Miffed about the meager fee offered for the reproduction of two of his banknote works, Danish artist Jens Haaning pocketed the 534,000 kroner ($84,000) lent by the Kunsten Museum of Modern Art in Aalborg (DK), and delivered two empty frames entitled Take the Money and Run. “The work is that I have taken their money,” Haaning said in an interview. “It’s not theft. It is a breach of contract, and breach of contract is part of the work.” The frames are now on view as part of “Work it Out,” the museum’s ongoing show about art and labour.
A spatial collage of film and fabric, Metahaven’s “Passphrases” opens at State of Concept Athens—the first solo show of the Dutch avantgarde film-and-design collective in Greece. Featured alongside a newly commissioned installation of their films Chaos Theory (2021) and Hometown (2018), both part of a trilogy that begun with Information Skies (2016), are textile works from the series Arrows (2020) and—a premiere—Blossoms and Secrets (2021), “embodying texture, dreams, and film stills.”
“What if an exhibition had an energy budget? How would it affect its design, organization, management, and activation?” With 16/2017, Spanish artist Joana Moll forces Barcelona’s Arts Santa Mònica Center to cut its energy usage by 50% during the “Exposar · No exposar-se · Exposar-se · No exposar” exhibition. Named after a failed policy to half the region’s CO2 emissions by 2030, 16/2017 prescribes weekly meetings to monitor the energy budget and negotiate corrective measures with management, artists, and the public.
The most extensive installation of Rafaël Rozendaal’s websites series and the Dutch-Brazillian artist’s first solo exhibition in the UK, “Permanent Distraction” opens at Site Gallery, Sheffield. Existing and newly produced websites are shown as twelve, floor to ceiling projections, filling the space with abstract colour, movement and gesture. The show “forces us to confront the slippage between our physical and digital realities,” writes the gallery, “bringing bodies physically into the space of the internet.”
Drawing on Suzanne Simard’s Finding the Mother Tree, writer Claire L. Evans makes a case for reimagining the web’s central metaphor as a forest. Teasing out the famed Canadian ecologist’s findings gleaned from a life in forestry, Evans uses the symbiotic tendencies of ‘Mother’ trees, mycorrhizal fungi, and birch trees, to map alternate readings of the web. Big Tech has “privileged high-value crops—viral content, controversy, and clickbait—over a healthier ecosystem of people, opinions, and perspectives,” she writes, likening platform capitalism to clear cutting—short term profit at the ecosystem’s expense. While the diagnosis is grim, Evans ends optimistically, calling for “Mother nodes,” resilient sites of nurturing and collective memory.
“I wanted to see what human-generated randomness looks like,” writes Jonathan Chomko of his NFT project Proof of Work. Extending out his previous prompt-driven choreography, the Montréal artist created software for collecting random values from “small-scale“ gestures: typing random characters on a keyboard. Experiments with scale and colour yielded a pixellated visual language and, post-NFT drop, he notes the labourious process “records a minimum viable artwork, the hand of the artist visible in the digital image.”