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.’
The Dreamlands: Immersive Cinema and Art, 1905–2016 survey exhibition is on at New York’s Whitney Museum, opening October 28 and running to February 5, 2017.
Billed as one of the most technologically complex shows mounted in the Whitney’s new building to date, Dreamlands examines over a century’s worth of art by American, and some German, artists dismantling and reassembling the conventions of cinema —screen, projection, darkness.
The exhibition, which will take over the fifth-floor galleries and include a film series in the theatre on the third, is named after science-fiction writer H.P. Lovecraft’s alternate fictional dimension of an underworld visited only through dreams. Artists featured include Trisha Baga, Ivana Bašić, Dora Budor, Ian Cheng, Andrea Crespo, Pierre Huyghe, and Aidan Koch among others, in an immersive experience that utilises installation, drawing, 3-D environments, sculpture, performance, painting, and online space.
DAM gallery opens DRKRM, a new group show exploring GIFs as artworks, running at their Berlin space from October 30 to January 16, 2016.
DRKRM focuses in on the different aspects of GIF animation as art forms and their widespread distribution in the last few decades, becoming a kind of coded and somewhat sophisticated new language. “GIF animations”, the press release states, “are subject to specific principles”. The gallery in turn decided to use these principles to create a “Darkroom” of animations projected onto multiple screens.
Inspired by John Berger’s seminal Ways of Seeing (1972), Mills’s Ways of Something (Episodes 3 and 4) follow Episodes 1 + 2 presented at London’s The Photographers’ Gallery in February, and features a selection of work by digital and web artistsfrom around the world riffing on the iconic documentary one minute at a time.
Founded in 1895, the Venice Biennale is celebrating its 56th round this year, opening a month earlier than usual in the Italian city and running from May 9 to November 22, 2015.
Like always, La Biennale will be stacked with international artists—specifically 136 representing 88 national participants, 88 of which (representing 53 different countries) are showing in Venice for the first time.
Divided into three episodes, the 85-minute screening was originally commissioned by The One Minutes, at Sandberg Instituut in Amsterdam, and compiled by artist Lorna Mills. The episodes feature everything from 3D renderings, videos, filmic remixes, and webcam performances that poke at and subvert the tropes of art history.
The festival and year-long project looks at the future of work, play and life through “the black mirror of data”, examining a culture that has become dependent on and synonymous with measurement, automation and optimisation, one where all work is fun and all social relations productive.
Curated by Jennifer Chan and expressing her concerns with gendered online environments as an artist -as well as a part of a ‘Gendered Cultures on the Internet’ issue –the Crazy, Sexy, Cool gif exhibition over at French-Canadian feminist art and culture journal dpi. is up now.
Featuring contributions by the likes of Lorna Mills, Emilie Gervais and Jaakko Pallasvuo, each artist is assigned a folder and a cute girl anime avatar to file their contributions. Those include the obvious in Faith Holland‘s ‘boobs.gif’ and an illustration of gender stereotypes in Anthony Antonellis‘ ‘alphachannels.gif’.
In reference to the 1994 TLC album CrazySexyCool, that many an internet artist like Chan would have grown up with, it’s a reminder that, online or offline, nothing much has changed.