Every year, HOLO issues a special collector’s edition that captures the calendar year in print. Collectors receive it automatically with free shipping in the first quarter of the following year. E.g. if you join before 10/10/2022 you will receive the collector’s edition in early 2023.
Adding the content from HOLO’s past print editions—essays, artist profiles, illustrated fiction—online is currently in progress. Readers can expect to have access to the majority of HOLO’s archival pieces by the end of 2022.
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.
“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.
“Cosmos,” a survey of kinetic and interactive sculptures by Björn Schülke blending “action and reaction, surveillance and performance,” opens at bitforms gallery San Francisco. Included are spacecraft- and rover-inspired assemblies, vision machines, a maquette of his Norman Y. Mineta San José Airport sculpture (2010), and sound art (image: Supersonic #3, 2007). Also featured: the German artist’s first olfactory sculpture, which emits a scent created for NASA that smells like space.
LuYang’s first solo exhibition in Switzerland, “LuYang Vibratory Field,” opens at Kunsthalle Basel. One of the most comprehensive surveys of the Shanghai-born artist’s work from the last decade, the show spawns entire universes from the “engrossing, fantastical, and sometimes grotesque techno-psychedelic videos, installations, and computer games” on view. In them, LuYang tackles major issues: life, death, reincarnation, and even global destruction.
“Data Garden,” an exhibition by Kyriaki Goni, opens at Blenheim Walk Gallery in Leeds, UK. In it, the Greek artist presents her eponymous ongoing series (image), which uses CGI and sculpture to chronicle Saxifraga depressa and Micromeria acropolitana, plant species native to the Dolomites mountain range and the Acropolis. Presenting plant DNA as a communication protocol that links communities, Goni centres “deep time, geological transformations, and plant history.”
“REVENANTS,” a show featuring Kelly Richardson, Nicholas Sassoon & Rick Silva, opens at the Rectangle artist-run space in Brussels. Addressing notions of scale and the geological, Richardson’s Origin Stories (2023) zooms in on the asteroid belt between Mars and Jupiter, and Sassoon’s lava rock-inspired The Prophet (Tanaga 1) (2023, image) evokes what exhibition essayist Alexandra Crouwers describes as “the unimaginable turmoil that is in a constant grind beneath our feet.”
“Holding Up The Sky,” a solo show by Caroline Monnet, opens at the Art Gallery of Burlington (AGB) in Ontario, Canada. Foregrounding her interests in indigenous geometry and the figure of the cube (image: It Cracks with Light, 2021), the Franco-Anishinaabe artist presents The Room (2023), a 3 square metre assembly of inscribed styrofoam. The installation, and another made of PVC pipes and conduits, rebukes “prescriptive colonial architecture … the urge to square and compartmentalize.“
Marco Barotti‘s solo exhibition “Rituals of Wasted Technology” opens at silent green, Berlin, presenting two mythical techno-species in defiance of obsolescence: As tower-mounted APES (recycled Wi-Fi sector antennas) perform ”quasi-rituals” from data input—Facebook likes, Google searches, tinder swipes—SWANS (used satellite dishes) float about, propelled by sound. Barotti’s show is part of “Speaking to Ancestors,” a two-year series on ritual curated by Pauline Doutreluingne and Keumhwa Kim.
Creative economy thinker and entrepreneur Yancey Strickler shares his vision for metalabels, a new model for cultural production “like indie record labels for all forms of creative output.” Following a release proof-of-concept (a ‘record’ in his nomenclature), the Kickstarter co-founder maps creativity after platform capitalism. It entails a move away from lone creator-entrepreneurs to teams, protocol-driven compensation and ownership, and audiences that prioritize context over ‘content.’
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