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Newsticker, link list, time machine: HOLO.mg/stream logs emerging trajectories in art, science, technology, and culture––every day
Fragmentin’s solo exhibition “Subsoil Speculations” opens at the Swiss Alpine Museum in Bern (CH), presenting new works from the Swiss collective and 2023 SAC (Swiss Alpine Club) Art Prize winner’s post-digital archaeology series. Global Wiring (2023, image), for example, imagines a tech-contaminated core sample of Alpine strata in LED-illuminated glass—a gallery version of the 2022 outdoor original. By extension, the generative video Data Core (2023, image) traces CGI drill hole depths.
Dutch media artist Lotte Louise de Jong releases REALITYBYTES (2023), a web-browser plugin that substitutes images and photographs within news articles on websites like cnn.com and thesun.com with AI-generated counterparts. “The plugin blurs the boundary between AI-created and human-created images,” providing “stark insight into AI’s deeply engrained biases,” de Jong writes. REALITYBYTES is launched at Berlin’s panke.gallery within a week-long solo exhibition.
French visual artist Joanie Lemercier shares glimpses of new works in progress that draw on solar rather than projector light. “These photons travelled 150 million kilometers,” he writes about the beam of sunlight used in his lens refraction experiments. “It encompasses the entire electro-magnetic spectrum—visible light, infrared, uv, radio waves, x and gamma rays—and conveys about 500W of energy,” Lemercier notes in subsequent posts. “It’s low tech, yet so much brighter than any high-end projector.”
Deep demake or meta media archaeology? Thanks to programmer WebFritzi, retro gaming fans can now enjoy Windows 95 classics Solitaire, Freecell, and Minesweeper on a Commodore 64—iconic Windows 95 desktop interface and mouse support included. Recreating an authentic 1995 PC experience on an 8-bit platform from a decade prior required some assembly language wizardry. “How are the icons created? Can you make a user interface like this? I just couldn’t believe what I was seeing,” stunned Commodore fans wrote online.
“In the Screen I am Everything,” a solo show by transmedia artist Ellie Pritts opens at Bitforms New York. Foregrounding an aesthetic of video feedback, digital glitch, and fervent AI hallucination, the American artist presents works across video, giclée prints, and wallpaper. In the show’s titular video (2023, image), Pritts finds new avenues in self-portraiture by feeding an AI image generator text prompts from her journal—turning green screen footage of herself into a morphing dreamscape.
MacKenzie Art Gallery launches “Echoes from the Future,” a virtual showcase of “Speculative Creatures & Post-Human Botanicals” created with the gallery’s own Digital Exhibitions Toolkit. Curator Tina Sauerländer presents eight artists including Laura Colmenares Guerra, Bianca Shonee Arroyo-Kreimes (image: Last Species on Earth, 2022), Sarah Oh-Mock, Sabrina Ratté, and Tamiko Thiel whose hybrid lifeforms and immersive eco-futures “render current environmental issues visible in virtual reality.”
Against the backdrop of the Los Angeles County Museum of Art (LACMA) retrospective “Coded: Art Enters the Computer Age, 1952-1982,” four artists gather to ‘fill’ Casey Reas’ software installation An Empty Room (2023) with intimate, evocative gestures. More happening than performance night, the program fittingly called “A Full Room” brings together Edgar Fabián Frías, Lauren Lee McCarthy (image), Romi Ron Morrison, and Reas himself who, through song, poetry, and prayer, ask a vexing question: “What is social software?”
In anticipation of a July platform refresh, “FF1” opens on Feral File. Founding curator Casey Reas selects a memorable piece from each of the 33 shows mounted on the marketplace since its (pre-NFT boom) origins as a 2019 social experiment. Featured are Morehshin Allahyari, Kim Asendorf, Claudia Hart, p1xelfool (image: 3 + 2 * 11, 2022), Rafaël Rozendaal, and many others. “This is the end of the beginning and we’re ready to keep it moving,” writes Reas.
Back Office 5
The Next Dimension
Never shy to insert his eccentric alter ego into art history as a form of playful provocation, Canadian artist Jeremy Bailey tasked the generative AI system Midjourney to put his ‘Famous New Media Artist’ persona into a David Hockney pool painting (“it keeps twisting my legs up!”) and to combine it with one of Jeff Koons’ balloon dogs (image). Credit where credit is due: Balloon Bailey is the blue, bespectacled kitsch we didn’t know we needed.
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