Rhea Myers’ solo exhibition “The Ego, and It’s 0wned” opens at Nagel Draxler’s Crypto Kiosk in Berlin, offering blockchain-based “symbolic forms” that ponder property, representation, identity, and secrecy. In the titular piece (2023), for example, the British artist and hacker tokenizes her brain wave recordings while Type Opposite Images (2023, image) reverses colourful Vaporwave tropes. Also on view: new NFT editions of iconic Ethereum works that Myers created in 2014.
“From Body to Code,” a retrospective of pioneering Brazilian choreographer Analívia Cordeiro, opens at ZKM Karlsruhe. Included is her iconic video art piece »M 3×3« (1973, image), a trio of mid-1970s computer-dance works coded in Fortran, and Nota-Anna, the movement notation system she developed with Nilton Lobo in the 1980s. Collectively, the assembled works underscore what curator Claudia Giannetti describes as a “singular computerized method combined with a subtle and poetic language.”
“The Technate,” an exhibition by Peter Behrbohm and Markus Bühler that “follows the wires” of North American internet infrastructure, opens at Berlin’s panke.gallery. Sharing their eponymous research project (2023, image), which reenacts a 1947 road trip from California to British Columbia, promoting the technocracy movement. In it, the duo cosplay as technicians (with a robot dog), and visit technoculture hotspots including Internet Archive and Noisebridge.
Wade Wallerstein Decodes Digital Art’s Myriad “Distant Early Warnings”
Maarten Vanden Eynde Encapsulates Human Fallibility for the Ages
Miriam Arbus Cultivates “Seed Systems” That Nurture New XR Ecologies
Martin Bricelj Baraga Builds Monuments to the Sky’s 53 Shades of Blue
Claire L. Evans Assembles Fifty Key Sci-Fi Voices to “Terraform” Futurity
Kyriaki Goni Weaves Counter-Narratives to Colonial Cosmologies and Space Expansionism
Yuri Suzuki Broadcasts the “Sound of the Earth” at Triennale Milano and in Your Headphones
Megan MacLaurin Foregrounds “The Air We Share” by Taking GIF Art to the Streets
Jeremy Bolen Casts Haunting Artifacts That Capture the Future-History of the Climate Crisis
Mindy Seu Forges Deep Links Between Cyberfeminism, Net Art, and Web3
A new HOLO format, Dossiers are web-based research publications that contextualize and expand upon cultural initiatives in real-time
Dossiers are dedicated HOLO folios that augment and complement exhibitions, residencies, conferences, and educational initiatives. Realised in collaboration with artists, writers, curators, and cultural partners, they are designed to document process and disseminate knowledge through a variety of engaging formats—essays, interviews, artwork—all within a focused online magazine. If you’re interested in working with us on a Dossier, please get in touch via our Contact page.
Emerging trajectories in art, science, and technology (since 2012)
As an editorial and curatorial platform, HOLO explores disciplinary interstices and entangled knowledge as epicentres of critical creative practice, radical imagination, research, and activism
“I feel the language and concepts I’m working with don’t comfortably fit within the normal discourse about art and aesthetics. CERN’s physicists and engineers understood the tools I was using and I was able to talk about my goals. I just couldn’t have that kind of dialogue in an art context.”—sound artist Bill Fontana on his CERN residency (HOLO 2, p.206)
There is a space between a computer’s command line interface and the contemporary art museum, the legalese of Silicon Valley’s terms and conditions and the social contract, the whoosh of a particle accelerator and the romanticized “a ha” of artistic inspiration. For much of the twentieth century these gaps were chasms, separating science and engineering from the humanities and siloing them off; today, these gaps are narrowing and disciplinary interstices are the spaces to watch. Increasingly aware of how much technology governs not only entrenched fields of study but every aspect of modern life, we’ve come to realise that things are deeply intertwined.
HOLO emerged in 2012 to explore these entanglements—first with a periodical, now across an expanded platform. Set up in the grey zones between art, science, and technology, it frames scientific research and emerging technologies as being more than sites of invention and innovation—as epicentres of critical creative practice, radical imagination, and activism. The artists and designers working with related materials—algorithms and microcontrollers, meteoroids and fungi, data and archives—aren’t just updating notions of craft for the twenty-first century, they are researchers and cultural critics.
As an editorial and curatorial platform, HOLO occupies the same eccentric vantage points as these hybrid creative practices and puts them into perspective. Working across multiple avenues—print and online, events and production—HOLO collaborates with contributors and cultural partners to facilitate fruitful dialogue between domains and bring new voices into the conversation.
Over the last decade HOLO has curated more than 500 cultural initiatives worldwide