Introducing Dane Law w a mix for <i>aqnb</i>Listening back to <i>No Screening</i><i>default</i> @ Honor Fraser reviewed‘Unthinkable’ w The Pitch + J.G. Biberkopf May 14 mixNew Noveta @ Sandy Brown reviewedAn interview with Eric Oglander<i>Unstable Monuments</i> in Truro reviewed<i>Multiple Choice Double Happiness</i> (2016) documentationLooking back at <i>Comedy Club</i>‘At the Backend’: an <i>AQNB</i> x Video in Common screening rundown<i>Il Futuro era bellissimo per noi</i> @ Cité Internationale des Arts reviewedRachel Alliston @ Centrum Gallery reviewedConsidering Nevine Mahmoud’s <i>Three Isolated Effects</i>An interview with Martine SymsA glimpse of Gallery Weekend Berlin 2016Buenos Tiempos, Int.’s <i>An Evening of Poetry</i> reviewedLearning from Simone FortiReflecting on Emily Sundblad’s <i>Dichterliebe/Divine Bitches Part Two</i>Brian Khek @ American Medium reviewedIntroducing Oreet Ashery’s <i>Revisiting Genesis</i>

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  • The group exhibition Water from the Nile at Mexico City’s Lodos Gallery ran from November 27, 2015, to January 17, 2016, and featured works by Darja Bajagić, Jake Cruzen, DeSe and Joseph Geagan. Each artist presented one work, a combination of video, sculpture and mixed media.
    Water from the Nile (2015). Installation view. Courtesy the artist + Lodos, Mexico City.
    Bajagić’s ‘Blood Amy’ (2015) tapes a laser print of two young girls taking a selfie onto a square shaped box of plaster covered in acrylic-latex. Taking up a large portion of the adjacent wall is ‘untitled’ (2015), an oil painting of a horse by Cruzen. Opposite, a monitor hangs on a wall and plays DeSe’s ‘#DONTJUDGEMEBYE’ (2015),…

  • As the world intertwines, bending over upon itself, novelty emerges in the hem and haw of its creases, overlapping geographic and technological. Similarly, the music of Dane Law —a software patch and current alias of producer and engineer Adam Parkinson —sounds with instability; it bends, layers and corrugates, in turn producing more lines to fold. “I like the way sounds encounter technologies”, says Parkinson speaking through Skype from his home in London, “putting them in different contexts, re-contextualising. It’s this meeting between you, the sound and the technology”. Parkinson’s work represents hinged landscapes, contingent on pivotal factors that also manifest sonically and visually, and…

  • A solo exhibition by Jaakko Pallasvuo, Kuin puuton ranta, jolle istahdit (‘Like the treeless shore that you sat upon’) ran from November 19 to 29, 2015, at Helsinki’s Sorbus-Galleria, combining painting, objects and text. The room embraces the chaos of a studio, where one idea threads into the next, each building on top of what was made previously.
    Bright orange, pink and blue paint covers the walls in abstract shapes and brush strokes. Drawings and other immediate pieces are placed on top. ‘Wistful Watson’ (2015) is a sharpie pen drawing of a muscular man, using an A4 sheet of paper. The homemade jewellery ‘Divining Rod’ (2015) and ‘Mockingjay Pendant’ (2015) hang down from the ceiling. ‘High…

  • Organized by Irene Gludowacz and curated by Cornelis van Almsick, Young Americans was on at Vienna’s Franz Josefs Kai 3, running from Nov 17 until Nov 30, 2015. Bringing together eight young artists from the US whose work is intimately connected to digital technologies —including Petra Cortright, Luis Gispert, Alex Ito, Ken Okiishi, Timur Si-Qin, Carter Mull, Ryan Trecartin and Kaari Upson — the exhibition responds to the feeling of rapid change as a result of the internet and new media.
    Alex Ito, ‘No Title’ (2015) Install view. Courtesy the artist and Franz Josefs Kai 3, Vienna.

    Through installation, photography and video art, the works focus on the underbelly of digital narrative and the alienation that lies beneath the confident branding…

  • There’s something illicit about sitting in the dark with a group of strangers; something anticipatory. It allows a fantasy of privacy, of intimacy, even as the person who speaks remains behind the curtain that will not open. I think, at first, that I’m imagining this effect; that the performers at No Screening at London’s ICA on May 13 —co-curated by Cristine Brache, Cassandre Greenberg and Harry Bix —must have been in another room backstage. Eventually I spot shadows moving behind the curtain. I’m not imagining. There’s a bare shard of light, almost imperceptible.
    This is only a hunch, but it feels like human beings of the ‘post-internet’ are…

  • Repeating contours create patterns in everyday arenas both human and non-human, ecological and technological, ephemeral and solidified in mortar. In his 2013 lecture part of the Image Employment exhibition at MoMA PS1, Michael Bell-Smith details the ‘readymade effect’, occurring when users can easily imitate professional production methods: musical micro-genre nightcore garners attention on SoundCloud just by using pitch-shift, and various apps perform graphic design fundamentals directly from an image in an iOS Camera Roll. Opportunities to exercise an entrepreneurial spirit and claim ownership using these procedures have infiltrated most industries and invoke a perverse labor economy. The stakes surrounding  ‘prosumerism‘ and the formulaic production are examined…