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Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day

“Outside In,” a web-based, site-specific AR exhibition by Manuel Rossner and Damjanski opens near /rosa, panke.gallery and Zentrum für Netzkunst’s Berlin project space. Realized on Panke’s OpenAR.art platform, the two sculptures—Rossner’s Spatial Painting (image) and Damjanski’s Inside: Spatial Painting—stand in dialogue, where the latter takes visitors into the former—“a perspective that wouldn’t have been possible with AR technology.”

“SPACE PROGRAM: Indoctrination,” a solo show by American sculptor Tom Sachs opens at Art Sonje Center in Seoul. The fifth in a series of exhibitions where the artist playfully reconstitutes the aesthetics of his nation’s rich aereospace history (image: Launch, 2010), the show evolves the format through indoctrination. After participating in “missions and tests of knowledge” visitors can join Sachs’ DIY space program—and those lacking ‘the right stuff’ can attend a reeducation centre.

“Plants are already extremely efficient carbon fixing machines, resulting from millions of years of evolution, so I still remain to be convinced that CRISPR can do much to improve carbon sequestration at the scale we need.”
César Terrer, an MIT assistant professor focused on plant-soil interactions, on a new $11 million push by the Innovative Genomics Institute (IGI) to alter rice plants for improved carbon removal

Part of Serpentine’s long-term climate crisis program, “Back to Earth” opens in London with arresting propositions. Works by Agnes Denes, Brian Eno, Carolina Caycedo, Formafantasma, Sissel Tolaas, and others present research, experiences, and interventions: A new edition of Alexandra Daisy Ginsberg’s Pollinator Pathmaker (2021), for example, algorithmically arranged 62 plant species in nearby Kensington Gardens to “serve the greatest diversity of pollinators.”

“The wreck is not just important to art historians or to the reconstruction of ancient trade routes, but also to our understanding of the travelers, merchants, and sailors of the ancient Mediterranean.”
– Historian Sarah E. Bond, on the Antikythera Shipwreck site off the coast of Greece, where a colossal marble Hercules head was recently recovered. Beyond describing how the find completed a headless Hercules statue in Athens, Bond notes that teeth and bones found at the site “are a fundamental part of the ancient tale told by the wreckage.”

“Pardon Our Dust,” a solo show by avatar artist LaTurbo Avedon, opens at the Museum of Applied Arts (MAK), Vienna. The show’s titular work (image, 2022) riffs on a slogan used to describe 1990s websites as ‘under construction,’ revising that narrative of progress for nascent Web3. Serving as tour guide and critic, Avedon parses emerging decentralization and ever-present commercialization, in a narrative rendering virtuality torn between “construction and deconstruction.”

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Emerging trajectories in art, science, and technology (since 2012)

As an editorial and curatorial platform, HOLO explores disciplinary interstices and entangled knowledge as epicentres of critical creative practice, radical imagination, research, and activism

“I feel the language and concepts I’m working with don’t comfortably fit within the normal discourse about art and aesthetics. CERN’s physicists and engineers understood the tools I was using and I was able to talk about my goals. I just couldn’t have that kind of dialogue in an art context.”—sound artist Bill Fontana on his CERN residency (HOLO 2, p.206)

There is a space between a computer’s command line interface and the contemporary art museum, the legalese of Silicon Valley’s terms and conditions and the social contract, the whoosh of a particle accelerator and the romanticized “a ha” of artistic inspiration. For much of the twentieth century these gaps were chasms, separating science and engineering from the humanities and siloing them off; today, these gaps are narrowing and disciplinary interstices are the spaces to watch. Increasingly aware of how much technology governs not only entrenched fields of study but every aspect of modern life, we’ve come to realise that things are deeply intertwined.

HOLO emerged in 2012 to explore these entanglements—first with a periodical, now across an expanded platform. Set up in the grey zones between art, science, and technology, it frames scientific research and emerging technologies as being more than sites of invention and innovation—as epicentres of critical creative practice, radical imagination, and activism. The artists and designers working with related materials—algorithms and microcontrollers, meteoroids and fungi, data and archives—aren’t just updating notions of craft for the twenty-first century, they are researchers and cultural critics.

As an editorial and curatorial platform, HOLO occupies the same eccentric vantage points as these hybrid creative practices and puts them into perspective. Working across multiple avenues—print and online, events and production—HOLO collaborates with contributors and cultural partners to facilitate fruitful dialogue between domains and bring new voices into the conversation.

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New Art City Virtualizes The Gallery, Abolishes Gatekeepers, and Increases Access
Burak Arikan Maps Power Structures, Financial Flows, and Networks of Influence
Total Refusal Collective Casts NPC Workers in Critique of Contemporary Labour
Akil Kumarasamy Parses Quantum Plotlines and Large Language Models
Wade Wallerstein Decodes Digital Art’s Myriad “Distant Early Warnings”
Maarten Vanden Eynde Encapsulates Human Fallibility for the Ages
Miriam Arbus Cultivates “Seed Systems” That Nurture New XR Ecologies
Martin Bricelj Baraga Builds Monuments to the Sky’s 53 Shades of Blue
Claire L. Evans Assembles Fifty Key Sci-Fi Voices to “Terraform” Futurity
Kyriaki Goni Weaves Counter-Narratives to Colonial Cosmologies and Space Expansionism
General
A new HOLO format, Dossiers are web-based research publications that contextualize and expand upon cultural initiatives in real-time

Dossiers are dedicated HOLO folios that augment and complement exhibitions, residencies, conferences, and educational initiatives. Realised in collaboration with artists, writers, curators, and cultural partners, they are designed to document process and disseminate knowledge through a variety of engaging formats—essays, interviews, artwork—all within a focused online magazine. If you’re interested in working with us on a Dossier, please get in touch via our Contact page.

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Questioning our problematic faith in AI, Nora N. Khan and fifteen luminaries measure the gap between machine learning hypotheticals and the mess of lived experience.
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An inquiry into the nature of randomness—how science explains it and how culture (and art) emerges from it
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Parsing emerging representational and perceptual paradigms in the wake of the Snowden revelations and nascent computer vision technologies
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An illustrated field guide on plastiglomerates, robot dogs, antenna trees and other hybrid creatures (and objects) of our time
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The first three instalments of ‘anticipatory’ designers N O R M A L S eponymous graphic novel series delineate a dark and unsettling world of hyper-mediated futures.
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