Claudia Hart

Michael Mandiberg + DiMoDA @ Import Projects, May 28 – Jul 2

27 May 2016

Michael Mandiberg is presenting Print Wikipedia: from Aachen to Zylinderdruckpresse at Berlin’s Import Projects, opening May 28 to July 2.

The New York-based interdisciplinary artist, scholar, and educator has written software that parses the entirety of free collaborative encyclopaedia German Wikipedia in order to produce book-format volumes of the constantly updating online resource to then be printed-on-demand through

The upload ‘performance’ and installation of selected volumes of the 3,406 produced for the German version of Print Wikipedia will run for approximately 14 days. During this time the gallery will remain open, at the same time as a projection of the web browser, a computer with command line updates and a script posting to Twitter @PrintWikipedia will run in a representation of the materialisation of an archive that will be already out 0f date before it’s complete.

Happening concurrently is the “European IRL debut” of Alfredo Salazar-Caro and William James Richard
Robertson’s The Digital Museum of Digital Art (DiMoDA), dedicated to “collecting, interpreting and exhibiting digital art, while expanding the potential artistic projects in virtual reality.” Artists commissioned to present their unique approach to virtual reality are Claudia Hart, Tim Berresheim, AquaNet 2001 (Gibrann Morgado and Salvador Loza) and Jacolby Satterwhite.

See the Import Projects website for details.**

AquaNet 2001 (Gibrann Morgado + Salvador Loza), 'Carson Trump-Palin' (2015). Courtesy the artists.
AquaNet 2001 (Gibrann Morgado + Salvador Loza), ‘Carson Trump-Palin’ (2015). Courtesy the artists.
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My First 3D – Part II @ Microscope, Nov 2

2 November 2015

My First 3D -Part II is being held at New York’s Microscope gallery on November 2.

Organised by Ben Coonley, this group show screens the first ever 3D project from a range of new and experienced artists. Coined as ‘”idiosyncratic, playful, raw and personal”, the films range in length – from the instant to over 10 minutes. Central to the works is artistic playfulness and development in light of new technologies – learning new software and developing “new relationships to space”.

Participating artists are including, Morehshin Allahyari, Robbie Brannigan, Jacob Ciocci, Theodore Darst, Cecilia Dougherty, Tim Geraghty, Claudia Hart, Elliot Kaufman, Simone Leitner, Kristin Lucas, Joe McKay, Takeshi Murata, Lisa Oppenheim, Eva Papamargariti, Keith Sanborn, Mariana Silva, Joshua Gen Solondz, Andre Springer, Katie Torn, and Giselle Zatonyl.

See the Microscope Gallery event page for details.**

Claudia Hart @ Coded After Lovelace (2014). Courtesy the artist.
Claudia Hart @ Coded After Lovelace (2014). Courtesy the artist.
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Coded After Lovelace (2014) exhibition photos + GIFs

27 August 2014

Presumably named after artist and mathematician Ada Lovelace -or 19th century computer programmer and maker of the first algorithm – the Coded After Lovelace exhibition tracks the evolution of ‘digital art’ before it became a buzzword. Curators Faith Holland and Nora O’ Murchú open the press release with a quote from a book, itself titled after said slang – Digital Art (2003) – where Christian Paul announces:

“Artists have always been among the first to reflect on the culture and technology of their time, and decades before the digital revolution had been officially proclaimed, they were experimenting with the digital medium”


Herewith are those experimenters from this inter-generational survey of artists exploring technology as creative medium, from pioneer net- artist and archaelogist Olia Lialina, who’s been “keeping the GIF running” since reviving Chuck Poynter’s ‘Dancing Girl‘ in 1999, to Carla Gannis‘ challenge to military-industrial algorithms and surveillance in the digital assemblages of Non-Facial Recognition.


Downtown New York new media artist Arleen Schloss explores language and the alphabet in the tradition of literary daughter Lovelace (her dad happened to be poet Lord Byron) using laser projections, while shifting representations of identity and virtuality are central to Claudia Hart‘s poetic subversion of commercial 3D graphics.


Meanwhile, noise, video compression and feedback corrupts the file formats of Rosa Menkman‘s cultural, political and historical deconstructions through glitch, while  Jillian Mayer brings comfort in the face of a contemporary digital dystopia that early computer-mediated artist Lillian Schwartz, and Lovelace herself, might only have imagined. **

Exhibition photos, top-right.

Coded After Lovelace group exhibition is on at New York’s Whitebox Art Center, running from August 14 and closing with the Click Click Click screening on September 2, 2014.

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