“Activating Captions,” an online exhibition exploring the expressive potential of closed captioning launches. Curated by Christine Sun Kim and Niels Van Tomme for the ARGOS Centre for Audiovisual Arts in Brussels, it brings together Carolyn Lazard, Alison O’Daniel (image: The Tuba Thieves, 2013), Alex Dolores Salerno, and others to “highlight and undo [captioning’s] shortcomings and inadequacies” while raising related questions of equity and access.
Lisbon’s Museum for Art, Architecture, and Technology (MAAT) comes out of lockdown with two new shows (“Aquaria” & “Y is Not s Small Country”) and one immersive installation. Realized by the Milan-based design studio Dotdotdot with science support from the European Space Agency (ESA), “Earth Bits – Sensing the Planetary” (image) offers a deep dive into the climate emergency. The data-driven journey begins with visualizing local CO2 emissions and then looks at our impact on a global scale.
In “NFTs Weren’t Supposed to End Like This,” Glitch CEO Anil Dash reflects on how, in 2014, he and artist Kevin McCoy invented NFTs. Paired at Seven on Seven, Rhizome’s annual one-night hackathon in New York City, the two prototyped monetized graphics, a blockchain-backed technology of asserting ownership over an original digital work (photo). “Our dream of empowering artists hasn’t yet come true,” Dash concludes disillusioned, “but it has yielded a lot of commercially exploitable hype.”
“The reason we use this metaphor of a baby is Spawn only has access to the information that we give her—we foster her with the data we feed her. We found this a way to not only talk about the importance of her daily diet, but the communal nature of raising a nascent intelligence.”
Curated by Nick Montfort, “Generative Unfoldings,” an exhibition of 14 browser-based artworks launches. Augmenting MIT’s Unfolding Intelligence symposium, its generative works span vignettes on power relations and value (Behnaz Farahi, Maja Kalogera) to pure abstraction (Ágoston Nagy, Andy Wallace). Langauge looms large, as illustrated by Karen ann Donnachie & Andy Simionato’s This Indignant Page: The Politics of the Paratextual (image), which turns revered prose into colourful compositions.
TRANSFER and left.gallery teamed up to offer 49 “Pieces of Me” by, among others, Julieta Gil, Lawrence Lek, Sara Ludy, and Kim Laughton (image: Ascetic Chain, 2021) as commentary on the hype around NFTs. “This show is presented as a hopeful look towards a more thoughtful market beyond the one that arose too quickly, and without care,” write the curators. “There is no bidding—the artworks minted for this installation are unique tokens of appreciation, meant to be held and cherished, not flipped.”