Ani Liu’s “Ecologies of Care” Even More Acute in Post-Roe America

“To this childless writer, it was an eye-opening lesson—all the more acute in a post-Roe America—in just how much labor it takes to keep someone alive.”
– Critic Jillian Steinhauer, on Ani Liu’s solo show “Ecologies of Care” in which the American artist turns her experience of new motherhood into thought-provoking works. For example: “Untitled (Labor of Love) (2022) charts every feeding and diaper change during the first 30 days of Liu’s infant’s life through vials containing breast milk, formula and pieces of diapers.”

Tom Fitzgerald Describes How We’re Using All the Wrong Metaphors to Talk about Neural Networks

“It is understandable that people with no technical training might rely on metaphors to understand complex technology. But we would hope that policy-makers might develop a slightly more sophisticated understanding of AI than the one we get from Robocop.”
– Legal scholar Tomas Fitzgerald, in an article detailing how bad metaphors (e.g. comparing neural networks to brains) hamper our attempts to understand AI

Defiant Postmasters Gallery Announces New Nomadic Model

“We really have a very fixed idea of what kind of art we’re interested in. It requires a new model of running a gallery—especially one that shows challenging and forward thinking art.”
Postmasters’ co-founder Magda Sawon, on transitioning to a new nomadic model as the pioneering digital art gallery is being forced out of its Tribeca neighbourhood. Instead of showing in one fixed location, “Postmasters 5.0 locations will be tailored to the art we will present,” the gallery’s announcement states, defiantly.

Zsofia Valyi-Nagy ‘Re-Enacts’ Iconic Vera Molnar Plotter Drawing Series on Authentic Vintage Hardware

American art historian (and HOLO collaborator) Zsofia Valyi-Nagy demos her ‘re-enactment’ of Vera Molnar’s Lettres de ma mère (1981-1991) on a vintage Tektronix 4052 computer at Humboldt University, Berlin. Valyi-Nagy, currently a visiting doctoral student at media theorist Stefan Höltgen’s Signallabor, reverse-engineered the digital art pioneer’s famous plotter drawing series in BASIC code, “a programming language Molnar would have used at the time.”

Ten Years Ago Today, Johannes P Osterhoff Began One-Year iPhone Performance

Berlin’s and Zentrum für Netzkunst celebrate the 10th anniversary of iPhone live, the one-year art performance by Johannes P Osterhoff. From June 29, 2012, the German media artist broadcast screenshots from his jailbroken iPhone to a public website whenever he pressed the home button, aggregating 13,567 snapshots (about 40 per day) of his digital life. In commemoration, Osterhoff and invited experts reflect on the iconic project at /rosa, Berlin.

John Gerrard Simulates Video Feed From Oceania Underwater

John Gerrard’s solo show “Endling” opens at Pace, New York, presenting three new and recent large-scale simulations. Flare (Oceania) (2022, image), the exhibition’s centrepiece, links fossil fuel extraction and rising sea levels in the South Pacific, as documented by Tongan activist and artist Uili Lousi. Programmed in the Unreal game engine, Gerrard’s virtual environment runs on local Tonga time, resembling an evocative video feed from the affected region.

NFT Gambling is Trumpian, Says Kevin Abosch

“There’s a prevailing narrative in society that it’s all or nothing—you’re a winner or a loser. It’s Trumpian and driven by the greed of glassy-eyed decentralized gamblers who are afraid if a project doesn’t sell out, their pathetic investment is in peril.”
Kevin Abosch, Irish conceptual artist and crypto pundit, on NFT artists (all too often) working against the clock

Igor Štromajer’s Cubes Traverse Materiality, Technologies, and Time

Igor Štromajer’s hybrid installation ƒ(x)=ax³+bx²+cx+d*, realised together with German art historian and curator Sakrowski, opens at the Aksioma project space in Ljubljana. The titular cubic function is expressed in a 1 m³ concrete cube balancing on one of its vertices, as did the cube in the iconic GIF animation the Slovenian net artist (also known as intima) created in 1996. Through AR, the two can exist together (image), traversing materiality, technologies, and time.

Accepting Loss is Vital to Digital Art Conservation, Annet Dekker Says

“It’s important to accept loss, to accept decay, and to let go. We lose things constantly in computational culture, and it’s not necessarily a bad thing.”
Annet Dekker, Dutch curator and digital art researcher, on the challenges (and anxieties) of conservators. Rather than obsessing over perfect preservation, “we need to plant finds—fragments—that trigger a memory,” Dekker suggest, citing former SFMOMA collection director Jill Sterrett. [quotes edited]

How Op Art Icon Bridget Riley Turned A Life Around

“He was homeless for quite a long time during his life, and he really struggled with alcoholism. He had no interest in art at all, and then one day he went into an exhibition to get out of the rain.”
– Kim Noble, art instructor of the late George Westren, whose op art legacy was recently saved by artist neighbour Alan Warburton. “The exhibit was the work of Bridget Riley,” writer Sydney Page notes. “Westren was inspired by her.”

An Experiment in Self-Automation, Jonus Lund Invites Gallery Visitors into His Brain

An intimate view into his ongoing efforts to automate his practice, Jonas Lund’s “Walk with Me” opens on the social platform. The online exhibition collages early and recent experiments of “wrapping his distributed identity, personality traits, and musical interludes” layered with instructions to make his artworks into a single glorious browser canvas, that Lund compares to “being inside the artist’s brain itself.”

Auriea Harvey’s Digital Sculptures “Live in a Future that Never Ages”

“Digital sculptures live in the now, in a future that never ages. The physical object is the archive. That object was digital, but now it is real, pinned to a certain moment, and it can travel through different times and contexts as long as it exists.”
– Sculptor Auriea Harvey, on working across worlds and mediums. “The actual sculpture is the digital model on my computer,” she insists. “That is the real sculpture.”

“Still Waters Run Deep” Exhibition Explores How Humanity Disrupts Earth’s Hydrologic Cycle

A critique of how humanity disrupts Earth’s hydrologic cycle, “Still Waters Run Deep” opens at Nieuw Dakota, Amsterdam. Curator Marlies Augustijn gathers works by Phoebe Boswell, Patrick Hough, Kasia Molga, Hannah Rowan, and others that explore how water “inextricably interconnects everything.” Deep Time Agency’s Concrete Reef (2021), for example, memorialises the region’s prehistoric ocean with a geodesic array of concrete fossil casts.

MOSTYN Invites 17 Artists to Share Their “Temporary Atlas” and Map Personal Experience and Perspectives

“Temporary Atlas” opens at London’s MOSTYN, ‘mapping’ personal experiences and perspectives with works by Manon Awst, Ibrahim Mahama, Kiki Smith, and 14 others. Of note: Oliver Laric’s erudite video essay Versions (2010, image) “that muses on the manipulation and re-appropriation of images throughout history” is featured, as is Jeremy Deller’s The History of the World (1997-2004), which diagrams improbable connections between the social forces that begat acid house and brass band music.

Joanie Lemercier and Juliette Bibasse Shed (Laser) Light on Overlooked Beauty

Joanie Lemercier’s latest solo exhibition opens at Le Tetris in Le Havre, Normandy, France. The show gathers recent works (Slow Violence, Brume, Edges) and new creations, capturing the French artist’s sustained interest in light and activism. In Prairie, a new collaboration with curator Juliette Bibasse, the two change focus from big to small: tracing mundane roadside grasses with small lasers, they shed light on beauty that is often overlooked.

Kimberlé Crenshaw on the Overturning of Roe v. Wade: “The Worst-Case Scenarios Are Coming Home to Roost”

“The worst-case scenarios are coming home to roost. We simply cannot afford to sustain separate, siloed movements; they are coming for every hard-fought civil right won in the last 50 years. WE have to fight back like our lives depend on it. Because they do.”
– Civil rights advocate Kimberlé Crenshaw, calling for solidarity across movements in the aftermath of the U.S. Supreme Court overturning Roe v. Wade
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