New Art City is a virtual gallery & exhibition toolkit for digital art.

We pressed the lift button, but were carried to a weird floor betwixt 2 and 3. 

All of a sudden, we found ourselves in between a grown-up and a kid, a human and a nonhuman. We found ourselves living somewhere in between built form and nature, 2d and 3d, x-axis and y-axis. We found ourselves making something in between design and game, graphic and spatial, phase and phase. 

Spaces for creators are always shrinking and dissolving, we are forced to move but get stuck again all the time. A catastrophe with no start, no end and no answer swallow us in. But we are against it, believing that categories are collapsing. Instead of adding “non” in front of a word to make them polar opposites, we want to be transparent and obscure at the same time. In the status of in-between, we are deformable, that we can write our address as 'the universe', and that we can fall down together in the well of infinity.

This exhibition explores Edward W. Soja’s ”Third Space“ concept, examining the dynamic relationships between reality, imagination, and symbolism. Drawing from Lacan‘s theory of ”the Imaginary, the Symbolic, and the Real,“ This interdisciplinary perspective allows us to delve deeper into the nature of ”reality“—not just as a direct manifestation of the material world, but as the result of the interplay between the imaginary and symbolic realms, creating an ever-shifting and intricate process.

Featuring works from young 3d artists from diverse backgrounds and regions. The exhibition highlights openness and uncertainty, challenging traditional boundaries between the real and the imagined. We invite audiences to experience the fusion of time and space, and explore how each piece flows between these spaces and realms, creating a rich and complex narrative.

DIGITAL (DIS)EMBODIMENTS / DIGITAL DWEEPA

Digital Dweepa, the virtual world created for the Digital (Dis)embodiments show, reimagines the traditional concept of Jambu Dweepa (a sacred island from ancient Indian cosmology) as a digital landscape, intertwining mythology, spirituality, and technology in a contemporary Indian art context. Rooted in ancient Indian beliefs of realms beyond the material, Digital Dweepa becomes a virtual space where art and techno-spirituality converge. Here, the anthropomorphic body is dissolved and reformed, challenging traditional boundaries between the physical and digital worlds.

Much like Jambu Dweepa, described as a sacred island rich in mythological significance across Indic religions, the Digital Dweepa serves as a central hub for viewers to navigate uncharted territories of Indian thought in art. The digital sphere of Digital Dweepa acts as a bridge, offering a space for Indian artists to explore identity, embodiment, and the fluid nature of consciousness within a virtual environment. By navigating three thematic spaces—"Metaphygital Souls", "Cybernetic Spirits", and "Fungible Avatars"—viewers encounter the fusion of ancient thought with digital creation, prompting reflection on the evolving human experience. Through art that transcends the physical, Digital Dweepa invites audiences to contemplate new myths and meanings in an increasingly virtual existence.

How can spirituality survive in the digital age? “Gateway-äl” explores this question by connecting the Mayan shamanic worldview with cyberspace, focusing on the Häch Winik community of the Lacandona jungle. The project thematizes the influence of Mayan shamanism on technology developers of the 1970s, which still operates in the way we use the Internet as a tool of “interconnection”, similar to the role of the shaman “Way-äl” (in Mayan ), who mediates between spiritual dimensions.

The project creates a 3D virtual environment inspired by the sacred Mayan caves, simulating a spiritual portal to the ancestors, a metaphor for cultural identity. This virtuality proposes a space of memory and continuity for a culture in danger of extinction, highlighting how technology can be both a tool for the preservation and erosion of ancestral traditions.

Additionally, “Gateway-äl” delves into the contemporary issues faced by the Häch Winik community, who experience the loss of their culture under the influence of technology. Instead of strengthening their identity, access to the Internet has pushed young people towards globalized content, disconnecting them from their own heritage. This technological phenomenon, which for more than 50 years has threatened the survival of their spiritual tradition, represents a continuous challenge to one of the last resistances of an ancestral worldview that dates back directly to the ancient Mayans.

A collaborative XR experience, inspired by Fabian Ramírez @fabian_ramz body of work.
3D environment & architecture by Cristian Anutoiu @b4cterija
art sound & performances: Ana Paula Santana @anafauna & Un rêve @flores_de_mezcalapa
Sound design by Terdegibh @terdegibh
Powered by Rey Vinilo @reyvinilopressing

A view into the porthole of deep-sea archives from submersible footage provided by the Hawaiʻi Undersea Research Lab (HURL) is recreated from a submersible dive. Visual media of samples from corals and denizens from the sea are studied by oceanographers as multi-millennial timescales and serve as paleo-recorders of biogeochemical information. In the virtual adaption of the submersible dives, the immersible scene is designed to host a library of digitized objects containing these paleo recorders to extract, visualize, and make visible the pathways of archaic knowledge that hold vital information about our environment. Using a speculative design approach. A third adaption to the project ‘Deep-Sea Coral’ expands to an immersible experience through collaboration with oceanographer, Thomas Guilderson.

With his guidance and dissemination of research materials and desire to adapt an Art & Science iteration of the gathering of these paleo-recorders–these immersive experiences bring awareness to ideas in science that seek to find answers in a vast and unseen environment. Digitally mapping these experiences and creating a space of exploration could help reimagine how we encounter archaeological information. By becoming aware of these deep-sea corals, users can explore the research conducted to extract vital information not easily accessible to the public, leading to more engagement with a broader audience. Designing the virtual world creates a hypothetical scenario in which the participant becomes the researcher by generating interest and curiosity about charts and data that might otherwise be too complex for the non-scientist individual. Creating a space for the public to view anywhere around the world makes it easier for researchers, scholars, and the public to come in contact with these materials by allowing the archives to become searchable and increasing funding and support for academic institutions and research programs.

Welcome to theMuseum of Computational Image Artefacts (MoCIA), an experimental research project exploring the boundaries between the physical experience of artefacts behind glass and the use of computational imaging on screens. MoCIA examines how digital images influence the understanding and expansion of museums into digital spaces, showcasing how museums are adopting and integrating these new imaging technologies into their exhibits, programming, and online platforms.

Experience of the site aims to provide insights into the historical and current roles of institutional museums, particularly those in Western cities with legacies of imperialism and colonialism. These well-funded national institutions often emphasise the universality of their collections, yet they restrict the actions, languages, and types of knowledge permitted within their walls.

The project explores the types of knowledge claims made by museums and the extent to which computational forms of image support them. The work aims to unpack how new forms of scholarship, intended to shed light on institutional collections, are presented to visitors.

For more info please contact peter.e.ainsworth(AT)gmail.com

Por que é que guardo tudo isto?

Por meio de ambientes virtuais, Saudades Street View se constrói como uma anotação sobre memórias. Memórias passadas, memórias falhas, memórias que já deixaram nossos cérebros e existem apenas preservadas em nossos arquivos digitais. Exercitamos a permanência de vivências que existem em telas, códigos, artefatos imateriais, e lugares virtuais de nossas infâncias. A partir disso pensamos em como lembramos. Como nos apropriamos de nossas lembranças como protótipo, como prática, como ofício de nossas vidas.

Através dessa fantasmagoria que existe entre nossos mapas mentais e nossos HDs, experimentamos. Entre arquivar e fazer, assumimos nossa linguagem nascida no digital como expressão de algo que já foi ou que está quase se esvaindo, e convidamos à navegação nestes dois espaços virtuais distintos: Saudades Street View, de João Parente, e Fóssil (Cicatriz), de Henrique Fagundes. Ambos os espaços são reflexo de conversas sobre o passado, o futuro, o presente, o amargor e a saudade.

Da nostalgia em meio ao não pertencimento ao ser e imigrar, e da nostalgia vivida em meio à crise climática, em busca de refúgio e sobrevivência, só se existe quando se está em relação a algo. Que espírito nasce disto?

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Why do I keep all this?

Through virtual environments, Saudades Street View is constructed as an annotation on memories. Past memories, failed memories, memories that have already left our brains and are only preserved in our digital archives. We exercise the permanence of experiences that exist on screens, codes, immaterial artifacts and virtual places from our childhoods. From this point, we ponder about how we remember. How we appropriate our memories as a prototype, as a practice, as the craft of our lives.

Through this phantasmagoria that exists between our mental maps and our hard drives, we experiment. Between archiving and creating, our digitally-born language becomes an expression of something that has gone or is about to go, and we invite you to navigate these two distinct virtual spaces: Saudades Street View, by João Parente, and Fóssil (Cicatriz), by Henrique Fagundes. Both spaces reflect conversations about the past, the future, the present, bitterness and nostalgia.

From nostalgia in the midst of not belonging to being and immigrating, and nostalgia experienced in the midst of the climate crisis, in search of refuge and survival, you only exist when you are in relation to something. What spirit is born from this?

"Let me hear you repeat this tone: a greater presence to things, a greater attention to things.”

This group exhibition is collectively devised by the Eskenazi School of Art's Digital Art students and faculty, including: Shawn Bailey, Sarah Blackwell, Michelle Camacho, Elsie Edwards, Lyndsey Gillespie, Aiden Healy, Melody Reyes, clay schofield, and Megan Young.

The exhibition is a response to Indiana University’s cancellation of Samia Halaby’s first United States retrospective, scheduled for view at the Eskenazi Museum of Art on campus beginning in February 2024. It provides an opportunity for dialog around Halaby's work and offers a space for generative discussions and celebrations of her legacy.

Encompassing three spaces, the exhibition includes works by Indiana University students, faculty, and staff, including:

How exactly are art practices changing in a virtualized world?

How can emerging artists adapt their practices to a constantly shifting present?

Six Minutes Past Nine and Mnemozine are proud to present Hybrid Realities :Lab - refining your practice in a virtual world.

A 7 week intensive program, focused on enhancing artistic practice within virtual environments. this is an innovative, truly virtual, artist’s lab, where makers of all backgrounds can collaborate and experiment within the unique digital setting of New Art City.

This program brings together an international cohort of artists to contemplate what it means to work within hybrid realities.

The artists are:

Berto Herrera (US/GER)
Tammy Oh (UK)
Alexa Velasquez (US)
Adonia Bouchehri (UK)
Nadirah Dankwa (UK)
Zohra Mrad (TUN/LUX)
Skander Ben Yahia (TUN/FR)
Meii Soh (NL/GER)
Daniel Bruno (ARG)
Lucilla Grossi (IT)
Basil Bee Betley (US)

Talk and exhibition open 18th April 2024

Cómo ser Fotógrafa es un proyecto que destaca el papel de las mujeres en la creación artística y fotográfica contemporánea. Colaboramos en iniciativas cuyo plan de acción fomente la participación activa de las mujeres en la fotografía y contribuimos a una mayor presencia y desarrollo de la fotografía en la escena cultural internacional.
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Cómo ser Fotógrafa (How to Be a Female Photographer) is a project that highlights the role of women in contemporary artistic and photographic creation. We collaborate in initiatives whose action plans promote active participation of women in photography and contribute to a greater presence and development of photography in the international cultural scene.

Carrie Chen's "To Play (As Children Do)" is a newly commissioned animation for STRP Festival 2024, exploring the interplay between technology and play within "Tomorrow’s Promise Daycare," a fictional childhood development center set in the near future.

At the daycare, children are constantly surrounded by technology that monitors their play, while gathering data to assess their future potential. The work questions the freedom of play, and encourages viewers to contemplate the delicate balance between care and control.

A key component to the experience of the work is the hybrid digital installation. The virtual installation lends itself as a 360 tour of the daycare, mirroring elements from both the on-site experience as well as simulates spaces embedded in the animation.

The onsite experience captures the essence of a play area, blending the comfort of carpeting, the fun of yoga balls, and the vibrancy of colorful fluorescent lights to craft an environment that echoes indoor playgrounds while introducing a clinical and strange atmosphere. A single-channel projection displaying the CG animation serves as the focal point of this installation.

Artist: Carrie Chen
Composer & Sound Designer: Markel Badallo Latorre
Special Thanks: Ingram Mao, Harvey Moon, Sammie Veeler, Don Hanson

“Dreaming in the days, dreaming at nights” presents a cyber glass corridor connecting spaces of archives, memory, subconsciousness, and spirituality, taking on a detournement from the insecure reality, into the temporal of dream. Collectively constructed by 5 artists, the exhibition highlights the gesture of wandering to examine the materiality of digital media. Each artist identifies with and refers to the locality of offline reality differently, and surfs with their unique avatars. They employ different world-building strategies to reconstruct a parody of reality, thereby raising questions concerning individual mentality in the age of digital media.

When physical materials in reality extend their territory into the digital realm, what can these reconstructed archives, solidified moments, and rather flattened while dimensionally rich objects, tell us about our history? Within the cartography of grand narrative, autobiography, electronic manuscripts, the semiotics of divination, and technological violence, how does the internet come into play, to program our collective subjectivity? With our body situated in the running flux of digital media—in the words of participating artist Yimei Zhu—“how can we examine if we sleep without being awake?”

Participating Artists:
Hailing Liu 刘海玲
Bohan (Iona) Liu 刘柏含
Liang He 贺亮
Yimei (Emair) Zhu 朱伊湄
Baowen He 禾宝文

Curated by Hailing Liu
Curatorial Statement by Liang He
Character Pixel Arts by Bohan(Iona) Liu
Poster by Baowen He & Hailing Liu
Promotions by Yimei (Emair) Zhu

Lost Woods is a duo exhibition created by Nathan Harper and Babak Ahteshamipour. The work explores digital identity and artificial intelligence set in a mythical setting placed within an appropriated digital location from a popular video game. This space (The Lost Woods) is a mythical space between worlds with fluid identity, much like the digital objects in the exhibition.

Babak produces paintings of "evil beings" that harken back to ancient demonology illustrations but contain the signifiers of contemporary sources such as films and video games. He attempts to deconstruct various beings such as ghosts or the reaper or the jackalope since they have a trace of signified meanings and connections to various situations, emotions, identities, abstract notions or behaviors (i.e. ghosting) and cultural constructs. In this exhibition, he includes an image of these physical paintings and a digital reconstruction of the beings in 3D. They serve as an enemy NPC while still referencing a life outside of cyberspace as physical artifacts.

In conversation with these NPCs are Nathan's A.I.-generated hedgehogs. These Hedgehogs are produced using a neural network called a generative adversarial network (most famously known for the This Person Does Not Exist Generator) trained on hundreds of images of Sonic the Hedgehog fan characters. These aviators serve as self-inserts into the fictional world, but Harper disconnects them from human input and fully gives them over to nonhuman vision. The A.I. even names these works by giving a text generator the titles of Babak's works nearest to them and allowing the generator to provide the following line. All of the titles then string together to create a sci-fi / mystical pseudo-narrative that is a duet between human and machine thinking.

The fires that burn are never the ones that were meant to burn
The splash of the knife in the water rings out over the assembly as if it was the shattering of a hundred crystal chandeliers
Occupy determined neural systems district and take action to get rid of them
The pure white of the flowing robe he wears in his place shows stark against the blood that stains his heart
Occupy sad neural systems district and cry to get rid of them
We will end all of your fears and bring you into a new world of peace and harmony
It Sims, after all, we couldn’t escape the game engines of power
‘It’s a button for a portal,’ she says, handing me her phone
Occupy scary neural systems district and flee to get rid of them
We all turn our heads
Smashing things might be fun until you get yourself back in time
To then have to go through all of those problems again
A woman has dropped a clay vase to the floor and is now sitting on the floor, a surge of electricity shooting from her body and scorching the floor around her
Occupy angry neural systems district and shout to get rid of them
For one thing they did almost nothing until one of them "merged" with another

Have you heard of Cute Aggression before? Have you ever experience an urge to squeeze, smash or even stuff in mouth the devastatingly adorable fluffy kitten in front of you?

Cute Aggression is a common thing in more than half of the adults, resulting from an emotional overload. As we perceive cuteness with a baby schema of characters like plump cheeks, large eyes and short limbs, our brain regions associated with emotion and reward appear to be stimulated. When cute things elicit such strong positive emotions for certain people, the experience becomes overwhelming and arouses aggressive thoughts, not linked to any actual harmful behaviours though. Cuteness comes off as an innocent quality but it wields immense consequential power.

The world here is made up of alternative cuteness and spread energy from the complexity of it. You are encouraged to enter the world with 100% playfulness, childishness and innocence. You are allowed to be healed, overwhelmed, shaken and soothed.

Artists (✿˶˘ ³˘)❛ε❛ ˶ )
1yao, 32, alldollscode, allwhite Hu, Arty McFly, Bohan Wang, cheilogramma, Dai Nasty, Dazhao, HAORAN SU, James Lang, Jumbo Press, Keely "Poi" Majewski, Lony Mathis, Qiuhui Hou, Tongk, tutu, Wild Deer, xuan

𓂃𓂃𓂃𓊝𓄹𓄺𓂃𓂃𓂃
𓆉𓆝𓆟𓆟𓆞𓆡𓆜𓇼𓂂

>3<3=3 is a private but open, distant but intimate, alternative online community initiated by us. It is a virtual living room also as a studio space, where there will be regular sharings, conversations, exhibitions around digital-based artworks and practices between 2D, 2.5D and 3D worlds. It’s an experiment on intertwining spontaneous, supportive and sustainable relationships for independent creators.

What we believe in powerful is not any centralized or compromised product, but the game of images that rushes out, attacking from every side.

Curated by Deer & xuan

Sponsored by UGLY

In the midst of gathering storms—genocides, wars, forced displacements, global climate collapse, the ascendency of technocracy, alongside the unyielding presence of unjust ideologies such as sexism, racism, colonialism, imperialism, and capitalism—Underground Art And Design (UAAD) introduces their curatorial and editorial initiative, Alt-Alterity. It emerges as a profound and timely attempt to provoke a co-imagination of an alternative paradigm for how humanity engages with both the "other" inhabitants of the planet and "each other" within societies.

"Alterity," from the Latin "Alteritas," signifies the state of being other or different. The prefix "Alt" suggests "alternative," one of the derivatives of "Alterity."

"Alt-Alterity" is a manifesto for the future of coexistence, a way of being in which the notion of "alterity" need not exist, prompting a departure from an anthropocentric perspective to one that values a comprehensive appreciation of planetary diversity and interconnectedness.

From December 2023 to February 2024, Alt-Alterity features the creative voices of 26 groups of artists hailing from 13 countries. From the imagination of reversed realities and hybrid forms of existence to the exploration of marginal cultural expressions and the blurred boundaries of fluid identity, we will guide you through the following themes: "Unsung Wisdom, Rebel Tech," "Ephemeral Cycles, Everlasting Collapses," and "Fluid Bodies, Blurred Boundaries."

Curators: Xiaofan Jiang, Fangyi Yang

Artists:
Aiping Xu, A.J. Cincotta-Eichenfield, Angela M Link, Bobby Zhaocheng Xiong, Chia-Hua Lee, Christie Lau, Elizabeth Russ and Michael Donnelly, Fatima Al-Kuwari, Flavia Mazzanti, Ishraki Kazi, Joshua Carlos Barrera, Krithi Nalla, Ludovica Galleani d'Aglian, Meiyi Jiang and Xiaoting Tan, Mehrdad Sedaghat-Baghbani, Mingyong Cheng, Mo Nan, Shashwath Santosh, Symonne Liu, Tiange Wang and I-Yang Huang, Tianyun Jiang, Xinyuan Ma, Yimei Zheng, Yu Chen, Yuwen Huang, Yuqing Liang, Zhijun Song and Yalin Hu.

(EN)
'Between us, where the body echoes' explores the ambiguous territories of the confluence of art and technology. This exhibition-stage dissolves the boundaries between work and space, tangible and virtual, creator and creation. It echoes the way in which the exhibition is articulated as a living work and a surreal environment. A nuanced approach between body and space, surface and interiority, questioning how to present, interpret and give access to a work that extends beyond traditional limits.

Fragments of disassociated bodies, as well as sculptural abstractions floating in space, give visitors the feeling of entering an intermediary place in the making, deeply inspired by the process of autopoiesis. The Hand (work-organ) becomes the trace of an encounter between thought and action, a non-being revealing our loss of control over a constantly changing environment.

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(FR)
'Between us, where the body echoes' explore les territoires ambigus de la confluence des arts et de la technologie. Cette exposition-scène dissout les frontières entre l'œuvre et l'espace, le tangible et le virtuel, le créateur et la création. Elle constitue un écho à la manière dont l’exposition est articulée en une œuvre vivante et en un environnement fantasmatique. Une démarche nuancée entre corps et espace, entre surface et intériorité, interrogeant comment présenter, interpréter et donner accès à une œuvre qui s'étend au-delà des limites traditionnelles.

Les fragments de corps désolidarisés, aussi bien que les abstractions sculpturales qui flottent dans l’espace, donnent au visiteur l’impression de s'introduire dans un lieu intermédiaire qui est en train de se faire, profondément inspirée du processus de l’autopoïèse. La Main (œuvre-organe) devient la trace d'une rencontre entre la pensée et l’action, un non-être révélant notre perte d’emprise sur un environnement en constante mutation.

Police vs. Society — A critical reflection on policing and its impact on the life of the policed

This is a process sketch of an ongoing artistic research about police and law enforcement structures within western societies.

We need to rethink the role of police in society. The origins and functions of the police are intimately tied to the management of inequalities of race, gender and class. The suppression of workers, people identifying as LGBTQIA+ and the tight surveillance and micromanagement of migrated people and Black, Indigenous People of Color (BIPoC) have always been at the center of policing. Any police reform strategy that does not address this reality is doomed to fail. It is important that we constantly reevaluate what the police are asked to do and what impact policing has on the lives of the policed.

Drawing from my personal experience working as a police officer in southern Germany from 2016 until 2019, my intention with this project is to shed light on the intricate dynamics, numerous inequalities and racial biases embedded within this system. I aim to provoke critical reflection on its structure and the impact it has on society. This project also serves as a platform for me to express my concerns, observations, and critiques of the police system. Motivated by my experiences, I now strive to create transparency around the realities of policing, unveiling its flaws, and offering insights into potential pathways for change.

Through "Police vs. Society" I endeavor to generate awareness and understanding regarding the realities of the current police system. I aim to highlight the ambiguity policing has and reveal the discrepancies between its intended purpose and its actual impact on marginalized communities. By exposing the inequalities and racial biases prevalent within the system, I hope to encourage a more open and honest conversation about the urgent need for reform.

Sound Engineering: Fabian Gimpel (sound editing) and Andric Spaeth (recordings)

www.andricspaeth.com

Official Pavillion @ The Wrong Biennale n°6
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Featuring: Xristina Sarli, Linda Loh, Devis Bergantin, Martina Menegon, Augusto Calçada, Naomi Oliver, Enzo Cillo, Ambasce, Renato Grieco, Livia Ribichini, madame psychosis, Kent Tate, Teresa Valentina Caiati, Dagmar Schurrer, Molly Dario.
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𝐼𝑡'𝑠 𝑠𝑎𝑏𝑜𝑡𝑎𝑔𝑒 𝑓𝑟𝑖𝑒𝑛𝑑𝑙𝑦, 𝑖𝑡'𝑠 ℎ𝑎𝑢𝑛𝑡𝑒𝑑 𝑎𝑛𝑑 𝑠𝑜 𝑓𝑎𝑚𝑖𝑙𝑖𝑎𝑟. 𝐼𝑛 𝑡ℎ𝑖𝑠 𝑤𝑒 𝑓𝑖𝑛𝑑 𝑡ℎ𝑒 𝑖𝑑𝑒𝑎 𝑜𝑓 𝑡ℎ𝑒 𝑒𝑛𝑡𝑖𝑟𝑒 𝑒𝑥ℎ𝑖𝑏𝑖𝑡𝑖𝑜𝑛: 𝑎 𝑓𝑎𝑚𝑖𝑙𝑖𝑎𝑟 𝑝𝑙𝑎𝑐𝑒 (ℎ𝑜𝑚𝑒), 𝑡𝑜 𝑏𝑒 𝑚𝑒𝑠𝑠𝑒𝑑 𝑢𝑝 𝑡𝑜 𝑜𝑢𝑟 𝑙𝑖𝑘𝑖𝑛𝑔 (𝑐𝑟𝑎𝑠ℎ 𝑖𝑡) 𝑓𝑟𝑒𝑒 𝑡𝑜 𝑎𝑐𝑡 𝑎𝑠 𝑛𝑜 𝑜𝑛𝑒 𝑖𝑠 𝑎𝑡 ℎ𝑜𝑚𝑒.
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from November 1st. 2o23
to March 1st. 2o24
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Curated by Matteo Campulla
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In memory of Katya Kan & Tonino Casula
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The Wrong
https://thewrong.org/

From a seething sludge of digital debris and depleted fossil fuels, the zombie corpses of NFTs rise shedding oily droplets of virtual decay. The included works began as digital files forgotten in the labyrinths of obsolete servers and subjected to the high pressures of networked hypermodernity, and now rise to take their revenge against a world drowning in media disinformation. They are fossils of software fragments, glitch-processed video, mutated 3D polygons, and keening audio tracks. Their file names glow with curatorial themes of decay and transformation, preservation and decomposition. It’s art for an anthropocene acutely aware of the cyclical nature of its own consumption and mortality.

Participating Artists:

Indira Ardolic, Delta_Ark, Itziar Barrio, Christopher Clary, Eva Davidova, Varkito Garcia, Don Hanson, Benny Lichtner, Kristin Lucas, Joe McKay, Cezar Mocan, Patrick O'Shea, Mark Ramos, Sarah Rothberg, Kat Sung, Jeremiah Teipen, Lee Tusman, Sammie Veeler, Rosalie Yu.

For the 6th edition of The Wrong Biennale, spam-index chose the newart.city platform to host its online pavilion, 'Desktop Studies.' Designed to mimic USB sticks with nested folders, the exhibition is divided into two main sections, guiding the audience through an experience where the 14 featured artists present works that transition from a corporate focus (in the first scene) to a more personal exploration (in the second).

Displayed artists: Cezar Mocan, Nicoleta Mureș, Vitaly Yankovy, Claudia Brăileanu, Marta Mattioli, Flaviu Rogojan, Dragoș Dogioiu, Diana Gheorghiu, Anastasia Manole, Datejuice / Irina Bako, 3Delusional / Ema Motea, Antonia Corduneanu, Maria Băcilă, Herne Hiili

Exploring Togetherness through Urban Spaces

A city is more than a lifeless existence. Its essence is in togetherness. French philosopher Henri Lefebvre describes cities as “the perpetual oeuvre of its inhabitants, themselves mobile and mobilized for, and by this oeuvre […where] time-spaces become works of art.” What are the relations and dynamics between cities and its inhabitants? How would you define togetherness in urban spaces? How are togetherness, collaboration and collective work shaped in public space? Where can they be seen?

Urban fantastical land with galactic aesthetics, Universe Two World is named after (Re)Imagine project first edition's mixed reality exhibition Universe One: Portal to an Impossible City. Universe One is a magical spell in the Japanese Manga Fairy Tail which has the ability to transform landscape as the spell-caster wishes it to be. In Universe Two, the audience is invited to travel through the wormhole where time and space collide. Travel further in to reach our fantasy land of urban expressions, to experience everyday city notions that you might be familiar from a different approach.

[A BRICK AS A CATALYST]

In 1969, a single brick in a New York street became a symbol, shattering the silence suffocating the Queer community. The Stonewall Uprising marked a pivotal moment for bringing forth the needs of LGBTTTIQ+ individuals worldwide, igniting a global discussion on LGBTQ rights and liberation. It catalyzed a broader movement for equality, fostering a collective awareness that the fight for justice and acceptance transcends borders and unites us all in our pursuit of a more inclusive and compassionate world.

[A BRICK AS AN ECHO]

54 years have passed since this first brick was thrown and our resistance continues, everywhere. While there have been many gains, there is still a long way to go. Queer artists have mobilized their creativity to transmute towards a reality where we can all authentically express who we are. The artists in this exhibition, remind us that queerness is expansive in its multiplicity. There is strength in the rich diversity of our expressions, each, like a building brick of our history. These works are statements, memories, and visions of present-futures where queerness continues to be defiant in its existence.

[A BRICK AS A STRATEGY]

The works presented raise questions such as: What does queer art look like? How does queerness manifest? And, how can digital art draw on the legacy of public protest? They are all brought together by a shared sentiment—an unyielding urge for protest, an unwavering spirit of dissidence, and a ceaseless pursuit of queer world-building.
This exhibition presents one strategy of continuing the inertia began by the first brick. A public ritual demonstrating one of the myriad of ways we rise up, resist, and resonate. As you journey through these “digital bricks” consider each piece as a digital catalyst, pixelated potential reverberating echoes of a brick thrown half a century ago. Think of these works as a fierce declaration, a celebration, and a testament to the resiliency and multiplicity of queer art and activism.

[THESE ARE OUR DIGITAL BRICKS]

This exhibition results from an open call for queer artists online to share their work during Pride Month 2023. As a digital artist and queer activist, I asked myself how I could utilize the tools at my access to build a bridge between the virtual and the physical planes. Guerrilla projecting these works in public spaces channels the potentiality of that moment when the first brick was thrown. A visual detonation in the public sphere, ensuring that the spirit of that act of defiance, that bold declaration of existence and resistance, remains alive.

⠀⠀⠀*´❄*¨`*✲´❄*`
╔༺❀༻❤༺❀༻╗
♥*♩WELCOME TO♪✲♥
♥*♩SOTO WORLD♪✲♥
╚༺❀༻❤༺❀༻╝
⠀⠀⠀*´❄*¨`*✲´❄*`

Soto (@soto.sosa) returns, hailing with new and archival works in a strictly otherworldly affair. To be enjoyed at Domicile Tokyo and New Art City from October 27th!

Drip, drip, drip…

You’ve jolted awake! Oops~ you’ve crashed your precious car into a cold and unfamiliar space… What is this place? All pallid walls and sterile halls, fevered as you take in the inanimate maidens that surround you. There seems to be an exit through those heavy metal doors. You peer down the long, inky tunnel into misty nowhere - She’s calling…

Environment created by @kat.bot and @iris.parts.

(Inspired by Japanese horror RPGs with the likes of Fatal Frame, Silent Hill and more, we aim to build a world heavy with lore driven and animated by Soto’s style and works, fashioned with low-poly graphics and revering the fantastical feminine.)

SHOP ART:
https://shop.officialsoto.com/collections/shop-art

Welcome to Schemata 3.0 - Exquisite World!

Launching in room 1 today 8pm BST

4NOTE, Four Noiseiceni of the Eppocalypse

By physically being present in the forest we question our place in the digital world, we open our curiosity towards our own symbiotic relationship to what is “natural”. By recording ourselves using digital formats we add a layer of interpretation, to inspire an exploration into the connection between nature and noise, chaos and natural systems. The presence of the machine amongst complex eco systems allows us to explore human interference and also the nature of our naturalness as transmitters of sound, as physical beings of chaos. Here we embody all these things and we adopt our own language and modes of communication with each other through sound. The transition between the natural world and that of the digital is complex and fascinating and by experiencing this through a digital format we acknowledge the temporal dimensions that we have created. There is a distinct layer of experience that is denied in the digital but when the performance is experienced on this layer it opens a dialogue that can influence our experience and connection to the great forest and we can contribute our physical presence somehow down the line.

Members:
(Iceni names)
Boudica II: Electric Buddugloo
Aesu Death Maschina
Antedios War Slaughter
Saenu Pestilent brutality General

(real names)
Tim Drage
Lisa McKendrick
Calum F. Kerr
Phillip Raymond Goodman

Best viewed on Chrome.
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In 2022 Schemata presented their virtual group exhibition, Exquisite World. Showcasing artists and curators working with sound and technology whose work comes together to speculate on the potential of virtual space to imagine future worlds.
Since the creation of virtual worlds, the digital has been recognised as a versatile and accessible tool for world building practices. Conversations around world building have exploded over the past few years and become endemic to the art world amongst other sectors. With current world events taking yet another dark turn, we return to this conversation, asking what and how artists can imagine for a future world.
Exquisite World maps out visions and dreams for a future world; it is a cartographic tool to consider what aspects of contemporary living could continue to be important moving forward: ecology, sex, technology, culture, history, and data are all recurring themes in public conversation right now. How will they be embodied in future worlding practices? What should change, and what should remain the same?
Exquisite World takes its premise from the iconic game of the Surrealists, Exquisite Corpse, aligning with the idea that world building be a collaborative process consistently adapting and evolving from what has come before. The work is never finished, and we are perpetually pushed forward in our desire for things being otherwise.

A world by Christian Jago, presenting new photographic works and soundscapes across six chapters. Best experienced on desktop or tablet, with sound on.

“Ephemeral Bloom” takes us on a journey of change through an imagined valley called Athrú. We witness how this space evolves over time, how it is affected by the seasons, and how natural processes contribute to its circle of life. The project is a reflection on nature and the lessons it has taught me about my mental health.

I started this work wanting to heal my internal struggles, looking for answers in the world around me. Nature is an inspiring and complex force, linking all life forms in a delicate equilibrium. It is defined by change, constantly adapting as the earth evolves, and has reminded me of my own growth and perseverance. Just as nature resiliently faces challenges, so too can I navigate the landscape of my mind.

By channelling my emotions and experiences into the idyllic image of a valley, my work reveals a nexus of life and colour, representing the sanctuary I find within nature. But as spaces shift and converge, a fragile and fleeting world is suggested, reflecting the temporality of our interconnected planet.

Nature is remarkable for the way it supports and sustains itself, and numerous studies show that connecting with it has profound benefits for our mental health. Recognising my place in its vast web has helped me to feel less alone with my struggles, reassuring me that I am part of something bigger. Consequently, my work has evolved into a personal space of refuge.

The story of Athrú is divided into seasons, both of nature and the mind. Seasons mirror a duality of constancy and mutability - as nature seasons, so does the mind, each evolution an echo of growth. The narrative of the seasons teach us to cherish moments of bliss, and remind us of the transient nature of struggles.

Learning about nature has helped me to understand the threat we pose to its rhythms and cycles. Our species’ inclination to control and contain often disturbs the natural symphony of change and nurturance within and around us. To prevent irreversible damage, we need to learn how to pause and retreat, both from ourselves and our planet. Athrú resembles a space where human interference does not exist, offering a window into a possible future.

Ultimately, nature has taught me to embrace change and to acknowledge the gradual process of healing. Connecting with it has reminded me of my responsibility to our symbiotic relationship. Embodied in a constellation of images, “Ephemeral Bloom” is both a personal memoir and a love letter to our shared world.

Living in this overconsumptive society is a burden and a privilege at the same time. What it takes to bring a product to market and what happens after you‘ve consumed it is a phenomenon to itself.

As much as it saddens me to see the leftovers of consumerism and that it exceeds the capacity of our recycling infrastructure by far, I still feel the urge to find beauty in the ruins of capitalism and overconsumption.

My aim with this ongoing collection of consumerist scenarios found in public spaces is to confront western society‘s relationship with waste, consumerism, and the disposable nature of our materialistic culture. Each item tells a unique story—a story of consumption, of neglect, and ultimately, of our collective human experience.

Through "Trash Scenarios", I endeavour to disrupt the narrative surrounding waste, challenging preconceived notions of value and prompting viewers to reconsider their relationship with the objects they discard. By extracting these fragments from their mundane context and presenting them in a digital room I invite viewers to examine the profound implications of our consumer-driven society.

All scenarios displayed in the archive and the digital room have been translated into more dimensional file formats by using the technology of LiDAR scanning (3D scanning) and Photogrammetry.

Do we really need bigger trash cans? Or should we reflect more about our individual consumption bahaviour?

'viva voce – garden fragments' is a playful testing of the space provided by newart.city. To understand the capabilities and the limits of this 3D world, I choose to reproduce my last video, ‘viva voce’, bringing audio and video fragments and lots of 3D elements.

Following the narrative of viva voce, the space became a data garden of contraceptive and abortifacient plants, bits of history and voice chains.

[text of the project below]

Taking its title after the Latin expression viva voce (meaning the living voice; by word of mouth, orally), the 3D video continues in an alternative way the narration of the movies Blade Runner. This new version focuses on Rachael, the first Replicant set for reproductive labor. Though in the original story Rachael dies in childbirth, in viva voce her consciousness has been retrieved and saved on a hidden server. The information discovered on the server helped Rachael not only retrain (rewrite her programming) and better understand her Replicant fate in the historical context, but it also empowered her new state (as a disembodied voice) by linking it to the secrets passed orally by women, throughout generations.

This vocal chain of learning, captured in the recreated data garden of contraceptive and abortifacient plants, is followed by visual examples from the prosecution of witches' period to highlight how this knowledge - that made women 'in charge of their own bodies' - 'was suppressed in the name of progress'. While the repeating pattern of enforced production of beings emerges, Rachael questions how her mechanical replication could be a future threat for the biological reproductive rights of women.

Artists:
Zihang E, JayLoni Fisher, Andrea Kim, Josef Lopez, Johans Saldana Guadalupe, Nina Tomasevic, Sasha-Mylan Williams, Julianne Wong

Instructor & Curator:
Carrie Chen

These works are the culmination of weeks of project-based research and intensive studio work. Students journeyed through the realm of myths and fantasies, using digital avatars as a storytelling device to explore identity, embodiment, representation, and culture in our technologically mediated world.

From the surrealist exploration of the subconscious self, the Korean myth of Bari-degi, the fusion of Sino-Meso deities of the sea, to the alien legends of Pasadena, our students' projects span a vast narrative spectrum. They infuse life into forgotten companions like Xiao Huang, redefine what it means to be a Black muse, reimagine mythical figures such as the youthful Chiron, and set out on introspective journeys through the metaphorical heart's complex ecosystems.

The Blue Lands main space is an immersive exhibition that showcases the collaborative work of Guo Yu (Mei Mei) and Ho Eun Lee (yuna).

Drawing inspiration from the stormy weather concept, the space visually represents the height of the sea with captivating motion design and sound elements. Through the use of swirling waves and rhythmic audio, visitors are transported into an immersive experience that highlights the ebb and flow of the sea.

The key message of the exhibition is to emphasize the critical connection between rising sea levels and the increased risk of coastal flooding.

Guo Yu and Yuna's work within this environment brings attention to the urgent need for climate action in a captivating and thought-provoking manner.

Designed by
HoEun Lee (yuna) / Motion , Visual & Sound / h.lee0320201@arts.ac.uk

Guo Yu (Mei Mei) / gmdlcc / Environment & Website set up / Yuguoselina@gmail.com

"Eki Blues" or「駅ブルース」
is a nostalgic place for me,
one of transition and loneliness.

This is a virtual view of an emotional and temporal liminal space, a unique version of the exhibit.

As well, there was a live stream of the physical exhibit,
"Eki Blues". This allowed a two-way view from the virtual to the physical space - a liminal one.

This liminal space opens from 6/16-18 JST

Livestream was on 06/18 JST.

The "Healing Garden" (https://www.artofxinyi.com/healing-garden) is a community art project created by Xinyi Zhang to facilitate personal healing and transformation through visual symbols. The concept is inspired by the artist's personal experience of working with archetypal imagery in her art practice, which she uses to release limiting beliefs and reclaim personal power. The virtual metaphysical sacred space of the Garden will be accessible to all who interact with it.

To participate, enter the Garden and complete the short meditation at the Object Creation Sanctum (show on the right) to come up with your personal ritual object. Then fill out the form at: https://www.artofxinyi.com/healing-garden-form. Xinyi will channel your personal “healing object” for you. A selection of these objects will then reside in the garden, where the collective energy of the participants' positive visions will be nourished to grow.

‘CONTEMPORÁNEAS’ explora las intersecciones entre la creación fotográfica femenina actual y las nuevas herramientas artísticas que ofrece la tecnología NFT, y constituye un proyecto pionero en la fotografía contemporánea española.

La colección es el resultado de una convocatoria abierta de la plataforma ‘Cómo ser Fotógrafa’: un proyecto que pone en valor el papel de las mujeres en la creación artística y que con esta muestra se posiciona como un medio que relaciona la fotografía tradicional y el espacio web3, en continuo desarrollo.

Con un enfoque fresco y vanguardista, la muestra busca romper los límites del medio fotográfico y desafiar la tradición, presentando obras que se atreven a explorar y experimentar con las técnicas más innovadoras de la creación digital.

A través del objetivo de fotógrafas contemporáneas españolas e hispanohablantes, ‘CONTEMPORÁNEAS’ aborda temas como el consumismo, la estandarización y homogeneización del cuerpo o la lucha contra el cáncer de mama, y presenta una amplia gama de técnicas y estilos que toman como punto de partida material encontrado, el álbum familiar o la intervención del paisaje.

‘CONTEMPORÁNEAS’ nos invita también a hacer una reflexión sobre la situación actual de la creación fotográfica femenina, poniendo en primer plano a las artistas y sus perspectivas únicas. Su objetivo no es solo celebrar el trabajo de estas creadoras, sino también plantear cuestiones importantes sobre la diversidad, la igualdad y la inclusión en el mundo del arte.

Susana de Dios, comisaria de la muestra.

--
‘CONTEMPORÁNEAS’ son: Camila Orozco, Rosa Abreu, Marta Bogdanska, Estrella Caraballo, Annita Klimt, Lucía Fernández Muñiz, Rosi Pardal Aragunde, Andrea Torres, Karla Guerrero, Luana Fischer, Carol Galiñanes, Rocío Bueno, Laura F. Izuzquiza, Rebecca Uliczka, Isabel Sangro, Natalia Zambaglioni, Elizabeth Casasola, Claudia Suarez, Laura Rodríguez y Natalia de la Rubia.

'CONTEMPORÁNEAS' explores the intersections between contemporary female photographic creation and the new artistic tools offered by NFT technology, and constitutes a pioneering project in Spanish contemporary photography.

The collection is the result of an open call by 'Cómo ser Fotógrafa' (How to Be a Female Photographer): a platform that values the role of women in artistic creation and positions itself as a medium that connects traditional photography with the constantly evolving web3 space.

With a fresh and avant-garde approach, the exhibition seeks to break the boundaries of the photographic medium and challenge tradition by presenting works that dare to explore and experiment with the most innovative techniques of digital creation.

Through the lens of contemporary Spanish and Spanish-speaking photographers, 'CONTEMPORÁNEAS' addresses topics such as consumerism, the standardization and homogenization of the body, and the fight against breast cancer. It presents a wide range of techniques and styles that draw on found material, landscape intervention, or the family album.

'CONTEMPORÁNEAS' also invites us to reflect on the current situation of female photographic creation, putting the spotlight on the artists and their unique perspectives. Its goal is not only to celebrate the work of these creators but also to raise important questions about diversity, equality, and inclusion in the art world.

Susana de Dios, curator.

--
'CONTEMPORÁNEAS' are: Camila Orozco, Rosa Abreu, Marta Bogdanska, Estrella Caraballo, Annita Klimt, Lucía Fernández Muñiz, Rosi Pardal Aragunde, Andrea Torres, Karla Guerrero, Luana Fischer, Carol Galiñanes, Rocío Bueno, Laura F. Izuzquiza, Rebecca Uliczka, Isabel Sangro, Natalia Zambaglioni, Elizabeth Casasola, Claudia Suarez, Laura Rodríguez, and Natalia de la Rubia.

synthesis gallery presents UNSTABLE OBJECTS|Online, an online exhibition going live May 25, 2023, on New Art City and running through July 6, 2023, and UNSTABLE OBJECTS|The screenings, a video screening program opening physically June 1, 2023, at Molt (Berlin) and running through June 20, 2023.
The contemporary visual universe has become an uncanny, quirky, mixed up place: gifs, photoshopping, GAN, remixes, deep fakes and memes have made their way from the depths of the digital world into our everyday lives. Images have become unstable objects, as art historian Valentina Tanni refer to them: they are made, sent, resent, distorted, manipulated by human and non-human life forms, and the growing and accelerating dissemination of their contents and contexts affects systems of power and changes the way we perceive reality.

Bringing together works by Casey Kauffmann, Katherine Mills Rymer, Nicoleta Mures and Romain Thibault, UNSTABLE OBJECTS|Online highlights this new era of images and their power to reflect our fragmented, hybrid, hyper- stimulated selves. Either taken from popular culture or created from scratch, distorted upon themselves or remixed in the primordial swirl of the internet, the works on display stand as a form of critique and celebration. Romain Thibault's project “Cognitive Distortions” is about automatic thought patterns that cause individuals to perceive reality inaccurately and negatively. This phenomenon is explored through the lens of our current image culture. Katherine Mills Rymer's sister works “Face Like A Cave” and “Hairy Melty” explore ideas of the socialized self, the private self and the paradisiacal online self. Each work seeks to understand internal shame, infinite circularity and digital entanglement. Casey Kauffmann's “Cursed AF” series of GIFs explore the concept of cursed content, a type of online content and popular subculture that is considered disturbing, unsettling or even frightening. Nicoleta Mures' collages explore the overwhelming nature of our always- connected society, highlighting the alienation that comes with living in a world where we are always online but never truly present. The artworks are placed in dialogue with a virtual environment architecturally designed by Mohsen Hazrati, to recall the overflowing and breached out stream of the web.

UNSTABLE OBJECTS is curated by Rebecca Manzoni and co-curated by Giorgio Vitale.

Edition365 is back again and has invited artists to submit their documentation of human history 1 year on. Anybody, from anywhere, practicing any form of expression, was recently invited to submit their work created between 1st October 2021, and 30th September 2022. This is the winning collection as carefully selected by our expert panel of judges – Justin Aversano, Jean-Michel Pailhon, Nour Chamoun, Jeff Excell, Gregory Eddi Jones and Libby Porteous.

The first release of Edition365 was launched last year with a goal to create a body of work which stands as a time capsule of one of the most notable periods in recent history, the coronavirus pandemic. The collection can now be found on Opensea consisting of 365 artworks from hundreds of artists, capturing a shared moment in history from humans all over the world..

The final collection simply relates – whether directly or indirectly – to any of the significant events that have occurred over the last year. This collection aims to be entirely inclusive and celebrate diversity in both subject and creator and so any artist from anywhere in the world has been given the opportunity to submit any form of artwork at no cost, once.

This may be an autobiography, or may be a generation manual, yours and mine.

This could be an endeavor to fathom the dizzying sensation of existence. Much like a novelist constructing an engaging labyrinth, or a mathematician revealing the true essence of paradoxes and conjectures amongst symbols and propositions, the more closely one follows the author's guidance, the more one is drawn into a profound dizziness by an irresistible force. At the core of this cognitive whirlpool lurks the ultimate question of "Who am I?"

This may also be a conspiracy to reshape the relationships between memory, thought, and self. As people embark on the mystical journey of self-discovery, guided by this dizzying sensation, all experiences of curiosity, confusion, fear, desire, and trembling seem to vaguely point towards the same action - we attempt to articulate "Who am I", and cast this question into the void, towards technology, enigmatic forces, artificial intelligence, in anticipation of an echo. Yet, can the final answer truly satisfy our longing, or does it merely spin us into another layer of dizziness?

In Unreachable Destination, installation and mixed-media artist Yuehao Jiang presents her first solo show for virtual space.

Jiang has spent much of the past few years investigating the possibility of creating digital landscape paintings through analog means. In adapting her wax pastel works to a world-building project, Jiang's work evokes a landscape where the figure-ground relationship is redefined, and the figure becomes part of the landscape.

Optical illusion and space exist in all of these new drawings, where a hand evokes a face, or a cholla wood growing out from a human hand. Holding on or letting go? Falling or hanging? It's all a matter of perspective.

Have you been wondering what to make of Web3? Are you curious about the trajectory of the Internet, and the fate of our digital lives? Have you been drawn to the economics of this space as you seek out resources for your work and communities? Perhaps you have concerns about who is able to access such resources in the first place, and who decides what happens in a “decentralized” web. How does blockchain even work? Do we need it?

Over the past year, artists and activists gathered together as existing friends and community-based cultural workers to think about this current moment of technology together and plan some sort of collective response. Through our routine check-ins and meet-ups, we realized how much we appreciate simply having a space for each other to exchange honest questions, learnings, and emotions about what’s happening in the frenzied development of Web3. We find it grounding to navigate this topic area with vulnerability, and recognize our own needs and desires for technology along the way.

In this particular iteration of Web 3, we will be using New Art City's digital 3D tools to spontaneously co-create a 3D zine inspired by our past and on-going Web 3 Are We OK conversations/feelings/spirals. Current facilitators in this ongoing series include JAZSALYN, Marcus Brittain Fleming, Alice Yuan Zhang, Kola Heyward-Rotimi, Liz Mputu.

Funds available for this event were gathered through Marcus’ involvement in the Stacks Foundation, a cryptocurrency built on Bitcoin. Marcus was awarded $15,000 to create an NFT project for this organization. Half of these funds (post-tax) will be used to fund this event and others like it, critical research about Web3, and psychotherapy funding for low-income tech workers. Often there lacks funding for critical discourse in tech, only for building and proliferating toward an industry agenda. Worse yet, any objections are often dismissed as “fear, uncertainty and doubt” (FUD). So, this is Marcus’s way to siphon space for developing mutual support on our own terms!

New Art City is pleased to present MEMORY CARD, our third annual festival featuring new guided tours of virtual exhibitions created within the last three years. This festival shines a spotlight on the artists publishing their work on New Art City and will release new artist-led tours screening on loop for each day. We believe art is more meaningful and accessible with context, and these guided tours provide the stories and narrative that complement these works for long term preservation.

Welcome to the ESC (‘escape’) world, where we showcase the works of a selection of artists who have participated in the ESC challenge to explore the intersection of technology, art, nature, and humanity. We are exploring how art and technology can raise awareness about environmental issues, challenge traditional concepts of humanity, and open new avenues for exploration and understanding of our place in the world.

Turn on your sound and use headphones for the best experience.
Hover or click on the artworks to access descriptions and transcriptions.
Refer to the catalog for a more comprehensive understanding of the area.

The Ties That Cannot Be Unbound is a curatorial project that seeks to challenge and reconstruct our relationship with the material world and all life forms that coexist with us on Earth. Through a comprehensive examination of various concepts, approaches, and praxes, the project aims to inspire reconciliation and repair of the damages inflicted upon the othered, exploited, abused, commercialized, fetishized, and colonized entities that surround us. The project invites audiences to confront their preconceived notions of material possessions, and explore the potential of a new mode of engagement with the world. By encouraging visitors to question their place in the ecosystem, the Ties That Cannot Be Unbound aims to inspire a collective effort to reshape our relationship with the world around us, paving the way towards a more sustainable and harmonious future.

New Rendezvous St.: An Archeology of the Future, RCA, SoC

Premiered at SXSW ’23 UK House , Austin, Texas

‘All cities are geological; you cannot take three steps without encountering ghosts bearing all the prestige of their legends. We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.”

Featuring work from staff & students of The Royal College of Art’s School of Communication. @rcasoc 
including @benbranagan @rhubarcode @yuancao_dodo_works_, @yuqiang_ch @xanlefee @junyijacky @shanhuang.hs @eleni.ikon @oo0untitled_egg @whosaidsoda @yupan2030 @pppunko @sundachun @oskieblu

Drop in any time.
13/14 March
UK House @ SXSW
The Chevrolet Courtyard At Cedar Street
Curated by @rhubarcode @xanlefee @oo0untitled_egg
Director @lukependrell

Minting a 3D object on OpenSea, or Foundation enables the object interactive functionality. Once minted, the object appears to float in blank space allowing users to orbit it as they please. Whilst the only decipherable characteristic about the space the object inhabits is lighting, it's unclear if it’s in a space at all. Assuming a promise of Web3 is transparency, platforms should thus be neutral administrators of assets onto the ledger. But what if 3D assets were placed in a modeled environment the user couldn’t initially see? One must then question how this environment packages the non-fungible token, and what implications unseen spatial-identity might impose on the artist object, if any at all?

Platforms of Web3 allowing 3D objects to be minted in GLB and GLTF formats place these objects in a distinct virtual space, however, one can only see this space if a reflective sphere were uploaded through their protocol. Upon doing so, a spherical orb becomes a convex lens into a construct of the NFT gallery. At first glance this construct doesn’t appear to be anything spectacular— it’s proximity to online viewing rooms, and familiar cubic architecture suggest one might hang a rectangular image on the wall, or place an object on a plinth. In this case, it’s a dull assumption of what space digital art objects might exist in. Reproduced across platforms and presumably unintentional, the space itself is the color gray, situating it between the black box of cinema and the white cube gallery. As non-fungible tokens might already occupy a gray area, this gray feels like a fresh coat of paint on a room primed for transition. Therefore, this discovery functions as a prompt for artistic intervention.

Now Fungible, is an interactive work created by Jason Isolini and hosted by New Art City. Using techniques of panoramic stitching, mapping, and re-mapping it appropriates a previously unseen virtual space that’s secretly been the habitat for most 3D objects minted through a blockchain platform. Whether intermediary, or code-binding, this environment encapsulates orbital NFT’s camouflaged as empty browser space. Now Fungible is a conversational forum for visual, additive, or subtractive gesture. It is a space of contemplation, commencement, and re-organization for active users to explore off-chain. What does one do with this space now that it’s been revealed? While questions await to be pried, Now Fungible offers an environment to build upon, or not.

Much like Marcel Duchamp’s work Étant donnés, the reflective sphere exposing a virtual diorama functions as a peephole within an exterior interface. Thus, the reflective sphere-as-aperture solidifies platform dimensionality as a barrier of Web3. However, it is not forgotten that Duchamp provided instructions for the assembly and disassembly of his work. In this way, Now Fungible treats the appropriated diorama as an unfixed manual for user operation— one that calls for the deliberation of the suggested replica. Additionally, one should consider this work a camera obscura— It is a question of this simulated environment as a generator of the image itself, and therefore an apparatus of Web3. One must consider the projection of the image from within the diorama as an exposure of the NFT.

In collaboration with New Art City a custom UI has been built specifically for this show. Every element of this environment is modifiable, as well as a new drag-and-drop function on this menu page allowing any active user to contribute to the work. Rather than thinking of the blockchain as cubic storage space, Now Fungible proposes artists, and spectators consider it a living room.

When rainbowsludgecicles were discovered, it was immediately suspected that they were related to lazersludgecicles. What we now know, though, is that in fact both phenomena are actually a type of lazercreamsicle. Modern analytical techniques are now being applied to determine the exact evolutionary history of the family tree, as it were. There are some hints so far that there may be yet-undiscovered variants that could still exist. Ever larger and more complex containment vessels are under construction to explore the creation of synthetic creamsicle derivatives. Recent advances in materials engineering have shown that combining multiple variants of lazercreamsicles under various temperatures and pressures yields chaotic results that are hard to model mathematically. Physical experimentation has proven to be the best way to discover new forms. Combicicles created in a high-pressure reactor are usually unstable under normal atmospheric and electronic conditions. The current holy grail of the new field of creamsicle engineering is to find a “room temperature creamsicle” that can be used in more realistic situations. Storage and disposal of hazardous byproducts is also an issue.

Measuring and analyzing substances within the reactor can usually be done most precisely from inside each sample.

Art by @laserscorpion. Sound design by @blanckien.

Watch the documentary film at www.lazercreamsicle.net

Mind Flaying Flavored Flails is a duo exhibition created by Nathan Harper and Babak Ahteshamipour for Babak’s album of the same title released on the cassette label Jollies (Brooklyn, NYC) on the 18th of November of 2022. The exhibition features five collaborative installations set on a futuristic garden ship on an alien landscape in space exploring themes regarding climate change, technocracy, the internet and pop culture. The installations are built around each of the individual tracks of the album which play respectively at each vicarious location. The exhibition is designed in such a way to create a non-linear experience, lacking a beginning, middle and end. It follows the idea of the non-linear compositional structures of the tracks of the album. Both Nathan and Babak used old works of theirs which they recreated some of them in 3D, gesturing towards recycling, reusing and recontextualizing which are of significance in artificial intelligence and ecology.

Babak’s presence in the installations is highlighted with paintings of nonhuman beings — and their 3D versions — such as a bear in a racing kart from the video game "Crash Bandicoot Nitro Fueled" surrounded by Pepsi cans, a shark inside a broken washing machine and a black unicorn, and spell icons from the MMORPG "World of Warcraft" and their names showcased via 3D logos of the famous video game "DOOM" and the famous death metal band "Death" — in response to Nathan’s use of the band’s logo in his works. Babak explores and underlines the fetishistic overproduction and overconsumption of material commodities, imagery, online data and commodified art — fantasy franchises, video games and feel-good music — which reflect the capitalist realist lifestyle and overwhelms in decisive manners the relationship between human and nonhuman, present and future. Moreover Babak’s piece entitled "I’d Rather be Banished to the Void than to Accept Disturbing Facts" occupies the center of the space and features a black hole on which Skeletor — the main antagonist of the Masters of the Universe franchise — is banishing a ghoul from the Warcraft franchise, referencing to the famous Skeletor memes that mention disturbing facts, a clear indication to climate change denial, as it is an occurring theme in his works.

In conversation with Babak’s works are Nathan's dirt sheet prints and paintings — printed with dirt pigment which he made by gathering actual dirt — which are presented as preserved organic artifacts in a post-doomsday context showcasing the absurdity of the age of the internet based on their depicted context. They feature various imagery which Nathan found online and printed including extreme metal band logos, cartoon characters, skeletons, slogans, animals and DeviantArt style art. Additionally Nathan’s Tesla Trucks entitled "Southern Girls do it Better" which feature a texture with an imprint of Gadget Hackwrench — from the popular 1980s cartoon "Chip n’Dale Rescue Rangers" — and a logo from an extreme metal band, have been sucked in the alien terrain beneath and around the black hole in the center of the space, ironically reminding us of Elon Musk’s (Tesla’s founder) obsession over colonizing Mars, an average technocrat's dream. Lastly Nathan’s use of the logo of the famous death metal "Death" appears once again, this time as a fossilized piece of organic artifact, a piece that future generations would find and attempt to decipher, just like the Rosetta Stone or the Cyrus Cylinder, deciphering a yet past era of time that still has not passed.

You can listen / buy the album here: https://babakahteshamipour.bandcamp.com/album/mind-flaying-flavored-flails

My thesis work culminates in a video piece titled Trust Clinic. Cyborgian & masked characters process the paradox of waste and excess in a non-linear 1980’s workout video melted with concepts of desertification and abundification on planet earth. Assembling text, found sound and video clips Trust Clinic poses a contradiction between forms of care for self, others, & atmosphere. The video and the installation as a whole is a site of amalgamated experiences- calling into question women’s relationship to technology, labor, and (em)power(men)(t?). One character wears a chastity belt made of rose gold i-phones, they are an ((un))locked desire matrix, the embodied oracle of possibility we all experience in our ‘hyper-notifed’ culture. We also meet the “attendant” a woman who harkens back to phone operators and other service worker jobs that employed women at the turn of the century. Lastly a character emerges from a ceremonial tent dancing on the green lawn until it turns dry and dead. Using both poetic and documentary forms, Trust Clinic processes felt/lived experience with metaphor. In the tension between reality and fantasy, characters and environments are constructed to act out dreams and anxieties present in the global psyche. This show on NAC also includes virtualized physical works including a 10 X 10 ‘ transparent flag, A ceramic rose gold i-Phone chastity belt and the leather tent with a red interior seen in the video. Big thanks to Miss Sammie Veeler for helping me generate a virtual version of my thesis show!

Metamorphis is an extended reality experience and an installation that delves into the themes of time, communication, and transformation from a personal storytelling perspective that challenges Western views of linear time. Metamorphis derives from the biological process of metamorphosis, where organisms transform from one state to another.

The experience consists of three sub-worlds that are in dialogue with the speculative fiction super-genre: Metamorphis, set in 2026, depicts the first interaction between Luca, a fictionalized version of myself, and L, an artificially intelligent being that resembles Luca's former self before his gender transition. Cuir AI, the second sub-world set in 2022, portrays Luca's failed attempts to communicate with AI image generators to create a museum of queer Latinx representation. The third sub-world, Hain, set in 2051, takes Luca's character back to ancestral knowledge to seek meaning in the nearly extinct nineteenth-century Selk'nam tribe's rituals.

These virtual worlds pose various questions to the viewers. They seek to explore how intergenerational trauma impacts one's life, how symbolic systems can either limit or expand communication with natural or artificial beings and if speculation and ancestral rituals can offer hope in finding meaning to continue one's expansion.

Special thanks:
Photogrammetry: www.nycap3d.com
Score subworld Metamorphis: Frankrun
Score subworld Cuir AI: Matrixxx
New Art City team: Don Hanson, Sammie Veeler, Benny Lichtner

Welcome to SOUND OBSESSED sonic innovation archive. This collection features musicians and sound artists working at the intersection of art, sound, science, and technology. This collection features stories and milestones of some of the latest innovative works in sonic arts. Some artists will be releasing music in interesting ways with new tools in the coming months. Thank you for supporting the intricate journey that comes with innovation work. We hope that you enjoy learning more in-depth stories of how these artists are changing the way we create, perceive, and work with sound while considering how evolution of technology impacts us individually, collectively, and societally.

SOUND OBSESSED: sonically obsessed with space and time

“We have all inhabited the matrix, the first place, for nine months.” - Michel Serres

“We all share the same origin, our mothers; all of us come in at the same door.” - Herman Hesse

How has it come to be that the architecture of the womb is so ignored in aesthetic discourse? The first place. The first door. The first portal. In 1966, Niki de Saint Phaille constructed the temporary architectural installation, Hon, and in the intervening 56 years, no sustained discourse has taken place.

“It was a sensation, but the day after the opening we had no press. We had a press showing, but nothing was published in the newspapers. Because nobody knew what to think or say …” – Pontus Hulten, Director of the Moderna Museet of Stockholm

MOTHER’S ROOM picks up this conversational thread, bringing you a hybrid exhibition featuring the work of Maedeh Asgharpour, Maryam Ashkaboosi, Tra Bouscaren, xtine burrough, Rachel Finkelstein, LabSynthE, Elaine Luther, Roxanne Minnish, Andrew Scott and the LightSquad, Cythia O’Neill, Susan Sanders-Rosenberg, Cansu Simsek and Judy Walgren.

Philosopher Michel Serres calls the womb the matrix, the cave and the first place. MOTHER’S ROOM is a virtual and physical exhibition examining the intersection of space, particularly institutional space, women’s bodies and reproduction. The project is centered on the idea of space in art as a fielding ground for theoretical discourse and the ways that space can reflect and reinforce systemic control of women’s bodies, reproduction and caregiving.
Hosted on the New Art City platform virtually and by LabSynthE and the Office Hours project space (Trosper’s office, ATC1.909), the project engages artists to manifest a body of creative research, internet art objects and installations.

Most people don’t expect strangers to believe in them. Maybe there’s a catch, a trick, or something expected in return. Belief is the most important thing we offer to our Protostars.

The concept of Protostars is simple: find people with a passion project, give them a small amount of money and surround them with a community of creators. Then give them total, uncomplicated belief. Once someone is told their passion is important, that it really matters, they are given the freedom to imagine, explore and create. And once this cohort of Protostars was selected, that’s exactly what they did. They were made up of musical theatre directors, vintage camera builders, film makers, Web 3 builders, art curators, publishers, engineers and metaverse fashion designers from the far reaches of Australia and New Zealand. What we’ve seen in this cohort is just the beginning.

Belief changes everything.

Joel Connolly, Creative Director & Head of Blackbird Foundation

A delirium in the middle of the night. A meeting between souls that leave their bodies in order to dream outside the limits of the flesh. A mediation of daydreams, shelved memories, and desires to tell in secret.

A Midsummer Night's Dreams was a virtual residency proposed by Henrique Fagundes, and facilitated by Crislaine Tavares, Felipe Veeck, Gabi Faryas, Guta Oliveira, and Una Akan Nog4yra. In it, we try to seek, in the depths of our realities, possibilities to invite our imaginations.

In this virtual space you are invited to navigation, attention, and meditation. In this strange, yet affective, shared universe that we create, the virtual space is a consequence of the ethereal within us. Feel free.

A Midsummer Night's Dreams: A Tropical Meridional Fiction story is an exhibition originating from the Tropical Meridional Fiction project, awarded by the 10th Marcantonio Vilaça Visual Arts Award, a prize proposed by Funarte.

Deep space exploration and test residency in moving image.

Curators Notes:

Six Minutes Past Nine is an experimental platform looking at innovation through new curatorial spaces to help build, and be part of new spheres for emerging and mid level artists working in moving images. To cast a critical eye on the digital horizon, to research future development models for process, praxis and dissemination of work; for economic democratisation and artist centric returns.

Six Minutes Past Nine

Pilot residency:

We selected five artists to join our pilot residency programme for a 2 month period. Without theme or narrative guidance we wanted to give the artists free-reign to express their work and practice within this space. Through a process of deconstruction, analysis, discussion, feedback and reconstruction the artists have each used this as a way to investigate and reconstruct a virtual installation of their own work.

Artists:

Ben Dawson, Michelle Fischer, Cecilia Tyrrell, Christopher Michael, Sanja Pupovac

Director and Curator:

Daniel Hawley-Lingham

Co Curator:

Samuel Thompson-Plant

Note: Due to unforeseen circumstances Michelle had to leave the process early and that space will be published and accessible at a later date.

The Day We Intertwined: New Art City at FLAME TP Video Art Fair

In such an alien space, we evolve within a dual reality.
A space where isolation brings unity, publicness triggers deep intimacy; where organisms coalesce with machines, and diverse bodies are appreciated without avatars.
In such an alien space, we present our fragility for greater strength.

▎FLAME TP Video Art Fair Schedule & Location (Taipei Time)
VIP Preview: 08.26 12PM - 8PM
Public Exhibition: 08.27 & 08.28, 11PM - 7PM
Location: Hotel COZZI Zhongxiao Taipei

▎Artist Lineup
Henrique Fagundes
Sammie Veeler
Zhao, Tian-lin

▎Artist Talk Schedule
08.26 9AM(Taipei) / 08.25 6PM(LA) / 08.25 10PM(Brazil)

▎Curator
UGLYKIKI, Kat Sung

Virtual Exhibition design by Kat Sung

In New Art City, a virtual exhibition toolkit founded in 2020, artists experiment with cyberspace as an extension of identity and expressive consciousness through building "Worlds” and “Rooms” where artworks can be accessed publicly without the barrier of time and space. By exhibiting 3D models and interactive objects that reflect the possibilities of a fully-customized, artist-owned room, artists Henrique Fagundes, Zhao Tian-lin, and Sammie Veeler explore the idea of intertwined realities through the hyper-awareness of digital experiences.

In Watched Over by Machines of Loving Grace (2022), Henrique Fagundes envisions the future of the metaverse while critiquing it in the context of western cyberpunk ideals. Retrieving his family’s histories and positioning themselves in a “cyberFUNK” futuristic scenario in Brazil, Fagundes questions the ownership of the human future and digitized bodies by creating a black comedy-style virtual Brazil, where poor and dissident people can be purchased as NFPs (Non-Fungible Person). While rewriting the context of his and his loved ones’ existence, Fagundes finds that imagining a sense of belonging in a future setting to be a challenge. In a world where advanced interconnectedness is marketed and supposedly assured, feelings of isolation and abandonment permeate throughout the space. Upon this realization, Fagundes dreams of a harmonic coexistence between organisms and machines, a sanctuary where all that is truly precious remains safe and unforgotten.

The antidotes for the ambiguous ownership and struggling animal-nature-machine relationship of digitized future is rooted in Zhao Tian-lin’s Transcendence Plan (2022). Like Henrique Fagundes’s hope that “mammal and computers live in mutually programming harmony like pure water touching clear sky ”(quote from a poem by Richard Brautigan), Zhao Tian-lin has a vision of reconstructing new versions of ourselves in the present and near future. Through their intimate experiences with others on spiritual hypnosis journeys, Zhao Tian-lin’s ‘Digital Sarira’(數位舍利子) presents the results of their transforming consciousness. Zhao Tian-lin liberates people from the old memories and human histories burdened within the body, while regaining the original pure essence of soul, and thus a new earth is born.

Wholeness emerges from fractals. Under an artist’s imagination of intertwined realities, an interconnected self-awareness has evolved from digital intimacy. In Sammie Veeler’s artwork Gyre(2021), viewers travel freely inside the rising gyre of gender euphoria and dysphoria, and traverse through moments of abstracted reflections. As a dedicated Worldbuilder in New Art City, Sammie Veeler experiments with cybernavigation as interactive poetry and an exploration of self. Sammie Veeler’s Gyre(2021) levitates viewers through the acts of vulnerability and introspection in a transitioning self-awareness. A human face, a bond bursts from your gaze, and so is the portrait of a machine made clearer by our every single diving into the network and cyberspace.

"The Day We Intertwined" is curated by digital media artist UGLYKIKI, and Kat Sung from New Art City.

ଘ(੭ˊᵕˋ)੭*✿⋆｡✾ﾟ⚘ ੈ❀✩‧₊˚❁ꕥ
Artists: Caden Chung, Satine Cumming, Darcy Hatcher, Lorenzo Hinojosa, Xander King, Samvel Krajian, Katie Luo, Nicolas Magaloni, Katrina Meng, John Miranda, Nikhita Rao, Aline Tamy Saruhashi, Faith Smith, Tyler White, Grace Whitman, Julianne Wong

Instructor & Curator: Qianqian Ye

Student Assistant: Katherine Yang

It begins with < html > and ends with < /html >, and infinite possibilities await therein. Rich, complex, and beautiful things can burst forth from between the deceptive simplicity of two opening and closing HTML tags. Upon a white browser page, each paragraph and image and canvas, perhaps the odd form or table, fills in color and shape and texture, until a unique composition emerges that tells a story and lights something up in us, the way all good art does.

Throughout the past semester, the artists/coders of USC Media Arts + Practice’s IML 300 have dedicated countless hours learning how to write in the languages of HTML, CSS, and JavaScript—first in blank-stared frustration, then with gradually fewer thoughts of computer-cide, and, towards the end, if they were so blessed by Brackets, sometimes even with joy, and—oh, after all that: these are just new tools and this is still just art. The results of their labor are these web-based artworks, keenly resonant as shining examples of how we can offer care, make tongue-in-cheek play, provide healing, inspire action, and facilitate agency. Here, they lay out their works, inviting visitors to engage with their explorations of interactivity, non-linear hypertexts, networked justice, and ask: what do you like to plant within < html > and < /html >?
✿✿✿

These eight megastructures present new modes of engaging with physical-digital space. From the mazelike "Voroni Megastructure" to the hivelike "Warrens," these buildings propose the question of instantaneous vastness: what does it mean, architecturally and experientially, when digital spaces allow for the rapid production of truly vast and monumental architecture? These pieces are a sideways-proposal for NAC (and other virtual platforms) to keep considering the question of vastness and immensity. When we are thinking, in the future, about spaces for the containment of digital art, those pieces of art could be embedded in much larger worlds, in much greater conversation with their context. Rather than the gallery being our skeumorphic art container/context, we should instead consider it the landscape (a kind of new digital earth art). Many of these works are inspired by Tsutomu Nihei's "Blame!" whose giant city becomes a new kind of nature.

(원활한 관람을 위해서 크롬 브라우저를 이용해 정원에 접속해 주세요. 모바일 환경에서는 접속이 어렵습니다.)
(To fully experience the garden, we recommend using the Chrome browser. Mobile phones have limited access.)

《땅속 그물 이야기》의 온라인 전시관은 〈균사체의 정원〉이다. 자연물인 균사체와 인위적인 정원의 결합물로서 가지 뿌리처럼 연결되는 관계를 형성하는 페스티벌을 은유하는 온라인 전시 공간이다. 균사체는 곰팡이의 영양기관으로 땅 밑에서 실처럼 균사를 뻗어내어 생장하고 전기신호를 발생시켜 신경망처럼 언어적 소통을 한다. 이러한 사실을 바탕으로 땅 밑 균사체가 살아가는 미시세계이자 균사체의 언어가 발생하는 장소로서 온라인 전시관을 제시한다. 온라인 전시관은 균류의 생장 특징에 기반하여 네 개의 정원으로 구성되었다. 정원은 〈통공팜이균류의 정원〉을 중심으로 〈담자균류의 정원〉, 〈자낭균류의 정원〉, 〈접합균류의 정원〉이 연결되어 있으며, 각 전시관은 포털을 통해 이동할 수 있다. 전시관의 정원에서는 참여자의 디지털 작품 및 큐레이션과 필자 4인의 문장을 균사체 구조물 사이에서 발견할 수 있다. 균사체 정원 사이를 산책하며 디지털 작품을 관람하는 경험을 제공한다.

참여 작가:
나타샤 톤테이, 돈선필, 모레신 알라야리, 무니페리, 송민정, 업체eobchae, 이영주, 클라라 조, 케이켄, 혼프(하우스 오브 내추럴 파이버), 황선정

참여 작가 × 게스트 큐레이터
김안나, 비샬 쿠마라스와미 × 리티카 비스와스, 리 위판 × 첸 샹웬
클라라 조 × 마라 조안나 콜멜

사전워크숍 「함께-세계만들기 Worlding-with」 & 필자
보선, 서한나, 이길보라, 하미나

크레딧:
주최 ㅣ 한국문화예술위원회
위원장 ㅣ 박종관
미술관장 ㅣ 임근혜
미술관운영부장 ㅣ 최혜주
큐레이터 ㅣ 노해나
코디네이터 ㅣ 박유진, 조성현
인턴 ㅣ 강수빈, 유승아
홍보ㅣ 박상은
미술관매니저ㅣ 이상미
시설ㅣ 윤천학
온라인 전시 협력기획 및 제작 ㅣ PACK.(팩)
컨셉아트 ㅣ 박무현
3D 제작 ㅣ 오하늘, TSC
사운드 ㅣ 안효주
그래픽 디자인 및 웹사이트 개발 ㅣ YinYang

Mycelium Garden is the online exhibition space for the on-site exhibition The Fable of Net in Earth. This virtual space combines mycelia, which are products of nature, with artificial gardens, symbolizing a festival that builds root-like relationships. Mycelia are the vegetative organs of fungi. They grow thread-like hyphae underground and create electrical impulses, similar to nervous systems that function like words in human language. Based on these facts, the online exhibition space is presented as a microscopic world that mycelia inhabit below ground, where they formulate their language. The space is divided into four Gardens that mirror a fungus's developmental stages. Chytridiomycota Garden, is the center of the exhibit, to which Ascomycota Garden; Basidiomycota Garden; and Zygomycota Garden, are all connected. The audience can travel to each space through portals. The Gardens provide the audience with curated groups of digital works by the artists participating in the physical show and written works by four writers, which are found between mycelial structures. The online exhibition provides the audience with the experience of viewing the digital artworks while walking around the Gardens.

Artist:
Natasha Tontey, Sunpil Don, Morehshin Allahyari, Mooni Perry, Song Minjung, eobchae, Youngjoo Lee, Clara Jo, Keiken, HONF(The House Of Natural Fiber), Sunjeong Hwang

Artist × Guest Curator:
Anna Kim, Vishal Kumaraswamy × Ritika Biswas, Li Yi-Fan × CHEN Hsiang-Wen, Clara Jo × Mara-Johanna Kölmel

Pre-exhibition Workshop 「Worlding-with」 & Contributor
Bosun, Hannah Seo, Bora Lee-Kil, Mina Ha

Credit:
Hosted by Arts Council Korea
Chairman Jongkwan Park
Director General of ARKO Art Center Jade Keunhye Lim
Director of Operations Hyeju Choi
Curator Haena Noh
Coordinator Eugene Hannah Park, Seonghyeon Cho
Intern Subin Kang, Seunga You
PR Communications Sangeun Park
Museum Manager Sangmi Lee
Facility Manager Cheonhak Yoon
Online Exhibition Co-curation and Production PACK.
Concept Art Moohyun Park
3D Production Haneul Oh, TSC
Sound Hyoju An
Graphic Design and Website Development YinYang

Where do the rejected artworks go? and what does it mean when an artwork is denied being part of the public space of the arts? This media artwork takes the exhibition as an inquiry tool, a medium, and an event, where the notion of rejection in the art world is criticized and disrupted, in an attempt to create a parallel universe, or a parallel public space, where rejected artworks or "dark matter" get to be seen, and have another life. The exhibition\artwork is also questioning the mechanisms of meaning, power, legitimization, and gatekeeping in the current art system, by showing 30 previously rejected artworks from different places of the world. Some works look ultimately refreshing to the point make you wonder: why did the white cube deprive us of it? And some others look exactly like any 'successful' work which made it to the white cube. Thereby it makes one wonder why these were deprived of the white cube. It is a question of deprivation in both directions.

**All artistic & curatorial labor in this exhibition is self-organized and on a voluntary basis. All the artworks that have been submitted were accepted.

The "World\Exhibiton" has three "rooms\sections" which are: Of Disappearance, The Colors that Didn't Make it, and Underrepresented Media.

Digital Curator: Adele Jarrar

Participating artists: ABDULLAH NOWARAH (JO\PS), ALI EL-CHAER (PS\US, KAZZARI (MX), MARÍA MORALES (CO), NOURHANNE IBRAHIM (EGY), MALAK ABDELWAHAB (PS), ZAI PACARDO (PH), TRINE LEONORE BERG (DK), MAHMOUD ISMAIL [al hut] (SY\DE) MICHEL MA’AYEH (JO), FAKHRY AL-SERDAWI (PS), CHUN WANG (US), LAMA ALTAKRURI (PS), JUSTINE YOUSSEF (AU), ZAINA AL JAGHOUB (JO), DOVYDAS LAURINAITIS (LT), HAMZEH ALSHEIKH-ALI (JO), MARAH KHALIFEH (PS), TABBY GAMMER (UK), CHRISTINA QAHOUSH (PS), SAMA SHAHROURI (JO), LORENZO OSTERHEIM (US), VALENTINA VELÁZQUEZ DE LEÓN (MX), MAJD MASRI (PS), FARAH RAKAN(JO\IQ), JYSUS RAMÍREZ (MX), RAFAELRAPOSO PIRES (AR), AHMED EMARA (EGY), GRACE HUYNH (US) ABDULLAH NOWARAH (JO\PS), ALI EL-CHAER (PS\US, KAZZARI (MX), MARÍA MORALES (CO), NOURHANNE IBRAHIM (EG), MALAK ABDELWAHAB (PS), ZAI PACARDO (PH), TRINE LEONORE BERG (DK), MAHMOUD ISMAIL [al hut] (SY\DE)
MICHEL MA’AYEH (JO), FAKHRY AL-SERDAWI (PS), CHUN WANG (US), LAMA ALTAKRURI (PS), JUSTINE YOUSSEF (AU), ZAINA AL JAGHOUB (JO), DOVYDAS LAURINAITIS (LT), HAMZEH ALSHEIKH-ALI (JO), MARAH KHALIFEH (PS), TABBY GAMMER (UK), CHRISTINA QAHOUSH (PS), SAMA SHAHROURI (JO), LORENZO OSTERHEIM (US), VALENTINA VELÁZQUEZ DE LEÓN (MX), MAJD MASRI (PS), FARAH RAKAN(JO\IQ), JYSUS RAMÍREZ (MX), RAFAELRAPOSO PIRES (AR),
AHMED EMARA (EG), GRACE HUYNH (US), ISLAM ALLAM (EGY).

This year, AAIFF is celebrating its retrospective with RENDERING REAL: Explorations of Asian American and Asian Diasporic Archives, an online virtual exhibition featuring 11 artists and 4 organizations selected as part of the new media category.

The new media category is an extension and expansion of AAIFF’s dedication to support Asian and Asian diasporic artists working with newer forms of media and moving image that fall out of the bounds of traditional cinema. We look to these artists to understand how storytelling can take shape in newer forms fit for the digital age.

RENDERING REAL revolves around interrogating archival material and the archival process. Especially within the Asian/Asian diasporic community, archives can be powerful reminders of the past and how it continues to inform our present and future. How can we engage with archives more interactively? How can we utilize archives in a manner that activates it rather than renders it passive? Are archives only materials of the past that gather dust or can they be living organisms in the present?

RENDERING REAL aims to contemplate these questions through our selection of new media artworks and projects. We want to thank the artists who have submitted their works, as well as the organizations who shared a selection of their projects reflective of their ongoing efforts to establish and push the boundaries of Asian/Asian diasporic archives.

｡･:*:･ﾟ★,｡･:*:･ﾟ☆ Welcome to UAL Online: Foundations　　 ｡･:*:･ﾟ★,｡･:*:･ﾟ☆

In this exhibition we present the work of the class of 2022 in the course "Introducing Creative Computing Concepts". The students began their foray into the world of digital art by creating pieces using either the *p5.js* or *hydra* programming environments to make their first pieces.

The brief was set open: students were allowed artistic freedom to introduce their own interests and concepts into the digital sphere. From providing alternative music videos, comforting animations to existential questions about digital identities, we hope you like our exhibition.

SONIC COLLIDE-O-SCOPE is a virtual new media exhibition centered around world-building and manifesting alternative realities through sound and video discourse. The works collide in virtual space like
worlds rotating in an ever-changing view, bringing pre-existing power structures into sharp focus and offering up dynamic new social and political paradigms. The artists engage with a number of technical and creative strategies from chanting curses and mantras for protection to integrating personal histories, archival audio, immersive environments, and projected illustrations that envision new futures and parallel worlds.

Participating Artists:
Hiba Ali
Kim Alpert
Sofía Cordóva
Jacquelyn Carmen Guerrero
AJ McClenon
Bryan La Beuf
Damon Locks
Norman Long
Amina Ross
Sadie Woods

Curated by: Courtney Cintrón
Exhibition design by: Sammie Veeler

Exhibition support by the Gaylord and Dorothy Donnelley Foundation and Chicago Artists Coalition

Set 5 seconds into the future, when humans have become reliant on recommends. When human influence has become extinct and the only examples of how and what to be are based on the selected stereotype options presented on the splash screen of our latest interactive lifestyle platform, we have only a limited palette of computer generated influence remaining.
Our algorithmic options logs have informed a narrower and increasingly simplified data set, making life so much easier and rendering imagination obsolete and autonomy merely a user selectable feature, which in reality is just a cosmetic avatar accessory.

Auto.Corp is a show based around a fantasy future big corporation, created to relieve humans of the tiresome burden of choice and decisions.
It is a human-curated mimeograph of AI in its infancy, designed to expose how we overlook the fact that everything the computer spits out at us is based on the prompts we input. We are the programmers. We are the data providers. Constantly, we submit our personal preferences and details and yet expect a resulting CG outcome that is somehow original!

Auto.corp presents human-generated imagery (HGI), it contains digital place-holder art produced by anonymous art collective
Anti.Gang, featuring artists A.n0nE and i.n0onE and as standard, emphasis is placed on exceptional audio quality and I’m excited to collaborate with contributing sound artist Ruaridh Law (@ruaridhlaw - https://ruaridhTVO.com) to sculpt the soundscapes in these spaces,
taking inspiration from cliches of new-age and utopian sci-fi sound design, and then both hyper-stretching, then super-compressing the results into something new.
Created as an analogue interpretation, an organic dupe, of GANs, by contrast to adversarial computer networks it is HAI (Human Actual Intelligence) Neural Network, opposing AAI (Actual Artificial Intelligence) Network, i.e me versus my computer, to produce what AI would create given the prompts CULTURE, IDENTITY, UTOPIA.

Auto.corp consists of three worlds. Each a “penny in the slot” “pay as you go” experiential package, delivering micro-servings of fantasy aesthetic experiences. It questions the use of the morpheme “Auto” within contemporary life and uses it as a vehicle to explore our relationship with daily voluntary and involuntary actions and their effects on us, our evolution and our society. (Once we’ve handed everything over to an automated system to generate our lives, what will we do with all our time?)
There are over 1000 words with the prefix “auto” and although the stem is derived from the greek “autos” to mean self, it quickly morphed, becoming less and less about self and more about controlling the self and “automating” i.e. removing control. Indeed in the 1600s the term “autarky” (meaning self-sufficient) split to also become “autarchy” (meaning absolute sovereignty) emphasising the absolute dichotomy of eliciting ideals of consent and (self) control in a society built on foundations of hierarchy, dominance and submission.

Ivan Medrano's NFT series ‘PEACE & LOVE’ explores the contrast between medieval combat armour and images of demurity & romance. The garments feature motifs of hearts, pearls, and femininity, all encased in cold metal.

Bodices within the collection bear imagery by photographer Arslan Mominkulov, depicting subjects of robust femininity, rugged, and raw.

Yuval Ozery’s line of digital accessories seeks to discover how what we place on our bodies can serve to both shelter us from and inject us into daily engagements within our worlds. Through the design of accessories that visually take inspiration from armor and weaponry, this line reveals a meshing of love, beauty, and violence.

There’s little we can control in life, however, the manner in which we carry ourselves in action and appearance remains a cornerstone of authority we find comfort and security in. In this way, fashion acts as a form of armouring, shielding a wearer through plates of identity. To adorn yourself is to take control of how you are perceived, accepted, or rejected by the world.

What is the opposite of crystallization? Crystals of memory form and dissipate in the unconditional landscape of propagated paths, diverging from synaptic randomness under the guise of selective control. How do we preserve the places that cease to exist in their physical form or are inaccessible due to forced migration or exile? When a mother-land is kidnapped and the home hijacked, how can one safeguard the sense of belonging? If places can be documented in audiovisual media, how can one capture the feeling of home? Will this memory forever drift away, or can it persist?

This three-dimensional mental map of the artist's birthplace in Ukraine uses an audiovisual experience to explore the notions of preservation and home through virtual placemaking. The cybernetic space is a place for meditation and reflection on the unknown from a perspective of a fleeting homeland.

In this group exhibition, seven artists and one collective are reimagining their own personal, local or urban environments. Each of those navigate the complex interrelations between touring and dwelling of the familiar and the unfamiliar space, exploring home and not-home at the same time.

With what constitutes home, for the individual, becoming more and more complex; this exhibition is attempting to discover the common elements between touring mobilities and home practices.

This is above all space for sauntering around and experiencing habitual spaces with new eyes. Either by questioning tourist practices of others, or becoming tourists ourselves, this is a place for all.

ˈ𝐭ʊə.𝐫ɪ𝐬𝐭/ 𝐢𝐧 𝐲𝐨𝐮𝐫 𝐨𝐰𝐧 𝐡𝐨𝐦𝐞 is a hybrid exhibition that comprises of two acts. This is the first.

Entrances, Voices, and Practices, 2022 brings together students working on the LCC UAL BA (hons) Photography degree program.

The exhibition is split into three main spaces—a room relating to practices, a room of student voices, and an entrance point that attends to the ways students are making work and writing about current urgencies. This year, unlike last year, when we were dealing with COVID restrictions in the UK, students are exhibiting their work in person in our building in the Elephant and Castle, London, UK. This show is curated by the incredible Vivienne Gamble—so we've devised a new strategy for displaying practise in the virtual space of NAC to support this endeavour.

In the entrance space, you can read Thoughts on Images, 2022 – a theoretical text made by staff and students that is split into three sections: ecology, technology, and identity. Also, in this space you can view and download the publication, Emergence, which looks at the way work is produced and acts as a diary of the student’s journey – through various stages of their creative development.

The room, entitled "Voices," is filled with students telling you about their work in their own words. In this space, you can listen to how work is conceived, produced, and conceptualised. Foregrounded in this space is the passion and playfulness with which ideas are engaged—whatever the specificity of the concern.

In the room that deals with practice, we have intermingled student work and draw connections that are tacit that have been tacit in the context of the course but are made explicit in this space. Dealing with a diverse range of ideas, from memory, trauma, ecology, intersectional positionality, gender, technology, and landscape, to name a few themes, the students showcase the way in which they view the photograph as being intrinsically linked to wider visual culture.

Acknowledgements
Curation of the show was facilitated by guest practitioners Tom Milnes and Krasimira Butseva. We also had a dedicated team of co-curators -Liv Wood, Beth Rankin, Yaoqing Han, and Adeola Ogunsiji-Isaac—who have been working tirelessly to bring the virtual show to life.

The publication, Emergence, 2022, was produced by Isabella Scott. Texts by Hannah Geddes and Liv Wood, co-ordinated by Krasimira Buteva, Lalu Delbracio, Max Ferguson, and D.Wiafe. Alex Messer and Nina Veech designed the book.

The text Thoughts on Images, 2022 was produced by Izzy Scott, Co-ordinated by Lalu Delbracio, Krasimira Butseva, Peter Ainsworth, and Lee Mackinnon, copy edited (at pace) by Lee Mackinnon. Anna Komitska and Juliusz Grabianski designed the book.

FOR WE CAN NOT ESCAPE EVEN IN A VIRTUAL SPACE is focused on a digital world designed for black and brown people to come together. When you first enter the space it is very dark which makes it hard to navigate. This is representative of the black experience online, which is often isolating. I added 3d scans of myself as well as a soundscape created in VCV Rack. After exiting the user is transported to a space contracting the isolation. This is a space for reflection and thought and to explore the intersections of technology and Afrofuturism. The user can click on different videos and artworks generated using AI. Each of the titles relates to different word prompts I entered into the AI system. This space was designed for black and brown people to come together and have a space of peace to reflect. Anyone who visits the site can leave notes and chat with anyone else present within the space.

Perennial Sanctuary is a post-nature approach to the monomyth of loss. In the ruins of an ancient cave temple, a sacred tree tells the tale of her beautiful land that falls apart and regrows. This virtual experience discloses 3 memories of her past - Remembrance, Repentance, and Resilience, featuring new media works by student artists from the Experimental 3D class and Digital Bodies class at the School of the Art Institute of Chicago.

This maze of artwork is a collective of work that tackles maneuvering through an ever increasingly difficult and traumatic landscape.

Each artist has asked questions about different levels of this journey. By beginning within a city, the viewer must see these issues on a macro, societal level.

Moving through a maze to a small nightmarish room forces the viewer to then have to see it on a more personal, intimate and micro scale.

0 agency is a hype-textual digital-object
in foliations converging forth from the xfmanifestos
pavilion is a network generative infrastructure across facades,
venues, surfaces, screens, the generic material throughout
the region of configured micro-embassies regardless the nature
of out-sourcing & co-operating onto the manifest-bullet-points
type of work is attained or transmutes from it’s wording setting, lexicography, not-expected, nor-limited to as just the text
ambition ‘the radical’ for a ‘gamble’ with-in-content,
its conceptual and substantialist [formatting]
medialized ‘undercover’ as even better annulation!

The unfolding global pandemic has triggered an existential reckoning over our conceptions of place and human encounter. The escalating political, economic, environmental, and public health crisis has revealed a tenuous, yet insistent desire for connectivity across space and time.

Translocality seeks to unite human and nonhuman communities in the Bay Area socially, physically, and sonically as a living network of sentient beings. This open call invites applicants to propose soundscapes to activate sound art in Bay Area locations to:

- Recalibrate our sensitivity to living realities existing beyond the individual self
- Connect us to the complex weaving of stories, histories, and ecologies of place
- Investigate vestiges of memory materialized through objects, land, and architecture
- Imagine future possibilities for collective transformation in the SF Bay Area

Soundwave is proud to announce 9 new works by the following artists:
- Dario Slavazza
- Dylan Marx
- John Patrick Moore
- Lalin St Juste
- LeeAnn Perry
- Liar Liar Theater Collective: Akaina Ghosh, Jacob Ritts, and Madison Wetzell
- Rumi Koshino and Fereshteh Toosi
- Travis Santell Rowland / Qween
- Tyler Holmes

Virtual exhibition design by Joe Contrell and Jennifer Parker

"Kipya Ki" is a collaborative project between East African Photography organization FOTEA and British Photography organization FORMAT funded by the British Council, bringing together emerging and established photographic talent within the UK and East Africa. The artists exhibiting as part of Kipya Ki? work with digital and physical processes through mediums such as photography, sculpture, CGI, moving images and sound. The artists in Kipya Ki? experiment through intervening, changing and altering used and new image material. Displaying unique abilities to transform stories and images whilst navigating through unfamiliar territory, pushing the visual medium to encompass contemporary issues within social, political, industrial, technological and economic landscapes.

Artists:
Maria Ahmed
Elise Wootten
Carol Kagezi
Duncan Poulton
Sharie Margret Ngigi

山人山，山合山
Being Oe Between

互動性虛擬場景、3D模型、電腦合成影像、3D掃描、人的聲音
Interactive virtual space, 3D model, Computer-generated imagery,3D scanning, human voice

2022

人生活山之間，山緊黏著山。
創作者在台灣東部生活的幾年，總是耳聞有關台灣都蘭山的一些描述，不論是在文化、精神、信仰上的一些內容，不知不覺開始對都蘭山產生好奇，並開始了這次的藝術作品『山人山，山合山』，創作者從各個面向去剖析、探查、經驗、感受這座山，並也開始去思考有關人之於山，所生產的故事、意念、想像，它的背後是隱含了什麼樣的狀態?

圍繞在台東的山相當多，像是中央山脈、四格山、鑾山等，其中都蘭山被現今當地住民視為相當重要的山，對於住在都蘭山西南邊的普悠瑪部落來說，都蘭山可能是其中一隻遷徙路線的發祥地，而對於住在都蘭山東側的都蘭部落而言，都蘭山是山神。

都蘭山對於幾千年前的人來說，似乎也有關聯的可能，卑南遺址從1945年歷經多次調查、搶救、發 掘，出土許多台灣史前人類的物質遺留，這些物質遺留可以說明，卑南遺址是台灣罕見的大型史前 聚落。卑南遺址發掘出幾千具幾千年前的人，他們個別趟在由石板拼接而成的長形空間，他們躺下 的方向都是東北-西南的走向，死者的腳朝著東北，也就是坐起後，他們都面向都蘭山。 西元2003年「卑南遺址與都蘭山」入選為臺灣世界遺產潛力點，入選的原因大致上為:都蘭山可能 為史前族群的聖山、應將遺址與都蘭山納入調查研究、保護區域等，其中都蘭山是史前族群聖山的 關鍵說法，正是死者的方向一致都面向都蘭山，但這終究是現代人的詮釋，還是史前真相?其中有 許多細節值得被疏離及探討，然而本件作品主要探究的是，「卑南遺址與都蘭山」這個命題的背後 邏輯及脈絡。

這件作品是由創作者駐地生活，與當地原住民聊天、訪談，並多次爬都蘭山，把身體與山的互動， 以及與人的交流作為重要材料，並以3D掃描、聲音、數位影像等進行創作。其中一件作品是由3D掃 描現實自然環境的數位模型，與透過電腦製作的3D模型搭建的虛擬場景，空間中出現的聲音，正是 都蘭部落老人家，透過他們的母語，闡述都蘭山的故事，而另一位女性的聲音為都蘭部落的女性， 她正翻譯老人家又中的傳說。創作者企圖降低傳說用來傳遞內容的功能性，而轉化成有關人類記憶 歷史的聲音。

People live between mountains, and mountains cling to mountains.
During the years when the artist lived in eastern Taiwan, she has heard different narrations of Dulan Mountain, whether in terms of its culture, spirituality, or belief. She unconsciously began to be curious about Dulan Mountain and started to develop the work Being or Between. In this work, the artist analyzes, explores, experiences, and feels this mountain from all aspects, which inspired her to contemplate the stories, concepts, and imaginations created based on the relationships between people and mountains. The artist looks to Iind out the state of mind hidden behind these narrations.

There are many mountains surrounding the Taitung area, such as the Central Mountain Range, Mt. Sige, and Mt. Luan. Among them, the Mt. Dulan has been regarded, by indigenous people, as a rather important mountain, and can also be recognized as a birthplace of migrating route onto the Puyuma Tribe who dwells in the southwest of the Mt. Dulan, and to the Doulan Tribe who lives in the east side, the Mt. Dulan is deemed as the mountain god.

To the people who lived in thousands of years ago, the Mt. Dulan was likely having some correlation with them. Through several investigations, rescues, and excavations since 1945, the Beinan Archaeological Site has been unearthed with many objects left by prehistoric mankind in Taiwan, by which, these remnants could specify that the Beinan Archaeological Site used to be a large-scale, prehistoric colony rarely seen in Taiwan. This site has unearthed thousands of people from thousands of years ago. They were each laid on slabs of stone pieced together to form a long space. They all lay in the same direction along the north-east/south-west axis. The feet of the dead point towards north-east. So when they sit up, they face Mount Dulan.

In 2003, the Beinan Archaeological Site and the Mt. Dulan in Taiwan were elected as a potential site to apply for the title of world heritage, the reason of which is, the Mt. Dulan could be the sacred mountain onto the prehistoric tribes. Hence, the Beinan Archaeological Site and the Mt. Dulan shall be subsumed as the reservation area for further investigation and research. The critical legend about the Mt. Dulan being deemed as the prehistoric tribes’ sacred mountain is verified because all of the deceased are buried and facing to the Mt. Dulan; nevertheless, is it the moderns’ interpretation or a prehistoric fact? There are still remaining lots of details to be explored and sorted out. This work is mainly to explore the logic and context behind the thesis of “the Beinan Archaeological Site and the Mt. Dulan”.

To create this work, the artist resides at and lives in the job site to communicate with the local aboriginals, climb the Mt. Dulan many a time, and use the 3D scan, acoustics, and digital image to depict the interaction of body and mountain and the communication of human beings as an important element of the work. One of his works is the digital mold, which is using 3D technique to scan the realistic nature environment and using 3-D mold to create the virtual scenes through the computer production; the voice coming from the space (a hollow part) is the Doulan tribe’s greybeard telling a story of the Mt. Dulan through his mother tongue, and the other voice is the tribe’s female translating the greybeard’s story. The creator intends to decrease the legend to pass down the content capabilities and transform into the historic voice in regard to the human memory.

Introducing Ep 2: HYPNAGOGIA @newart.city opening 1 April 2022.

For the past year, we’ve been talking a lot about the state between wakefulness and sleep. Some of us have adopted unusual patterns for sleeping and waking. In what ways have we been translating our waking hours over the last year? We became reliant on digital ways of staying connected heavier than usual due to the pandemic and social distancing. Our concept of space and time are taking new shape and form again as life becomes more social.

This year’s group show will present artists who have been working with AI, AR, VR, 3D audiovisuals, and a special collaboration with @pollations.ai for a real-time AI AV livestream.

Featuring:

Albert Barqué-Duran
Anil Sebastian
Char Stiles
Dan Gentile
Dan Gorelick
Noah Pred
Portrait XO
Sam Potter
Sean Hallowell
skulptor
Tabitha Swanson
The Glad Scientist

Space Designed and Curated by Portrait XO

_______ __ _ WIRE is the title of upcoming debut AI AV album by Portrait XO feat. Dadabots. By allowing the process of co-creating with AI for writing lyrics and melodies with raw audio AI, the experiments and research gave birth to a game of 'fill in the blank' to create a 'neural vocal duet' album.

I believe everyone should have the opportunity to advance in their career by accessing new methods outside the traditional academic path. Creative approaches for learning and disseminating educational material should be the new way of presenting archives through multi-media collaborations using art and immersive presentations. The moving image theoretical construction and education can assist to understand better the reasons for creating artwork while fostering a voice for those who have found it difficult to express themselves.

During the pandemic, libraries and galleries were shut down prohibiting access to their archives and exhibitions. The shift in producing digital archives for sharing information has become a new way to reimagine spaces to provide people with resources. Transitioning physical materials into digital files invited people to continue to be connected with important information and events around the world and presented the state of the human experience virtually. Using traditional art-making methods including the digitizing of archives is currently being experienced through devices with a combination of photography, video, and digital design. Using virtual platforms as an opportunity to support other students, faculty, and the public at large.

Developing an inner voice that aided me in participating in the social framework has led me to responses that inspire change and defend my stance as a queer person navigating attitudes that are difficult to combat. Through building community and creating art, my practice has fostered new inquiry and transformed me into a better individual. Bringing difficult or frustrating topics into conversation narrows down parts of the human experience worth sharing. My goal is to highlight these memories and beautify them in ways that only traditional image-making coupled with the moving image can curate.

I seek to utilize these traumatic and inspiring moments of my life to become the primary narrator in my body of work. In my personal history, the love for transcending thought into action and visible forms of art shifted a positive way of thinking that may be useful for others to view and learn from. Replaying memories from my past encourages me to find ways to extract those vital pieces of information and stitch together a story for others to use as their survival guide.

MODERNO MINDSCAPES is about my personal memories and artistic process currently at its experimental stage––a Future Stage, one that will be discovered in my next academic pursuit.

"Watched Over by Machines of Loving Grace is an exercise of imagining myself and imagining my family in a futuristic scenario. What scenario would this be where we could get there? What would we have to do? What sacrifices would we have to undergo?

Based upon the poem by Richard Brautigan, All Watched Over by Machines of Loving Grace, and inspired by the ideas of the book The Age of Surveillance Capitalism, by Shoshana Zuboff, the exhibition works on the idea of a dystopian Brazilian scenario, where the right to privacy has been exploited by the digital future. Instead of a cyberpunk reality, the experience tries to idealize a cyberFUNK reality, more fit to Brazilian paradigms.

Special thanks to Ariane, Juno, Nog4yra and Samuel, for the support and for donating their physical bodies for me to recreate them in this fiction.

Thanks to Nog4yra for providing the soundtrack for 2 of the 4 spaces in the ehxibition.

Thanks to Benny, Sammie, Don, and all the NAC team that supported me through this art residency.

Thanks to my father, mother, sister, grandparents and relatives.

To Spawn a Door in the Land of Broken Mirrors

Curated by Nacoca Ko

Featuring video & 3D art by Andrea Bordoli, Antoine Félix Bürcher & Monica Unser, S.A. Chavarría, Eliran Dahan, Nicholas Delap, Sandrine Deumier, Aurélie Dubois, Gwenba, Snow Yunxue Fu, Dave Greber, James Irwin, Jason Isolini, Alan Ixba, Andrea Khora, Nacoca Ko, Gabriel Köi, Léa Porré, & Galaxia Wang

Worldbuilders: Alan Ixba, Nicholas Delap, & Nacoca Ko

Project Assistant: Anna Brotman-Krass

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Eighteen artists from around the world come together to create a world of Doors, Gates, Portals, Wormholes.. a frame for the liminal threshold we call Now. Opening toward the future, closing behind the past, this is the space between the rational and the imaginary, consciousness and dreaming, political and ethereal, between the numerical and the numinal. Who are the guardians rising, the gatekeepers? The troll, the sphinx, the alchemist, the nonhuman? What do we leave behind, and what do we bring with us? What do we cancel, what do we crowdfund? The doorway is an arch of shelter as the earth shakes in apocalypse. Laws of physics collapse as the virtual guides us back to our subconscious desires.

We critique and immerse ourselves in new technology, absorb it into the psyche or body, spend a workday in digital labor, fall into madness, and use it to rise in search of the sublime through nature and beyond. Resisting dualisms and hierarchy, this is our transversal door, spawned in the land of broken mirrors.

We only get glimpses of truth, each from a different perspective, looking into the reflective shattered planes. Lost in a chaotic landscape of shards and suffering, we spawn a door to another world. Whether we want to escape this world, or change it, we must first find our own communicable symbol of passage. 

We can create an Egyptian underworld door, a quantum wonderland door, a constricted shadow-door, a shrine door, or something older, like a spiral of electromagnetic waves. 

Each gate, dug up from rhizomatic roots is a transformative Now. 

Now is open…

“Salvation is a long road that leads through many gates. These gates are symbols. Each new gate is at first invisible; indeed it seems at first that it must be created, for it exists only if one has dug up the spring’s root, the symbol.”

— Carl Jung, The Red Book

“Art and religion, carnivals and saturnalia, dancing and listening to oratory - all these have served, in H. G. Wells's phrase, as Doors in the Wall.”

― Aldous Huxley, Doors of Perception

Forest of Things is an audiovisual fairytale by Manuel Tozzi from 2021. For the online exhibition the work is staged in a computer-generated multiplayer environment.

With the sound of birds and water flowing by, the forest of things pretends to be an ecological system rather than uncovering its technological nature. Only one wooden fence, the boundary between the wild forest and the domesticated fields, disturbs the illusion. As it starts moving autonomously, it stops performing its programmed functions. Suddenly it reveals a letter of the alphabet, a hint of its algorithmic system. Because the letter x is used to signify the unknown, the underlying motives in the forest emerge.

As the visitors wander through the space they encounter four characters, who have secluded themselves in the secureness of the thicket. Awakened from their delusions by the miraculous transformation of the fence, they begin to share their concerns about the simulation of nature and the ever-leaking barricades of culture.

Built by Manuel Tozzi & Anton Krümpelmann
Music by Moritz Scharf

You’ve found Strange Paradise.
Some of it will feel familiar—like your toothbrush’s hairdo or the cracks you pass on your way to work—and then it won’t.
The sublime is closer than it appears.
Art is a bridge.
A decade ago, when everyone woke up with a camera in their pocket and we left our analogue selves for good, New York artist Charlie Rubin made a book visualizing that change in culture. Now these thoughts have a permanent sanctuary.
You’re welcome to stay as long as you want.

'Grimm's Fairyland' is a self-portrait and self-reflection, generally focusing on the themes of isolation, comfort, fantasy, and a looming paranoia. In this show I've created a representation of my bedroom, occupied by simple 3D models and 3D scans of real objects from my own room and workspace. I hope it can be an intimate experience where the user can navigate my "room" and belongings, intruding on what should feel like a very personal space. There is also a 3D scan of myself at my desk, turned around as if aware of a presence in the room other than my own.

I’ve also covered the walls of the bedroom in band posters and artwork that people submitted to me after I put out a call on my Instagram account, and most link to a website or social media from the artist or musician(s) (hover over the artwork for a link to each artist’s social media or website).

Enjoy! :-)

Diffracted Sensibilities. Artificial Gaze is a virtual exhibition that has been shaped around the same named elective course at the School of Communication, Royal College of Art (London, UK). As a collective, we look at ways of rethinking and reframing artificial intelligence (AI), inviting new perspectives, nonhuman centered conversations, speculations and storytelling that empowers diversity in understanding intelligence, liveness and sensuousness.

Diffracted Sensibilities. Artificial Gaze looks at sentient AI, digital queer ecologies, parallel realities and other futures with a focus on ethics of technology, politics and poetics of storytelling situated in a queer-feminist context. It diffracts multiple points of view on the subject matter, deconstructing the colonial language structures around AI. Informed by contemporary art, philosophy, communication environments, science and technology studies, it develops ways of seeing the world around us through cognitive assemblages (N. Kathryn Hayles), sympoietic relations (Donna Haraway) and distribution of the sensuous.

In friendship,
Anna Nazo

Exhibiting artists:
Aiden Kasper Shabka, Amir Jahanbin, Chleo Li, Claire Breach, Mariana Neves, Rong Shi, Tongyu Zheng, Weihang Zhu, Wenhui Jiang, Xiangyu Wang, Xizhen Ning, Yijin Zhao, Yue Zhuo, Ziou Ye.

Last year I spent a few days speaking with my mum about her growing up between places and between people. This year I asked her how she found those conversations, and what she thinks of looking back in this way.

A document of my mum's formative years living between Sierra Leone, Lebanon, and England.

Of loss. Of longing. Of belonging.

This curatorial statement is distilled from conversations with exhibiting artists individually and in groups. Special thanks to participants in the essay writing group including: A.M. Darke, Natalee Decker, Tee Topor, Charlotte Strange, Alice Dee Hoffman, Sonia Levesque, Jasmine Wang, Alice Yuan-Zhang, and Henrique Fagundes

*Terms of Service:* On tech platforms, the terms of service is an asterisk and a statement of what is forbidden; the AI will ban you if you break these rules. How can we build evolving communities of trust online where the rules are encoded in culture not code?

*Architectures of Abundance:* Architectures of space online are shifting and permeable, and architectures of thought are no less so. This is a strategy for curating existing artifacts, generating new ones, and creating a speculative civic architecture for our virtual community.

With *New Art City Festival 2021,* we celebrated our community and all that they have created by shining a spotlight on the artists pushing the boundaries of what is possible with our toolkit. The festival had a focus on new work, condensing over 20 openings into 2 weeks– more than we had ever seen. The exhibitions reflect the tremendous diversity of activity on New Art City across disciplines, media, and geographies. The entire festival is still open and you can revisit the 2021 festival grounds [here](https://festival.newart.city/). This year’s festival features 31 virtual exhibitions by over 100 artists around the world.

Dead usernames galore. Join us in mourning.

Celine Lassus (b. 1999, Tampa, FL) is an artist whose work examines the cost of transculturation. Working across new media, performance, video and installation, they draw on memories of a Y2K internet to create interactive digital narratives that critique the institutional barriers hiding in plain sight.

Collaborative project by @beatsbyholly (sound) and @opekarlukas (point cloud photography) questioning our perception of reality. Ambiguous space, where matter is an ungraspable mathematical structure without any substance on its own. The objects take different shapes depending on our point of view. Explore the hidden beauty of structures based on plants and trees. More info and NFT links at opekar.cz

Dragons is a place where we tried things, a place unconcerned with safety, reflecting the effed up world we live in. "Tools" and "Meat No More" by DC Spensley. Code poetry incantations by misterinterrupt Please FLY around and into things. Like live, nothing is as it seems and to experience this artwork, look inside of things and be sure to have your headphones on.

A foOoOodddddd BASeD BusinESs SimUlATiOn TO AaaaaaahMmmuse yOur mmMOuTH. mmMM.mmM.Mmmm! cRuNcH ThosE nuMmmBERS.!

"a bouse-mouche (/əˌmuːzˈbuːʃ/;"
exhibition no2
Updated (business) Daily
01/26-04/30

Wearz the 🍖?
the🍖 = a virtual food truck simulation
the🍖 = a food pyramid scheme facilitating the exploration of digital art by artists based in the physical realm
the🍖 = a falafel endeavor into the Joy of Art-making

digital putrefaction via food-based experimentation

pavilion #61 in The Wrong Biennale no5
11•1•21~3•1•22

Current and Upcoming Artists:
Amber Bowen
Aurélie Bayad
Christina Dietz
Ellie Mac
France Rreally
Hanna Washburn
Joseph Vincent Annino
Leah Simmons
Michelle LaFrance
Mina Barden
Neil Daigle Orians
Nunz
Velianna Catalano

Curated by:
Qasi BABb Pink
Nicholas Carbone

Special thanks to JoViAn 4 3D.iT

Open Call - email toodfruck111@gmail.com for an 3mpl0y33_@ppl!c@t!0n

_Beta_ is a three-dimensional immersive exhibition that considers the ways in which power systems and hierarchical structures of capital – dominated by today’s neo-capitalism – are embedded in profitable environments known as metaverse, and how virtual avatars are subjected to invisible forces increasingly instrumentalized by multimillion-dollar tech companies.

Questioning the definition of the metaverse – formerly presented by tech giants Microsoft and Meta as an idealistic place promoting escapism and techno-utopianism – this hypnotic environment unveils opaque and authoritative systems of surveillance rooted within virtual environments regulated by major tech companies.

This work is exhibited in the context of Guillaume Saur’s Master thesis research, entitled Generating Conversational Data: Attempts at Invading Machine Learning Systems in a World Made of Artifices, which primarily investigates the instrumentalization and monetization of biometrics, as well as the potential for machine learning systems to imagine non-dystopian futures.

2020 saw the first lockdown in London and with it the closure of arts venues and nightclubs. The shared liminal space of the dance was gone and replaced with isolation—isolation writ large in the empty streets and architectures of the city. The space I present is an artefact, an abstraction and condensation, of the countless walks through those vacant architectures and city soundscapes. It is a psychogeography scripted in sound and graffiti. A collection of photos and tunes slightly altered and mixed into architectures representative of an altogether different liminal space that the city became.

The space is meant to be explored without restriction in any direction. Walls are images and images are walls. They are not boundaries but rather items that shape perspective. It is best to play with perspective and lose yourself in the spaces in-between.

'agathering' is dedicated to my uncle, Steve Blankenship, who unbeknownst to himself has been a consistent source of artistic inspiration. This one's for you, Stevie.

This world is a collection of clocks from 1930s and 1940s movies - documented via Youtube screenshots. The film is stopped at exactly the time that the clock appears on the screen. It is both a deeply felt homage to the films of that era and a reflection on the way we mark time. I found these clocks by watching the movies - over the course of twenty-plus years. Not all good movies but so many great ones.

“Time is a river which sweeps me along, but I am the river; it is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire.” - Jorge Luis Borges

Builder/Collector: Melody Owen

Musk4Mars is an online exhibition hosted in New Art City Festival 2022. Curated by Kawaii Agency, the show compiles brand new work from 11 artists, architects, researchers and layabout daydreamers.

Set in the near future, the show imagines a Mars settlement established by Elon Musk. Viewers will experience Musk’s legacy project through the eyes of the billionaire’s son, visiting his father on the red planet for the first time. He is guided through the space by Nasubi - an ex-reality TV star now an NPC residing in the settlement. Musk4Mars was created collaboratively during weekly meetings, and reflects on themes such as accelerationist post-capitalism, techno-utopianism, nostalgia, colonialism, ethics and the thin line between utopian and dystopian thinking. The construction of this immersive exhibition space draws from found rendered objects and artworks created from projects sprouting from the cautiously utopian imperative to speculate a post-capitalist Martian settlement. It also references New Babylon, an architectural project that imagines a potential anti-capitalist city built on ludic sentiments and rhizomatic networks of linked platforms. In our reinterpretation, massive repurposed rock sculptures (by Anna Komitska) replace Constant’s smooth and functional surfaces, connected together by chrome silver stepladders, floating in space in spite of the weak gravity on Mars. Powered, financed and enabled by Musk’s reckless accelerationist principles, the ludic imagination here strives to interrogate itself of its complicity, while attempting to chart new potentials forward.

Some of the main talking points discussed during our meetings include nostalgia for the mother planet, the impossible ethics of reverse-colonisation and post-scarcity lifestyle. Nostalgia and the archive is explored in Anna Komitska’s project Time Capsules, a collection of minerals naturally occurring on planet Earth that becomes gigantic sculptures, the indexical archive of humanity’s history as inextricably tied to Earth. While the scarcity of artificially synthesised oxygen implies that the use of fire must be kept to a minimum, the once indispensable driving force of humanity known as Fire is archived for future generations by Maite de Orbe in their video piece Till Fire Do Us Part. Through archival footage, they examine the varied intensities of Fire and forebode its poetic absence. Familiar relics and textures from the mother planet were algorithmically synthesised in Patrycja Dylag and Ola Sobczyk’s project Agora Peractorum. An imposing monument in the colony, it was created to soothe homesickness and immortalise the dialogic spirit of the communal. The domestic is also explored in Amy Ken Chen’s project Prayers at Dinner, a majestic dining space devoted to her ideal idol of domesticity.

Thomas Burke’s audio piece Mars Test 1 imagines the future of radio-hopping; patching together snippets of familiar pop songs, the project nevertheless points out the difference in sound perception on Mars, and serves as chief sonic ambience for the post-scarcity era. After all, one would need some pumping tunes to keep one’s muscles from shrinking in such a low gravity environment - this is where Livia Ribichini’s workout tutorial entitled Exercises Without Gravity proves useful. And yet, exercise is not the only activity considered vital in the colony - failure to keep Martian soil fertile would mean dire consequences for the settlers. As a reminder, Kayla Lui’s The Sanctuary adorns the space, impelling residents to contribute their life-giving urine. Peace and soil fertilisation are enforced by Alice Bajaj’s Robotters. An unfortunate inheritance from the mother planet, law enforcement could at least pretend to be adorable in these less-trying times. A good question remains however: to what extent must freedom be policed, even in post-capitalist Utopia where jealousy and competition counts for nought? All these ideas are introduced within the space by Bart Seng Wen Long and Juliusz Grabianski’s fictional character, Nasubi, master story-teller of gen-Z ilk and chief mascot of a brave new age on Mars.

the glitch of being in the society of continuous present

******************************************************

A HAUNTED MEMORY ERROR BY MATTEO CAMPULLA

******************************************************

Are we really living in an interesting times of change or is it just an illusion? Each insignificant event is emphasized, where the expectation of an event is more important than reality itself.
A present that repeats itself always the same has canceled our future, leaving only time to wait. Entertained by our psychoses, we exist waiting for the only real change: not existing at all. Do we really care? Or is being here now the only thing that really matters? Are we only monkeys bored in the sun?

Silicon Valet is pleased to announce believe in us but not too much, a solo show of work by New Mexico-based artist Adrian Pijoan opening online on March 17th. Consisting of an immersive, virtual environment hosted by New Art City, and accompanied by a series of limited edition 3D and still image artworks sold as NFTs via the Hic et Nunc v2 smart contract, believe in us but not too much both expands upon and chronicles the artist’s forensic analysis and participation in online paranormal phenomenon communities.

For more than a decade, Pijoan has been an active member and devout student of various paranormal fora–particularly those dedicated to extraterrestrial activity and related government conspiracy theories. Over the years, he has accumulated an extensive collection of digital ephemera related to the history of documented alien activity around the world. The result is an esoteric and little known chronology that spans the better half of the last century; an ephemeral record culled from cult blogs, online bulletin boards, and niche social media fan communities. For believe in us but not too much, Pijoan reflects upon his research journey and presents an interactive 3D archive that creates a fantasy chronicle of this history as a virtual landscape.

Over the course of his life, Pijoan has had a number of personal encounters with the paranormal; phenomena that have strengthened the artist’s interest in the relationship between perception and reality. His research efforts, and the artworks and environments that result, materialize in believe in us but not too much as an externalized interior landscape of the self–both affected by and affecting his own understandings of those experiences. Throughout history, folklore has helped people to make sense of and exist in the world: creating alternate realities that allow people to cope with the unknown or unrecognizable. In the context of a contemporary era of hyperreality, where perception is reality and feeling trumps logic, objectiveness loses meaning and what is left behind is what we feel to be true. While pushing at the sharp edge of the role of belief in society, Believe in us but not too much also urges us not to lose our capacity for fantasy in the midst of an, at times, protocol-driven society.

This exhibition represents Silicon Valet’s first solo presentation of an artist with digital editions available for sale. All works will be sold via the artist’s own Hic et Nunc page, with all proceeds going directly to them. Silicon Valet hopes that this curatorial endeavour in the cryptocurrency ecosystem will serve as a replicable model for value creation through curatorial labor, contextualization, and care.

NFTs have been roaring over the world since 2021, and artists who work in NFT projects now are ambitious to demonstrate that digital existences gain values like physical goods. In the near future, the eternality of digital lives will be equal to the eternality of any human heritages. Unless being burnt, NFTs minted on blockchains will be alive forever.

While the real world is still ruled by the post-pandemic chaos, NFTs and the vision of metaverse light up the darkness and liberate creators. Projects aiming to support public interests and eliminate discrimination are gaining popularity. What mindsets and digital existences shape the metaverse is a critical question today, or, how do we build the metaverse? Based on what “materials”?

In the “immaterial 非物質” NFT exhibition, 10 artists propose a metaverse that is not constructed by physical objects. There are no clothes, avatars, lands, or houses in the metaverse, rather, the “immaterials” like memories, dreams, religions, human-earth relationships, cross-cultural experiences....

Although many projects in immaterial 非物質 are at a very early stage, by retrieving their spiritual experiences IRL and embodying critical thinking, artists in this exhibition seek to transcend NFTs to technological liberation. “immaterial 非物質” exhibition is curated by digital media artist UGLYKIKI, this NFT art exhibition will take place in New Art City and akaSwap throughout 2022/02/22 ~2022/03/22. akaSwap is the largest green NFT trading platform in Asia, by minting NFTs on eco-friendly blockchain like Tezos, “immaterial” and akaSwap hope to raise awareness about the ethical responsibilities of blockchain technology.

| Artist Lineup

Zhao, Tian-lin 趙天琳
Che-Kuang Chuang 莊澤光
frigg2222( Kuan Hui Chen)
YUN珮芸
Chi Wang
Zhouyu Design 曌宇私想
Jia Ma
Lu, Chieh Hua 呂玠樺
某某they/them
Artgis Tim

| Collect NFTs on akaSwap:
www.akaswap.com/curation/immaterial2022

Hello! This is the digital companion exhibition to accompany the FREAKOPHONE WORLD Release Reading on 2/18/2022, co-sponsored by Small Press Traffic, the Place for Writers, and the Mills College Creative Writing Program. Here you'll find work from each of the five readers: Ava Hofmann, Never Angeline North, Vi Khi Nao, An Duplan, and Madison McCartha.

--

About F.W.:

FREAKOPHONE WORLD performs both as a book-length poem and occulted terrain, which together reimagine black diasporic life in an increasingly imperiled and globalized society. The speaker in this poem comes from a long tradition—of FREAKS, outsiders, others, and spirits calling out to the living reader from the undead, black, and unapologetically freakophonic space of the text.

--

About the readers:

Madison McCartha is a poet, critic, and multimedia artist. FREAKOPHONE WORLD (Inside the Castle, 2021) is their debut book of poetry and visual art. Their second book, THE CRYPTODRONE SEQUENCE, is forthcoming from Black Ocean. McCartha holds an MFA from the University of Notre Dame and is a PhD student at the University of California, Santa Cruz.

Originally from Oxford, Ohio, Ava Hofmann is a trans writer currently living and working in Baton Rouge, Louisiana. Her full-length collection, "[...]", was released in November 2021, with more books on the way from Inside the Castle and others. She also edits SPORAZINE, a magazine of experimental writing written by trans people. Her website is www.nothnx.com and her twitter is @st_somatic.

Never Angeline North is an artist living in Olympia, WA who makes things in the form of writing, clothing, visual art, tattoos, crafts, books, music and games. She is the author of the books Sea-Witch (Inside the Castle, 2020), Careful Mountain (Civil Coping Mechanisms, 2016) and Sara or the Existence of Fire (Horse Less Press, 2014) and co-founder of the print-on-demand clothing line Undying Apparel. You can find her online at never.horse.

Vi Khi Nao is the author of six poetry collections: Fish Carcass (Black Sun Lit, 2022), A Bell Curve Is A Pregnant Straight Line (11:11 Press, 2021), Human Tetris (11:11 Press, 2019) Sheep Machine (Black Sun Lit, 2018), Umbilical Hospital (Press 1913, 2017), The Old Philosopher (winner of the Nightboat Prize for 2014), & of the short stories collection, A Brief Alphabet of Torture (winner of the 2016 FC2's Ronald Sukenick Innovative Fiction Prize), the novel, Fish in Exile (Coffee House Press, 2016). Her work includes poetry, fiction, film and cross-genre collaboration. She was the Fall 2019 fellow at the Black Mountain Institute: https://www.vikhinao.com

Anaïs Duplan is a trans* poet, curator, and artist. He is the author of the newly released book I NEED MUSIC (Action Books, 2021), a book of essays, Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020), a full-length poetry collection, Take This Stallion (Brooklyn Arts Press, 2016), and a chapbook, Mount Carmel and the Blood of Parnassus (Monster House Press, 2017). He has taught poetry at Bennington College, Columbia University, Sarah Lawrence College, amongst others. As an independent curator, he has facilitated curatorial projects in Chicago, Boston, Santa Fe, and Reykjavík. He was a 2017-2019 joint Public Programs fellow at the Museum of Modern Art and the Studio Museum in Harlem. In 2016, he founded the Center for Afrofuturist Studies, an artist residency program for artists of color, based at Iowa City’s artist-run organization Public Space One.

Echotombs is a photographic collection that explores ideas of personal memory, oral storytelling, archiving, and photographic materiality.

Inspired by the lineage of photogram artists such as Anna Atkins and Man Ray, Stephanie Leneé Vance converses with past tradition while imagining new methods of photographic permanence facilitated by the blockchain.

This project is derived from Stephanie’s personal collection of objects that represent memories of life events spanning from childhood to the current day. The artist associates each work with a life memory, each encapsulated in an image that exists in an uneven balance of legibility and loss.

To make these works, Stephanie placed each object from her collection onto an expired sheet of darkroom paper and exposed them in sunlight. The exposed paper was then scanned into digital space, using the light of the scanner itself as a tool for degrading the image and mimicking the process of slow forgetting. The resulting works are visual echoes of foggy resonance, delicately and vaguely encapsulating cherished memories.

While once a series of physical prints set to expire and disappear forever, Echotombs now exists only as digital objects permanently archived on the blockchain.

While exploring this exhibition, you can hear some of the stories behind these images by finding the sound icons that accompany select images.

Learn more at www.echotombs.xyz

After the great positive feedback and having enjoyed the construction and the curating of pavilion 10 "ESSENCE/ABSENCE" ( https://thewrong.tv/essence-absence ) for The Wrong Biennale nº5, I immediately thought that I would like to give it an additional space and shape: this is "SECOND WAVE", the new group show opening on January 15th on https://newart.city/ and The Wrong Tv 📲🔥
With great pleasure I can now share with you the complete list of the full artists for "SECOND WAVE", this new added shape of pavillion 10 "ESSENCE / ABSENCE" of The Wrong Biennale nº5:

Tonino Casula
Anna Utopia Giordano
Molly Dario
Kent Tate
Francesca Lolli
Mo Qian
Risa Okita
Katya Kan
Ana Pantic
Devis Bergantin
Priyanka Das
Marcantonio Lunardi
Veronica Shimanovskaya
Mohamed Thara
Aditi Kulkarni + Payal Arya
Rudy Paganini (forevermidi.com)

Thanks again to the artists who are already part of it and made all this amazing: Luis Carlos Rodríguez, Maria Korporal, Ian Gibbins, Eija Temisevä, Linda Loh, Enzo Cillo, Benna Gaean Maris, Neo Christopher Chung, Zander Porter And Juan Pablo Cámara, Jérémy Griffaud, Susanne Layla Petersen, Sara Bonaventura, Tassia Mila, Santasil Mallik, Jean-michel Rolland, Guli Silberstein, Szabina Péter And Kristóf János Bodnár, Rachelle Beaudoin, Albert Merino, Muriel Paraboni, Jérémy Griffaud, Ioudit Navratil Filippo Giulio, Jen Valender, Jean-marie Guyaux, Marie-eve Levasseur
_________________________
ESSENCE / ABSENCE
Pavillion 10 @ The Wrong Biennale
Curated by Matteo Campulla
3D online exhibition hosted by New Art City
_________________________
3D Exhibition:
SECOND WAVE
https://newart.city/show/second-wave
ESSENCE / ABSENCE
https://newart.city/show/essence-absence
2D Catalog:
SECOND WAVE
https://newart.city/catalog/second-wave
ESSENCE / ABSENCE
https://newart.city/catalog/essence-absence
The Wrong TV
https://thewrong.tv/essence-absence

특별전 "힌터랜드"는 PACK 기획팀이 TRPG를 통해 만들어낸 가상의 세계관을 중심으로 SF소설가, 현대미술가, 음악가, 3D제작자, 컨셉아티스트와의 협업을 통해 만들어낸 결과물이다.

전시 제목인 ‘힌터랜드’를 직역하면 ‘배후지’라는 의미다. 도시의 정치·경제·사회적 영향력이 미치는 주변 지역을 말한다. 이를테면 봉건주의 시대 성 바깥의 공간이다. 전시와 직접적으로 연관되진 않지만, 제목은 필 닐(Phil A. Neel)의 저작 「힌터랜드: 미국의 계급과 갈등의 새로운 풍경」(2018)에서 논하는 현대 자본주의의 근본 모순이 고이는 상징적인 공간으로서의 배후지에서 영감을 얻었다.

본 특별전은 23세기 인류가 남긴 메타버스 지층에서 데이터-화석을 발굴하여 연구한 결과를 토대로 개최하는 전시이다. 전시 장소는 처음 데이터 서버를 발견한 열대지역의 심해이다. 발굴한 데이터-화석을 통해 메타버스 고고학자는 23세기 인간이 메타버스를 통해 교류하고 노동하였고, 대부분의 육지가 수몰된 환경에서 하우스 보트를 거처 삼아 살아남았다는 것을 알아낼 수 있었다. 해수면 상승으로 국가가 해체된 상태에서도 초기 DAO의 제안 및 투표 기능을 토대로 나름의 필수적 인프라가 구축했던 당시 시대 풍경에 대한 열린 해석을 지금 바로 확인할 수 있다.

심해 속 전시장과 전시 공식 웹사이트(hinterland.kr)를 함께 병행하여 보기를 권장한다.

☁★☄☉☙

Based on a fictional universe conceived through a round of TRPG by the PACK curatorial team, “Hinterland” is a collaborative exhibition project that brings four SF writers, four visual artists, a music duo, a concept artist, and a 3D modeler together.

The word 'hinterland' generally refers to the peripheral area of an urban core affected by its political, economic, and social dynamics. The area beyond the castle during the feudal period would be an example of a hinterland. Though not directly addressed in the exhibition, hinterland, as a geographic territory symbolizing the paradox of contemporary capitalism in Phil A. Neel's “Hinterland: America’s New Landscape of Class and Conflict”(2018), was a critical point of reference.

This exhibition project is based on the excavation of a data-fossil from the metaverse stratum which unveiled invaluable clues on life in the 23rd century. Taking place in the deep sea, the exhibition is located in the exact place this fossil was discovered. From the data-fossil, metaverse archaeologists were able to speculate that most landmass was submerged by the beginning of the 23rd century, forcing people to survive on houseboats and to actively develop and utilize a virtual metaverse. Nation-states were dismantled by this point, and as the principal infrastructure for society was provided through participation in DAO communities. We hope you enjoy this open interpretation of life in the 23rd century!

We recommend viewing the underwater exhibition alongside the official exhibition website (hinterland.kr). (Please note that the exhibition website will be have English available in March 2022)

Our great war is a spiritual war. Our great depression is our lives. — Fight Club, 1999
2021年的人類，不僅需要面對生存危機，更需要努力從個人行為對抗滲入全世界的「日常性不幸」。「無聊」這件事，是人類的能力日益高度發展的象徵。從定居生活模式的建立開始，定居者不再需要物理空間上的遷徙，因此將自己的心裡空間擴大複雜化，人類就此開啟與無聊永無止盡的戰鬥，而「迴避無聊」成為人類至關重要的課題。現代人網購各式各樣高貴的生活品，仍無法滿足日漸枯竭的心靈而導致失眠，在《鬥陣俱樂部（Fight Club）》中用最暴力的方式揭示現代人日復一日的生活，需要找到舒解壓力的出口，距今上映22年過去，無聊仍是沈重煩惱的種子。
串流影音平台給予日常微抵抗有發揮的舞台和宣洩的管道，當我們在翻閱「關於無聊的日常演練」，我們理應在獲得樂趣及感到無聊間反思: 日常得到消遣的行為，出擊打破無聊循環的人，以動員自己的潛力或理性的消費能力為信念，並充實自己的身心靈，為自己「搏鬥」。展覽《不幸福利社》希望透過正視人類對於「慾望」的追求，討論「現代人之不幸」的原因，延伸至時下詮釋無聊、並提供與之共處的生存法則。

2022【Generation Bored Stiff】Curatorial Statement
Text/ Lin Yi-Ning, Chiu Yi Jie, Lin Pei Chen

Our great war is a spiritual war. Our great depression is our lives. — Fight Club, 1999
Aren’t we like robots when being fed information day after day? Humans in 2021 not only need to face a survival crisis, but they also strive to confront the problems of everyday repetition, so-called “daily misfortune.” “Boredom” is a symbol of the ever-increasing development of human abilities. With a settled mode of life, people forgo migrating around physical space. Rather, they expand and complicate their own mental space, and engage in an endless battle against boredom. “Avoiding boredom” has become a vital issue for humans. People resort to shopping online in order to counter boredom, yet this only causes insomnia and cannot satisfy their withered souls. The 1999 classic film “Fight Club” uses the most violent conflicts to reveal modern people’s daily struggles. Twenty-two years after its release, the film still proves that “boredom” remains the source of a heavy burden in modern times.

The idea of resisting boredom through personal behavior permeates the mind of the whole world. Streaming platforms give these daily micro-resistances a stage on which to play. Rather than merely scrolling through countless exercises of boredom and self-amusement, we should reflect on our daily behaviors. We have the potential to mobilize our intellect to shop rationally, to enrich our hearts, and actively to break the cycle of boredom, then to fight for ourselves. The exhibition “Generation Bored Stiff” attempts to discuss the notions of “the misfortune of modern humans” by facing up to the human pursuit of “desire”, extending to the present day to interpret boredom and to provide the rules to live with it.

The (alt) reality exhibition is a result of a studio course taught in the Design and Technology program at Parsons School of Design at The New School, designed by JAZSALYN and co-instructed with DeForrest Brown Jr.

(alt) reality is an exploration of techno origins and experimental sound. (alt)reality (esc)apes the constraints of the dance floor and reasserts sound as technology to alter the present and reimagine the future. What is a ‘rhythmanalysis’ of technocracy? What are the sounds of resistance? How do vibrations reorient and alter our consciousness?

The course is an analysis of experimental sound practice at the intersection of race, gender, class, and technology. Our research referenced works by Juan Atkins, Drexciya, Black Quantum Futurism, Alice Coltrane, Sun Ra, Flying Lotus, Jlin, Jace Clayton, John Akomfrah, black beyond, DeForrest Brown Jr. and more.

As an embodied practice of their research, students created sound compositions in Abelton and sculpted 3D environments to explore their interpretation of alternate realities through sound. Their collective practice contributes to the virtual, immersive soundscape featured here on New Art City.

*(alt) reality is a collaboration, supported by Ableton, New Art City and Dublab Radio.

Featured Artists
Huishan Chi, Zhehui Chen, Jiyeon Choi,Yoon Jin Bae, Gabe Deko, Sam Hozian, AJ Medeiros, Xingtong Wang, Yuqing Liang, Zhiyue Chen, Yiqing Wang, Yuhui Qi,Margaux Halloran, Nicholas D'Angelo, Shuyu Xu, Ye Cheng

Artists: Isa Analo, Anya Ball, Nicholas Forman, Sean Jin, Mendy Kong, Lesley Moon, Annabelle Olson, Quan Pham, Sofia Rodriguez, Yana Savitsky, Tina Shi, Johannah Marie Suegay, Raeden Tapia-Stevens, Layla Yun

↓ Curatorial statement co-written by Angela Rong and Qianqian Ye ↓

Softness could be a cloud / ephemeral form
Softness could be a dune / morphing landscape

Softness could be the rounded corner of buttons
Softness could be the gradient background on the screens
Softness could be the almost illegible font
Softness could be the tactility when petting the keyboard and mouse
Softness could be the dizzy comfort of welcoming red error messages

Softness could be the fuzzy edge of unknown feelings
Softness could be subtle frustration of wanting more
Softness could be a polite refusal of the right way
Softness could be the brave moment of oversharing
Softness could be the sudden zero-g after admitting your fear
Softness could be a safe place to land
Softness could be the hands that are there to catch us

Can software be … soft?

Softness can seem like an elusive quality in technology, a frivolous whisper in a gallery of glass screens. We want to know comfort, yet also fear being vulnerable in our moments of rest. But how might softness be more than just a temporary respite? As we mix and blur together lines of code, how might we reawaken, relaxed, to new possibilities of living, sleeping, and dreaming?

This exhibition invites visitors to experience the web-based artworks of artists and coders in USC Media Arts + Practice’s IML 300 and 400 classes, as we look beyond the sterile finality of definitions and labels. Cocooned inside brackets, braces, and parentheses, SoftErr is a group exhibition that resonates with the warm, welcoming embrace of our communities -- both digital and in-person. Out of focus, eye to eye, we emerge from the heady fog of coding, cradling our projects of being and becoming. We hope that SoftErr shines a light on the pearl that is your existence and envelopes you in the glowing presence of many. Rest your head for a while; we're making software soft. Let's err on the softer side, softly.

Instructor: Qianqian Ye
Student Assistant: Katherine Yang

Music credit: Harvey Moon

PRIMORDIAL ORDER is an experimental ritual using alchemy and numerology to navigate the journey from order to chaos as seen through the human experience.

Light is layered numerically. The first image is 1—order, a single exposure. 2 is a double exposure, 3 is a triple exposure. The series culminates with thirteen exposures on one plate—chaos.

Wet plate collodion was one of the first photographic forms discovered in the 1850s.In the alchemical darkroom process, light-activated silver is exposed directly onto black metal plates. Time, light, and chemistry need to be in a constant equilibrium for the image to take form.

_best viewed on desktop_

My Dreams These Days is a 12-hour showcase of artist work streamed consecutively online as well as projected live at physical locations in the Chicago area.

This student-run, marathon event is a combined virtual and physical experience, with an emphasis on time-based art pieces.

This virtual exhibition consists of three stages:
Material, Virtual and Rhythmic.

This exhibition is Virtual: the collision of trans-dimensional experiences

Artists featured:
Gloria Fan Duan and Alessia Lorea Arregui
Mayte Gomez
Nathan Harper
Sarah Kim
Elisabeth Yoon Seonwoo
Jae-Eun Suh
Dalena Tran
Artemis Weng
Ziyu

It was a Roadside Picnic (Beyond Black Orientalism) – the World as a futuristic re-imagination, existing in Time and Zones that Spring from and Move in Breath (2021).

This virtual world is from the imaginary of Salma Noor joined by artists Megan Broadmeadow (WLS/UK), Brandon Covington Sam-Sumana (USA), Nicholas Delap (ENG), Ben Hall (ENG/SCO), Nayu Kim (KOR), Kinnari Saraiya (IND). It is framed and held in love and longing by curators Amrita Dhallu (IND/UK), Kinnari Saraiya (IND) and Helen Starr (TT).

Lead Artist: Salma Noor
Breath Specialist: Dr. Ash Ranpura
Co-curators: Kinnari Saraiya and Helen Starr
Technical Strategist and Designer: Benjamin Hall
Modelling: Harry Appleyard, Nick Delap & Benjamin Hall
Sound: Brandon Covington Sam Sumana
Producer: The Mechatronic Library & Salma Noor

Special Thanks to Sammie, Don & Benny

Please access on a Chrome browser

CADRE Media Lab is pleased to announce Proxyverse, a virtual exhibition hosted in New Art City featuring a diversity of works ranging in mediums from 3D modeling, Unity, and more. While each artwork possesses its own individuality, all stand united through the shared experience of recovery as the world slowly but steadily overcomes the vicissitudes of social isolation. This curation of works serves as a reflection of each students’ imagination at work in juxtaposition to the outside world that was forced to remain stagnant against its will.

Proxyverse epitomizes the spirits of the artists which remain uninhibited and aflame despite life’s restrictions. Unbothered by the limits of reality, the artworks find solace in Proxyverse, where physical presence is unnecessary for interaction. This new world thereby becomes the virtual proxy of which each artist is individually represented. Come forth and take a step into this new experience of technological wonder.

03 / 11 / 22 €8
https://ra.co/events/1609966
SAMEHEADS, NEUKÖLN, BERLIN

***BIG SOUNDS FROM:
FOXMIND https://soundcloud.com/foxmind
LLOYDFEARS https://soundcloud.com/lloydfears
NAGA https://soundcloud.com/naga_music
NEUTRALISED https://linkin.bio/neutralised
OLIOTRONIX https://soundcloud.com/oliotronix
THATSDENZELX https://soundcloud.com/denzelxxx

******************

&&& VIDEO WORK FROM:
ERIC CARL https://???
JARS https://resnijars.itch.io/
JEREMY COUILLARD https://jeremycouillard.com/
NILSON CARROLL https://nilsoncarroll.com/
PBL.FYI https://pbl.fyi
RESNI https://resnijars.itch.io/
&&&&&&&&&&&&&&&&&&&

"`-._,-'"`-._,-'"`-._,-'"`-._,-'

https://ra.co/events/1609966

"`-._,-'"`-._,-'"`-._,-'"`-._,-'

Plum(b)
The stone of truth
Of alignment of vertical
Of the straight and narrow
Of the path
In hanging it guarantees and guides
Allows one to build
in a (sp)line
To the centre

03.unrar.me

ᴏᴘᴇɴ ᴜᴘ ᴀɴᴅ ꜱᴇᴇ 👀
https://unrar.me

Enrique Lobo (1958) is a Venezuelan artist who dances between the figurative and abstract art. With a degree in Architecture from the University of Los Andes in Mérida-Venezuela (1985). Studied printmaking at L’Espace Croix-Baragnon in Toulouse-France (1991-1994).

He works in different artistic expressions: painting, drawing and engraving. Lobo has participated in about 230 collective exhibitions and more than 30 individuals, not only in galleries but also in cultural centers, museums, and art fairs, located in 17 countries. Enrique Lobo has received awards in Venezuela, Colombia and France, in the category of painting, drawing, and graphics.

View the NFT Collection on OpenSea

From 1854 and British Journal of Photography in collaboration with New Art City, welcome to Edition365: a portrait of the year that changed everything. pandemic swept the world in March 2020, all of humanity have shared – and documented – an extraordinary experience. History has unfurled in front of our eyes; cracks in our systems have been magnified, and across oceans and borders, ways of thinking, acting and existing remain in flux.

Uniting the voices of renowned photographers, emerging artists and everyday people alike, Edition365 is a vast and immersive digital exhibition. All of the work was created between 11 March 2020, when the World Health Organisation officially announced a global pandemic, and 10 March 2021: 365 days, captured in 365 artworks, by a vast and dynamic array of creators from around the world.

Traversing tales of love, loss, hope, solidarity - humankind’s collective will to resist, persist and rebuild – the exhibition is among the most ambitious New Art City has ever attempted: a once-in-a-century photography collection, conceived to stand as a historical reference for decades to come.

Edition365 has been curated and produced by Sammie Veeler, Don Hanson and Héloise Winstone. Thank you to the exhibition teams, the judges of the award, artists and partners for bringing the show to life.

Exclusively on OpenSea, each individual work will be available to own as an NFT, alongside the full exhibited collection.

Find out more about the NFT sale at https://art3.io

Orbiting the Glitch began as an idea in an era of instability and fragility. In this chaos, the path of failure sometimes appears as the only visible one.
As Samuel Beckett said, “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”
The exhibition is inspired by what it means to be an error and by what it means to embrace an error. With the curiosity about how this can be liberating and how it can inform and create new artistic practices, we join forces with the glitch.cool collective to produce an exhibition that explores the glitch aesthetic through music, visual, interactive and generative new media art.

Orbiting the Glitch aims to showcase the work of the collective and how they have evolved over time. The collective is built on and expanded by community-shared knowledge and skills. The glitch.cool discord server has become a hub of audio-visual creatives and for that reason the exhibition aims to acknowledge those members by inviting them to participate with their work.

Taking a step further; after publishing an open call and inviting artists, we discovered collaboration around the word which expands our community and introduces creatives who embrace the error in different ways.

The exhibition consists of the work of forty two artists who orbit the glitch through a variety of mediums and reasons. All of them contribute to the discussion of how technology and art intersect. Where can we find the errors in that intersection and how can we use them to either understand burgeoning fields of technology or simply enjoy the creative process and result?

Consider what failure means and what people believe it means. There are disruptions to what we think of as normal. These disruptions lead to various places. They leave room for reconsidering and critically engaging with channels of communication, interaction, and perception. Sound disruption, lost signals, half finished sentences, looking for the line to come back. All of these glitches have the potential to cause anger and discomfort. But what if we accept them? Isn’t this accepting a new reality where everything is broken?

We accept these errors. These errors have the power to create new possibilities.

Much of the spirit of this exhibition is based on Legacy Russell’s Glitch Feminism: A Manifesto.

This is the third ritual of Wysing Polyphonic: Under Ether, programmed by Anne Duffau (A—-Z).

Wysing Arts Centre, and Clo Page, Digital Producer, have reworked recordings from the 4th September event into an immersive online experience.

The AR environment leads viewers into another dimension, encompassing sounds and videos from artists, musicians and writers, including: CAMPerVAN (Samuel Douek, Zoë Marden, Fiontán Moran, Youcef Hadjazi), Ignota: MJ Harding & Nisha Ramayya, Juliet Jacques, Marissa Malik & Yeshe Bahamon-Beesley, and YaYa Bones.

“My Mother Was a Computer,” titled after Katherine Hayles' seminal text, is organized as part of the 5th Wrong Biennale. Presented online on New Art City, a virtual exhibition platform for digital art, “My Mother Was a Computer,” presents eight works from emerging talents working with computer-generated visuals and sounds. The exhibition showcases a wide range of mediums, including websites, sculptures, performances, and videos. While still being tied to the physical world, “My Mother Was a Computer” explores the ways in which a virtual place functions as a new form of situated knowledge and lived experience. Focusing on the translation of embodied feelings from the physical world into the digital, this space gives rise to a constellation of networked behavior.

The artists featured in “My Mother Was a Computer” experiment with the aesthetics of real-time affective experiences. Each work traces the process of figuring emotional values within the simulated space. They outline technology’s capacity to reconfigure human perception and relationships in fabricated realities. The movements of a performer wearing sensors are used to generate sound; an identity becomes an image, an image becomes a text; feelings of horror and grief are transformed into computational codes. “My Mother Was a Computer” reflects on new media’s popular antagonisms between the real and the virtual, the organic and the artificial.

The exhibition space guides participants vertically, down into a psychological space rendered visible by the digital landscape. Electric blue nets divide the levels in this vertical exhibition, reminding the viewer that each work belongs within the matrix, originating from the mother of computing: the loom. Reorienting our primordial lateral movement in digital spaces, each exhibit is organised thematically and fixed in their own individual enclaves. The objects are autonomous, but converse through their attachment and dependence on the virtual. The translucent fog within the space compels viewers to press in as close as possible to each exhibit, no longer constrained by materiality or the dynamics of a black box gallery space to interface with art. Channeling the promise of computing through aesthetic forms, “My Mother Was a Computer” shows how human perception can be bent, broken, and reconstituted through virtual pressure and contact.

𝖊𝖝𝖕𝖊𝖗𝖎𝖊𝖓𝖈𝖊 𝖓𝖊𝖆𝖗 𝖉𝖊𝖆𝖙𝖍 𝖊𝖝𝖕𝖊𝖗𝖎𝖊𝖓𝖈𝖊
𝔰𝔱𝔞𝔠𝔨 𝔬𝔳𝔢𝔯𝔣𝔩𝔬𝔴

Is the first part of a 3 level show of the room69 collective for this years Wrong biennale. In addition to the collectives members they invited several international digital artists to accompany them in experiencing virtual extremes.

Under the topic of overstimulation and oversimulation the digital show hosted in New Art City creates a paradoxical situation and oscillates between the highs and lows of our virtual worlds.
On one hand dealing with being exposed to a perpetual stream of information and image online and addressing the problems that come with it - like cognitive and mental incapability to endure the data flood - the works itself are adding fuel to the flames and making issues even more obvious.
On the other hand there is our desire for eternity, breaking up physical boundaries. Embracing the simulation, dematerialize and eventually transcend through our virtual avatars into utopia.
By putting these concepts next to each other the contrast gets even more exaggerated ending up in a digital near death experience that gives a perception of what might be there to come.

***

𝔞𝔯𝔱𝔦𝔰𝔱𝔰:

Anna-Lena Schlamp
Eliška Jahelková
Emily Mulenga
Caro Eibl
Adriana Miyagusuku and Pecval
Cristian Anutoiu
Gaia Del Santo
Martina Menegon
Lukas Dworschak
CyberCesspool
Bogdan Matei
Koko Bello
Maximilian Prag
Johannes Hartmann
Hannah Neckel
Alexandru Stefan Cartus
Sofia Atanackovic
Wednesday Kim
Andreas Palfinger
Alma Bektas, Björn Heerßen, Marlon Nicolaisen, Paul Grosse & Fin Glaser
Roman & Ernst
Julian Lee-Harather
Anna Mutschlechner-Dean
Anahita AsadiFar
Balint Budai, Daphne Xanthopoulou
Manny Orozco

***

𝔳𝔦𝔯𝔱𝔲𝔞𝔩 𝔞𝔯𝔠𝔥𝔦𝔱𝔢𝔠𝔱𝔲𝔯𝔢:
Cristian Anutoiu
Lukas Dworschak

𝔠𝔲𝔯𝔞𝔱𝔦𝔬𝔫:
Cristian Anutoiu
Maximilian Prag
Hannah Neckel
Lukas Dworschak

This pavilion is one of many in this year's The Wrong Biennale. As the curator, I invite you to check the link https://thewrong.org/ to explore the many other pavilions online as well as embassies, which include live exhibition spaces. I am very grateful to the biennale organizers as well as to the New Art City organizers for providing this opportunity for myself and the other artists to share our work. The works here may be experienced as if one is a phantom viewing the objects from the outside as well as passing through their walls to interior spaces, which include video, image, and sound, surrounding and enveloping the viewer who crosses over to the mysterious inside of the cubes and spheres.

Anne Murray is an artist, writer, and also the curator of this exhibition. Her work explores human and other, language and absence, identifying new pathways to connect, while imagining herself as both an octopus and a stone. This research manifests in various media including poetry, video, installation, performance, photography, social practice, and art criticism. Educated with a BFA from Parsons School of Design in Paris, MFA and MS in Art History from Pratt Institute in New York, and M.Ed. from The College of New Jersey Global Studies Program, Mallorca, she now lives in Budapest. Her video work Exquisite Exodus was included in Cf as part of the Research Pavilion curated by Jeanette Doyle at the Venice Biennale in 2017 and at La Biennale Méditerranéenne d’Art Contemporain d’Oran, Algeria. She has exhibited in Europe, Asia, and the United States.
www.annemurrayartist.com

Holly Crawford has used text performance, painting, drawing, installation, sound, video, sculpture to grapple with gender, race, and societal concerns for four decades. Installations and performances include: If I’m, who are you?...; Critical Conversations in a Limo (and books); May I have your autograph?; Open Adoption for Art; 13 Ways of Looking at a Blackbird; Offerings; The Dinner Party; The Road: The Century Freeway; Orphans; Water! Water$ Water?; Voice Over; In the Waiting Room, Your Past, Present and Future; and Art Alchemy and the Gift. Her projects have been seen and heard from California to the Tate, Venice to Berlin and Athens to Australia. Her books include, Attached to the Mouse, and catalogue essay, “Disney and Pop” in Once Upon a Time Walt Disney Studio, Artistic Bedfellows, ed., and 7 Days, My Art Life, ed. She is art historian. Her Ph.D. is from the University of Essex in Art History and Theory, BA (Economics, started in the Art Department), MA (Economics) and MS (Behavioral Science) are from UCLA. She taught in the Art Department at UCLA and at SVA. She founded and Directs AC Institute, in NYC, for experimental art and books. http://art-poetry.info/

Willemijn Bouman: "I am a visual artist and designer born in The Netherlands and paint large and colorful canvasses in an abstract expressionistic style. Also I make woodblock prints and frottage (rubbing) in a specific style and technique.

I design and execute projects of applied art, with a specialism in functional visual art (wall paintings and ceramic walls) in parking buildings.

My painting studio nowadays is in Otterlo, The Netherlands (Veluwe).
Also I worked many years in my cave studio in Cappadocia, Turkey and the influence of the Turkish culture and the bizarre landscape of Cappadocia is visible in my artwork.
My large cave house in Turkey was also an artist run micro–art-residency Babayan Culture House. It offered space for many years to international artists. Specialty was community–based art and the interacting with the cave dwellings and weird volcanic landscape. Experimental creations and performing in situ was encouraged.

Besides painting I experiment with different materials and take videos to document my creative processes. Sometimes I create stop motion films."

Emireth Herrera Valdés was born in Mexico, she is a modern and contemporary art curator based in New York. Her focus on social purposes led her to create the virtual gallery Art Within All to create a safe, creative, and healing space where artists are invited to share their art around relevant social topics. Since 2016, she has curated special exhibitions at various galleries and museums such as the Institute of Fine Arts in NYU, Flux Factory, Queens Museum in New York City. In 2018, she was part of the AROS Museum's public program in Denmark. As an art educator, she has collaborated with MARCO Museum multiple times through the Universidad Autonoma de Coahuila. Her research interests include Latin American modern and contemporary art, photography, time-based media, and performance art.

Alexandra Krolikowska was born 1990 in Donetsk.
"I am a multidisciplinary artist, cultural activist and psychologist. Inspired by the
therapeutic power of art, I explore the relations of personal and collective mythology, and the modern role of archetypes and psychological rituals.
Utilizing means of photography, video and performance, and being curious how art continues to bear its transformative function within the digital era, I combine analog technologies with futuristic visions.
Researching the concept of metamodernity, I pay special attention to the dualistic perceptions, unveiling in her works the nature of wholeness, embracing poles and seeing beyond.
Also, since 2007 I have been a member of the Krolikowski Art duo, sharing collaborative creative practice with Alexander Krolikowski who has similar interests and conceptual perspectives.

From 2019, I was helping with artistic practice in different ways to several Ukrainian
artists: Tanya Fishmann with defining her personal art style of performances, Elis Luna with her collage project, Alevtina Kakhidze with her research on gender equality in the Ukrainian art scene. As invited curator and mentor I was organizing the discussion program and guiding projects for young artists within Nazar Voytovych Art residence (Travneve village in Ukraine) for several weeks."

Lina Vincent has been an independent arts practitioner since 2009, who has worked on multi-layered projects that highlighted plural approaches, a commitment towards socially conscious practices, with a focus on inclusivity and collaboration in public arts engagement. It has resulted in interconnected bodies of research and curation, that bring together diverse voices, modes of expression, and interfaces for dialogue (physical & virtual). The focus areas of her research extend to projects with arts education, printmaking history and practice, the documentation of living traditions and folk arts in India, and environmental consciousness in the arts. Her current practice foregrounds sustained engagement with material culture and social history, seen through acts of community interaction, documentation and display; archiving and interpretation. She continues to explore her training in the arts through participation in multidisciplinary arts projects and experimenting with drawing and photography.
She is heading the Sunaparanta Arts Initiator Lab, Goa (S.A.I.L) in 2021-22 initiated and ran the Piramal Residency Artist Incubator Programme 2019-20. Lina is Associate Curator with ARTPORT_making waves and runs the Goa Familia archival photography project with Serendipity Arts Foundation. She concluded an Archival Museum Fellowship through India Foundation for the Arts for Goa Chitra Museum (2018-19). Selected recent curatorial projects include ‘TRANSIT- where do we go from here’, APRE art house, Bikaner House, Delhi 2021; ‘Licence to Laugh’, Shrishti Gallery, Hyderabad 2020; ‘GOOD FOOD India’ -international arts program for climate-change awareness (2017-18); Story of Space – multidisciplinary public arts program, Goa (2017); ‘Tabiyat: Medicine and Healing in India’ CSMVS Mumbai (2016-17). She has curated numerous exhibitions with galleries across India and continues to contribute to publications and symposiums on art history and contemporary cultural practices.
Lina has a BFA in printmaking from Bangalore University and MFA in Art History from the same institution.

Myriam Ait El Hara has been a professional artist since 1995."I evolve every day towards new pictorial experiences to approach all techniques, from drawing and calligraphy to painting, installation and photography, I have exhibited in Algeria and around the world (France, Spain, Germany, Syria, Tunisia, Morocco, etc.) Artistic production residencies have brought me into contact with international artists with whom I have exchanged artistic and cultural experiences. My vision for life has been enriched thanks to multiple exhibitions, residencies, experimental workshops and encounters. Each of my works carries with it a large part of my story. These fragmented, deconstructed and then reconstituted bodies are the sum of all the materials that make us up. I use in my installations the magma of our existence, mixed with clay, water and air, giving my subjects a transcendent momentum. My latest productions are a response to all our fears, apprehensions and fears following narcissistic wounds that alter our body image. It is my way of exorcising slices of life, detaching myself from matter and broadening the spectrum of my knowledge of Man. My studies at the School of Fine Arts allow me to know the artist, his aspirations and his needs. My administrative function at the AARC Agency gives me easy access to this world of the arts that I encounter every day and allows me to discover artists from all walks of life and produce them, this enriches me and broadens my knowledge of arts and artists.

Pavilion 10 @ The Wrong Biennale n°5
///
Luis Carlos Rodríguez, Maria Korporal, Ian Gibbins, Eija Temisevä, Linda Loh, Enzo Cillo, Benna Gaean Maris, Neo Christopher Chung, Zander Porter & Juan Pablo Cámara, Jérémy Griffaud, Susanne Layla Petersen, Sara Bonaventura, Tassia Mila, Santasil Mallik, Jean-Michel Rolland, Guli Silberstein, Szabina Péter and Kristóf János Bodnár (blanche the vidiot), Rachelle Beaudoin, Albert Merino, Muriel Paraboni, Judit Navratil, Raluca Ioana Milescu, Filippo Giulio, Jen Valender, Jean-Marie Guyaux, Marie-Eve Levasseur, Matteo Campulla
///
In a world where "being" often coincides with our online presence, reality itself becomes a "break" from our virtual life.
///
The pavilion intends to deepen the binary opposition between essence and absence, starting from the Hegelian concept "The truth of being is the essence" (die Wahrheit des Seins ist das Wesen). Being and nothingness, according to Hegel, really coexist in the becoming which is a continuous passage of the two opposites. Taking up the Spinozian conception according to which "every determination is a negation" (Omnis determinatio est negatio) every characteristic that being assumes occurs with a negation with respect to the totality.

“CRYPTO ROOTS” is a contemplative metaverse, inspired by the iconic aesthetics of Sónar+D. This virtual exhibition on Crypto Art explores core values lying at the very roots of New Media Art: environmental impact and experimental formats. Designed and curated by Albert Barqué-Duran.

Artist Lineup:
· Memo Akten
· Anna Carreras
· Sougwen Chung
· Entangled Others
· Diane Drubay
· Varvara & Mar
· Holly Herndon
· Mario Klingemann
· Joanie Lemercier
· Solimán Lopez
· Daito Manabe

Music by: Ana Quiroga

- - -

CREDITS:

Designed and curated by:
Albert Barqué-Duran

Produced by:
Sónar+D

Tech Partner:
New Art City

Acknowledgments:
Antònia Folguera

Welcome to the MA Textile Design Graduation Show 2021!

MA Textile Design at Chelsea College of Art, London focusses on sustainable and socially responsible design. Throughout the time at Chelsea College of Art, the current graduates were constantly inspired to explore, challenge, contextualise and test their creative approaches to responsible design thinking.

The MATD cohort of 2020/21 placed themselves at the heart of debates around environmental and societal issues and the changing roles and responsibilities of the designer in relation to upcoming and relevant issues.

They defined their roles as future designers according to different strands and became specialists in areas such as:
- Cultural Heritage
- Circular Design
- Crafting Technologies
- Craftivism
- Health & Wellbeing

Convince yourself about the positive impact and future thinking of the graduates of 20/21 who will shape the future of the industry through their critical research and textile design approach.

This is the Welcome Room. Walk though any of the rotating cubes to transport to one of the other rooms in the exhibition. You may also press the 'Esc' keyboard button at any time to select one of the rooms listed below.

Congratulations to the Graduates of 2020/21!

black beyond presents _origins ✨👁 a virtual, collaborative experience reimagining #blackfemmefutures

NEW YORK, NY – OCTOBER 22, 2021 – In the midst of both Juneteenth and Pride 2021, black beyond _origins launched on June 17, 2021 as an XR experience and new media art exhibition reimagining black femme futures. The exhibition showcases work by Zainab Aliyu, Vitoria Cribb, Mika Gadsden, Asha Hassan Nooli, JAZSALYN, Kiara Kalinda, Amirah, Elizabeth ‘Liz’ Mputu, Maliyamungu Muhande, Olivia M. Ross, Terri Wright and Akeema Zane, and was accompanied by a series of virtual activations, talks, and performances by Kennedi Carter, Marcella Zigbuo, JOJO ABOT, Ahya Simone, Danielle Braithwaite-Shirley, kamra of Activation Residency and more.

Now _origins in reprise opens on October 22nd, 2021 and will showcase the work of it’s 12 original artists. The exhibition features an installment of recorded performances and artist talks with Brooklyn-based DJ TYGAPAW, organizer and herbalist Yves B Golden, founder of the Charleston Activist Network Mika Gadsden and The Heaux History Project on New Art City's 3D game environment platform. The reprise and re-opening of _origins will also offer the sale of a set of limited edition prints and graphic apparel designed by black beyond.

_origins is a prelude to black beyond's upcoming exhibition _assembly, alchemy, ascension at the Kellen Gallery in Parsons School of Design for February 2022.

CURATORIAL STATEMENT
_origins serves an ode to black femmes, women, gender non-conforming individuals and beyond. It is a projection of our more ideal futures through art as community and practice. A liminal space of restoration. Envisioning a non-linear orbit, resisting violent erasure.
In reference to Legacy Russell's Glitch Feminism, failure (or glitch) can be a potent site for survival, transformation, and growth. Through _origins we exercise our right to survive, “we choose to stay alive, against all odds, because our lives matter. We choose to support one another in living, as an act of world-building.”

_origins asks what is preservation? Where is restoration? How do we uplift black femmes and queer individuals alike? How do we find collective healing amidst the apocalypse? How do we reimagine mythologies to redefine our state of being? An alternate reality to reclaim our sacred energy? Where is the black femme paradise?

_origins reorganizes time within the virtual space to reclaim our power through conversations, workshops, art, and sound rituals. Activating portals of embodied thinking, healing, and world-building. We explore themes such as ancestral knowledge and memory, black trans power, birthing doulaship, and erotic radical resitance within the digital realm of _origins.

black beyond _origins is organized in partnership with New Art City (@newart.city), Olamina Faction at Parsons School of Design, The New School USS (@tns_uss), Decoding Stigma (@decodingstigma) and Beverly's NYC (@beverlysnyc) Pique Records, Murmur, and Shipping Media.

Phygital Evolutions - Works by Bogna Konior, Tony Yanick, Peter Nelson, & Yvette Granata.

Across terrestrial life and machinic environments, the processes of energy transfer, conflict, and extinction drive the evolution of both species and signals. While phylogenetics studies the evolutionary history of a particular species or group, tracing the lines of descent and inter-species relationships among groups of organisms, this event thinks through various forms of ‘phylo-digital evolutions’, or Phygital Evolution, as the evolutionary histories of terrestrial life within a digital environment. Works in the program wander through the branches of the entropic processes of cyberculture as a dark forest theory, look to the potentials of generative adversarial tree networks, and mine the digital history of phytoestrogenic reproductive conflict. Rather than ‘cybernetics’ - or the equillibrium feedback systems of human dreams - we pose a ‘natureculture’ of the digital as an environmental contingency and as a theoretical mode (for generative forms of theory, media art, and digital archives), based in internet conflict, extinctions, adversarial networks, and digital abortions.

Your phone buzzes on the counter, interrupting your morning ritual. It is not a number you have saved in your phone but it is local, and you have been looking for a job, so you think it may be a gig. The world is ending, of course, but for some reason you still need to pay rent in the meantime...

In 2017 I initiated an autobiographical feminist religion, Leymusoom, as an ever-evolving exploration of my family histories and feminist liberation. Through this, I produced 3D animated videos and interactive games of real and imagined worlds, populated by avatars of my female ancestors, living in 3D environments from actual locations or spaces from my life and family history.

Leymusoom Digital Shrine is an interactive digital archive of me and my family’s memories which become portals for hyperspace travel, inviting the viewers to explore the history of Leymusoom and the utopian world that I am envisioning. It reincarnates my female ancestors’ lives and Leymusoom communal spaces without constraints of time and space.

Seema Mattu is a fluid Valmiki artist, whose practice is framed as a theme park - known as SEEMAWORLD.

SEEMAWORLD is an immersive, multi-channel realm. It's comprised of the mimicry of multiple facilities and services - which act as portals to a specific aspect of SEEMAWORLD.

Through the welding of both 2D and 3D mixed-media, themes explored include: the system of caste, queer sorcery and gender taxonomy.

Within the imagined spaces of SEEMAWORLD, sit multiple mixed-media narratives - all framed against systems of caste, race, sex and gender.

Floating in pink and blue virtual space, is the 3D model of the uterus: Youterus. This symbol of rebirth is a vascular, interactive map through which the interlocking narratives of this world can be explored.

Follow the paths of Youterus, and chart your way through SEEMAWORLD. Click! And the stories within Youterus emerge: expansive, generative and multi-channel.

You'll also find archival, personal and academic materials which give insight into the development of SEEMAWORLD as a practice and Youterus as a hub.

AND FINALLY:

**RELIGIOUS AND CULTURAL SOUTH ASIAN SUBJECT MATTER ARE HEAVILY REFERENCED INSIDE: PLEASE TAKE YOUR SHOES OFF BEFORE ENTERING**

This is not a game. This is real life.

Your behaviors in this space are being monitored and recorded. The work you do will create the collective meaning of this experience.

You are constructing an identity by making choices out of finite sets of categories. You will then document your experience and share it in a feed with the other workers.

What is captured when you move through online spaces? Who is watching, and what do they extract from you?

How much of the identity you create is really yours?

An exhibition produced by members of NEW INC and Rhizome’s Art & Code track. We’re showing, hosting, and minting — all, to explore the critical poetics of this particular not-for-sale, not-safe-for-work, and non-fungible-token moment.

We created four community gardens with specific themes, landscapes, and art critters from AI video and invisible audio to hyperlinks and livestreams. Each ecosystem is skinned with digital debris from the vectoralists (to borrow from McKenzie Wark). We’ve built on, under, and all-around their topology. Holding space. Getting lost. Keeping company.

The main garden illustrates this dissonance between community and big tech, where the landscape literally documents the making of NFS NSFW NFT: rivers flowing with our Slack threads, mountains skinned with our email, audio from our Zoom calls scattered everywhere, along with essays from Lindsay Howard and Zach Kaplan.

It is the year 2021 and the analogue age is over; the digital world is encroaching on our meatspace. As I slowly find my way around cyberspace, I finally arrive at a place that looks oddly familiar. The Landscapes open up before me and I suddenly know where I need to be. The classes of New Media, Games, Animation and Basisklasse Viskom are thriving in this new world, living together in one huge city, connected through portals.

Landscapes is the result of the workshop "landscapes.club" of the Kunst Hochschule Kassel Sommer Semester 2021, supervised by professor Auriea Harvey and artistic researcher Rosa Menkman.

Landscape space created by Jan-Hendrik Gebbe

Archive Show Originally open July 2021

Schemata 2.0 - IDENT

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Best Viewed on Chrome.

[Content Warning: This show contains themes which may make some people feel uncomfortable]

In Schemata’s 2nd show we question Identity.

Progressing from Vortex, where we spontaneously generated from the void,
IDENT our next show looks at us creating our platform with intent - evolving and forming our identity.
What are we? What do we want to be? How do we move beyond?
We’ve invited artists that we feel have a deep interest in personal and social identity and human physicality and it’s bounds, to bring works that they feel interpret identity within their own personal realm.
Working with artists from many spheres of the alternative, we present a show that is as mixed up as it is definitive. Deliberately obscure and contrasting, we embrace all art forms and mediums, as we attempt to represent a cross-section of Self-Identity.

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For the best viewing experience we suggest you close unused software, take your viewing slowly and savour the wonderful soundscape as you travel. Any hitches, hit re-load!

Join us for the opening of the latest Gray Area Artist Showcase!
For the first time, Gray Area will be presenting the Artist Showcase as a hybrid experience, inviting the audience to interact with the artists' newest works both online in the virtual gallery, and onsite at the Grand Theater.

On July 8, we'll celebrate the virtual Gray Area Artist Showcase opening, which will premiere artworks critically exploring machine learning, glitch, and digital ontology. Works range from a 3D environmental interactive music video, to hyperobject photogrammetry, to teaching a machine to breathe.

Hosted online via a networked virtual gallery, the exhibition features works from our Incubator members and Creative Code Immersive students from around the world, and engages with our global audience while exploring new ways of experiencing art in digital spaces.

Don't miss the newest works from fresh talent in the Gray Area Artist Showcase, our biannual exhibition of artwork fostered within our Artist Incubator and Creative Code Immersive education program, and stay tuned for our onsite opening this Summer!

Agog-alyptic is an experimental work derived from the virtual reality project “Agog”, 2021. That work is an exploratory experience in a sublime space with luminous and color-saturated structures towering above and around, with various perceptual phenomena and sound to explore and encounter. [See short introduction video and VR links https://lindaloh.com/portfolio/virtual-reality-experience-agog/].

This work has morphed into a maximal “horror vacui” version of Agog, with a moody atmosphere and tighter space and scale. It takes on a life of its own, inviting exploration up and down levels, underworlds, midworlds and aerial spaces, traversing the terrain, passing through surfaces into the interior of luminous forms. In the outer spaces, residual structures appear, as if abandoned in a desert.

Like Agog, there is no narrative or defined route. Flying around up high, down low or diagonally, encountering a variety of forms and sounds, expect to lose orientation in these non-ordinary fantastical spaces.

Visual art and sound: Linda Loh.
Sound is best with headphones.

Notes for the future monument, 2021 brings together practitioners working on the LCC UAL Photography program.

The exhibition is split into four thematic spaces; the room titles relating to urgencies identified through theoretical and practical concerns of student work. ‘Notes for the future monument’ is accompanied by a substantial theoretical text –a copy of which is available for you to download from this room. Within the pages you can read sixteen long form essays produced during the program which also act to expand upon themes and concerns dealt with through practice.

What is remarkable about these texts and the visual work produced in the exhibition is not solely that it was created in the midst of a global pandemic. It is rather because practitioners in the show not only point towards current states of emergency, but offer new understandings, positions and hope toward urgent global and local issues.

The room entitled, Picturing New Practices, is filled with student voices. In this space you can listen to how work is conceived, produced and conceptualised. Foregrounded in this space is the passion and playfulness with which ideas are engaged with - whatever the specificity of the concern.

Acknowledgements

Curation of the show was facilitated by guest practitioners Tom Milnes, Anna Nazo, Krasimira Butseva and Max Colson. We also had a dedicated team of co-curators - Bart Seng Wen Long, Maria Blaga, Anna Janberga, Alexandra Wansell, Lai Lam Fave, Juliusz Grabianski, Anna Komitska, Ruiqi Li, Danielle Anderson and Shane Sutherland – who have been working tirelessly to bring the show to life.

The publication Notes for the future monument was facilitated by Paul Tebb, designed by Jake Richardson and written by members of the BAP3 Cohort.

A special thank-you is reserved for the Third Year Tutors – Beverley Carruthers, Sheyi Bankale, Paul Tebbs, Tom Hunter, Lee Mackinnon, Krasimira Butseva, Atsuhide Ito, Ileana-Lucia Selejan, Derek Wiafe, Tom Seymour, Sophy Rickett, Lalu Delbracio, Yuxin Jiang, Felicity Hammond, Max Colson, Adrian Wood as well as the visiting speakers who have contributed to the program this year

To the technicians -Wendy Ennis, Daniel Salmon, Mary Jennings, Cora James, Burkhard Vogeler, Adrian Wood
D Wiafe, Niamh Sutton, Adam Razvi, Anya Gorkova, Phoebe Somerfield - who are the backbone of the program, and without whose commitment to the student's work would not be made - we salute you.

For further info about the course
https://www.arts.ac.uk/subjects/photography/undergraduate/ba-hons-photography-lcc

Please also visit the UAL Showcase – to see all the other work being produced at UAL
https://www.arts.ac.uk/students/ual-graduate-showcase

Peter Ainsworth
CL Photography LCC UAL

FRAMEWORLD establishes a focus on the discourses around creating a multiplicity of locality, understanding of the new international and transcultural solidarity in the times of extreme precarity. It centers around the idea of hybrid embodiments while engaging with the continuity between digital and physical.

Works in the exhibition leverage the potential of website specificity while critically engaging with the present, embracing the notions of urgency, and proposing alternative approaches to current disruptions and reflecting on what interconnectedness and new modes of collectivity look like now.

Output Field presents Skin Garden, a collection of 3-dimensional musings in flesh presented in three rooms: Walk-ins Welcome, Bodies Unhinge, and Reconsider Flesh.

This exhibition is about bodies: changing bodies, moving bodies, bodies from a distance, any body, our bodies, no body, Queer bodies, post-traumatic bodies...¹ Skin Garden is a collection of artworks discussing bodies: through movement, space, sound, self, and fellow bodies. Skin Garden is body language.

The three rooms inside present audiovisual reflections on our physical vessels, as they relate to trauma, language, queerness, tradition, and multiplicity.

This is a fundraiser. For its debut showcase, Output Field is raising $5,000 for the transdisciplinary body of artists featured in Skin Garden. To support them and future output, please donate.

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💸PAY THE ARTISTS (outputfield.com/donate)
🔍READ MORE SHOW INFO (outputfield.com/skingarden)
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¹ Borrowed from Tooba Greer Williams's soundscape in the garden.

Working between the digital arts and materiality Nacoca Ko questions how we operate as a link between technology and nature.

Digital art in the form of photography, sculpture, and video installation explore how we find our footing at the cliff of acceleration.

What worlds do we build, when the future is in the past, and we navigate through lost horizons? Through this distortion in a time of social distancing, she relates her personal reality from external landscapes into the landscape of the Internet and the anxious landscape of her own mind.

As a kind of footnote, in the tradition of Breughel the Elder’s painting, “Landscape with the Fall of Icarus,” the hero that romanticises progress drowns unnoticed in the waves of Deep Time.

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The two exhibitions, the physical at Andata Ritorno and the virtual at Newart.city inform each other, one a "white cube" that is also nested into its virtual counterpart, a sphere. Exploring through the gallery, passing into the art works, you arrive at inceptive intersections, GIF video, poetry, and text, crossing the timelines and manifestations of this project.

sound by Yann Longchamp and Nacoca Ko

«i Kiss: Greet Your Great Friends» is based on Jacques Derrida’s subversive thoughts, exploring the ways to deconstruct the unilateral relationship of human beings with animals and make a new connection.
Factory farming system that emerged after the Industrial Revolution, that is, artificial reproduction and slaughter, reckless hunting and the destruction of ecosystems due to forest development, now clearly turn up ominous symptom. Natural disasters, the disappearance of seasons, and the climate crisis have evoked many discourses surrounding life and animals, and repeated creation and conflicts. Environment groups have emerged, and the controversial concept - animal rights emerged. However, in today's society, which is deeply intertwined with capital and science, such movement is too weak, so development and destruction are accelerating towards socio Entropy.
What attempts can we make to disassemble deeply intertwined and firmly entrenched mechanical capitalism in society? We can find something for this in the text «L'animal que donc je suis (à suivre)» published by Derrida.
Derrida rethinks the whole meaning of suffer for animal others through philosophical deconstruction, and suggests reviewing the whole recognition system through problems of suffering common to humans and animals instead of language, the framework of human intellect. He evoked the absolute passivity of suffering, and summoned the fundamental feelings of compassion not only for animals but also for life as a whole, including humans. And what we're given in the end would be a question of the relationship between animals and humans.
This exhibition re-translates the paradigm of animals, which has been defined in human language, adopting by Derrida's suggestion. Starting in this point, we might be able to find a clue to genuine coexistence, not only for human beings. We review the relationships within the neoliberal worldview where humans and animals are mixed, examine how they existed, destroy the paradigm, and reconnect animals and me through visual experience.
First, in section , we re-construct animals presence and their connection with surroundings in their natural states. Focusing on animals as creatures living finite lives, we examine the interrelationships of the numerous societies and actors surrounding them.
Next, section deconstruct the fauna connected with people as the object of affection. With the recent sharp expand in the pet industry, high knowledge and obligations of animals as caregivers or protectors tend to be required. On the other hand, we look at the newly emerging animal fauna called “Companion animals”.
In the last section , we will examine the images of symbolic animals that have become separate from their natural context and take new characters. Animals have been positioned as divine beings, or abstract symbols since humankind society was built. The deified animal has been separated from its intrinsic position, get immortal life, and has been misunderstood or worshiped. We will figure out how these aspects of animals relate to human culture and also how these things are affecting real animals.
«i Kiss: Greet Your Great Friends» imagines these heterogeneous networks of animals-human beings with eight artists who show outstanding insight about animals and explores the possibility of new - sustainable - relationships and coexistence of the world that will arrive. Through various media and themes such as painting, digital painting, video, sound, and branding design, we deconstruct the connection between humans and animals and expect to shift the perception structure.

Free the Pixels (FTP) is a Facebook group created in 2014 by Lloyd Newell and Joelle Duval with over 16,000 members dedicated to sharing pixels with each other. Here’s a quote from the welcome statement: “This is a liberated zone for open source digital art. No copyrights or any restrictions on use are allowed. Anything posted here may be used by anyone to create new open source digital art. “

The Pure Abstract FTP exhibition is a continuation of the efforts of artist and independent curator DC Spensley to foreground the FTP artist community and celebrate this unique and important effort. Art that can be contributed by anyone and remixed by anyone makes this group significant, and represents the highest ideals of art making in my opinion and is one of the reasons this community flourishes and has gone through many phases. Artists come and go all the time and the work posted is always fresh and a source of wonder unencumbered by commerce or academic concerns.

The choice to create a show centered around non-representational abstraction is a starting point, an experiment, a discussion about what abstraction is, and the myriad understandings of what digital abstraction can be. My work, and the work of the admins has been deliberately left out of this show as a demonstration of propriety.

If this show goes well, there will be subsequent shows with different themes, other discussions, and more wonderful, thoughtful, generous FTP artists. Thank you for viewing Pure Abstract FTP, and to the following Artists who are featured in the exhibition: Paul Anslow, Δαυιδ Άτλας, Burnie Elfhonderd, Marco Martinez Farias, Bob Georgeson, Dave Hogg, NlixilN, Mark Klink, Jesús Lastra Martínez, Carmen Racovitza, Miguelangelo Rosario, Jakob Stolte, and audio contributor August Tea Rager. Thanks to Don Hanson and his team for sharing New Art City with our community, Lloyd Newell and Joelle Duval, Admins of FTP for their hard work, and ALL 26 artists who offered their amazing work for consideration!

DC Spensley – May 2021

Group Exhibition of USC Media Arts + Practice IML 300 Class

Curated by Qianqian Ye & Sarah Ciston
Artists: Karen Abe, Ayse Cevikel, Abby Chen, Malia Dollaga, Jennifer Lee, Angela Rong, Katie Liu, Myrah Sarwar, Jonathan Tolentino, Annaliese Tusken, Megan Yeh, Annie Zheng, Qingyu Zhu

What is collective, what is digital, what is care in reconfigured spaces? How can we use code to express and embrace, revolt and rest?

This exhibition invites visitors to experience the web-driven artworks and artistic research of coders and collaborators in Media Arts + Practice’s IML 300 and 400, as we investigated hypernarratives and networked justice (300), cybernetic gardens and other-worldbuilding (400). Along the way, we reconsidered technical approaches to multi-user experiences; interactivity; software libraries; and the aesthetics, protocols, and languages of the web itself.

Collective Digital Care gathers our strength, gathers us together, gathers the digital harvest of code seeds and data packets planted at the start of an uncertain, unprecedented year. It is a record of time spent together and apart, time spent adapting and nurturing, time spent tending and weeding, time spent learning and imagining the kind of interconnected networks we want to hold us together as we emerge, reconfigure, bloom.

"Sedation_with_me" solitary experience.
Mauricio Orantes
April 2021 - ∞

Sedation_with_me is a critique and captured experience on technological trust and dependency. In short form, experience curation by our own doing, manifests in avatar guides, manipulating fulfillment through artificial experiences, connections, creations. The dependency reinforced isolation become sedative environments, devoid of tactile experience and fulfillment.

This exhibit and digital experience were inspired during the global pandemic quarantine. 2020/21

Orantes curated the works in captured moment form, as a memory bank, inconsiderate of linear time. The pieces frame technological ubiquity and breakdown relationship between informing body and informed technology.

Art practice, consumption and discourse are ritual. This year, in renouncing the act of traditional presentation, our show is actively anti-ritual. We are questioning every aspect of the conventional gallery experience and embracing the strange relationship between fluidity and permanence that exists within digital space. Through conceptual and multi-dimensional landscape design, we encourage you to explore this digital space as physical space. The abstractions of shape and time are a direct representation of the artist’s adaptability, called upon this year in their creative process. As inherent storytellers, New Media artists have the capacity to create work that simultaneously serves as inner healing and outward commentary. Each artwork discloses its narrative after thoughtful interaction, calling you to assess your own habits of digital meaning-making. These intimate experiences are shrouded by the environment to communicate that this artwork does not thrive in exposure, but rather desires to be handled with care and intent. The exploratory nature of this world, paired with the vulnerable tendencies of these artworks, will lead you to self-actualize as either an intruder or a participant.

The body of work exhibited in Anti-Meta is born of flexibility and resilience. May it be Laroche’s AHAB or Pearce’s Confession Forty Thousand, the artist has abandoned the simple act of self-expression in favour of a far more challenging output - transparency. Displayed in a microcosm of artistic and self growth, these works share the ability to remain unguarded narratives of their identity, despite fear of criticism or shame. Works such as Holliyuk and Mirroring Hong Kong seek a similar transparency, but outside of oneself, directing the conversation to a global perspective on humanity. Whether bound to linear time or free from consciousness, these artworks indulge in rebellion, ponder trauma, and celebrate diversity. Anti-Meta champions non-ritual art making and aims to provide a proverbial landscape for New Medians to exist upon while sharing their inquiries of self-perception with the world, using a wide variety of materials, and in pursuit of art as an extension of self.

Waste is defined as unwanted and unusable objects. The litter, the garbage, the objects live in our environment. We are trained to ignore them. The old chips from 2008, my dad’s old PhD paperwork, the couch on Wilshire, and everything in the garage.
In our fast paced world, we rarely think about the waste we consume and produce. It seems to just disappear. But it doesn't. It stays on our planet forever. detritus is a dimension solely for the objects that have no use to us.
Train yourself to recognize, appreciate, and notice “trash.” Think about the history of these objects - who has touched them, why did they use them, what did they use them for.

WASD/ARROW to move, use MOUSE for best experience, SPACE to jump :)

Welcome to the Halls & Walls virtual 2021 Research Week Exhibition.

Marking a little over a year since the world went virtual, this exhibition showcases the human desire for tangibility.

This virtual exhibition was designed by students Celine Lassus, Angela Ruiz Pereda, and Anthony Westmoreland.

Special thanks to professor Kristin Lucas for establishing our relationship to New Art City for Research Week.

Curated by Alena Sauzade

How can a despot's unrealized monument be used as a vessel for the voices and history of a once oppressed people? What does it take to overcome the destruction of dictatorship and create a narrative of resilience and celebration?

A satellite launch, historical archive, and an expanded conversation on the after effects of dictatorship come together in Canto III, a virtual exhibition by internationally renowned artist Wafaa Bilal. The work is an anti-monument that parodies a 1990’s proposal by Saddam Hussein’s followers to launch a golden bust of the despot into orbit. Canto III is a parody of monumentality that considers both the hubris and absurdity of the notion that a leader can and should be remembered forever, and the idea that the toppling of a monument can erase past trauma and create a new era.

Produced as part of Wafaa Bilal’s virtual artist residency at the Natalie and James Thompson Gallery at San Jose State University, this exhibition presents project documentation, prototypes, and designs for a 2U cube satellite which will be launched into orbit in 2022. Using a combination of off the shelf components as well as custom built imaging technology, we hope to ensure mission success while pushing the boundaries of what is possible with space based imaging technology.

A special thank you to Professor Andrew Blanton and students in Art 210: Interdisciplinary Graduate Seminar in Digital Media L: Camila Avina-Garcia, Mengshi Chen, Aaron Arthur Chin, Edward Ham, Imelda Josie Lepe, Jessica Prakash, Asra Siddiqui, Kyra Sycip, Kiki Wu, Xiao Wu; to New Art City founder Don Hanson; to Dr. Nada Shabout, Regent Professor of Art History at the University of North Texas; and to Joel Slayton, Professor Emeritus at San Jose State University and Founding Director of the CADRE Laboratory for New Media for their help with this exhibition.

Sponsored by the Natalie and James Thompson Gallery and supported by an Artistic Excellence Programming Grant from the College of Humanities and the Arts at San Jose State University.

3 Minutes to Midnight is a digital installation of research and work in progress made during the residency with De:Formal.

The space with New Art City is populated with research, conversations, world-building plans, sketches and image ideas.

3 Minutes to Midnight will be an interactive game which takes its starting point at the moment in 2007, when climate change was added as a factor affecting the Doomsday Clock. The Doomsday Clock was introduced in 1947 by the Bulletin of Atomic Scientists and is a metaphorical, non-linear clock which represents scientists’ estimation of how close we are to global catastrophe. In 2007, the Bulletin expanded the clock to include climate change as one of the greatest man-made threats to humankind. At that point, the time jumped to 3 minutes to midnight.

The project will inhabit this temporality, the time of impending apocalypse, a time in fairy-tales associated with the breaking of a spell and a time that relates to our age commonly referred to as the Anthropocene; a time of great urgency and consequence. Research into Haraway’s articulation of the Chthulucene has informed the work along with a more focussed interrogation of multi-species survival with a particular focus on fungal networks and interspecies communication.

From April onwards, I will be developing the game with Lucy Wheeler and delivering game development workshops to young people facilitated by Jazmin Morris.

You are encouraged to go above, below, through, in-between and underneath...

~~ Sound by Le Module ~~

The project is supported by Arts Council England

Thanks to benny 🍄

What’s your digital diet like these days?

It's okay to be here. Compost your virtual traumas in this soft and liminal digestive sequence...

A cocoon beyond quarantine downs and scrolling spirals, 'eat me' treats weary cyborgs to a process of antiviral remedials, body protocols, hyphal rewebbings, and viscous mental furniture.

Load into slow, somatic intelligence.

Feel better soon.

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︴Sound design by Alexander Babbitt
︴Technical support from Benny Lichtner

"Where We Go From Here" is an exhibition of three multi-disciplinary literary technology works by Delta_Ark. (1.) The Beacon was a temporary architectural pavilion set up at Occupy Wall St. (2.) The Dream Catcher was a series of projections set up a squat in Olneyville, RI. And (3.) The Light Atlas was a sequence of projections across San Francisco, in collaboration with the Anti Eviction Mapping Project. All three works examine income inequality, eviction/displacement and technology/media. All three works render testimony and data into poems, projections and text art.

Danielle Brathwaite-Shirley is an artist working predominantly in digital media to communicate the experiences of being a Black Trans person. Their practice focuses on recording the lives of Black Trans people, intertwining lived experience with fiction to imaginatively retell Trans stories. Spurred on by a desire to record the "History of Trans people both living and past" their work can often be seen as a Trans archive where Black Trans people are stored for the future. Throughout history, Black queer and Trans people have been erased from the archives. Because of this it is necessary not only to archive our existence, but also the many creative narratives we have used and continue to use to share our experiences.

Tropical Meridional Fiction is about a fiction of Brazilian identity. Through the individual perspectives of the artists, themes that concern its complexities are strained, across territorial factors, individual subjective experiences and digital responses to questions that arise from these conditions. Working with these specific and diverse realities we seek to attempt to search the poetic possibilities inside the impossibilities of this national fiction.

Tropical Meridional Fiction é sobre uma ficção da identidade brasileira. Através das perspectivas individuais dos artistas, os temas que dizem respeito às complexidades dessa identidade são tensionados, a partir de fatores territoriais, experiências subjetivas individuais e respostas digitais a questões que surgem dessas condições. Trabalhando com essas realidades específicas e diversas, procuramos buscar as possibilidades poéticas dentro das impossibilidades dessa ficção nacional.

Henrique Fagundes
Oendu de Mendonça
Juno Rain
Mauricio Igor
Henrique Montagne

Wuji無極 is a virtual sound installation that explores the boundaries of human bodies. In Wuji, human figures are intertwined, the identities are eliminated, and the personal boundaries for those bodies are blurring. The distorted and entangled visual connects my childhood memory of playing with Chinese knots. Before creating written characters and languages, ancient Chinese use knots to communicate and record histories. After thousands of years of iterations, today, the Chinese knot is no longer a tool for preserving history but a decoration that inherits the spirit of unity. Through twisting, weaving, and binding, all ropes are tied tightly to strengthen the beliefs of unity in traditional Chinese culture.
In Wuji無極, the viewer will travel through the city constructed by human forms and look up at the central tower but never have the chance to reach the sky, like ancestors who built the tower of Babel but fail due to god's punishment. Nowadays, differences and barriers among people have been extended to national, racial, and gender issues. In Wuji, a more united world can be imagined. When the physical forms and differences between individuals no longer limit us, a pure existence that presents the concept the infinity is emerging.

ANTIPHON is a networked, interactive, real-time, audiovisual performance environment exploring the conceptual framing of Antiphonal music. The instruments are networked and act as volumetric sound sculptures built to be performed live. They are controllable via remote server creating a networked, highly accurate, audiovisual representation distributed across all participant's web browsers.

The infrastructure and networking components of the show were built with the help of Sebastian Batali and Aditi Raja.

“Exoplanetary Dust”
Curated by CLOT Magazine & SciArt Initiative
as part of the "OTHER SKIES" festival in collaboration with Multiverse Concert Series

“Man has gone out to explore other worlds and other civilizations without having explored his own labyrinth of dark passages and secret chambers, and without finding what lies behind doorways that he himself has sealed.” -Stanislav Lem, Solaris

In 1984 astronomers observed the first planetary disk of dust and gas around the star Beta Pictoris, providing a tantalizing glimpse of the potential for exoplanet discovery. And now? Over 4,000 exoplanets have been discovered; we are fortunate to find ourselves in a fertile universe of celestial bodies. The implications of these findings are being explored with fervor by scientists and artists alike.

Recent scientific advancements—combined with our insatiable curiosity to probe the unknown—have rekindled our SciFi imaginations in the quest for the extraterrestrial. But what are the philosophical implications of these revelations? As these discoveries permeate popular culture, artists, thinkers, and scientists reflect and interpret their relevance. Can we envision new horizons for humanity away from imperialist and colonial perspectives? What undiscovered life forms will we encounter? Can we imagine what it would be like to live beneath other skies?

This exhibition was created as part of the day-long festival "OTHER SKIES: An Exoplanetary Festival," created by Multiverse Concert Series, CLOT Magazine, and SciArt Initiative in partnership with Integral Steps. Learn more about this festival at otherskies.org.

"OTHER SKIES" and the accompanying exhibition was made possible in part with the support of the Cultural Office of the Embassy of Spain in Washington DC, and the Boston Mayor's Arts and Culture COVID-19 Grant.

In March of 2020, myself along with millions of other were laid off due to Covid-19. My addiction to social media became hopeless, I stopped resisting the scroll. In May of 2020 George Floyd was murdered by Minneapolis Police igniting a wave of national protest the scope of which hasn't been seen since the marches for civil rights in the 1960s. Though millions passionately threw themselves into demonstration after demonstration, what was produced in the short term seemed to be little more than endless marching, endless livestreams, endless infographics, endless scroll.

Music by Jake Turpin

***PLEASE NOTE: THIS ROOM FEATURES WORK THAT USE FLASHING LIGHTS, IF YOU HAVE PHOTOSENSITIVITY, PLEASE BE WARNED***

Synthethicket, or synthetic thicket, is a collection of the video art I’ve been producing from the end of 2020 to the beginning of 2021. I use a combination of analog modular video synthesis, camera feedback, video mixer feedback, and footage, both found and made by me. These experiments in video art explore the relationship of iteration, patterns, colors, and movement using unconventional technology, some of which I designed. I worked with artist Erin Daley who designed the 3D models that adorn the room, creating a forest of video art and disfigured tree-like objects. This room serves as a peek into the experiments and exercises in creating a new artistic practice that I have been pursuing for the last few years.

Please note, not all the artwork loads at once, get close to and point your cursor at an object to begin it loading. I invite you to walk around and even inside the art to get a full, immersive experience. Pressing the space bar consecutive times will allow you to float, get a new perspective from above.

This project explores biodiversity through an attempt at creating (digitally) an aquatic ecosystem as a means of attempting to engage with the very abstract concept of relationship. Rather than merely presenting an aquatic, generative world, this project allows the viewer to explore the ecosystem as a virtual avatar that isn't entirely neutral in their presence.

In the virtual exhibition specimens of corals from beneath the neural waves are arranged in phylogenetic trees that display their speculative evolution. Around them generated fish swim by, careful where you tread, however, you might just scare them if you get too close!

Thanks to Jack Julian (@_julianjack on instagram) for the aquatic soundtrack!

Special thanks to Joel Simon.

March 26, 2021 is the one year anniversary of New Art City's domain registration. A prototype grew into a tool, and a tool grew into a community. Since then, more than 40,000 people in 125 countries have visited galleries on New Art City. As an organization we are proud to display artists who show in museums on the same level as art students, and to show born-digital artifacts alongside works of traditional media.

With the New Art City Festival we are celebrating our community and all that they have created by shining a spotlight on the artists pushing the boundaries of what is possible with our toolkit. It is free to attend and new exhibitions will open each day of the festival. Everything launching in this festival goes beyond anything we have shown before, and we are so excited to share the creative potential of this new digital format with many more artists around the world.

FORMAT in collaboration with New Art City are delighted to present this year’s international photography festival online in this purpose-built multi-player virtual gallery space.

The exhibitions split across 20 galleries includes over 160 international artists and a selection of the 40,000 images submitted from over 90 countries from the #massisolationFORMAT archive created during the Covid-19 pandemic.

FORMAT21 was made possible thanks to support from the Art Fund Respond and Reimagine Programme.

For more information about FORMAT International Photography Festival visit https://formatfestival.com/

Tap your space bar 3 times when you enter for good luck ✨

I'm Sammie Veeler and I help run New Art City. This is my home room and it's painted by my dear friend Jurrell Lewis. His paintings texture the architecture in which they are displayed. They're also the album covers for the two albums you're walking through: Lee's Memory Palace and Columbarium.

The ferns and palms at the entrance link to a few of my other rooms and other works I have online. Follow the tree through the flower pot galleries to hear the music. Walking straight through the center lets you hear both albums at once, one song at a time. In the middle and between songs, they overlap.

“The business of creating a limited, docile, scientifically conditioned human animal, completely adjusted to a purely technological environment, has kept pace with the rapid transformation of that environment itself: partly this has been effected, as already noted, by re-enforcing conformity with tangible rewards, partly by denying any real opportunities for choices outside the range of the megatechnic system. American children, who, on statistical evidence, spend from three to six hours a day absorbing the contents of television, whose nursery songs are advertisements, and whose sense of reality is blunted by a world dominated by daily intercourse with Superman, Batman, and their monstrous relatives, will be able only by heroic effort to disengage themselves from this system sufficiently to recover some measure of autonomy. The megamachine has them under its remote control, conditioned to its stereotypes, far more effectively than the most authoritative parent.”

experiments.withgoogle.com/coastline-paradox

Imagine you could obtain an 'impossible' image of any object or phenomenon that you think is important, with no limits on spatial, temporal, energy, signal/noise or cost resolutions. What image would you create? (the answer can be a hypothetical image of course!)

This was the question I asked every scientist I spoke to during my Arts at CERN/Collide Barcelona residency. In the BLOB I am presenting some of the insights this research has opened up to me.

The BLOB (Binary Large OBject) gives a home to the collection of Im/Possible images that all together illustrate the concept of the impossible image and the relationships between affordance, resolution and compromise.

As different Axes of Affordance (X,Y,Z and α) cut the BLOB, they define what is possible to resolve, and what images are compromised, or in other words, will never be rendered. While normally these compromised images would never find their way to our eyes, the hypothetical realms of the BLOB offer pasture to these impossible renders.

Via the open call you can submit your own Im/Possible image. These images might be considered for implementation and exhibition.

The BLOB of Im/Possible Images is made in commission for Haus der elektronischen Künste Basel (HEK)

Rather than focusing on what is not possible during this time of uncertainty, Dreamscape emphasizes the potential for the emergence of new and diverse ideas as we adapt to the global pandemic. Though the work is diverse in many ways, all projects are a testament to our capacity to overcome obstacles and dream of new ways-of-being. Our projects consist of a variety of topics which include identity, social issues, mental health, and much more. Some of the mediums our projects encompass are data visualization, visual and auditory experience, digital paintings, digital video, virtual space, game, and web art.

Faculty advisors: Lark Alder and Andrew Blanton

Participating Artists:
Ryan Allen, Vinita Kulkarni, Savannah Singh, Toni Anguiano, Ashley Linder, Anthony Sokry, Daniel Balducci, Emilio Lopez, Linyi Song, Natalie Bellido, Jason Manzon, Jacob Tran, Berenice Cortes, Rachel Morales, Lee Tran, Kelvin Dizon, Alan Garcia, Edward Ham, Yun Che Hsieh, Eddson Jose, Rianna Nandan, Talea Rendon, Hao Rong, Ashley Rose, Derrick Saenz, Aaron-Josh Vietvu, Evan Villaflor, Yinghong Yuan, Jecky Xiong

Given the chaos of 2020 we believe that the Principia Discordia is helpful in understanding our current situation.

The title is based on the parody religion text published in the 1960s. The Principia Discordia, if read literally, encourages the worship of the Greek godess Eris, known in Latin as Discordia, the godess of disorder... The Principia Discordia holds three core principles: the Aneristic (order), theee Eristic (disorder), and the notion that both are mere illusions. Due to these principles, a Discordian believes there is no distinction between order and disorder, since the are both man-made conceptual divisions of the pure element of chaos. An argument presented by the text is that it is only by rejecting these principles that you can truly perceive reality as it is, chaos.

Organized by Mark Sabb of Felt Zine

Artists include @ExitSimulation, @Trippyogi, @Wonderkatzi, @nickeays, @pirate_sheep, @baronlanteigne, @frenetikvoid, @vngc, @stanleysunday, @flufflord & Original art by felt zine, including @markdigitalhd, @jawndiego, @_boyheart_, & @luisdejavier

Special Thanks to: Blim, Colgate, Jeremy (Trippyogi),, Izzy (VNGNC), Baron, and An for all of your help with making this exhibition a reality.

well,

A midsentence opened but never shut.

Began in March of 2021 these are containers for 3D sculptures, images, videos, and sound. Many of the architectures and art works grew together. Forms overflowing each other as I slosh into more embodied existence and re-inscribe artifacts from deeper in my past which sat in stasis until there was something I could use them for.

To hear what he heard and through the act of listening be there with him.

These are perpetually incomplete and evolving spaces– my virtual sites of private reflection and digital nostalgia where I return to visit myself and leave new offerings, to share my new self with my beloved friends and coconspirators.

Every shape in this room is a link to a space in this world. Click to enter.