Three exhibitions will open at SALTS in Birsfelden, opening June 16 and running to August 28.

The first space, organised by SALTS curators Samuel Leuenberger and Elise Lammer will see a duo exhibition by Owen Piper and Lili Reynaud-Dewar called on how to talk dirty and influence people. It promises the offer of a rich show, glittered in the biographical, and hinting at a retrospective conversation between the two artists, who have known each other for decades.

The second, My History of Flows, is by Lena Henke who will use water to change the interior and exterior architecture of the exhibition space. The third, curated by New York-based artist and poet Harry Burke will feature the work of Penny Goring, Lorraine O’Grady, Lady Pink, Arleen Schloss and Martine Syms and is titled Works Off Paper.

The artists, whose work will be installed in SALTS’ ‘Printed Room’, have practices that span what the short text describes as ‘multimodality’ in relation to the word: Fragments of text exist as images in circulation as much as they exist as conjunctions of syntax, metre, person.

See the SALTS website for more information on each show.**

Lene Henke (studio visit) where she showed everything outside her studio (2014). Courtesy the artist and Spike Art Magazine.

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”

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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.

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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.

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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.

Arleen Schloss

Three exhibitions @ SALTS, Jun 16 – Aug 28

Coded After Lovelace (2014) exhibition photos + GIFs

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.