The culmination of a year of exploring emergent letterforms through machine learning and computation, Berlin-based type practice (and HOLO collaborator) NaN releases a collection of 28 procedurally generated display fonts and the codebase that was used to create them. Free-to-use and free-to-modify, the expressive set demonstrates that “scripting designs in this fashion can be both a creative and production tool,” writes NaN’s Luke Prowse. “There’s no reason why these scripts can’t be applied to icons, lettering or any other vectors either.”
Artists Ben Rubin and Brian House’s “Terminal Moraine” opens at Brooklyn Botanical Gardens. Taking a meta-historical approach, its lone eponymous work models the local impact of the Laurentide ice sheet. Approximately 18,000 years ago, the 600 metre wall of ice flowed down the Hudson Valley and shaped the landscape—Rubin and House simulate the glacial retreat and forest growth that followed. In their sonification “cells expand and branch while crystalline structures gradually break apart,” helping listeners contemplate the deep time of history.
A collaboration between sound designer Yuri Suzuki and musical artist and composer Miyu Hosoi, Crowd Cloud is unveiled at Haneda Airport, Japan. The site-specific installation distils the vowels of the Japanese language, sung by Hosoi, creating a unique composition that emanates from a choir of dozens of standing horns that converse with each other like people. Crowd Cloud is part of the Paola Antonelli-curated “Culture Gate” exhibition that sees artists offer fresh interpretations of Japan’s diverse culture in airports across the country.
With “Take Me to Another World,” the first-ever Charlotte Johannesson retrospective opens at Museo Nacional Centro de Arte Reina Sofía, Madrid. Named after a computer graphic the Swedish artist created in the 1980s, the survey traces 60 years of Johannesson’s image-making between craft and technology. A textile artist who turned to computer programming (in 1978, the autodidact swapped her loom for an Apple II Plus), Johannesson’s political tapestries are inwoven with 1960s counterculture, punk, and feminism.
A reimagination of Hieronymus Bosch’s iconic triptych for the digital age, Carla Gannis’ The Garden of Emoji Delights opens at Stockholm’s Fotografiska. In her 2014 collage, the American artist explores how Bosch’s visual world from 500 years ago matches our emoji dictionary, circa now. “There is humour, darkness, and absurdity,” state the curators. “Earthly, cosmological, and technological conditions are combined,” revealing ideologies and social constructs that have remained unchanged for centuries.
“Poetics of reality (encoded)” opens at max goelitz gallery, Munich, putting works by Austrian artist Brigitte Kowanz and UK-based collective Troika in juxtaposition. “Both question different forms of representation via a subversive examination of abstraction and new pictorial formulas,” notes curator Madeleine Freund. What unites them is a shared interest in human perception and the mediation of information. “Through language, codes, and algorithms they critically examine contemporary issues, from climate policy to digitization.”