Carla Gannis

Digital baroque + parafiction in Invisible Cities at Wallach Art Gallery, Apr 18 – May 20

18 April 2017

The Invisible Cities group exhibition is on at New York’s Wallach Art Gallery, opening April 18 and running to May 20.

Featuring 20 artists, the show includes work by Anthony Antonellis, Jillian Mayer, Carla Gannis, Lorna Mills and Indre Šerpytytė among others.

Borrowing its title from Italo Calvino’s 1972 travelogue, the exhibition sets out to explore the human condition, looking at “disparate themes and differing infrastructures, mediated systems, the parafictional, and the digital baroque, to describe the multiplicities of contemporary subjectivity.”

The gallery is part of Columbia University, where graduate students in the Modern Art: Critical and Curatorial Studies program, Page Benkowski, Taylor Fisch, and Georgia Horn have curated the exhibition in tandem with their research in ‘technological intermediaries.’

See the Wallach Art Gallery website for details.**

Jillian Mayer, ‘Day Off 6’ (2016). Video still. Courtesy the artist.
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Carla Gannis @ TRANSFER, Jan 23 – Mar 12

22 January 2016

Carla Gannis‘s solo exhibition A Subject Self-Defined is on New York’s TRANSFER, opening January 23 and running to March 12.

The NYC-based artist addresses “issues of branded identity; age and body estimation; catastrophe culture; and online agency via static, dynamic and interactive “selfie” imagery”, through self-portraiture  inspired by women artists who turn the camera away from the male gaze and onto their own image.

Presenting work across media, the exhibition utilises a range of technologies including drawing, painting, animation, social media and augmented reality to interrogate Gannis’ perplexed interest in “subjecthood and self-definition in relationship to the ‘personal’ when performed publicly.”

Ed’s note: the exhibition opening date has been changed to January 30. 

See the TRANSFER gallery website for details.**

Carla Gannis, Part of 15 Folds “SEX” Thread: “Autoeroticomplete”. 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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