Operating under the rubric “connect online like it’s 1999,” this Faith Holland, Lorna Mills, and Wade Wallerstein-curated exhibition asks a big existential question of net art in the age of COVID-19: “Well Now WTF?” While it may not provide tangible answers, its 80-plus contributing artists (organizing in sardonically titled rooms including “stay home and masturbate” and “pants optional”) offer community, irreverence, and nostalgia—joyful respite during a moment of unprecedented isolation.
“Uncanny Valley,” an exhibition that endeavors to “propose new ways of thinking about intelligence, nature, and artifice” opens at San Francisco’s de Young Museum. Curated by Claudia Schmuckli, the show Includes work by Trevor Paglen, Hito Steyerl, and Martine Syms, and brings together more than a dozen artists whose practices parse the strange and unsettling intricacies of human-machine relations.
Eyal Weizman, the founder of the activist research studio Forensic Architecture, has been barred entry into the United States. Informed by email that his right to travel to the U.S. had been revoked, he learned in a subsequent embassy visit that an algorithm had identified a security threat that “could be related to something he was involved in, people he had been in contact with, places he had visited, hotels at which he had stayed, or a pattern of relations among those.” These unsubstantiated claims have left him unable to attend his retrospective exhibition at Dade College’s Museum of Art and Design in Miami, that opens next week.