creation of a free, humane and great digital civilization is our core belief and vision.
Techism© Manifesto
Techism is a movement that reconciles technological innovation with the creation of art. Techism understands innovation, be it technological or philosophical, as a medium in and of itself. For this reason, Techism does not mean how it sounds. It does not put technology before art but rather, sees art and technology as companions meeting the next wave of human expression - digital humanism. We are the masters of technology, and creating art is the expression of digital humanism.

What is digital human existence, and what is the beauty in it?

Many traditional practices of artisanship have remained, and they will continue to do so. Techism is not a movement that stands in opposition to older practices. Nor does it assert brusque claims that the old will be swept away with the new. Artists can decide when and which practices to adopt and discard with each phase of creation.

In the age of digital disruption, technology will continue to transform and revolutionize industries in services, manufacturing, healthcare, media and education, and will continue to revolutionize creative platforms. We are in the midst of creating a new digital civilization, and artists must contribute to this new culture, in order to preserve our humanity. We cannot leave the role of leading future culture to technocrats, engineers and corporations. It is in our collective interest to include artists and people of diverse interests to contribute to our culture in order to create balance, harmony and humanism. Digital disruption is causing fear and unrest, and without a broader dialogue that is inclusive and expresses our true emotions and concerns, there will be wider conflict and misdirected blame. Art is a force of nature that brings us together, and it is necessary today, more than ever.

Art is no longer limited to a frame on a wall. Art is becoming ever more an interactive practice. Collaboration has always enabled art's creation. Collaboration materializes consciousness. Art is consciousness. Techism is an appeal and return to that consciousness, the consciousness of art as shared, as thing, as idea and as experience.

Software allows the artist to become multifaceted and collaborative. It's about expressing yourself and finding what fits and collaborating with engineers and intelligent software, because you can.

Art is experiential, the phenomenal. We, the viewer participate, and discern for ourselves, what we behold.

Techism is the movement of our time, where we need to acknowledge digital disruption, and accept the immense task of creating new culture that expresses our humanity in the digital age."

2021
The Gradient Symbolizes our Decentralized Future
The post industrialist system is analogue and corrupt. It is binary, conformist, centralized and rigid. This foundational structure had influenced global culture for hundreds of years. Artists have always found ways to push boundaries and open minds, but under the analogue system of Power and traditional corporate system, we were disempowered. Division of labour was the norm and our education systems only train us to become employees, not creative free thinkers. Traditional power was measured by military strength, industrial wealth, and media control-but we are now officially in the digital age, and digital technology has disrupted this archaic paradigm, shifting human consciousness beyond these limits.

In the digital age, data is power. Digital is fluid. We are more fluid. Unfortunately, we have seen the rise of surveillance capitalism by companies like Facebook and Google over the past decade. Lack of transparency, accountability and censorship have created major social divides and have threatened our fragile democracy. However, the end of Surveillance Capitalism is now clear, through the advent of crypto revolution and decentralization. This is a key moment in history, as we leave archaic and parasitic economic systems behind us through decentralization. The crypto revolution is silent, peaceful and efficient.
Why is the gradient such a powerful symbol?
The gradient transcends boundaries, transmuting colours into a unified spectrum that reveals unexpected beauty in collective unison-gradient beauty is the spirit of fluid digital culture. It represents hope, freedom, individual expression, innovation, co-creation, collaboration and co-existence. Multiple colours are integrated as one, just as we are diverse human beings brought together on the internet. We now transcend archaic, rigid schools of thought and belief systems to create new decentralized, transparent systems through the crypto revolution, allowing a holistic revolution to take shape. We are more fluid in race, nationality, sexuality, gender, politics, spirituality... we are a gradient.

As we build a new civilization, we must create beauty. Through beauty in this digital x real world paradigm, we shine a light of hope to dispel the darkness of fear and hate. We must shine light into people's hearts in order to inspire freedom, and more creativity. Creativity brings us together and pushes us to strive for a higher place from where we stood, and we become creators of our own destiny. It's the ultimate training ground of autonomy and self-empowerment. We must be more creative, more collaborative and more open to integration and innovation in order to survive and thrive as a species. The gradient symbolizes the digital human and a decentralized future.

# data[].attributes.attachment_link.description
(Updated 2021 essay below) 2014 Web 2.0 has disrupted the way we socialize and see the world. Our current social media culture has become a series of learned habits through social participation on a digital platform such as Facebook and Instagram. This is changing the way we learn, communicate and process information.

# data[].attributes.body
"EONS is a short animation, a moving painting, a music video, a GANorama. An experiment in creating a narrative arc using neural networks. EONS was created entirely using artificial neural nets: The Generative Adversarial Net BigGAN (Andrew Brock et al.) was used to create the visuals, while the Music was composed by Music Transformer (Anna Huang et al.). The work aims to remind us of our short and myopic existence on this planet, our relationship with nature at geological timescales, which, despite all our accumulated scientific knowledge, remain emotionally incomprehensible to us."

# data[].attributes.attachment_link.description
EONS is a short animation, a moving painting, a music video and an experiment in creating narrative using neural networks. EONS was created entirely using artificial neural nets: The Generative Adversarial Net BigGAN (Andrew Brock et al.) was used to create the visuals, while the Music was composed by Music Transformer (Anna Huang et al.).

http://www.miketyka.com

# data[].attributes.body
populaire cultuur

https://www.facebook.com/3VOOR12/videos/ai-songfestival-aflevering-1/3138944999477778/

# data[].attributes.body
https://www.youtube.com/watch?v=1bQa5d1QTJw

populaire cultuur
Nummer over angst om als jongere perongeluk zwanger te raken

# data[].attributes.body
https://willemwever.kro-ncrv.nl/vraag_antwoord/cultuur/wat-er-bijzonder-aan-de-roze-wipwap-op-de-grens-tussen-mexico-en-de-vs

# data[].attributes.attachment_link.title
Roze wipwap op de grens tussen Mexico en de Verenigde Staten

# data[].attributes.body
https://www.youtube.com/watch?v=DaWcvAxKxxE

# data[].attributes.body
https://www.evaspierenburg.nl/

# data[].attributes.body
https://www.youtube.com/watch?v=GCb1MjsbHR4

# data[].attributes.body
https://www.youtube.com/watch?v=0W10_ORUxs0

# data[].attributes.attachment_link.title
Sophie Straat - Tweede Kamer (ft. Goldband)

# data[].attributes.body
https://www.youtube.com/watch?v=t3pcUIyKvfE

# data[].attributes.attachment_link.description
This work is based on two articles that published independently from each other in 1964. One was on February 22nd in Maclean’s, titled “The Homosexual Next Door: A Sober Appraisal of a New Social Phenomenon” by Sidney Katz; and the other on June 26th in Life, titled “Homosexuality in America” by Pau…

# data[].attributes.attachment_link.readable_text
2019.
Sand + Water
A sand sculpture holds itself together through the use of surface tension; two units of sand create a meniscus bridge of water between each other, holding each other in place. Repeat these points of attraction millions of times, add sufficient downward compression, and eventually what is created is a form like this sculpture or a fantasy called nation.

In 1986 one hundred and fifty-two Tamil refugees, fleeing the beginnings of Sri Lanka's bloody genocide of the Tamil people, were discovered adrift in lifeboats off St. Shott's on the Avalon Peninsula and rescued by local fisherman Gus Dalton. They were issued Minister's Permits and welcomed to relocate and seek employment while their refugee claims were processed.

In 2009 and 2010 respectively, cargo ships the MV Ocean Lady and MV Sun Sea were intercepted off the coast of British Columbia and their four hundred and ninety-two Tamil refugees were placed in detention, some for over a year. The federal government responded to their landing with aggressive legislation - some argued unconstitutional - that gave them increased power to detain migrants indefinitely and deny them a wide variety of rights. The landing of the MV Sunsea had a lasting impact on Canadian migration policy and how Canadian's conceived of themselves.

The 70, 000 lb sculpture uses the physics of surface tension, to create a metaphor of how citizenship (or the creation of an "us") becomes foundational to who we are able to extend empathy to, on a macro and micro level.
Arbitrary Lines: Refugee Law in Canada 1986 - 2012. by Gobhina Nagarajah Reading Close: Joshua Vettivelu and Legibility in Absence by Curator Kailey Bryan One Thing: Surface Tension (or What Holds an 'Us' Together) by Arun Nedra Rodrigo

Endless thanks to Kailey Bryan, Harry + Sue Bryan, Diane Dalton, Eastern Edge Gallery, Gobhina Nagarajah, Pete Soucy(BIA), Jerry Dick, the CBC, and the people of St. John's for their enthusiastic support.

Copyright © 2017. All rights reserved.

# data[].attributes.attachment_link.title
SURFACE TENSION (or what holds an 'us' together) - Joshua Vettivelu

# data[].attributes.attachment_link.description
SURFACE TENSION (OR WHAT HOLDS AN 'US' TOGETHER)2019.Sand + WaterA sand sculpture holds itself together through the use of surface tension; two units of sand create a meniscus bridge of water between each other, holding each other in place.

# data[].attributes.attachment_link.description
Anyone’s Anything Can a sex toy be a toy? Anyone’s Anything is a playground where we can play with ways of seeing in the context of social taboos. This...

# data[].attributes.body
Prosthetic X is a technological “artificial data organ” that is strongly reminiscent of a natural organ, with prostheses that serve as aesthetic indicators for the functioning or non-functioning of (parts of) the body. It consists of a platform around the head and hands to which 9 prostheses can be connected, which  respond and adapt in real time to our inner health, external condition and social interactions. A series of body extensions that live, breathe, move and change colour, like the organs in our body. They change by responding to personal social data, health data and external measurements. In addition, there is a tenth prosthesis: the exo-organ, which can stand with a loved one or caregiver. This indicates the “status” of the other nine, allowing dedicated others to gain insight into the health of the wearer from a distance.

​

Prosthetic X speculates how non- invasive health tracking tools will give us insight into social, mental and physical health. It will empower empathy, celebrate knowledge and combats the threat of loneliness, isolation and health conditions for an aging population. The shadows of aging will fade away and unleash a new beauty ideal.

​

More information about the project via www.prostheticx.eu

# data[].attributes.attachment_link.readable_text
With the support of Creative Industries Fund NL and SIDN Fonds

Prosthetic X is a technological "artificial data organ" that is strongly reminiscent of a natural organ, with prostheses that serve as aesthetic indicators for the functioning or non-functioning of (parts of) the body. It consists of a platform around the head and hands to which 9 prostheses can be connected, which respond and adapt in real time to our inner health, external condition and social interactions. A series of body extensions that live, breathe, move and change colour, like the organs in our body. They change by responding to personal social data, health data and external measurements. In addition, there is a tenth prosthesis: the exo-organ, which can stand with a loved one or caregiver. This indicates the "status" of the other nine, allowing dedicated others to gain insight into the health of the wearer from a distance.

Prosthetic X speculates how non- invasive health tracking tools will give us insight into social, mental and physical health. It will empower empathy, celebrate knowledge and combats the threat of loneliness, isolation and health conditions for an aging population. The shadows of aging will fade away and unleash a new beauty ideal.

More information about the project via www.prostheticx.eu

Prosthetic X consists of ten interactive prosthetics. Here you can see an overview of the different parts of the installation.

PX I - Under pressure
Signaling blood pressure

PX II - Blow Up
Stimulating a relaxed breathing pattern

PX III - Anemone Movement
Stimulating Daily Activity

PX IV - Air Flutter
Showing the surrounding air quality

PX V - Sun Vibrations
Signalling UV exposure and Vitamin D

PX VI - Catching waves
Signalling exposure to radio waves

PX VII - Guiding Curiosity
Highlighting common interest

PX VIII - Avenue Explorer
Stimulating serendipity

PX IX - Speech Matters
Enhancing conversation

PX eXo - Lotus
Human condition enlightenment

# data[].attributes.attachment_link.description
With the support of Creative Industries Fund NL and SIDN Fonds Prosthetic X is a technological "artificial data organ" that is strongly reminiscent of a natural organ, with prostheses that serve as aesthetic indicators for the functioning or non-functioning of (parts of) the body.

# data[].attributes.attachment_link.readable_text
Introducing the Kelp Collection. Interesting Times Gang introduces a vision of what can be achieved with large-scale 3D-printed furniture made of recycled fishing nets.

Human existence is deeply dependent on our oceans and their lifeforms. Yet every year thousands of fishing nets are discarded into the depths of the Baltic Sea and the surrounding bodies of water. These ghost nets continue to cause death and destruction for fish and sea life for decades afterwards. What if these nets would become a valuable resource and not end up in the ocean in the first place?

Interesting Times Gang used a material that combines recycled fishing nets with wood fiber, to create 3D-printed designs that can stay within the same material ecosystem once they reach the end of their life-cycle. These objects can be ground down to create new bio-materials that can be reused again and again, to create entirely new objects within a closed design loop.

Kelp Collection is inspired by biomimicry with undulating lines and organically swaying silhouettes to emulate the forms found in ocean vegetation. A process made possible by the latest advances in 3D-printing technology and material development.

The furniture, originally commissioned by two-star Michelin chefs Niclas Jönsson and Daniel Höglander and Custom designed for their new venture, a sushi restaurant concept, Black Milk Sushi, located in the heart of Stockholm, and opening in Spring 2022.

With their new concept they wanted something out of the ordinary, something that hadn't been seen before, and the pressure on Interesting Times Gang to deliver a design to such perfectionists was on.

The result is "Kelp Collection", a furniture series created to bring attention to the fact that vast amounts of known underwater kelp forests have been eradicated due to unsustainable fishing practices and rising ocean temperatures (Kelp removes as much CO2 per hectare, as 20 hectares of trees).

Apart from the restaurant opening this spring, The "Kelp Chair" has been selected to be part of Stockholm Furniture & Light Fairs exhibition "Around the corner" - A circular inspiration exhibition presenting a selection of cross-industry innovations. We were obviously very humbled to be asked to exhibit our work in such a prestigious company. Unfortunately the fair in September 2022 has been postponed, but ITG participated in the digital Design Talks during Design Week in February 2022, discussing 3D printing in design.

‍

# data[].attributes.attachment_link.title
Interesting Times Gang - We are a Creative Studio at the intersection of Design and Technology

# data[].attributes.attachment_link.description
Introducing the Kelp Collection. Interesting Times Gang introduces a vision of what can be achieved with large-scale 3D-printed furniture made of recycled fishing nets. Human existence is deeply dependent on our oceans and their lifeforms. Yet every year thousands of fishing nets are discarded into the depths of the Baltic Sea and the surrounding bodies of water.

# data[].attributes.body
https://www.widewalls.ch/artwork/mary-sibande/the-domba-dance-Kc4P

# data[].attributes.attachment_link.readable_text
Chameleon is an experimental visual album inspired by the radical queer feminist genre of the "Biomythography" which refers to Audre Lorde's foundational work entitled Zami: A New Spelling of My Name published in 1982. It combines history, biography, and myth, and holds a literary perspective that serves as a guiding light for complex narrative storytelling rooted in a queer, Black self-defined, feminist imagination.

Broken into five distinct confessional/autobiographical poems: Linoleum, Stank, Entertainer, Wake, Effigy (all written by kosoko); each poem acts as a chapter depicting and rewriting specific moments from the protagonist's lived experience. In each shot, kosoko's body responds to memory, moving in and out of dream, nightmare, present practice and ceremony. The process--a necessary re-conjuring--allows past ghosts to exist alongside present reconfigurations underscoring the creative, therapeutic and sometimes necessary but painful impulses of fugitive beings to shape-shift as a measure of survival.

# data[].attributes.attachment_link.description
Chameleon is an experimental visual album inspired by the radical queer feminist genre of the "Biomythography" which refers to Audre Lorde's foundational work entitled Zami: A New Spelling of My Name published in 1982. It combines history, biography, and myth, and holds a literary perspective that serves as a guiding light for complex narrative storytelling rooted in a queer, Black self-defined, feminist imagination.

# data[].attributes.attachment_link.readable_text
Multimedia artist Jeffrey Gibson (b. 1972, Colorado Springs, CO) is the artist-in-residence for the Department of Education and Public Engagement's Winter/Spring R&D Season: INHERITANCE. Gibson's exhibition explores the material histories and futures of several Indigenous handcraft techniques and aesthetics, including Southeastern river cane basket weaving, Algonquian birch bark biting, and porcupine quillwork, as practiced by many tribes across this land long before European settlers arrived. The title "The Anthropophagic Effect" alludes to Oswald de Andrade's legendary 1928 Anthropophagic Manifesto, which argued that indigenous communities could devour colonizers' culture as a way of rejecting domination and radically transforming Western culture to their own ends. Gibson notes that Indigenous crafts and designs have "historically been used to signify identity, tell stories, describe place, and mark cultural specificity," explaining, "I engage materials and techniques as strategies to describe a contemporary narrative that addresses the past in order to place oneself in the present and to begin new potential trajectories for the future." Employing techniques learned over the course of the residency, Gibson has produced a new series of garments that will be activated through performances and staged photo shoots in the Fifth Floor Gallery.

This exhibition is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, and Sara O'Keeffe, Associate Curator, with Kate Wiener, Curatorial Assistant.

# data[].attributes.attachment_link.title
Jeffrey Gibson: The Anthropophagic Effect

# data[].attributes.attachment_link.description
Multimedia artist Jeffrey Gibson (b. 1972, Colorado Springs, CO) is the artist-in-residence for the Department of Education and Public Engagement's Winter/Spring R&D Season: INHERITANCE. Gibson's exhibition explores the material histories and futures of several Indigenous handcraft techniques and aesthetics, including Southeastern river cane basket weaving, Algonquian birch bark biting, and porcupine quillwork, as practiced by many tribes across this land long before European settlers arrived.

# data[].attributes.attachment_link.title
expedition to the chimacloud - SAYA WOOLFALK

# data[].attributes.attachment_link.readable_text
Ahmed's artworks engage the viewers through it's unexpected marriage of traditional crafts, steeped in history, with hyper-contemporary, digitally distorted images often in the form of pixilation, three-dimensional shapes and melting paint that alters the pattern on the rugs. He employs computers to sketch his works and chooses intricate traditional methods of carpet-weaving techniques to printing his designs on carpets. In his work "Oiling" 2012, in the collection of Seattle Art Museum, his hand-woven carpet designs transform and appear as though the pigments in the rug are melting into a wavy pattern of oil on water.

# data[].attributes.attachment_link.description
Faig Ahmed is an internationally recognized artist from Baku, Azerbaijan, who represented Azerbaijan at the Venice Biennale in 2007. He is well known for his conceptual works that utilize traditional decorative craft and the visual language of carpets into contemporary sculptural works of art.

# data[].attributes.attachment_link.description
Since its establishment more than two decades ago Lehmann Maupin has identified and cultivated the careers of an international roster of visionary and historically significant artists.

# data[].attributes.attachment_link.readable_text
x
Deel Je Inspiratie

[contact-form-7 id=”139″ title=”Zonder titel.”]

De Beste Webshops

Street Art

Kunst

Inspiratie

Design

Reizen

Internet

Kleding

Webshop

Video

Wekelijkse nieuwsbrief

Laat nu je email adres achter

Email Address

Top Stories

Bizarre installaties van Mark Jenkins

Art Rotterdam 2022: 19 - 22 mei

Verdwenen huis

Object Rotterdam 2022: 20 - 22 mei

Milieuvriendelijke fietshelm

Uitbundig versierde harten

Uitbundig versierde hartsculpturen van Ema Shin reflecteren op de anonieme erfenissen van vrouwen. Want in veel Koreaanse families, houden de familieleden een genealogisch boek bij, een jokbo genaamd, dat hun stamboom illustreert. Het voorouderlijk record van Shin omvat 32 generaties, maar alleen mannelijke leden van de familie zijn vertegenwoordigd. Met deze serie geeft ze de vrouwen een plek in de geschiedenis.

Next in category

Previous in category

Related

Gestikte foto’s

De portretten en geposeerde groepsfoto’s krijgen door Flore Gardner ...

Temperature Textiles

Met deze gebreide dekens, sjaals en sokken kijk je anders naar ...

Japanse geluksbrengers

Kunstenaar Rima Day werkt veel met textiel en van rood draad maakt ze ...

Sierlijke voorwerpen van ...

Of het nu gaat om een kop en schotel of een fotocamera Sue Trevor maakt ...

Antieke bustes van stof

Kunstenaar Sergio Roger herinterpreteert iconische elementen uit de ...

Duizelingwekkend ...

De in Baku, Azerbeidzjan gevestigde kunstenaar Faig Ahmed staat bekend om ...

Verlichte draadsculpturen

Spenser Little staat bekend om zijn figuratieve draadsculpturen. Alleen ...

Draadsculpturen van dieren

Met slechts een tang maakt Alison Brynn deze metalen sculpturen van ...

Complexe draadportretten ...

Al 15 jaar werkt kunstenaar Spenser Little aan deze draad sculpturen. De ...

Wekelijkse nieuwsbrief

Laat nu je email adres achter

Email Address

Top Stories

No results available

# data[].attributes.attachment_link.description
Uitbundig versierde hartsculpturen van Ema Shin reflecteren op de anonieme erfenissen van vrouwen. Want in veel Koreaanse families, houden de familieleden een genealogisch boek bij, een jokbo genaamd, dat hun stamboom illustreert. Het voorouderlijk record van Shin omvat 32 generaties, maar alleen mannelijke leden van de familie zijn vertegenwoordigd.

# data[].attributes.attachment_link.readable_text
Hidden Mother Statement

This series is a personal commentary about the evolution of women's roles in our society and how those roles and expectations shift when a woman becomes a mother. It is a response to the Victorian photography trend by the same title where mothers draped themselves in fabric in order to remain concealed while holding their children still for the long exposure photography. Their attempts to camouflage themselves gave the mothers an eerie, almost ghost-like presence.

My mixed media painting series explores my fascination with the bizarre trend and the responses that it evoked through my identity as a mother. It is by concealing the figure, that I am asking the viewer to reflect on that which defines the role of a mother.

# data[].attributes.attachment_link.description
Hidden Mother Statement This series is a personal commentary about the evolution of women's roles in our society and how those roles and expectations shift when a woman becomes a mother. It is a response to the Victorian photography trend by the same title where mothers draped themselves in fabric in order to remain concealed while holding their children still for the long exposure photography.

# data[].attributes.attachment_link.readable_text
BOYS WON'T BE BOYS - Theater 2020 - NPO 2 Extra

# data[].attributes.attachment_link.title
BOYS WON'T BE BOYS - Theater 2020  - NPO 2 Extra

# data[].attributes.attachment_link.readable_text
0:00 / 1:03•Watch full video

# data[].attributes.body
https://aliceheron.com/#/beauty-dinner/ The Beauty Dinner explores the relationship between skin and gastronomy in 8 courses. The face masks of artists Margherita Soldati, Krisztina Czika and Alice Héron were created to be applied to the skin as well as get eaten and will be served with delicious plant-based dishes How can we protect and nourish the new cells? Cosmetic products are widely used for this reason. Even though the cosmetic manufacturers are making it more and more difficult to understand what is in their products and how healthy they actually are for our skin, not to mention the negative impact they have on the environment. Guests were asked to participate in couples to enhance the connection between skincare, food and senses. This experience reflects on how we interact with our beauty products, food and the partner we are sharing it with.

# data[].attributes.body
ALICE HERON

Sit on It & Drive, 2022 (installaties/ sculpturen)

A brand-new car is hanging high in the air, bondaged as a submissive item. Multidisciplinary artist and cook Alice Héron uses shibari, the Japanese art of bondage, to eroticize the everyday objects that surround us. In the absence of physical contact during lockdowns, this new relation to our environment may offer an alternative to touch. The bondage technique also symbolizes the power of eroticism over capitalist materialism. The shiny car, symbol of capitalism, has been literally suspended by erotic forces.

# data[].attributes.attachment_link.title
SORRY WE MISSED YOU - Ken Loach - Officiële NL trailer - Nu online beschikbaar

# data[].attributes.body
https://www.avrotros.nl/nu-te-zien/gemist/detail/what-a-genderful-world-in-het-tropenmuseum/

# data[].attributes.attachment_link.title
Een kunstenaar heeft mannen op Tinder opgedeeld in 250 categorieën

# data[].attributes.attachment_link.description
In hun blote pik, in de lift of in een speelgoedwagentje voor de supermarkt. Kunstenaar Annemée Dik verzamelt screenshots van mannen die op dezelfde manier op Tinder staan.

# data[].attributes.attachment_link.title
Animistic Beliefs - PARASITI (富人) [Official Video] - ⚠️ Epilepsy Warning

# data[].attributes.attachment_link.readable_text
In April 2023, we visited Kasper Bosman at his home and studio in Brussels. Our conversation focused on the stories behind his work, process, latest projects, and his background as an artist, including his childhood.

Kasper Bosmans, born in Lommel (Belgium) in 1990, employs storytelling by creating narratives with multiple references from different cultural and historical sources. From an intuitive anthropological approach, he examines contemporary life's vestiges of local traditions and mythological symbols.

Bosmans has gained recognition for his unique and thought-provoking pieces that explore themes such as cultural identity, tradition, and belief systems. His work often combines elements of the past with contemporary perspectives, creating a multi-layered visual experience.

Categories Tags Special Features Kasper Bosmans

Francesco De Prezzo examines the logics and structures that configure the exhibition space and its different forms of mediation. His work is activated by the interweaving of the presence, absence, substitution, and almost erasement of the work of art as such.

De Prezzo carefully explores the layout and arrangement of the space, using it as a stage on which the viewers circulate in search of clues and fragments that will help them potentially form and construct the artwork. Through a well-constructed narrative, the artist places the object creating situations of ambivalence and questioning the concept of exhibition-making.

Following his project "Placeholder Sculptures" at FORM (Wageningen, The Netherlands), Art Viewer talks to Francesco De Prezzo about his working process.

Categories Tags Special Features FORM Space, Francesco De Prezzo

Featured Artists: Mina Squalli-Houssaïni, Simon Mielke, Sarah Margnetti, Katz Tepper, RM, Davide Stucchi, Hugo Servanin, Tora Schultz, ASMA, Sasaoka Yuriko, Josefina Labourt, Jan Eustachy Wolski, Devin T. Mays, Erin O'Keefe, Jasmine Gregory, Anna McCarthy, Tild Greene, Isadora Vogt, Kelly Tissot, Klara Zetterholm, Bora Baboçi, Megan Plunkett, Patricia Domínguez, Elizabeth Englander, Jin Han Lee, Will Thompson, Soshiro Matsubara, Amitai Romm, Chen Ting-Jung, Cezary Poniatowski, Hanna Antonsson, Filip Rybkowski, understructures

LISTE, Basel, Switzerland Venue:

Featured Exhibitors: Lodos (Mexico City), Lucas Hirsch (Düsseldorf ), Margot Samel (New York), Laurel Gitlen (New York), Martina Simeti (Milan), NıCOLETTı (London), palace enterprise (Copenhagen), Peana (Monterrey/Mexico City), PHD Group (Hong Kong), Piedras (Buenos Aires), Piktogram (Warsaw), Regards (Chicago), Seventeen (London), Sophie Tappeiner (Vienna), Sperling (Munich), Stereo (Warsaw), Sundy (London), Suprainfinit (Bucharest), suns.works (Zurich), Sweetwater (Berlin), The Ryder (Madrid), Theta (New York), Union Pacific (London), Veda (Florence), Gallery Vacancy (Shanghai), Wschód (Warsaw), Wanda Gallery (Warsaw)

Date: June 12 - 18, 2023

Photography: all images copyright and courtesy of the artists, galleries and LISTE

Categories Tags Special Features Amitai Romm, Anna McCarthy, ASMA, Basel, Bora Baboçi, Cezary Poniatowski, Chen Ting-Jung, Davide Stucchi, Devin T. Mays, Elizabeth Englander, Erin O'Keefe, Filip Rybkowski, Gallery Vacancy, Hanna Antonsson, Hugo Servanin, Isadora Vogt, Jan Eustachy Wolski, Jasmine Gregory, Jin Han Lee, Josefina Labourt, Katz Tepper, Kelly Tissot, Klara Zetterholm, Laurel Gitlen, LISTE, lodos, Lucas Hirsch, Margot Samel, Martina Simeti, Megan Plunkett, Mina Squalli-Houssaïni, NıCOLETTı, palace enterprise, Patricia Domínguez, PEANA, PHD Group, PIEDRAS, Piktogram, Regards, RM, Sarah Margnetti, Sasaoka Yuriko, Seventeen, Simon Mielke, Sophie Tappeiner, Soshiro Matsubara, SPERLING, Stereo, Sundy, suns.works, Suprainfinit, Sweetwater, Switzerland, The Ryder, Theta, Tild Greene, Tora Schultz, Understructures, Union Pacific, VEDA, Wanda Gallery, Will Thompson, Wschód

Featured Artists: Lou Masduraud, Will Rawls, Guillaume Dénervaud, Rosa Tharrats, Lara Fluxà, Gao Yuan, Gala Berger, Mickael Marman, Rasoul Ashtary, Valerio Nicolai, Mira Mann, Mariana Chkonia, Sophie Jung, Chaveli Sifre, Doruntina Kastrati, Julija Zaharijević, Adam Bilardi, Jason Hirata, Simon Lässig, Vera Lutz, Marthe Ramm Fortun, Rindon Johnson, Joeun Kim Aatchim, Willa Wasserman, Tarek Lakhrissi, Trevor Yeung, Monika Emmanuelle Kazi, Justin Fitzpatrick, Gal Schindler, Paul Maheke, Angélique Aubrit, Ludovic Beillard, Barbara Kapusta, Alexandra Metcalf, Raque Ford

LISTE, Basel, Switzerland Venue:

Featured Exhibitors: A.ROMY (Zurich), Adams and Ollman (Portland), Bel Ami (Los Angeles), Bombon Projects (Barcelona), Capsule Shanghai (Shanghai), Crisis (Lima), Damien & The Love Guru (Brussels), Diez (Amsterdam), Clima (Milan), DREI (cologne), E.A. Shared Space (Tbilisi), EMBAJADA (San Juan), Eugster || Belgrade (Belgrade), Exo Exo (Paris), Fanta-MLN (Milan), Felix Gaudlitz (Vienna), Femtensesse (Oslo), François Ghebaly (Los Angeles), Galerie Allen (Paris), GALERIE PHILIPPZOLLINGER (Zurich), Sultana (Paris), Galerie Valeria Cetraro (Paris), Gianni Manhattan (Vienna), Ginny on Frederick (London), Good Weather (North Little Rock/Chicago)

Date: June 12 - 18, 2023

Photography: all images copyright and courtesy of the artists, galleries and LISTE

Categories Tags Special Features A.ROMY, Adam Bilardi, Adams and Ollman, Alexandra Metcalf, Angélique Aubrit, Barbara Kapusta, Basel, Bel Ami, Bombon projects, Capsule Shanghai, Chaveli Sifre, Clima, Crisis, Damien & The Love Guru, diez, Doruntina Kastrati, Drei, E.A. Shared Space, Embajada, Eugster || Belgrade, Exo Exo, Fanta-MLN, Felix Gaudlitz, Femtensesse, François Ghebaly, Gal Schindler, Gala Berger, Galerie Allen, GALERIE PHILIPPZOLLINGER, Galerie Valeria Cetraro, Gao Yuan, Gianni Manhattan, Ginny on Frederick, Good Weather, Guillaume Dénervaud, Jason Hirata, Joeun Kim Aatchim, Julija Zaharijević, Justin Fitzpatrick, Lara Fluxà, LISTE, Lou Masduraud, Ludovic Beillard, Mariana Chkonia, Marthe Ramm Fortun, Mickael Marman, Mira Mann, Monika Emmanuelle Kazi, Paul Maheke, Raque Ford, Rasoul Ashtary, Rindon Johnson, Rosa Tharrats, Simon Lässig, Sophie Jung, Sultana, Switzerland, Tarek Lakhrissi, Trevor Yeung, Valerio Nicolai, Vera Lutz, Will Rawls, Willa Wasserman

# data[].attributes.attachment_link.description
Categories Tags Special Features Kasper Bosmans Categories Tags Special Features FORM Space, Francesco De Prezzo Featured Artists: Mina Squalli-Houssaïni, Simon Mielke, Sarah Margnetti, Katz Tepper, RM, Davide Stucchi, Hugo Servanin, Tora Schultz, ASMA, Sasaoka Yuriko, Josefina Labourt, Jan Eustachy Wolski, Devin T.

# data[].attributes.attachment_link.readable_text
Featured Artists: Isabel Nuño de Buen, Nora Turato, Agnes Scherer, Paul DD Smith, Bracha Lichtenberg Ettinger, Jean-Marie Appriou, Lili Reynaud-Dewar, Koenraad Dedobbeleer, Marguerite Humeau, Korakrit Arunanondchai, Rachel Harrison, Anne Speier, Ulrike Müller, Théo Mercier, Kader Attia, Bianca Bondi, Ser Serpas, Vivian Suter, Juliana Cerqueira Leite, Mercedes Azpilicueta, Ana Mendieta, Stefan Tcherepnin, Cooper Jacoby, Mathis Altmann, Sophie Reinhold, Louis Eisner, Kevin Bray, Pim Blokker, Daniel Dewar & Grégory Gicquel, Melike Kara, Yngve Holen, Tobias Spichtig, Magnus Andersen, Berenice Olmedo, Charlotte Dualé, Trevor Yeung, Sin Wai Kin, Soshiro Matsubara, Lauren Satlowski, Ivy Haldeman, Kim Farkas, Jiang Cheng, Erin Jane Nelson, Gaia Vincensini, Elizabeth Jaeger, Cheikh Ndiaye, Tetsumi Kudo, Ceija Stojka, Guillaume Pinard, Max Brand, Lin May Saeed, June Crespo, Marina Faust, Urban Zellweger, Nona Inescu, Șerban Savu, Kayode Ojo, Ana Mazzei, Gaylen Gerber, Paul Maheke

Featured Exhibitors: Chris Sharp Gallery, LambdaLambdaLambda, Sans titre (2016), High Art, C L E A R I N G, Meyer Kainer, mor charpentier, Karma International, Nogueras Blanchard, The Breeder, FITZPATRICK GALLERY, Stigter Van Doesburg, Jan Kaps, Neue Alte Brücke, Noah Klink, Allen, Soft Opening, Bel Ami, Downs & Ross, DOCUMENT, Gaudel de Stampa, Klemm's, Cécile Fakhoury, Christophe Gaillard, anne barrault, Jacky Strenz, P420, Sébastien Bertrand, GIANNI MANHATTAN, Weiss Falk, SpazioA, Dawid Radziszewski, Sweetwater, Jaqueline Martins, LAYR, Sultana, Dastan's Basement, François Ghebaly, Plan B

Venue: FIAC, Paris, France

Date: October 21 - 24, 2021

Photography: images courtesy of the artists, galleries and Art Viewer

# data[].attributes.attachment_link.description
Featured Artists: Isabel Nuño de Buen, Nora Turato, Agnes Scherer, Paul DD Smith, Bracha Lichtenberg Ettinger, Jean-Marie Appriou, Lili Reynaud-Dewar, Koenraad Dedobbeleer, Marguerite Humeau, Korakrit Arunanondchai, Rachel Harrison, Anne Speier, Ulrike Müller, Théo Mercier, Kader Attia, Bianca Bondi, Ser Serpas, Vivian Suter, Juliana Cerqueira Leite, Mercedes Azpilicueta, Ana Mendieta, Stefan

# data[].attributes.attachment_link.readable_text
Artist: Berenice Olmedo

Exhibition title: Hic et Nunc

Venue: Kunsthalle Basel, Basel, Switzerland

Photography: images courtesy the artist and Kunsthalle Basel

Enter. They are waiting for you. Looking neither altogether human nor quite animal, perhaps insectoid, yet not quite organic-like and unlike any of these categories. A multitude of motorized sculptures, suspended from wires, welcomes you into the first space of Berenice Olmedo's exhibition. Translucent and strange, corporeal and technological, near colorless and seemingly weightless, they quiver, curl, and torque. Occasionally they pause, as if temporarily exhausted.

Newly made for her largest exhibition to date and her first institutional show in Switzerland, Olmedo's sculptures might initially evoke earth-worms exploring plastic cocoons, lugubriously twitchy condomencased penises, or even extra-terrestrial massage devices. Their origin does not readily reveal itself.

In fact, the artist used a rehabilitation clinic's archive of cast stumps from different human amputees, taking molds from these forms to create her own, second-generation, replicas. Each sculpture, made by the artist using the same materials commonly deployed in the production of prosthetics, is a conjunction of two different subjects' body casts. At first glance, they offer an appearance of reproduced seriality, yet all are unique and show the variations of each individual amputation. The amputees' names, featured as part of the works' titles, hint at this assembly of singularities.

The objects' movements arise from small robotic mechanisms in each sculpture's bottommost tip, draped in a silicone liner typically used to create a protective barrier between an amputated limb and its prosthesis. Some of the sheaths appear dirty, or used, or have tears in their soft tissue. Such details insist on these "bodies" as marked and imperfect, but functional and distinct, and add to their oddly mesmerizing allure. To choose Hic et Nunc (Latin for "here and now") as the title for these works and the exhibition as a whole insists that for all the timelessness of Olmedo's inquiry (the body is, after all, sculpture's most enduring subject), there is an urgent need to rethink the definition of what is human in the present moment.

The question of what counts as "normal" (or its opposite, and who decides) has been the motor of the Mexican artist's practice for many years now. And those marginalized by society-whether stray dogs or physically impaired humans-have been her polestars. Olmedo's previous mechanized sculptures were perpetually failing to achieve the erectness and verticality that represents health, ability, and control. Her sculptures in this exhibition's first room, on the other hand, enact a choreography far more ambiguous and even more unsettling. They lend body, quite literally, to the artist's prolific theoretical writing, in which she argues for a reconsideration of what defines the human in order to finally and fully include those who do not match the white, Western, masculine, able-bodied norm. The translucency of Olmedo's works in this first gallery lays bare the mechanics driving them, but also gives them an apparitional quali-ty-a sense of simultaneous presence and absence. It embodies the artist's avid interest in the writings of philosophers Gilles Deleuze and Félix Guattari, specifically their notion of "becoming-imperceptible" as a counterstrategy to modern societies' management of human life.

In the second and third rooms, the play with imperceptibility continues. Hollow vessels bulge in ways that varyingly insinuate a body's truncated form. There are casts of amputated legs again, but also of hips and torsos, thermoformed and artfully combined into fusions of fragmented parts-frozen siblings of their mechanized counterparts in the first room. Exquisite corpses of a sort, they are immobilized and braced with a hint of violence. Puckers, valves, and gaping openings punctuate these carapaces, which are attached to the metal railings of hospital beds or, in one case, a hip brace (abduction orthosis). The smooth chrome rods and brackets evoke bodily injury and a certain cold, clinical asceticism. Titled alêtheia, ancient Greek for "truth" or "disclosure," these chillingly beautiful works suggest postapocalyptic ice-sculpture versions of classic Greek figures, now broken-at once timeless and weirdly contemporary.

With these two groups of works, the artist dis-possesses the human of its claim of wholeness and foregrounds the political dimensions of disability, illness, and care. The merciless standardization imposed on our bodies is arguably the through-line that connects Olmedo's works over the last few years, and it is the visible, snaking wire that electrifies her thoughts and practice. Again and again, she asks us to recognize humanness as produced and the human as inherently disabled-unable to exist without the support of extrinsic aids of whatever kind. Her recuperation of forms and materials from the arsenal of medicine aims to transform the pros-thesis from a mechanical solution for a supposed bodily defect into an existential technology that unveils the nature of what it is to be human.

Olmedo articulates what some call a crip sensibility, disavowing physical purity through an unrelenting inquiry into health and care, "normal" and other. Her art is rife with cues to understanding the self under capitalism, with its inexorable demand for labor productivity geared toward profit maximization-the extension of colonial rule and an imperialist logic. And under these inhumane and relentless conditions, we are further judged, disciplined, and punished according to laws made by and for those conforming to so-called universal norms. Yet in a place like Mexico, where the artist hails from and continues to live, or other places where the welfare state has crumbled or indeed never properly existed, vast swaths of the population are without adequate access to the kind of medical attention, healthy diet, and care needed to maintain such standards. Bodies always end up paying the price, and some-because of their skin color or class or gender-more than others.

When she intertwines flesh and technology, or renders the body inescapably bound by its prosthetics and ortheses, Olmedo does so against the grain of our smooth, frictionless, increasingly digital age, with its cloud computing, immaterial information flows, and slick HD interfaces. In the face of this, the peculiar materiality of her struggling, prosthetically supported forms feels stubborn, tenacious. The artist rejects the championing of mind-less, bodiless efficiency, speed, and seamless perfection. Her point is not only corporeal, but political and existential.

"Historically," Olmedo writes, "man-white, heteronormative, adult, able-bodied-has been privileged as the universal norm against which everything else is measured, making women, children, queers, disabled, animals, plants, and molecules the 'other.' But as beings made of tissue and fluids, we must tear the notion of the body away from an anthropocentric hierarchy that places 'man' at its pinnacle and regard the body as a site for an encounter with that category's other. There is no stigma of disability in the world I propose, but only variations of existence, variations of movement, variations of slowness and speed."

So, enter. Awaiting you here are indeterminate beings-their species ambiguous. Each caught in their own mode of existence, they move at various speeds and in diverse rhythms. Humbly, they invite you into their community. Through them, Olmedo calls for our compassion toward a timely and urgent project; it is her response to the here and now.

Berenice Olmedo was born in 1987 in Oaxaca, MX; she lives and works in Mexico City.

Exhibition view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Exhibition view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Exhibition view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Exhibition view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Exhibition view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Installation view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022, view on, alêtheia, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Installation view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022, view on, alêtheia, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Exhibition view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Exhibition view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022. Photo: Philipp Hänger / Kunsthalle Basel

Installation view, Berenice Olmedo, Hic et Nunc, Kunsthalle Basel, 2022, view on, alêtheia, 2022. Photo: Philipp Hänger / Kunsthalle Basel

# data[].attributes.attachment_link.description
Artist: Berenice Olmedo Exhibition title: Hic et Nunc Venue: Kunsthalle Basel, Basel, Switzerland Photography: images courtesy the artist and Kunsthalle Basel Enter. They are waiting for you. Looking neither altogether human nor quite animal, perhaps insectoid, yet not quite organic-like and unlike any of these categories.

# data[].attributes.attachment_link.title
Conveyor-belt feeds me 5 course meal | Joseph's Machines

# data[].attributes.body
Lil Nas X heeft meerdere flashy cowboy outfits gedragen en een wonderbaarlijk gouden kostuum bij de Met Gala in 2021.De cowboy outfits waren in het begin van zijn carriere echt zijn statement. In 2021 bracht hij een paar schoenen uit als promotie voor zijn nieuwe nummer Montero. In de zool van deze schoenen zat mensen bloed verwerkt. Deze actie was erg controversieel en de reacties op de schoenen waren dan ook zeer uiteenlopend. De discussie over de schoenen liep zo hoog op, dat Nike Lil Nas X op een gegeven moment heeft aangeklaagd. Nike had namelijk nooit toestemming aan hem gegeven om hun schoenen te gebruiken.

# data[].attributes.headline
Zsófia Keresztes, “After Dreams: I Dare to Defy the Damage”

# data[].attributes.subject
Zsófia Keresztes, “After Dreams: I Dare to Defy the Damage”

# data[].attributes.body
https://www.artsy.net/article/artsy-editorial-10-best-national-pavilions-venice-biennale-2022

# data[].attributes.body
https://www.artsy.net/artwork/fiona-banner-pranayama-organ

# data[].attributes.body
https://www.artsy.net/article/artsy-editorial-10-best-national-pavilions-venice-biennale-2022

# data[].attributes.attachment_link.title
I Cant Breathe Black Lives Matter GIF by INTO ACTION - Find & Share on GIPHY

# data[].attributes.attachment_link.description
Discover & share this INTO ACTION GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

# data[].attributes.attachment_link.title
Sad Black Lives Matter GIF by j.a.c.k.i.e.l.a.n.d - Find & Share on GIPHY

# data[].attributes.attachment_link.description
Discover & share this j.a.c.k.i.e.l.a.n.d GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

# data[].attributes.body
In de performance 'the sphinx' is er een vrouw die bezoekers selecteert om een spel mee te spelen. Als je mee doet aan het spel mag je alleen ja of nee antwoorden. Als het antwoord niet goed is dan eindigt het spel. Alleen 'the sphinx' weet de antwoorden en bepaald of het antwoord correct is of niet en dat blijft een raadsel .  https://material-fair.com/platform/feria-material-vol-9/event/dora-garcia-la-esfinge/

# data[].attributes.attachment_link.readable_text
2D Cinematic Video & VR
Commissioned by Luma Arles, 2021
"We live on more timescales than we can grasp. At any given moment, human and non-human species execute countless variations of activity and events. Some are visible and can be felt, others remain unnoticed or mysterious but yet distinct and complex. Forces and unseen patterns constantly negotiate, shape and reshape the world we live in. Our physiological structure, our bodies and senses are unable to perceive or even imagine these unfamiliar to us, expansive temporal and spatial scales, the countless worlds and processes that are constantly taking place around us, and which transgress the boundaries of the physical field of our senses. Jakob Kudsk Steensen's work, Liminal Lands draws attention to the lesser-explored spaces that are not bound to the phenomena we have to understand and appreciate in our daily lives. Interested in symbiotic coexistence, micro-macro scales of existence and multi temporal realities, Steensen localizes his focus in a specific area of the Camargue, the wetlands of the Rhone delta, and the area of the Salin de Giraud. It is a landscape formed 7000 years ago, transformed through cultivation for its salt through time, but connected to energies from an ancient sea at the edge of the mediterranean. Immersing himself in the landscape December 2019 to Summer 2020, Jakob Kudsk Steensen records visuals and sounds of silent and unseen to us organic qualities - documenting hyper local rhythms of life across the landscape as it crystallizes, forming a mantle of salt across colorful worlds of algae, bacteria and organisms. These qualities exist at the edge of our actual experience and they define a new horizon, where intimacy with the environment and the place reveal multiple possibilities for re-examining our position in it. The crystallization becomes a medium similar to digital technology. A medium that stores and transports matter across boundaries of bodies, spaces and devices. Salt is a medium binding nutrients to bodies and landscapes. Salt preserves, kills, and enables life to exist. Steensen constructs non-linear narratives of events that unfold in micro-scale. A plant's roots form a sprawling underground network that slowly attaches itself to a rock formation; a feather dissolves on a bed of dead matter, with its bone turning into a host for salt particles' crystallisation, while algae and bacterial lifeforms absorb nutrients in a slowly oscillating rhythm, sedimenting a thin crust of microcystins on a mineral plate. Avian and amphibian vocalisations appear in his work as vivid forms, creating pulsating motions that then evaporate in a perceived distance. Crystalline minerals generate a range of intense patterns and effects transformed by the perception of wavelengths of light that reveal themselves in the form of different spectral hues.Liminal Lands is a transitional zone where fundamental energies of sun, wind, water and bacteria connect to participants' bodies in virtual reality. Through interactive multiplayer technology, physical movements, spatial sounds and textures synchronize into a musical composition driven by immersed participants. Liminal Lands reveals life-shaping transformations, invisible to the naked eye. It begins slow and rhythmic, guiding from the familiar human realm towards a metamorphosis of life and technology."
- Vassilis Oikonomopoulis, Senior Curator at Luma Arles

Video: Liminal Lands trailer (1:38) - Jakob Kudsk Steensen, 2021. Courtesy of the artist.

Installation - Luma Arles

PRÉLUDE - La Mécanique Générale at LUMA ARLES
June 26, 2021 - January 2022
Arles, France

Liminal Lands was originally commissioned by Luma Arles for the Prélude exhibition. The piece consists of video, virtual reality, and physical elements. The floors of Liminal Land s are made with artisans in Arles. The sculptural floors marks a shift from the museum space towards another reality, by transforming the ground you walk on. Each floor is made from crystallized salt infused with living algae, creating tones from the worlds of the Camargue and Salin-De-Giraud wetlands. The floors function as an archipelago inside of exhibition spaces, creating pathways and diversions simultaneously.

To create the physical floors, tones of algae, water and salt was first digitized outside across the salt marshes of the Camargue, then recreated inside using the same organic materials. By working with local craftsmen in Arles, the physical floors marks the beginning of ways to preserve and revive sensibilities of local crafts in our future virtual world makings.

Read more on the Prélude exhibition:

Review: Prélude, La Méchanique Générale by Joel Kuennen for Brooklyn Rail:

"LUMA Arles rises above vast Provençal fields and vineyards fed by the Rhône. It's capped with a faceted Frank Gehry tower, the polished steel sides stepping down, reflecting the golds and yellows of the dried fields and parching sun. Prélude, as the name suggests, is one of the inaugural exhibitions of collector Maja Hoffmann's long-standing project in Arles, LUMA. A secondary meaning of the word, to warm up, is appropriate ..."

Keep reading on Brooklyn Rail:

Installation Views: Jakob Kudsk Steensen, Liminal Lands, 2021 featured in Prelude at La Mécanique Générale, Luma Arles, France, 2021.

Photos by Marc Domage ©

"I begin on the calm, cracked salt flats of Salin de Giraud, at the gray and rose blush frontier Liminal Lands between sea and marsh, a "place with no borders" encircled by a glittering, matte black, simulated sea. Calls of unknown birds and frogs work their way into my skin. Salt water hosts algae that runs a brilliant pink; the algae tints native flamingoes who are not seen in the headset, but are certainly heard.

Moving from the flats, I am entrained in shifting perspectives. In eighteen minutes, my focus will be moved from pool to dank mud bed to subterranean cavern to the crest of a salt pillar. I pace in a pool, edging along hyperreal rocks which push me away when I lean in too close. The light is either that before dawn or dusk, and so it is impossible to tell what time it is. I sink through the ground to an underworld ..."

Continue reading:

Awards & Selections:

Official Selection - SXSW Film Festival (2022)

Official Selection - Geneva International Film Festival (2021)

Official Selection - BFI London Film Festival (2021)

Full Credits
Creator and artist: Jakob Kudsk Steensen

Commissioned by the Luma Foundation
Production credits:
Creator, programmer and artist: Jakob Kudsk Steensen

Co-producer: Liz Kircher

Curator: Vassilis Oikonomopoulis

Produced by Erratic Animist

Sound artist: Matt McCorkle

Interactive sound technology: Reese Donohue and Emre Tanirgan

HDRI skylight capture: Matthieu Grospiron

Multiplayer programming: Wouter Weynants

Optimization: Vladislav Sorkin

Alembic 3D art animation: Andy Thomas

Field biologist: Patrick Grillas

Special thanks: Atelier Luma, Tour du Valat and the Camargue Wetlands

For further information and enquiries: info@erraticanimist.com

# data[].attributes.attachment_link.description
Liminal Lands Multiplayer VR immersive intalltion, 2021 Jakob Kudsk Steensen

# data[].attributes.attachment_link.readable_text
Berl-Berl

Jul 10, 2021 - Sep 26, 2021
Halle am Berghain
Commissioned by LAS
The exhibition and online world Berl-Berl starts with a swamp as its protagonist - its ecosystem, history and mythologies - and pays tribute to Berlin's origin as a wetland that formed over 10,000 years ago, and was drained in the 1700s. 'Berl', the ancient Slavic word for swamp, is thought to be the origin of 'Berlin' and gives the exhibition its name.

Jakob Kudsk Steensen spent months researching the remaining wetlands of Berlin-Brandenburg, creating an archive of images using a method of macro photogrammetry in which he takes hundreds of images of a single object such as a leaf or patch of mud. Kudsk Steensen renders his findings in a 3D plan to create an immersive, absolute landscape using the video game platform Unreal Engine, a constant within his practice. Partnering with the Museum für Naturkunde Berlin, he also wove local specimens from their extensive archive into the visual and acoustic world of Berl-Berl. As songs were essential to ancient wetland culture and used to navigate the swamp and to share its mythologies, Kudsk Steensen collaborated with sound artist Matt McCorkle and singer Arca to create the world's soundscape. Arca's voice morphs with environmental sounds that include those made by local amphibians.

Berl-Berl is not only an image of the wetlands - it holds the memories of its past mythologies. Before it was drained, this saturated landscape proved ideal for the settlement of Slavic communities. This history, notably Sorbian folklore, permeates the work's narrative wherein a Triglav, a deity, appears as a great tree. The artist connects the mythology of this three-headed deity representing three dimensions of Slavic cosmology-Prav (Heaven), Yav (Earth) and Nav (Underworld) - to his understanding of the swamp. In Berl-Berl, the ecology is also a Triglav, it moves from undergrowth and fungi to water, leaves, and trees and sky-an entire, holistic landscape.

In combining his images and recordings from the wetlands with research on ecosystems, the artist builds a bridge between us and the history beneath our feet. Halle am Berghain becomes a gateway in which relics of the Ice Age connect to present-day wetlands, drawing attention to our current environmental reality. Kudsk Steensen reveals a perspective that would otherwise be impossible to see or experience with the hope of sparking a newfound appreciation for the swamp and to reimagine our role within this ecosystem that sustains us.

"Berl-Berl is a song for the swamp, a place for the undefinable - morphing, liminal and mystical. Berl-Berl mourns what is lost and embraces what is new."

Jakob Kudsk Steensen

Berl-Berl as a site for performance

The first live performance inside of Berl-Berl was directed by Daijing, performing her existing work Half a Name (act lll) in dialogue with Steensen's installation, expanding on the existing sound set-up of the artwork, that uses the building as an instrument, further activating the cathedral-like space of Halle am Berghain.

What unites Daijing and Steensen's practices is a shared understanding of singing as a form of navigating landscape as well as their interest in weaving mythologies into their work, blurring the lines between fictitious and lived realities. The collaboration marks the beginning of a new direction for Steensen's practice that focuses on performative approaches and collaborative projects. This performance was the first live event inside of the world of the artwork.

Pan Daijing, Half a Name (act III)
© Pan Daijing
Performance within the Light Art Space (LAS) commission Berl-Berl by Jakob Kudsk Steensen
Image featuring soprano Anna Davidson
Halle am Berghain, Berlin, 27 September 2021
Videography / Photography by Dzhovani
© 2021 Jakob Kudsk Steensen and Pan Daijing

The Berl-Berl book explores how lost mythologies, digital collaborations between science and art, swamp thinking and poetry can connect as means of collaborating and generating new worlds.

The book includes contributions from curator Emma Enderby, art historian Barbara London, scholar Alenda Chang, artist and researcher Dane Sutherland, poetry in response to the world of Berl-Berl by Precious Okoyonomon and Johannes Helden, as well as a conversation between director of the Berlin Natural History Museum Johannes Vogel, and artist Jakob Kudsk Steensen.

Available through Buchhandlung Walter Konig internationally.

Interview about Berl-Berl for Lousiana Channel by Lousiana Museum of Art

Jakob Kudsk Steensen was interviewed by Marc-Christoph Wagner in Halle am Berghain, Berlin in September 2021. Camera: Mark Nickels Edited by: Jarl Therkelsen Kaldan Produced by: Marc-Christoph Wagner Additional material documenting Jakob's fieldwork: DOP: Melih Akya Gimbal: Mario Hegewald Sound: Kaya Schwarz Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2021 Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet and C.L. Davids Fond og Samling.

# data[].attributes.attachment_link.description
Berl-Berl Jul 10, 2021 - Sep 26, 2021Halle am BerghainCommissioned by LAS The exhibition and online world Berl-Berl starts with a swamp as its protagonist - its ecosystem, history and mythologies - and pays tribute to Berlin's origin as a wetland that formed over 10,000 years ago, and was drained in the 1700s.

# data[].attributes.headline
Performance gif - lijkt wel een nieuwe vorm van kunst

# data[].attributes.subject
Performance gif - lijkt wel een nieuwe vorm van kunst

# data[].attributes.body
Maja Cule, Hanging from the 8th floor of the South side of The Trump Building at 40 Wall Street, (2013) (featuring: Marlous Borm). From “Performance GIFs,” 2013, curated by Jesse Darling. Screenshot, 2020, Google Chrome v81 on Mac OS 10.12. https://rhizome.org/editorial/2020/may/13/curating-online-exhibitions-pt-1/

hier zie je dan meer GIF: https://rhizome.org/editorial/2020/may/13/curating-online-exhibitions-pt-1/

# data[].attributes.attachment_link.readable_text
Curating Online Exhibitions
Maja Cule, Hanging from the 8th floor of the South side of The Trump Building at 40 Wall Street, (2013) (featuring: Marlous Borm). From "Performance GIFs," 2013, curated by Jesse Darling. Screenshot, 2020, Google Chrome v81 on Mac OS 10.12.
With physical exhibitions around the world now closed as a result of the COVID-19 pandemic, institutions and artists now face questions about online exhibition-making with sudden urgency. The task might at first seem relatively straightforward: to provide a point of access for the general public to programs and information that would otherwise be experienced in person.

For an audience that is sheltering in place, dealing with boredom or hardship or grief or all three, online exhibitions that are presented as stand-ins for a "real," gallery-centric art experience may only serve as a reminder of a life on hold, inviting direct comparison with the "real" thing, and drawing attention to what is missing from the experience. But online exhibition can be more than a space of simulation, documentation, promotion, and access. While there are legitimate questions to be asked about what kind of online arts programs are needed in a moment of crisis like this, institutions that hope to continue to serve their larger social and cultural mission through online programming during the long international lockdown and beyond would do well to engage in a deeper consideration of the specificities and histories of online exhibition-making.

This can be a challenge, though. The histories are not particularly well documented, and the specificities not so thoroughly mapped. In recent weeks, this has begun to change, with online conversations and articles picking up on the topic from a range of angles. In this series, as part of Rhizome's contribution to this broader discussion, I will attempt to gather some of our in-house approaches to online exhibition-making, while discussing examples from the wider history of born-digital art. In this first section, I'll argue that online exhibition should be considered as a practice that is distinct from but connected to gallery exhibition, and that the performative, variable quality of born-digital culture is a key aspect of this distinctiveness.
What is an Online Exhibition? "Exhibition Kickstarter," 2014, curated by Krystal South. Screenshot, 2020, Google Chrome v81 on Mac OS 10.12.
A crowd-funding campaign offering artists' multiples to backers. An exhibition in the virtual world of Second Life. A zip file downloaded to a user's computer. An HTML page featuring thumbnails and links to artists' works. A curated app offering selections of smartphone-based VR works.

This is a small sample of the bewildering array of projects that have circulated online in recent years under the label of "online exhibition." While gallery exhibitions have a recognizable default in the white cube, visitors to an online exhibition can expect to encounter any number of structures and formats. At best, this categorical instability allows viewers to understand exhibition-making as a variable, context-dependent cultural practice, and to imagine how it might (or, might not) outlive the white cube - the specific architectural setting to which it was, for a time, largely bound. At worst, it's just bewildering. Given this gonzo history of experimentation, it is easy to lose one's grasp on what an online exhibition even is.

In the museum studies field, exhibitions are traditionally defined along lines like these: "Exhibition involves imposition of order on objects, brought into a particular space and a specific set of relations with one another." Contemporary art has mounted its share of challenges to this kind of definition, but each of these concepts is placed under particular stress in an online context:

Digital artworks that appear to be coherent objects are rather the performance of objecthood. Digital culture is "more about practices than objects." Born-digital artworks and cultural artifacts-works that depend on the computer for their creation and reception-can be experienced only when enacted within complex ensembles of hardware and software, and may also rely on audience participation, external websites or media, APIs, or other inputs and services. They are performed, not merely displayed.

Online exhibitions do not take place in a unified, coherent space. For example, every user has a differently sized screen, so the literal screen space in which the exhibition is accessed is highly variable. The online exhibition may be presented in a navigable, pictorial space, but this is only one organizational rubric among many that may be used to arrange works. Rather than a mere arrangement of works in space, online exhibition involves arranging a multifaceted mise-en-scène to accommodate an unfolding event.

Specific sets of relations that serve a larger curatorial aim may be often refracted, online, through works that change over time, the input of audiences, the reshuffling of algorithms. Exhibitions as a whole are social processes, and online exhibitions are social processes that play out via computer networks.

With these caveats in mind, the definition could be restated in this way: online exhibition involves the performance of artworks and their objecthood in a particular mise-en-scène, brought into dynamic relationship with one another and a broader network context.
From Physical to Digital
Before unpacking this further, there is an important discussion to be had about the relationship between online and offline exhibition-and likewise, between online exhibition of artwork that is created and experienced via the user's own computer, versus online exhibition of documentation that refers back to gallery-based work. There is considerable crossover among these practices, and it is not particularly beneficial to worry too much about establishing clear boundaries.

Online culture is often framed as an exceptional world of its own, inherently different from everyday life. It is also sometimes framed as entirely unexceptional, contiguous with "offline" social reality. As scholar Julie E. Cohen has argued, both approaches are limited:

...it is possible to assert that cyberspace is "just like" real space only if one ignores that cyberspace is peopled by real users who experience cyberspace and real space as different but connected, with acts taken in one having consequences in the other. In all cases, theories of cyberspace as separate space give short shrift to cyberspace as both extension and evolution of everyday spatial practice-as a space neither separate from real space nor simply a continuation of it. That is to say, they ignore both the embodied, situated experience of cyberspace users and the complex interplay between real and digital geographies.

Along these lines, the online exhibition is best understood as distinct from and connected to the embodied and situated experience of practitioners, the public, and even the gallery world.

Audiences have long been conditioned to experience physical exhibitions online. In the years before the launch of Instagram, blogs such as Vvork (2006-2012) and Contemporary Art Daily (2008-) built enormous followings for their curated image feeds. While Vvork focused largely on individual artworks, Contemporary Art Daily featured exhibitions, often presenting work from fledgling artist-run spaces from places like Portland and Mexico City alongside established museums. Through these blogs, and the platforms that followed them, users grew increasingly accustomed to experiencing physical work via a screen.
VVORK, 2006-2012. Screenshot, 2020, Google Chrome v81 on Mac OS 10.12.
As gallery visitors increasingly began to make their own photographs of exhibitions for online sharing, gallery architecture shifted in response. Fifteen years ago in New York City, it was still common for a fashionable commercial gallery to use track lighting fixtures or other focused lighting arrangements, allowing the artworks to be brightly lit while keeping the gallery as a whole relatively dim, like a cocktail bar, suitable for a glamorous evening crowd. When photographed by untrained visitors, though, track lighting often resulted in yellowish, murky images, and as the public increasingly began to publish their own exhibition photographs, fluorescent strips offering even, flat light throughout a space became the go-to option.
Ryan McGinley, "I Know Where the Summer Goes," Team Gallery, 2008 / Ryan McGinley, "Animals," Team Gallery, 2012.
In this light, even traditional institutions are already engaged in some level of online exhibition-making. Likewise, art audiences are already engaged in online viewership and discourse. On an institutional level, though, online engagement is often formally separated from curatorial work, relegated to a supporting role, and measured according to concrete metrics. This tends to limit the potential for curatorial and artistic investigation of online exhibition in institutional contexts. It's not surprising, then, that some of the most interesting experiments with the slippage and connection between the gallery and the internet come from artists.
Image Object Sunday 17 June 2012, installation view at Higher Pictures, New York.
Artie Vierkant's Image Objects, for example, is a series of panels printed with colorful abstractions. When the objects are photographed for online circulation, Vierkant alters the documentation, creating distinct digital works for online circulation.
"Generation Works," curated by Jasper Spicero, 2012. Screenshot, Google Chrome for Mac OS 10.2, 2020, featuring Bunny Rogers, chairs (after Brigid Mason), 2012.
Generation Works, curated by Jasper Spicero, was an artist-run space in a condo in downtown Tacoma, Washington, that admitted no visitors, only making exhibitions available through documentation on an evocative handmade website.

Both of these projects embraced the open-ended meaning-making of the internet, and contrasted it with the authority and fixity of the traditional exhibition space-a tension that is kept alive through organizational structures that delineate online engagement from curation. A full consideration of online exhibition-making as both "extension and evolution" of traditional exhibition practice will have implications for these kinds of divisions, and for curatorial practice as a whole.
Exhibition as Performance
If a "rarefied and incontrovertible lingua franca " has been built up over time around museum and gallery architecture, the internet can make that language seem commonplace and open for questioning. Rather than striving to preserve their authority intact in a new context, curators and institutions shifting to online exhibition would do well to begin with an acknowledgement of the "history and wholeness" of the context in which they now work.

Variability is perhaps the most fundamental and confounding concept involved in working digitally. As articulated in Lev Manovich's 2001 book The Language of New Media, variability suggests that the same set of data can be accessed in numerous ways, depending on factors like hardware and software environment. Whether an online exhibition consists of documentation of physical work or born-digital work, variability makes the question of what the exhibited work actually is, and how to present it in a stable and coherent way, rather vexing.

Boris Groys approached this topic in his 2008 book Art Power by framing digital exhibition as a form of performance: "The digital image is a copy-but the event of its visualization is an original event, because the digital copy is a copy that has no visible original. That further means: A digital image, to be seen, should not be merely exhibited but staged, performed."[13] While Groys's primary focus in this text is gallery exhibition of digital imagery, the same holds true online. Online exhibition involves making certain choices regarding a work's performance.

Groys places great emphasis on the technical apparatus in which the work performs. In particular, he highlights the curatorial decision as to whether to perform a digital artwork consistently within its original technical apparatus. If the work is shown in its original format, the format itself can begin to overshadow the work. If it is translated into a new format, it may change the work in significant ways. He goes so far as to question whether it is appropriate to include technical apparatus within an artwork's object boundary:

... to preserve the original technology shifts the perception of a specific image from the image itself to the technical conditions under which it was produced. What we primarily react to is the old-fashioned photographic or video recording technology that becomes apparent when we look at old photographs or videos. The artist did not originally intend to produce this effect, however, as he lacked the possibility of comparing his work with the products of later technological developments.[14]

Groys suggests that overemphasis on technical apparatus can cloud an audience's understanding of an artist's original intent. At the same time, though, understanding an artist's relationship with a given technological context, even down to something as mundane as a specific software interface, might be crucial to any understanding of their intent.

At Rhizome, we use the metaphor of the object boundary to help guide conversations about the role that a given software or network context might play in relation to a given work. In the context of networked software, objecthood is only the performance of objecthood, and the object boundary is not a given, but a variable.

Rhizome's preservation director, Dragan Espenschied, articulates this as follows. The artifact-the resources such as files that make up the work, which are there even when the computer is turned off-are performed with other resources (usually ones that were not created by the artist) to perform the object. The object boundary includes whatever is considered to be the artifact, plus whatever other resources are brought into the performance.

Decisions about setting an object boundary for exhibition are, at best, subjective and unbound by convention. Should the work be presented in Netscape Navigator 3 running on the cloud, or should we read the source code aloud in a 24-hour YouTube performance?

As part of Rhizome's online exhibition Net Art Anthology, which focused on historical works of net art, object boundary was drawn in a range of ways:
Alexei Shulgin, Form Art, 1997. Screenshot, 2017, Netscape Navigator 3.04 Gold for Windows.

In some cases, works were presented in a legacy software environment. In other words, the exhibited "object" included both artist-made files and a period-appropriate web browser or operating system. One example of this was Alexei Shulgin's Form Art, a body of work made up of compositions created using default HTML buttons and menus. A good number of the compositions still render in modern browsers, but the aesthetics of these elements has changed radically from the 1990s to the present day. Thus, Form Art was presented via emulation-visitors to Net Art Anthology can open it in Netscape Navigator 3, running in the cloud.
Eva and Franco Mattes (0100101110101101.ORG), Life Sharing, 2000-2003. Screenshot, 2020, Google Chrome v81 on Mac OS 10.12. Electronic Disturbance Theater, FloodNet, website for April 10, 1998 action. Screenshot, 2016, Netscape Communicator 4.8 for Windows. The bottom frame displays a reconstruction of the website of the President of Mexico circa 1998, which was reloaded repeatedly as part of the FloodNet action.

In other cases, legacy websites were presented in a modern software environment. Life Sharing by Eva and Franco Mattes (0100101110101101.org, 2001-2003) was a long-running performance project in which the artists made the contents of their personal computer accessible online, to the public. During the work's original life, it changed daily as the artists used their computer. Visitors could check the artist's email, browse their system files, and view saved images and documents through a web interface. For Net Art Anthology, the original system files were made available as a static archive. If what lent the work its feeling of transgression was the immediacy of accessing a personal computer through the browser; offering access to this work in emulation would add layers of mediation and make this raw personal data more remote. Thus, although there were some aesthetic elements that rendered differently in a modern browser, the work was not shown in a legacy environment.

In other cases, a work could not be presented without some sort of external resource. Electronic Disturbance Theater's FloodNetwas designed as an online protest in support of the Zapatista movement in Chiapas, Mexico, designed as a "sit in" against target websites that represented interests that were opposing Zapatistas. FloodNet used a java applet - a software application embedded in a website - to allow visitors to reload the target pages, thereby slowing them down. The inclusion of this work in Net Art Anthology involved not only offering access to the original work in a legacy browser that allowed it to function, it also involved reconstructing the target websites from saved material on the Wayback Machine.
Time to Bang the Bricks
Thus, in Net Art Anthology, some artworks were presented with restored or even recreated elements of their original technological context, but others weren't. The decision about where to draw the object boundary was made according to the affordances of a given work and what were assumed would be the environments in which the audience would encounter it. This decision sometimes involved input from the artists and curators and preservation expertise, as well as decisions about how best to use limited staff time, and about what artifacts and resources were available.

Regardless of how the boundary is drawn, what results is not a stable object, but the performance of objecthood. As Groys would put it, "each presentation of a digitalized image becomes a recreation of the image."[15] Each re-staging of an artwork in online exhibition will be new and different and shaped by its participation in a real-time network.

The language of performance turns out to offer a range of concepts that are quite useful for online exhibition-making. In my next installment in this series, I'll build on this concept to discuss how online exhibition-making can involve mise-en-scène. The concept has its roots in the embodied space of theater, but it has luckily been expanded through its adoption in cinema studies, so that now we can use it without feeling restricted to traditional spatial thinking.

Applying imagery too directly from the physical world to the digital may be hazardous, as my colleague Dragan has pointed out. Such concepts:

...popularize a conservative view on digital culture. When computers are continuously explained with cars, networks with highways, search engines with the human brain, even Email with classical postal service, the actual properties and possibilities of the computer are lost.[16]

Dragan has made a number of suggestions for metaphors that derive from digital culture, but may be used in a wide range of circumstances. For example, he suggests that one can say "I'm gonna bang the bricks" when it's time to go to the ATM, inspired by the way that Super Mario finds coins by smashing bricks.

I want to expand this metaphor, and to suggest that "banging the bricks" might serve as a useful metaphor for finding value in a seemingly obdurate situation.

When making online exhibitions, it is important to be wary of the conservative tendency to rely on traditional gallery exhibition as sole point of reference. Attempting to replace "real" exhibitions online only remind audiences that they are confined to their homes, deprived of the "real thing." Replacements invite direct comparison with some now-inaccessible experience of seeing artwork alongside other flesh-and-blood humans. Rather, the task is to explore the online exhibition as a distinctive practice that is still connected to a broader field and history of exhibition-making, a real experience in its own right. To do this, one must bang the bricks.

Notes:

[1] As a whole this text rests especially heavily on the work of Rhizome's preservation team under the direction of Dragan Espenschied.

[2] " Exhibition Kickstarter," curated by Krystal South, 2014.

[3] Examples abound, but two notable efforts are the Temporäre Kunsthalle Berlin Second Life, 2007, and Manetas Desert in Second Life, 2008.

[4] The Download was initially a Rhizome program offering artists' works for download, initiated by Zoë Salditch, and was relaunched and rearticulated as an online exhibition series by Paul Soulellis (2015-2018).

[5] Examples abound, but " Miniatures of the Heroic Period " curated by Olia Lialina in 1998 is a favorite.

[6] Liz Wells, "Curatorial Strategy as Critical Intervention: The Genius of Facing East," from Judith Rugg and Michèle Sedgwick, Issues in Curating Contemporary Art and Performance, 29.

[7] Rhizome, "Preserving Digital Art with Rhizome and Google Arts & Culture," meeting agenda, April 2017.

[8] Trevor Owens, "' Digital Culture is Mass Culture': An interview with Digital Conservator Dragan Espenschied," Library of Congress, 2014.

[9] Julie E. Cohen, Cyberspace As/And Space, Georgetown Public Law and Legal Theory Research Paper No. 898260, 2007.

[10] Jimmie Tiptree Jr, " Post Whatever: on Ethics, Historicity, & the #usermilitia," Rhizome, 2014.

[12] Lev Manovich, The Language of New Media, Cambridge: MIT Press, 2001.

[13] Boris Groys, Art Power, Cambridge: MIT Press, 2008. 84.

[16] Dragan Espenschied, "I gonna bang the bricks!" - I will draw money from an ATM," Contemporary Home Computing, February 8, 2007.

# data[].attributes.attachment_link.description
Curating Online Exhibitions Maja Cule, Hanging from the 8th floor of the South side of The Trump Building at 40 Wall Street, (2013) (featuring: Marlous Borm). From "Performance GIFs," 2013, curated by Jesse Darling. Screenshot, 2020, Google Chrome v81 on Mac OS 10.12.

# data[].attributes.body
Stadsgeluiden zijn altijd een belangrijk onderdeel geweest in de verdiepende soundscapes van KMRU. Zijn werk Slowed Cities vraagt de luisteraar naar binnen gericht te luisteren naar de stad. Hoe vormen het menselijke en niet-mensenlijke die stad? Het stuk werd gecomponeerd met geluidsfragmenten uit persoonlijke archieven van veldopnames uit Nairobi, Jinja, Berlijn, Barcelona, ​​Parijs en Montreal. Het is een verhaal over het verleden, het heden en de toekomst van steden, opnieuw verteld.

Slowed Cities reflecteert op de doorlopende industriële revoluties van steden en het sonische leven van de inwoners en gebruikt geluid als een onderscheidend medium van kennis.

# data[].attributes.body
https://vimeo.com/558200208?embedded=true&source=vimeo_logo&owner=13240341
De virtual reality-ervaring verkent ideeën rond de dood, herdenking en fotografie en kijkt naar de poëtische aspecten van onze menselijke herinneringsrituelen en de oude en nieuwe processen die ons in staat stellen banden met de overledene te onderhouden.

# data[].attributes.attachment_link.description
Ghost Weight Experience, 2021

The virtual reality experience explores ideas around death, memorialization and photography looking at the poetic aspects of our human rituals for remembering and the old- and new-world processes that allow us to retain connections with the departed.    
                                                                             
Isa Suarez: music composition and sound design 
Veronica B.: script and narrative development
Alejandro Escobar: VR development

Elaine Green: Sufraki monologue
Salia Samai-Chow: Gaby Arzadun monologue
Jon Lane: Seraphinus Micheaux monologue
Nathan Osgood: Tommy Arcade monologue

Funded by an Arts Council England Lottery Grant

# data[].attributes.headline
ACT 2 | KWAGO – OYAYI pintig at himig sa bilibidVanuit de overtuiging dat diep luisteren een collectieve daad is, organiseert het collectief KWAGO gezamenlijke poëzie sessies in een vrouwengevangenis in de Filipijnen. Deze sessies zijn geïnspireerd op de Deep Listening-praktijk van Pauline Oliveros en traditionele vormen van prekoloniale gesproken poëzie. Terwijl de gevangen gedichten schrijven, neemt KWAGO hun hartslag op. KWAGO onderzoekt het potentieel van technologie om een ecosysteem van zorg te creëren. Tijdens STRP Festival 2023 presenteert het collectief een interactieve geluidsinstallatie die laagfrequente audio-opnames laat horen, samengesteld uit slaapliedjes, hartslagen en verlangens. KWAGO is een onafhankelijk, non-profit onderzoeks- en publicatielaboratorium in de Filippijnen, gerund door de kunstenaars Czyka Tumaliuan en Issay Rodriguez in samenwerking met vrijwilligers.

# data[].attributes.subject
ACT 2 | KWAGO – OYAYI pintig at himig sa bilibidVanuit de overtuiging dat diep luisteren een collectieve daad is, organiseert het collectief KWAGO gezamenlijke poëzie sessies in een vrouwengevangenis in de Filipijnen. Deze sessies zijn geïnspireerd op de Deep Listening-praktijk van Pauline Oliveros en traditionele vormen van prekoloniale gesproken poëzie. Terwijl de gevangen gedichten schrijven, neemt KWAGO hun hartslag op. KWAGO onderzoekt het potentieel van technologie om een ecosysteem van zorg te creëren. Tijdens STRP Festival 2023 presenteert het collectief een interactieve geluidsinstallatie die laagfrequente audio-opnames laat horen, samengesteld uit slaapliedjes, hartslagen en verlangens. KWAGO is een onafhankelijk, non-profit onderzoeks- en publicatielaboratorium in de Filippijnen, gerund door de kunstenaars Czyka Tumaliuan en Issay Rodriguez in samenwerking met vrijwilligers.

# data[].attributes.body
IK KAN HET WERK ZELF NIET VINDEN!

# data[].attributes.attachment_link.readable_text
MAGMA MAGAZINE 03, December 2022. Well... it's actually February 2023 but, you know, time flies. We hope the wait was worth it.

This issue, entitled "Diminished Reality", questions the impact of emerging digital technologies on our perception of reality. From the limitless possibilities of Artificial Intelligence to the fully-immersive Metaverse, the authors wonder whether these cutting edge technologies and the resulting user experiences truly enhance or detract from our connection to the real world. This issue also delves into the possible impact of these technologies in the alteration of our perception and understanding of reality, and their role in shaping our relationship with people, the surrounding environment and also our creativity. The magazine features a curated selection of visually striking works from international contributors, each offering a unique perspective on the theme. Through an immersive and visually dynamic experience, Magma invites readers to explore the theme through this fascinating kaleidoscope of imagery, and to form their own understanding and perspective on the role of these technologies on our reality.

Heartfelt thanks to all the awesome contributors to this issue: Zach Blas, Norimichi Hirakawa, Kazuto Ishikawa, Jonathan Monaghan, Mathieu Stern, Clement Valla, Emilio Vavarella. Table of contents, credits and references in the back pages of the magazine.

The following images are a part of Zach Blas's project titled "Face Cages", a thought-provoking installation and performance, turning biometric diagrams into physical metal cages. Evocative of medieval instruments of torture and slavery, worn by artists Micha Cárdenas, Elle Mehrmand, Paul Mpagi Sepuya and Zach Blas, during the performance. The biometrics industry has grown rapidly because of its ability to quickly determine a person's identity through physical characteristics. However, biometric machines often fail to recognize minority people, which makes such people vulnerable to discrimination, violence, and criminalization, facial recognition technologies in general have been largely criticized for being a form of policing and surveillance, with particularly negative consequences for marginalized individuals. "Face Cages" highlights the irreconcilable nature of these biometric diagrams with the human face, bringing attention to the violence that occurs when the two are forced to coincide and presenting the use of diagrams in facial recognition technologies as a form of dehumanization.

In recent years Artificial Intelligence applications to photographic images have rapidly evolved from being a set of algorithms designed to enhance the processing tools in the photographer's hands to a complex system of Neural Networks capable of "conceiving" images radically different from the one originally in front of the camera. "Happy with AI" is an ongoing photographic project by creative duo V&A that questions the impact of Artificial Intelligence on Portrait Photography and on our ability to recognize the genuineness of a human expression versus one obtained through the help of artificial intelligence and to identify the feelings behind it. Artificial Intelligence, threatens to relegate the Photographer to an increasingly marginal role regarding the creative control over the final output, that of a mere operator of the user interface. AI also risks undermining the natural empathy we feel in observing the facial expression of our fellow human being, in relation to someone's image. In fact, the idea that it may be more or less artificially manipulated puts the observer in a state of natural distrust; not only towards the image itself, but also towards the person and the story to which the photo is meant to represent.

In these early days of AI's photorealistic image generation, algorithms still face challenges in accurately rendering human hands - an integral aspect of human anatomy that extends beyond mere functionality, to the realm of gestures and expressiveness in communication. People commonly use their hands to communicate with each other or in-place of verbal communication or to reinforce meaning, and some gestures have taken on universal significance, such as the handshake, the overlapping of several hands in a circle. For painters, sculptors and photographers, hands have always been tricky to represent, and perhaps they are poorly documented in the boundless image data sets that AI algorithms draw on. In most cases, the AI that engages in the intent often produces nothing but monstrous distortions. Through this series of images, entitled "Human hands are so underrated", V&A aim to point out AI's current limitations in capturing the intricacies and complexities of human features and make it a poignant reminder that, for machines, images are nothing but a mosaic of pixels - a matrix of RGB value arrays.

"Amazon's Cabinet of Curiosities" is an installation created by Emilio Vavarella with Alexa Voice Shopping: the artificial intelligence developed by Amazon. Started in 2019, the project is still ongoing. The artist posed one simple question to Alexa: "Can you suggest a product for a new artwork?" and then proceeded to purchase every product suggested by Alexa until the production budget was exhausted. From a human perspective, the products suggested by Alexa were completely unpredictable. However, from the perspective of Amazon, the outcome followed a predefined logic, utilizing obscure item-to-item matching filters linked to massive datasets and algorithms optimized for maximum commercial consumption. The installation raises important questions about the implications of artificial intelligence on artistic authorship, the role of the artist in the age of AI, and the extent to which technology shapes our behavior and decision-making. "Amazon's Stravaganza: A Personal Index of Infinite Consumption" is a photographic project derived from "Amazon's Cabinet of Curiosities", presenting each Amazon package delivered, along with a remediation of its content.

Jonathan Monaghan's"Soft Power" series is an exploration of the intersection between technology and humanity. In his series of artworks, the author presents robotic forms made of soft fabrics, juxtaposed with ornate baroque architecture, to create a visual commentary on the impact of digital technology on human condition. These strange and surreal images, which resemble human figures at first glance, are crafted from a combination of luxury fabrics and ambiguous technology, creating a sense of confusion and disorientation. These geometric fragments, which the artist uses as building blocks to represent the complexity of the human experience in the digital age, are both a reflection of our reliance on technology and its influence on our psyche. The compositions, featuring imagery of consumer electronics, baroque architecture, and corporate logos, are a study of power in the digital age. With "Soft Power" series the artist invites us to reflect on digital technology's influence on our psyches and our understanding of technological power in relation with the complexity of human condition.

Here you have a collection of stunning non-existing film cameras accompanied by a completely fictional story created by French photographer Mathieu Stern, according to which the precious collection was once owned by Chinese Emperor Qianlong, an actual historical figure from the Qing dynasty, who, apparently, was very fond of the Art of Photography. The author employed Midjourney's Artificial Intelligence to create each camera after having invested a considerable amount of time researching different styles of Chinese porcelain in order to feed the algorithms accurate references. The result is so fascinating and realistic that it easily fools the observer's superficial observation. In fact when the author published the project on his social media profiles, many people were captivated by the intricate details and convincing backstory, completely neglecting the fact that the Qianlong Emperor lived centuries before the invention of Photography. Certainly the project highlights in a simple and convincing way the potential of AI in creating compelling stories, images, and artifacts that can easily mislead the audience.

"Family Portrait: A New Perspective" is a photographic project by V&A that provocatively explores the possibility of reinterpreting the classic concept of the family portrait through the use of computational technology. The authors have developed a program that generates an "Eigenface": an image based on a facial recognition technique that utilizes eigenvectors to represent an image as a linear combination of a set of basis images. In this case, in particular the basis images for this Eigenface are derived from a dataset of images of the author's family, spanning four generations. By presenting the observer with this pretentious synthesis of the identity of an entire family generated by the program, the authors challenge the idea of family identity being a simple sum of its constituent parts and its visual representation through facial recognition techniques. This leads the viewer to consider how the generated image compares with actual photographs and the mental model of a traditional family portrait, ultimately raising questions about the accuracy and validity of such representations.

The images in the following pages are a selection of frames extrapolated from "16 unknowns": an algorithm-driven video collage conceived by artist Norimichi Hirakawa that rearrange and combines 26 interview footagesof as many individuals. The computer program running in the background generates a 16-digit alphabetical string using different algorithms; at the same time, the foreground program generates a collage of the videos line by line corresponding to the generated 16 digits string."16 unknowns" explores the theme of identity and individuality; its complex, kaleidoscopic, output projects the mute portrait of an anonymous individual, sum of a multitude, yet a nobody. In fact, in the resulting stream of images, the audio of the interviews is muted to further emphasizing the loss of identity, nullifying any personal testimonies originally recorded. The use of an algorithm, devoid of any human logic, to generate the final portrait also adds an additional aspect of artificiality, making the final portrait completely detached from the real individuals who were originally interviewed.

Into the pages to follow, two distinct projects by Jonathan Monaghan are presented: "Police State Condo", is a series of sculptural print works that convey a dystopian tone, blending elements such as security cameras, TSA checkpoints, and ATM machines with designer fabrics and penthouse views to create ominous vignettes reminiscent of advertisements for posh apartments. Each work in the series is titled with a corporate slogan of a defunct American bank affected by the 2007 housing collapse and occupies the liminal space between the virtual and physical through the use of both two-dimensional imagery and 3D printed sculptural reliefs. The second project, entitled "Gotham", is a series that re-imagines 19th-century New York facades as organic material, drawing on the original Beaux Art architecture of luxury apartment buildings in New York such as The Prasada and The Ansonia. This series creates a surreal meditation on power and affluence in the context of the rapid re-development of the Manhattan skyline by a new era of wealth, while also examining the blurry divide between the natural and artificial.

The series of images "Postcards from Google Earth", by Clement Valla, presents a collection of screenshots taken from Google Earth's patchwork of satellite images, captured by the author while roving around the digitalized landscape offered by the platform. Clement Valla accidentally discovered anomalies in the renderings of images of some landscapes, in which the illusion of a seamless representation of the Earth's surface appears to break down, and decided to capture them. These beautifully odd images highlight instances where the algorithm-driven process of creating a continuous representation of the Earth's surface is disrupted, revealing the failure of the underlying process in rendering realistic images. Rather than being seen as errors or glitches, these anomalies are seen as integral to the representation process, exposing the complex web of algorithms, cameras, maps, engineers and other collaborators used to generate the images. "Postcards from Google Earth" is a powerful commentary on the relationship between technology and the representation of reality and how our understanding of the world around us is shaped by the tools we use to capture and interpret it. This disruptive series lays bare the mechanisms behind a well-known tool, challenging our understanding of the images we see and how they are generated, and suggesting a critical examination of the technology that shapes our perception of the world.

In his series "Humanity", the author -Japanese artist Kazuto Ishikawa- explores the collective identity of our species and how it is obscured in the age of information overload. The artist uses a combination of photographs and ink to create images that depict individuals and their surroundings. After photographing a person and her/his surroundings, the artist recreates the image by applying a generous amount of ink to a sheet of transparent paper. By overlaying the images before the ink dries, the subject's lines merge. By repeating this process, the artist is able to extract the distinctive colors of the subject, which can be seen as a representation of the subject's true identity and individuality. The artist's choice to use a manual process, as opposed to digital manipulation, underscores the importance of physical interaction in the formation of our identity in a world where we are constantly surrounded by digital stimuli, information and data, ending up interacting with others predominantly through screens in increasingly digital and less physical environments. "Humanity" is a visual exploration of the relationship between technology, information and identity and reminds us of the importance of physical connection and the preservation of our collective identity in the digital age.

"Profundior (Lachryphagic Transmutation Deus-Motus-Data Network)" is an immersive installation that explores the hidden religious and political aspects of AI emotion recognition systems. I this work the author Zach Blas presents an imagined AI god, Lacrimae, who feeds on the tears of computer-generated human simulations. The AI god transforms tears into liquid data, which it drinks as a ritual as it strives to generate a perfected computational language of emotional expression. The installation highlights the religious dynamics within the tech industry's drive to capture and calculate emotions. Users of digital devices ritualistically offer their emotions as training data to AI-driven platforms, which is used to enhance algorithms and the spiritual goal of many in the tech industry to transcend biology and human embodiment. The installation stages a kind of religious digital body horror, suggesting that this genre is an appropriate lens to view AI and emotion capture. "Profundior" suggests that tears symbolize the emotional extraction necessary for AI to ascend as an entity with godly power, but also leaves open the question of whether the emotional capacity of tears can ever be fully captured by the belief systems that animate today's corporate, capitalist AI platforms.

At present, most AI applications we know about are specialized in well-defined tasks. The high degree of specialization makes it difficult, if not impossible, for a framework specialized in creating illustrations to produce good photorealistic images and vice versa. A sophisticated Chatbot like ChatGPT can write good coherent texts without necessarily knowing the meaning of what it is writing, but its sole purpose is to generate text. When asking an AI algorithm specialized in generating images from textual descriptions to instead generate text, write words, or even individual letters, results are often quite bizarre. "Letters from AI", a series of typographical compositions created by Vincent Moro, and inspired by Edward Fella's collection of Polaroid snapshots of the signs and symbols found in the streets, is a collection of odd typographic characters designed by the AI, in the form of fictitious threatening letters written by an anonymous sender. The juxtaposition between these letters, generated with fragments of data without any apparent logic, and the tone and meaning of the messages these letters compose, underscore the gap between what is human and what is not. Indeed, hatred is still a human prerogative. For how much longer, however, is unknown.

The obsolescence -planned or not- of many technological devices has led to the rapid extinction of a series of storage and data reproduction supports, both analog and digital. As a result, a multitude of videos, songs, and photographs have been condemned to oblivion, trapped on CDs/DVDs under a living room carpet, forgotten on dusty attics on VHS tapes waiting for some flea market dealer, or still inserted in tape decks buried among piles of scrap yard cars. "Tales from Dead Formats", a series created by V&A, imagines the lost stories in these devices; presents to us a transfiguration of the memories associated with them, sinisterly corrupted by their posthumous vain attempt at reconstruction through the prompt of AI App. What comes out of it are impossible, distorted, misshapen memories, assembled like Frankenstein's monsters, in the hopeless attempt of the algorithm to reproduce images that belong to real-life experiences and related memories.

# data[].attributes.attachment_link.description
MAGMA MAGAZINE 03, December 2022. Well... it's actually February 2023 but, you know, time flies. We hope the wait was worth it. This issue, entitled "Diminished Reality", questions the impact of emerging digital technologies on our perception of reality.

# data[].attributes.attachment_link.readable_text
The success of today's booming biometrics industry resides in its promise to rapidly measure an objective, truthful, and core identity from the surface of a human body, often for a mixture of commercial, state, and military interests. Yet, feminist communications scholar Shoshana Amielle Magnet has described this neoliberal enterprise as producing "a cage of information," a form of policing, surveillance, and structural violence that is ableist, classist, homophobic, racist, sexist, and transphobic.

Biometric machines often fail to recognize non-normative, minoritarian persons, which makes such people vulnerable to discrimination, violence, and criminalization: Asian women's hands fail to be legible to fingerprint devices; eyes with cataracts hinder iris scans; dark skin continues to be undetectable; and non-normative formations of age, gender, and race frequently fail successful detection. These examples illustrate that the abstract, surface calculations biometrics performs on the body are gross, harmful reductions.

A visual motif in biometric facial recognition is the minimal, colorful diagrams that visualize over the face for authentication, verification, and tracking purposes. These diagrams are a kind of abstraction gone bad, a visualization of the reduction of the human to a standardized, ideological diagram. When these diagrams are extracted from the humans they cover over, they appear as harsh and sharp incongruous structures; they are, in fact, digital portraits of dehumanization.

Face Cages is a dramatization of the abstract violence of the biometric diagram. In this installation and performance work, four queer artists, including micha cárdenas, Elle Mehrmand, Paul Mpagi Sepuya, and Zach Blas, generate biometric diagrams of their faces, which are then fabricated as three-dimensional metal objects, evoking a material resonance with handcuffs, prison bars, and torture devices used during the Medieval period and slavery in the United States. The metal face cages are then worn in endurance performances for video. Face Cages is presented as an installation that features the four performance videos and four metal face cages.

The computational biometric diagram, a supposedly perfect measuring and accounting of the face, once materialized as a physical object, transforms into a cage that does not easily fit the human head, that is extremely painful to wear. These cages exaggerate and perform the irreconcilability of the biometric diagram with the materiality of the human face itself-and the violence that occurs when the two are forced to coincide.

Credits

Performance Collaborators: micha cárdenas, Elle Mehrmand, and Paul Mpagi Sepuya

3D Modeling: Scott Kepford

Fabrication: Nick Petronzio Sculpture / Ironwood

Photography and Videography: Christopher O'Leary

Supported by Eyebeam and Techné Institute for Arts and Emerging Technologies, University at Buffalo

# data[].attributes.attachment_link.description
Face Cages is a dramatization of the abstract violence of the biometric diagram.