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OUT NOW :
Caroline Sinders
Architectures of Violence
A collection of essays, interviews, and projects by the
artist and researcher exploring how digital platforms inflict harm—from YouTube’s algorithms to Gamergate
“A lot of it deals with the calculations of harm—of researching it, experiencing it, and archiving it. It’s unpacking how we navigate digital pain, trauma, and harassment—from the perspective of those that receive it and those that make it legible to larger power structures.”
– Artist and researcher
Caroline Sinders , on
Architectures of Violence , the book that expands upon her eponymous exhibition at Telematic Media Arts, San Francisco
Investigating notions of play and gamification in contemporary image-making, “How to Win at Photography” opens at Fotomuseum Winterthur, Switzerland. Featuring 40 artistic positions including Cory Arcangel , Aram Bartholl , John Yuyi (image), Akihiko Taniguchi , and Ai Weiwei , the assemblage of multimedia artworks and vernacular images questions the very function of photography today. “Are we playing with the camera or is the camera playing us? Who is playing along? And can this game be won?”
“Vive le cinéma! Art & Film” opens at Filmmuseum, Amsterdam. A celebration of the venue’s 75th anniversary, the show assembles work by filmmakers from five continents including Lucrecia Martel (Argentina), and Lemohang Jeremiah Mosese (Lesotho), and Jia Zhangke (China). Beyond films, it includes several instances of space-as-film —a light–colour study by Netherlands-based video installation duo Leopold Emmen (image), and an architecture-scale film reel that the viewer steps into, by Mexican director Carlos Reygadas .
“Within the carefully tended landscape of the mother of all biennials, the role geopolitical conflict plays in ‘living together’ is generally avoided. It seems it is easier to envision a utopian future than come to terms with the dystopias we inhabit.”
– Writer and curator
Barbara Casavecchia , on the misguided optimism of the 17th Venice Architecture Biennale, “whose model is still based on a geography of nation states”
Built to give seven of his kinetic light works a permanent home, Christopher Bauder ’s 1,000 square meter exhibition space DARK MATTER opens in Berlin. The career-spanning selection also includes Inverse
”The Fed is basically Dogecoining the U.S. dollar. There’s a benefit to scarcity that Dogecoiners don’t get—nor does the Fed.”
– U.S. congressperson
Warren Davidson , speaking at
Bitcoin 2021 in Miami, referring to daily creation of 10,000 new units of the ‘started as a joke but now we seem to be stuck with it’ meme coin
Doge . While ostensibly a partisan dig at Joe Biden’s economic stimulus intended to score points with the assembled crypto boosters, Davidson’s comments underscore the deep strangeness of
any framing of economic scarcity or value at the moment.
A team of researchers led by material scientist Yoel Fink , have developed a digital fiber that can “sense, memorize, learn, and infer.” Moving beyond previous analogue fibres, it encodes discrete bits of information—the prototype (shirt) can store a “767-kilobit full-colour short movie file and a 0.48 megabyte music file.” It also tracks the body temperature of its wearer, and extrapolates what actitivies they are engaged in with high accuracy, bringing us one step closer to future ‘smart’ clothing that monitors health and vital signs.
“Instead of the actual colours of its leaves and flowers, a different palette is used, alluding to techniques of camouflage, as they are deployed today for refuting any recording by tracking systems of algorithmic surveillance.”
–
Kyriaki Goni , on the AR portrait of an “invisible plant” she created for
Data Garden (2020).
Micromeria acropolitana , a mint endemic to the Acropolis in Athens, was presumed extinct for nearly a century before its rediscovery in 2006.
Hailed as a “landmark digital media auction” of 28 screen-based works, Sotheby’s opens “Natively Digital: A Curated NFT Sale.” Working with crypto artist Robert Alice , the American fine art trader prides itself in bringing together NFT trailblazers like Larva Labs and XCOPY with genre stars like Addie Wagenknecht , Casey Reas , Simon Denny , Anna Ridler , and Ryoji Ikeda (A Single Number That Has 10,000,086 Digits , image crop). The 28 works are on display at Sotheby’s galleries in New York City through auction end on June 10.
“What is in and what is out? Is the architecture of a commercial gallery a factor in your reception of its exhibition? Are the protestors in the museum’s lobby? What if the security guards have prevented the protestors from entering, but their chants filter in through a window?”
– The Art-agenda editorial team, in an incisive short text that cites quantum physics and a bronze sculpture of a cat to provoke readers to evaluate their measures of where the reading of an artwork starts and ends
Hijacking the media’s engagement economy for climate action, Tega Brain and Sam Lavigne launch Synthetic Messenger , a botnet boost for climate news. Commissioned by Eindhoven’s STRP Festival , the botnet artificially inflates the value of articles on climate change with advertisement clicks. It’s a “second-order climate engineering scheme” that manipulates the algorithmic systems that shape narratives, state the artists. “What if media itself were a form of climate engineering, a space where narrative becomes ecology?”
“I had almost given up thinking anyone would see my physical and digital sculptures on equal footing. But right now, the digital ones are more important, and after twenty years of seeing digital art sidelined, I find that exciting and very welcome!”
–
Auriea Harvey , on how NFTs have energized her artistic practice. “They’re an opportunity to say something in a louder way,” she tells
Charlotte Kent . “Now that people are looking and listening, I want to do something with that attention.”
While researching the CO2 footprint of the Ethereum (ETH) cryptocurrency chain, media artist Kyle McDonald discovered ‘graffiti’ early miners left in ETH blocks using the “extraData” field. “One miner operating in 2016 decided to tell a story: one word per block, over 2.5 months,” McDonald writes on Twitter. “Maybe one of the slowest monologues ever” was mined over 129 blocks for 648 ETH and had a happy ending: “it looks like they cashed out early this year, for around half a million USD.”
“A suggestive allegory for how personal memories, past lives, and documentation intersect on the plane of individual psychology, Gysin’s The Last Museum could not have anticipated the spatial and temporal bardo that is the World Wide Web.”
A vision of a post-anthropocentric kinship future, Superflux ’s immersive installation Invocation for Hope premieres at the Museum of Applied Arts (MAK), Vienna, as part of the Biennale for Change . Set to sounds by Cosmo Sheldrake , the London-based speculative design studio charts a path through a burnt forest destroyed by wildfire so that visitors may experience its restoration as they walk towards the centre. Here, a pool invites reflection, “as part of the planet, not masters of it.”
DOSSIER :
“There’s a kinship with some of my collaborative art projects, where users inhabit these extremely technical and often quite sterile, even hostile, environments like a phone interface. ‘Push 1 if X, push 2 if Y, push 3 if Z’ —one of the most hated technological inventions of our age.”
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