Forensic Architecture launches an interactive archive of police brutality cases documented at Black Lives Matter protests across the United States. In examining thousands of videos shared online, the London-based research agency together with Bellingcat investigators managed to verify and analyse more than 400 attacks on civilians using chemical agents, 300 instances of unjustified arrest, detention, and intimidation, 300 physical assaults by officers, and 250 attacks on journalists, medics, and legal observers.
Her first solo show with Steven Sacks’ digital art imprint, Auriea Harvey’s “Year Zero” opens at bitforms gallery, New York. Alongside samples from the net artist’s long collaborative career, “Year Zero” introduces a new body of mixed-media sculptural work. Amalgamations of 3d body scans, 3d models of her own clay sculptures, and historic museum artifacts, these digital and 3d-printed objects are hybrid products, made in Western Europe but borrowing from its colonies. “My sculptures are born broken,” states Harvey. “It is up to me to mend them.”
“Solar Mountains and Broken Hearts,” a solo show by Israeli multidisicplinary artist Maya Attoun opens at Tel Aviv’s Magasin III Jaffa. Putting her favoured motifs—knots, hands and digits, tarot and alchemical esoterica—into dialogue with solar panels and terrestrial projections, Attoun offers an oblique meditation on catastrophe and futurity. Entirely devoid of humans, the mixed media works evoke “a gothic tradition that does not distinguish the beautiful from the terrifying,” notes Karmit Galili in her curatorial essay.
After months of lockdown, Basel’s HeK reopens with “Shaping the Invisible World—Digital Cartography as an Instrument of Knowledge.” Curated by Boris Magrini and Christine Schranz, the show unfolds “spectacular panoramas and virtual scenarios” that reveal how digital technologies affect our understanding of the world. Works by James Bridle, Lukács & Broersen (image: Forest on Location, 2018), Trevor Paglen, and Fei Jun, for example, subvert contemporary cartographic practices to ask pressing questions about privacy, authorship, economic interests, and data aggregation.
In the latest instalment of Whitney Museum’s “Sunrise/Sunset” series of website interventions, LaTurbo Avedon’s Morning Mirror / Evening Mirror takes over whitney.org for 30 seconds twice a day. Avedon, who only works as a digital avatar, created fourteen videos depicting digital flythroughs of a 3D apartment within the frame of a virtual mirror overlay. “The mirror functions as both a surface for reflection and a window into a different world,” writes the artist, “showing nature flourishing across living rooms as well as green screens and stage lights consuming the home studio.”
It’s refreshing to read commentary outside the “this will catch on/fizzle out” VR binary, or that dotes on headset sales figures, so this survey by Filippo Lorenzin is appreciated. For Hyperallergic, the Italian curator provides a very Italian reading of the pre-history of the medium: relative to linear perspective. Bypassing William Gibson and more or less igoring Palmer Luckey, Lorenzin goes way back—Brunelleschi 15th century back—connecting VR to “a point of no return for Western art” and later 360-degree paintings in considering the production and consumption of 3D space.