I am a Digital Strategist and Independent Curator working at the intersection of ART + TECHNOLOGY.
BIO
DiMoDA – The Digital Museum of Digital Art
Dates:
Sat Nov 14, 2015 13:40 - Sat Dec 19, 2015
Location:
Brooklyn,
New York
United States of America
United States of America
D i M o D A
a virtual institution from Alfredo Salazar-Caro and William Robertson
November 14 – December 19, 2015
TRANSFER is pleased to present the first installation of ‘DiMoDA’, The Digital Museum of Digital Art in conjunction with The Wrong New Media Biennale.
DiMoDA is a preeminent virtual institution and a virtual reality exhibition platform dedicated to the distribution and promotion of New Media Art. For it's debut, DiMoDA will be presenting works by Claudia Hart (NY/CHICAGO), Tim Berresheim (DE) Jacolby Satterwhite (NY) and a project by Aquanet 2001 (Salvador Loza and Gibran Morgado) from Mexico City.
The atrium of the museum is architected and modeled in 3D by Alfredo Salazar-Caro. Viewers wear an Oculus Rift to enter DiMoDA, immediately approaching a number of ‘portals’ which can be used to access the ‘wings’ of the museum. Exhibiting artists have complete control to shape the virtual environment in which their works are installed inside the museum.
As a virtual institution, DiMoDA is dedicated to collecting, preserving, interpreting and exhibiting Digital artworks from living New Media artists, while expanding the conscious experience of viewing Digital art in a Virtual space. The DiMoDA building is intended as a home for contemporary digital art and incubator for new ideas, as well as an architectural contribution to the Internet’s virtual landscape.
Conceived in 2013 by Alfredo Salazar-Caro and William James Richard Robertson, DiMoDA launches in November of 2015 with its first exhibition as a pavilion in The Wrong Biennale and a physical exhibition at TRANSFER in New York from November 14 through December 19th, 2015 and traveling to Miami Beach for the Satellite Art Fair.
VIEWING THE EXHIBITION :::
OPENING ONLINE
Sunday, November 1st as part of THE WRONG new digital art biennial
OPENING RECEPTION NYC
Saturday, November 15th from 7-11PM
TRANSFER ::: 1030 Metropolitan Avenue, Brooklyn NY
GALLERY HOURS
Saturdays, November 15 – December 19 from 12PM–6PM or by appointment anytime
Schedule a private viewing or inquire for more details with director@transfergallery.com
SATELLITE MIAMI BEACH
December 1 – 6th, North Beach Miami
SATELLITE is a series of on-site and off-site projects and events fostering experiential and exploratory interactions with art. http://satelliteprojects.com/
ABOUT THE ARTISTS :::
Claudia Hart has been active as an artist, curator and critic since 1988. Claudia Hart is an artist working with digital trompe l'oeil as a medium. She directs theater and makes media objects of all kinds, creating virtual representations that take the form of 3d imagery integrated into photography, multi-channel animation installations, performances and sculptures using advanced production techniques such as Rapid Prototyping, CNC routing and augmented-reality custom apps.
Her works deal with issues of representation, the role of the computer in shifting contemporary values about identity and about what might be “natural.” Her project is to de-masculinize the culture of corporate technology by inserting the irrational and the personal into the slick, overly-determined Cartesian world of digital design. They are widely exhibited and collected by galleries and museums including the Museum of Modern Art and the Metropolitan Museum, the New Museum, Eyebeam Center for Art + Technology, where she was an honorary fellow in 2013-14, and works with bitforms gallery, also in New York. Hart lives in Chicago where she is a tenured professor at the School of the Art Institute, in the department of Film Video, New Media and Animation.
Jacolby Satterwhite is an artist who works with Video, Performance, 3D animation, Fibers, Drawing and Printmaking, currently based in New York City, NY. Satterwhite's work in dance performance draws from Voguing, martial arts, and choreographer William Forsythe's dance techniques. His work often utilizes his mother's schematic drawings/inventions of ordinary objects influenced by consumer culture, medicine, fashion, Surrealism, mathematics, sex, philosophy, astrology, and Matrilineal concerns.
His series ‘Reifying Desire’ was featured in the 2014 Whitney Biennial at the Whitney Museum of American Art. Combining 3D animation and and live action, the work explores themes of memory and personal history in a virtual dreamlike environment.Satterwhite has also shown/performed in group exhibitions including MoMA PS1, The Smithsonian, The Kitchen, Rush Arts Gallery, and Exit Art.
Tim Berresheim (born 1975, Heinsberg, Germany) is a contemporary German visual artist who lives and works in Cologne. He studied at the Hochschule der Bildenden Künste inBraunschweig from 1998 to 2000 and the Kunstakademie in Düsseldorf from 2000-2000. He studied under the director, actor, and screenwriter Burkhard Driest and the German artist Albert Oehlen. Berresheim works as an artist, musician, label and project space operator. In his work, which is produced by means of digital imaging, he deals with the effects of digital technologies on visual culture, living and working conditions, perceptions and ways of knowing.
AQUANET 2001 – Gibrann Morgado (Mexico City) and Salvador Loza are co-Founders/curators of Vngravity a 3D net art gallery space. Morgado is head developer and creator of Uncurated, an initiative to build mixed reality contexts, design experiences and digital speculation. His work and collaborations have been covered in The Creators Project, Killscreen, O Fluxo Blog, Thvndermag, Fractal, Salonkritik, Metapolítica,Picnic La Tempestad, Ibero 90.9 among others. Loza is a New media artist, DJ and Writer. His work focuses on technology, human behavior, architecture, politics, nature and the history of art, and also in the distortion of the reality which involves all of these subjects. His work has been exhibited in blogs like Cloaque.org and in countries like Canada, Italy, México, England and France.
ABOUT DiMoDA’s DEVELOPERS:::
Alfredo Salazar-Caro's work exist at the intersection of Portraiture/Self-Portraiture, installation, Virtual Reality, Video and Sculpture.
Recently his work has focused on exploring the way that Virtual simulation can affect someone's perceived reality, for example by creating simulation in which one is forced to endlessly roam in a desert until death. Other examples include simulations of dreams/dreamscapes and memories as well as videos of extreme fantasies fulfilled digitally. Alfredo hopes to one day live forever as a computer simulation.
His work has been exhibited in cities like New York, Chicago, Los Angeles, Miami, London, Berlin, Amsterdam, Caracas(Venezuela), Shiraz (Iran) and Mexico City among others and has been featured in publications such as Leonardo, New City, Art F City and Creators Project. He Lives and works between Mexico City, New York, Chicago and the Internet.
William Robertson is a New Media artist and museum professional living and working in Chicago. He has been a key member of Chicago's Glitch and New Media scenes as an active member creating live A/V live performances and installations, an organizer co-founding Tritriangle in 2012, and as a facilitator assisting various artists throughout Chicago and New York. William currently works for the Art Institute of Chicago managing technology for curatorial departments and exhibitions.
TRANSFER explores the friction between networked studio practice and its physical instantiation. The gallery supports artists working with computer-based practices to realize aggressive installation projects within our walls, and exhibits internationally at art fairs to engage the growing market for media-based artworks.
TRANSFER Gallery ::: 1030 Metropolitan Ave Brooklyn, NY 11211 More info: http://TRANSFER.gallery
a virtual institution from Alfredo Salazar-Caro and William Robertson
November 14 – December 19, 2015
TRANSFER is pleased to present the first installation of ‘DiMoDA’, The Digital Museum of Digital Art in conjunction with The Wrong New Media Biennale.
DiMoDA is a preeminent virtual institution and a virtual reality exhibition platform dedicated to the distribution and promotion of New Media Art. For it's debut, DiMoDA will be presenting works by Claudia Hart (NY/CHICAGO), Tim Berresheim (DE) Jacolby Satterwhite (NY) and a project by Aquanet 2001 (Salvador Loza and Gibran Morgado) from Mexico City.
The atrium of the museum is architected and modeled in 3D by Alfredo Salazar-Caro. Viewers wear an Oculus Rift to enter DiMoDA, immediately approaching a number of ‘portals’ which can be used to access the ‘wings’ of the museum. Exhibiting artists have complete control to shape the virtual environment in which their works are installed inside the museum.
As a virtual institution, DiMoDA is dedicated to collecting, preserving, interpreting and exhibiting Digital artworks from living New Media artists, while expanding the conscious experience of viewing Digital art in a Virtual space. The DiMoDA building is intended as a home for contemporary digital art and incubator for new ideas, as well as an architectural contribution to the Internet’s virtual landscape.
Conceived in 2013 by Alfredo Salazar-Caro and William James Richard Robertson, DiMoDA launches in November of 2015 with its first exhibition as a pavilion in The Wrong Biennale and a physical exhibition at TRANSFER in New York from November 14 through December 19th, 2015 and traveling to Miami Beach for the Satellite Art Fair.
VIEWING THE EXHIBITION :::
OPENING ONLINE
Sunday, November 1st as part of THE WRONG new digital art biennial
OPENING RECEPTION NYC
Saturday, November 15th from 7-11PM
TRANSFER ::: 1030 Metropolitan Avenue, Brooklyn NY
GALLERY HOURS
Saturdays, November 15 – December 19 from 12PM–6PM or by appointment anytime
Schedule a private viewing or inquire for more details with director@transfergallery.com
SATELLITE MIAMI BEACH
December 1 – 6th, North Beach Miami
SATELLITE is a series of on-site and off-site projects and events fostering experiential and exploratory interactions with art. http://satelliteprojects.com/
ABOUT THE ARTISTS :::
Claudia Hart has been active as an artist, curator and critic since 1988. Claudia Hart is an artist working with digital trompe l'oeil as a medium. She directs theater and makes media objects of all kinds, creating virtual representations that take the form of 3d imagery integrated into photography, multi-channel animation installations, performances and sculptures using advanced production techniques such as Rapid Prototyping, CNC routing and augmented-reality custom apps.
Her works deal with issues of representation, the role of the computer in shifting contemporary values about identity and about what might be “natural.” Her project is to de-masculinize the culture of corporate technology by inserting the irrational and the personal into the slick, overly-determined Cartesian world of digital design. They are widely exhibited and collected by galleries and museums including the Museum of Modern Art and the Metropolitan Museum, the New Museum, Eyebeam Center for Art + Technology, where she was an honorary fellow in 2013-14, and works with bitforms gallery, also in New York. Hart lives in Chicago where she is a tenured professor at the School of the Art Institute, in the department of Film Video, New Media and Animation.
Jacolby Satterwhite is an artist who works with Video, Performance, 3D animation, Fibers, Drawing and Printmaking, currently based in New York City, NY. Satterwhite's work in dance performance draws from Voguing, martial arts, and choreographer William Forsythe's dance techniques. His work often utilizes his mother's schematic drawings/inventions of ordinary objects influenced by consumer culture, medicine, fashion, Surrealism, mathematics, sex, philosophy, astrology, and Matrilineal concerns.
His series ‘Reifying Desire’ was featured in the 2014 Whitney Biennial at the Whitney Museum of American Art. Combining 3D animation and and live action, the work explores themes of memory and personal history in a virtual dreamlike environment.Satterwhite has also shown/performed in group exhibitions including MoMA PS1, The Smithsonian, The Kitchen, Rush Arts Gallery, and Exit Art.
Tim Berresheim (born 1975, Heinsberg, Germany) is a contemporary German visual artist who lives and works in Cologne. He studied at the Hochschule der Bildenden Künste inBraunschweig from 1998 to 2000 and the Kunstakademie in Düsseldorf from 2000-2000. He studied under the director, actor, and screenwriter Burkhard Driest and the German artist Albert Oehlen. Berresheim works as an artist, musician, label and project space operator. In his work, which is produced by means of digital imaging, he deals with the effects of digital technologies on visual culture, living and working conditions, perceptions and ways of knowing.
AQUANET 2001 – Gibrann Morgado (Mexico City) and Salvador Loza are co-Founders/curators of Vngravity a 3D net art gallery space. Morgado is head developer and creator of Uncurated, an initiative to build mixed reality contexts, design experiences and digital speculation. His work and collaborations have been covered in The Creators Project, Killscreen, O Fluxo Blog, Thvndermag, Fractal, Salonkritik, Metapolítica,Picnic La Tempestad, Ibero 90.9 among others. Loza is a New media artist, DJ and Writer. His work focuses on technology, human behavior, architecture, politics, nature and the history of art, and also in the distortion of the reality which involves all of these subjects. His work has been exhibited in blogs like Cloaque.org and in countries like Canada, Italy, México, England and France.
ABOUT DiMoDA’s DEVELOPERS:::
Alfredo Salazar-Caro's work exist at the intersection of Portraiture/Self-Portraiture, installation, Virtual Reality, Video and Sculpture.
Recently his work has focused on exploring the way that Virtual simulation can affect someone's perceived reality, for example by creating simulation in which one is forced to endlessly roam in a desert until death. Other examples include simulations of dreams/dreamscapes and memories as well as videos of extreme fantasies fulfilled digitally. Alfredo hopes to one day live forever as a computer simulation.
His work has been exhibited in cities like New York, Chicago, Los Angeles, Miami, London, Berlin, Amsterdam, Caracas(Venezuela), Shiraz (Iran) and Mexico City among others and has been featured in publications such as Leonardo, New City, Art F City and Creators Project. He Lives and works between Mexico City, New York, Chicago and the Internet.
William Robertson is a New Media artist and museum professional living and working in Chicago. He has been a key member of Chicago's Glitch and New Media scenes as an active member creating live A/V live performances and installations, an organizer co-founding Tritriangle in 2012, and as a facilitator assisting various artists throughout Chicago and New York. William currently works for the Art Institute of Chicago managing technology for curatorial departments and exhibitions.
TRANSFER explores the friction between networked studio practice and its physical instantiation. The gallery supports artists working with computer-based practices to realize aggressive installation projects within our walls, and exhibits internationally at art fairs to engage the growing market for media-based artworks.
TRANSFER Gallery ::: 1030 Metropolitan Ave Brooklyn, NY 11211 More info: http://TRANSFER.gallery
'TECHNOPHILIA' a solo exhibition from Faith Holland
Dates:
Sat Jun 13, 2015 18:45 - Sat Jul 11, 2015
Location:
Brooklyn,
New York
United States of America
United States of America
TRANSFER is pleased to present ‘TECHNOPHILIA’ the first solo exhibition from Faith Holland.
::: OPENING ::: SATURDAY June 13, 2015 ::: from 6 – 11PM :::
Technology connects us to porn, our partners, and whatever other bodies we might desire. We lust after bodies “behind” the screen or “inside” the device but all the while we interact, always, with a thing–a machine.
Holland writes “I sleep inches away from my phone; it is the last thing I see at night and the first thing I see in the morning, regardless of who or what else is in my bed. I gently massage my laptop’s pressure points as I write this text. I caress screens throughout the day. I softly cup a mouse in my right hand as it grazes across my desk. This is the new intimacy.”
‘TECHNOPHILIA’ includes Holland’s ‘Visual Orgasms’ a series of looped moving images that playfully expose popular media’s pressured attempt to make sex visually consumable. New installation work from Holland will also be on display along with two new large-scale ‘Ookie Canvas’ abstractions composed of collaged cum shots which Holland collects from pornography and her own open call for submitted photographs.
The exhibition is accompanied by a catalog with essays by Nora O’ Murchú and Seth Watter, printed with a signed and numbered centerfold.
‘TECHNOPHILIA’ will conclude with a collection of ‘GIFs to Have Sex By’ created by invited artists, screening at TRANSFER on Saturday, July 11th.
A full inventory of work from ’TECHNOPHILIA’ is available from the gallery. Please inquire with the director@transfergallery.com to request information.
About the Artist :::
FAITH HOLLAND (1985, New York) is a NYC-based artist and curator whose practice focuses on gender and sexuality’s relationship to the Internet. She received her BA in Media Studies at Vassar College and her MFA in Photography, Video, and Related Media at the School of Visual Arts. Her work has been exhibited at Elga Wimmer (New York), Axiom Gallery (Boston), the Phillips Collection (Washington, D.C.), Xpo Gallery (Paris), and File Festival (São Paulo). She was a 2014 New York Foundation of the Arts Fellowship Finalist in Digital/Electronic Art. Her work has been written about in Artforum, The Sunday Times UK, Art F City, Hyperallergic, Animal New York, Artnet, The Creator’s Project, and Dazed Digital.
For more information: faithholland.com
::: OPENING ::: SATURDAY June 13, 2015 ::: from 6 – 11PM :::
Technology connects us to porn, our partners, and whatever other bodies we might desire. We lust after bodies “behind” the screen or “inside” the device but all the while we interact, always, with a thing–a machine.
Holland writes “I sleep inches away from my phone; it is the last thing I see at night and the first thing I see in the morning, regardless of who or what else is in my bed. I gently massage my laptop’s pressure points as I write this text. I caress screens throughout the day. I softly cup a mouse in my right hand as it grazes across my desk. This is the new intimacy.”
‘TECHNOPHILIA’ includes Holland’s ‘Visual Orgasms’ a series of looped moving images that playfully expose popular media’s pressured attempt to make sex visually consumable. New installation work from Holland will also be on display along with two new large-scale ‘Ookie Canvas’ abstractions composed of collaged cum shots which Holland collects from pornography and her own open call for submitted photographs.
The exhibition is accompanied by a catalog with essays by Nora O’ Murchú and Seth Watter, printed with a signed and numbered centerfold.
‘TECHNOPHILIA’ will conclude with a collection of ‘GIFs to Have Sex By’ created by invited artists, screening at TRANSFER on Saturday, July 11th.
A full inventory of work from ’TECHNOPHILIA’ is available from the gallery. Please inquire with the director@transfergallery.com to request information.
About the Artist :::
FAITH HOLLAND (1985, New York) is a NYC-based artist and curator whose practice focuses on gender and sexuality’s relationship to the Internet. She received her BA in Media Studies at Vassar College and her MFA in Photography, Video, and Related Media at the School of Visual Arts. Her work has been exhibited at Elga Wimmer (New York), Axiom Gallery (Boston), the Phillips Collection (Washington, D.C.), Xpo Gallery (Paris), and File Festival (São Paulo). She was a 2014 New York Foundation of the Arts Fellowship Finalist in Digital/Electronic Art. Her work has been written about in Artforum, The Sunday Times UK, Art F City, Hyperallergic, Animal New York, Artnet, The Creator’s Project, and Dazed Digital.
For more information: faithholland.com
institutions of Resolution Disputes [iRD] a solo exhibition from Rosa Menkman
Dates:
Sat Mar 28, 2015 15:20 - Sat Apr 18, 2015
Location:
Brooklyn,
New York
United States of America
United States of America
TRANSFER is pleased to present ‘INSTITUTIONS OF RESOLUTION DISPUTE [iRD]’, the first NYC solo exhibition from Dutch artist Rosa Menkman.
::: OPENING RECEPTION ::: SATURDAY March 28 ::: from 7 -11PM :::
institutions of Resolution Disputes [iRD]
“everywhere we imagined ourselves standing turned into a cliche beneath our feet”
Naomi Klein, No logo, 1999.
RESOLUTIONS INFORM BOTH MACHINE VISION AND HUMAN WAYS OF PERCEPTION. THEY ARE THE MATERIAL OF EVERYDAY LIFE*, UBIQUITOUS, WHILE HUMANS HAVE GONE MOSTLY OBLIVIOUS. iRD STRIVES FOR A RADICAL MATERIALIST re-(RE-)DISTRIBUTION OF THE SENSIBLE**.
*Michel de Certeau, The Practice of Everyday Life, 1984.
**Jacques Ranciere, The Politics of Aesthetics, 2004.
Even the most glitchy-glitch is just the vernacular of an already present, not evenly distributed future. When we walk inside these futures we find ourselves momentarily stuck inside a pocket of ambiguous ‘freespace’, a fountain of inspiration and curiosity. Until we find resolution.
Resolutions inform both machine vision and human ways of perception. Rules, or protocols, change data in order to store, show, move and connect between technologies. Protocols, together with objects and their materialities, form the resolutions that make technology run smoothly (Alexander Galloway, Protocol, 2006). But these resolutions form not only a solution, but also a compromise between multiple underlying media properties. A resolution is not a neutral facility but carries historical, economical and political ideologies. The cost of all of these media protocols is that we have gradually become unaware of the choices and compromises they represent. We are collectively suffering from technological hyperopia where these qualities have moved beyond a fold of perspective.
Resolutions involve /* --and lost alternatives-- */
Have we become bad at constructing our own resolutions, or are we just oblivious to resolutions and their inherent compromises?
The iRD calls attention to media resolutions and does not /just/ aestheticize their formal qualities or denounce them as ‘Evil’ (Matthew Fuller, Andrew Goffey, Evil Media, 2012). iRD intends to expose methods of 'creative problem creating’ (jon.satrom, creative problem creating, 2013), to bring authorship back to the actors involved during the building of a 'resolution'.
While the gospel of resolutions sings about new standards implemented through corruption, iRD displays forms of vernacular resistance based on misleading, false, or ambiguous data and maybe a chanting jabberwocky, venturing along the bootleg trails above a Sea of Fog.
About the Artist :::
Rosa Menkman (b. 1983, Netherlands) is a Dutch artist and theorist who focuses on visual artifacts created by accidents in both analogue and digital media. The visuals she makes result from glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative, Menkman emphasizes their positive consequences: these artifacts facilitate an important insight into the otherwise obscure world of media resolutions. Since 2007 Menkman performs worldwide with her (audio)visual work. In 2011 Menkman released the ‘The Glitch Moment/um’ with the Institute of Network Cultures.
::: OPENING RECEPTION ::: SATURDAY March 28 ::: from 7 -11PM :::
institutions of Resolution Disputes [iRD]
“everywhere we imagined ourselves standing turned into a cliche beneath our feet”
Naomi Klein, No logo, 1999.
RESOLUTIONS INFORM BOTH MACHINE VISION AND HUMAN WAYS OF PERCEPTION. THEY ARE THE MATERIAL OF EVERYDAY LIFE*, UBIQUITOUS, WHILE HUMANS HAVE GONE MOSTLY OBLIVIOUS. iRD STRIVES FOR A RADICAL MATERIALIST re-(RE-)DISTRIBUTION OF THE SENSIBLE**.
*Michel de Certeau, The Practice of Everyday Life, 1984.
**Jacques Ranciere, The Politics of Aesthetics, 2004.
Even the most glitchy-glitch is just the vernacular of an already present, not evenly distributed future. When we walk inside these futures we find ourselves momentarily stuck inside a pocket of ambiguous ‘freespace’, a fountain of inspiration and curiosity. Until we find resolution.
Resolutions inform both machine vision and human ways of perception. Rules, or protocols, change data in order to store, show, move and connect between technologies. Protocols, together with objects and their materialities, form the resolutions that make technology run smoothly (Alexander Galloway, Protocol, 2006). But these resolutions form not only a solution, but also a compromise between multiple underlying media properties. A resolution is not a neutral facility but carries historical, economical and political ideologies. The cost of all of these media protocols is that we have gradually become unaware of the choices and compromises they represent. We are collectively suffering from technological hyperopia where these qualities have moved beyond a fold of perspective.
Resolutions involve /* --and lost alternatives-- */
Have we become bad at constructing our own resolutions, or are we just oblivious to resolutions and their inherent compromises?
The iRD calls attention to media resolutions and does not /just/ aestheticize their formal qualities or denounce them as ‘Evil’ (Matthew Fuller, Andrew Goffey, Evil Media, 2012). iRD intends to expose methods of 'creative problem creating’ (jon.satrom, creative problem creating, 2013), to bring authorship back to the actors involved during the building of a 'resolution'.
While the gospel of resolutions sings about new standards implemented through corruption, iRD displays forms of vernacular resistance based on misleading, false, or ambiguous data and maybe a chanting jabberwocky, venturing along the bootleg trails above a Sea of Fog.
About the Artist :::
Rosa Menkman (b. 1983, Netherlands) is a Dutch artist and theorist who focuses on visual artifacts created by accidents in both analogue and digital media. The visuals she makes result from glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative, Menkman emphasizes their positive consequences: these artifacts facilitate an important insight into the otherwise obscure world of media resolutions. Since 2007 Menkman performs worldwide with her (audio)visual work. In 2011 Menkman released the ‘The Glitch Moment/um’ with the Institute of Network Cultures.
NO THERE THERE
Dates:
Sat Jan 24, 2015 19:00 - Sat Feb 21, 2015
Location:
Brooklyn,
New York
United States of America
United States of America
TRANSFER is pleased to present Jamie Zigelbaum’s ‘NO THERE THERE,’ the artist’s first solo exhibition with the gallery and his first solo presentation in the USA.
::: OPENING RECEPTION ::: SATURDAY January 24 ::: from 7 -11PM :::
'NO THERE THERE' is an exhibition of new work from Brooklyn-based artist Jamie Zigelbaum that explores the materiality of the digital image. This exhibition begins with two of the artist’s earlier works ‘Pixel’ and ‘Six-Forty by Four-Eighty’ but moves beyond Zigelbaum’s interest in the “recontextualization of the pixel” to question the role of the screen itself — moving images are programmatically constructed and displayed in unconventional formats, hardware is sliced and exposed, and interactive artworks engage the viewer in reconsidering the false dichotomy of the natural and the digital.
Upon entering 'NO THERE THERE' the viewer confronts a large-format installation on a six-foot screen. Zigelbaum’s ‘100 Hours per Minute’ is an algorithmically generated, video-based work that extends across the public space of the web and the institutional space of the gallery. Gallery patrons input search terms via public tweets with unique hashtags (accessible only from the installed piece) to programmatically generate ‘averages’ of YouTube videos that match their query. Each act of viewership is archived within the piece, and also visible online, as the videos are uploaded back to YouTube and available in the public space of the web in real time.
In the center of the exhibition sits Zigelbaum’s ‘My Television’. The artist waterjet sliced his own TV into 40 square pieces and cast them in clear resin to produce this sculptural object. Zigelbaum explains “The cutting of the television like this highlights the irreality of the images I viewed on it.” Extending this inquiry into the moving image object, on another wall flicker twenty, small LCD screens running on a network of Raspberry Pi’s. The grid of ‘Sequence in Parallel’ displays a selection of Zigelbaum’s favorite films, each one evenly divided into twenty, looping segments that play simultaneously across the screens, allowing a viewer to glimpse the entire film object as a whole.
On January 24th, visitors are invited to TRANSFER from 7–11PM for the debut of this new body of work. The exhibition runs through February 21st, 2015 – public hours are 2-6PM on Saturdays and appointments are available to view the exhibition anytime by tweeting @transfergallery or writing to the director@transfergallery.com.
About the Artist
Jamie Zigelbaum employs light, computation, and industrial design to create sensate, interactive sculptures in order to understand the relationship between information structures and the human organism. Informed by current work in physics, media theory, computer science, and philosophy, his digitally-imbued, physical objects explore how the contemporary experience of communication refigures the body and repositions the boundaries of identity.
In 2013, Andrew Blum wrote in the New York Times Magazine that Jamie is part of “A new generation of visionaries [who] are using next-level technologies to create products, projects and experiences that test the limits of design—and our imaginations.” Later that year, his work Pixel debuted and sold at Paddles ON!, the first digital art auction at Phillips, curated by Lindsay Howard. Additional exhibitions include Riflemaker Gallery, Design Miami/, The Corcoran Gallery, Johnson Trading Gallery, Ars Electronica, Saint-Etienne International Design Biennial, and The Creators Project. His work can be found in private collections, including the Frankel Foundation for Art, the Rothschild Collection, the MIT Media Lab, The Tech Museum of Innovation, and at Tumblr.
Jamie Zigelbaum was born in Cambridge, Massachusetts in 1978. He received a BS in Human-Computer Interaction from Tufts University in 2006, a Masters in Media Arts and Sciences from the Tangible Media Group at the MIT Media Lab in 2008, and was the recipient of the 2010 Designer of the Future Award from Design Miami/. Jamie lives and works in New York.
http://jamiezigelbaum.com/
::: OPENING RECEPTION ::: SATURDAY January 24 ::: from 7 -11PM :::
'NO THERE THERE' is an exhibition of new work from Brooklyn-based artist Jamie Zigelbaum that explores the materiality of the digital image. This exhibition begins with two of the artist’s earlier works ‘Pixel’ and ‘Six-Forty by Four-Eighty’ but moves beyond Zigelbaum’s interest in the “recontextualization of the pixel” to question the role of the screen itself — moving images are programmatically constructed and displayed in unconventional formats, hardware is sliced and exposed, and interactive artworks engage the viewer in reconsidering the false dichotomy of the natural and the digital.
Upon entering 'NO THERE THERE' the viewer confronts a large-format installation on a six-foot screen. Zigelbaum’s ‘100 Hours per Minute’ is an algorithmically generated, video-based work that extends across the public space of the web and the institutional space of the gallery. Gallery patrons input search terms via public tweets with unique hashtags (accessible only from the installed piece) to programmatically generate ‘averages’ of YouTube videos that match their query. Each act of viewership is archived within the piece, and also visible online, as the videos are uploaded back to YouTube and available in the public space of the web in real time.
In the center of the exhibition sits Zigelbaum’s ‘My Television’. The artist waterjet sliced his own TV into 40 square pieces and cast them in clear resin to produce this sculptural object. Zigelbaum explains “The cutting of the television like this highlights the irreality of the images I viewed on it.” Extending this inquiry into the moving image object, on another wall flicker twenty, small LCD screens running on a network of Raspberry Pi’s. The grid of ‘Sequence in Parallel’ displays a selection of Zigelbaum’s favorite films, each one evenly divided into twenty, looping segments that play simultaneously across the screens, allowing a viewer to glimpse the entire film object as a whole.
On January 24th, visitors are invited to TRANSFER from 7–11PM for the debut of this new body of work. The exhibition runs through February 21st, 2015 – public hours are 2-6PM on Saturdays and appointments are available to view the exhibition anytime by tweeting @transfergallery or writing to the director@transfergallery.com.
About the Artist
Jamie Zigelbaum employs light, computation, and industrial design to create sensate, interactive sculptures in order to understand the relationship between information structures and the human organism. Informed by current work in physics, media theory, computer science, and philosophy, his digitally-imbued, physical objects explore how the contemporary experience of communication refigures the body and repositions the boundaries of identity.
In 2013, Andrew Blum wrote in the New York Times Magazine that Jamie is part of “A new generation of visionaries [who] are using next-level technologies to create products, projects and experiences that test the limits of design—and our imaginations.” Later that year, his work Pixel debuted and sold at Paddles ON!, the first digital art auction at Phillips, curated by Lindsay Howard. Additional exhibitions include Riflemaker Gallery, Design Miami/, The Corcoran Gallery, Johnson Trading Gallery, Ars Electronica, Saint-Etienne International Design Biennial, and The Creators Project. His work can be found in private collections, including the Frankel Foundation for Art, the Rothschild Collection, the MIT Media Lab, The Tech Museum of Innovation, and at Tumblr.
Jamie Zigelbaum was born in Cambridge, Massachusetts in 1978. He received a BS in Human-Computer Interaction from Tufts University in 2006, a Masters in Media Arts and Sciences from the Tangible Media Group at the MIT Media Lab in 2008, and was the recipient of the 2010 Designer of the Future Award from Design Miami/. Jamie lives and works in New York.
http://jamiezigelbaum.com/
'Evident Material' a solo exhibition from Phillip David Stearns
Dates:
Sat Nov 15, 2014 19:00 - Sat Dec 13, 2014
Location:
Brooklyn,
New York
United States of America
United States of America
TRANSFER is pleased to present ‘EVIDENT MATERIAL’ a new series of work from Phillip David Stearns.
::: OPENING RECEPTION ::: SATURDAY November 15 ::: from 7 -11PM :::
For this exhibition, Stearns produced film-based images without a camera by applying various household chemicals and 15,000 volts of alternating current directly to the film. In a flash, arcs spread out across the surface, burning holes and igniting the film. As in our eyes, images are conveyed in a stream of such electric impulses. Here such impulses are amplified some 300,000 times.
Statement from the Artist:
“The sentiment that the camera is an extension of the eye is taken to an extreme. When looking through the Fujifilm FP-100c instant color film datasheets, the similarities between the layering of materials in the film and the layering of cells in the retinal is striking. Perhaps it is because the development of such film technologies parallels an evolving understanding of how the eye sees.”
This work continues previous explorations challenging the ontology of post-digital photography using extended techniques—bending, cracking and breaking the medium. The works in ‘EVIDENT MATERIAL’ explore the potential for analog photographic media to operate beyond their intended capacity for reproducing a world of appearances. The process of extension is applied to every material in such a way that reveals process itself as evidently material.
PHILLIP DAVID STEARNS, (USA, 1982) Based in Brooklyn, NY, Stearns’s work is centered on the use of electronic technologies and electronic media to explore dynamic relationships between ideas and material as mobilized within complex and interconnected societies. Deconstruction, reconfiguration, and extension are key methodologies and techniques employed in the production or works that range from audio visual performances, electronic sculptures, light and sound installation, digital textiles, and other oddities both digital and material.
His work has been exhibited internationally at electronics arts festivals, museums, and galleries including: Turku Biennial 2013, WRO Biennale 2013, Transmediale 2013, Denver Art Museum (2013), The Photographer’s Gallery London (2012), The Camera Club of New York (2012), Eyebeam (2012, 2007), Harvestworks (2010, 2012); Gli.tc/H 2112; and more. Full bio at http://phillipstearns.com/
TRANSFER is an exhibition space that explores the friction between networked practice and its physical instantiation. The gallery supports artists working with computer-based practices to realize aggressive projects in new modes of exhibition.
Open Saturdays 2 – 6PM ::: 1030 Metropolitan Avenue
::: OPENING RECEPTION ::: SATURDAY November 15 ::: from 7 -11PM :::
::: OPENING RECEPTION ::: SATURDAY November 15 ::: from 7 -11PM :::
For this exhibition, Stearns produced film-based images without a camera by applying various household chemicals and 15,000 volts of alternating current directly to the film. In a flash, arcs spread out across the surface, burning holes and igniting the film. As in our eyes, images are conveyed in a stream of such electric impulses. Here such impulses are amplified some 300,000 times.
Statement from the Artist:
“The sentiment that the camera is an extension of the eye is taken to an extreme. When looking through the Fujifilm FP-100c instant color film datasheets, the similarities between the layering of materials in the film and the layering of cells in the retinal is striking. Perhaps it is because the development of such film technologies parallels an evolving understanding of how the eye sees.”
This work continues previous explorations challenging the ontology of post-digital photography using extended techniques—bending, cracking and breaking the medium. The works in ‘EVIDENT MATERIAL’ explore the potential for analog photographic media to operate beyond their intended capacity for reproducing a world of appearances. The process of extension is applied to every material in such a way that reveals process itself as evidently material.
PHILLIP DAVID STEARNS, (USA, 1982) Based in Brooklyn, NY, Stearns’s work is centered on the use of electronic technologies and electronic media to explore dynamic relationships between ideas and material as mobilized within complex and interconnected societies. Deconstruction, reconfiguration, and extension are key methodologies and techniques employed in the production or works that range from audio visual performances, electronic sculptures, light and sound installation, digital textiles, and other oddities both digital and material.
His work has been exhibited internationally at electronics arts festivals, museums, and galleries including: Turku Biennial 2013, WRO Biennale 2013, Transmediale 2013, Denver Art Museum (2013), The Photographer’s Gallery London (2012), The Camera Club of New York (2012), Eyebeam (2012, 2007), Harvestworks (2010, 2012); Gli.tc/H 2112; and more. Full bio at http://phillipstearns.com/
TRANSFER is an exhibition space that explores the friction between networked practice and its physical instantiation. The gallery supports artists working with computer-based practices to realize aggressive projects in new modes of exhibition.
Open Saturdays 2 – 6PM ::: 1030 Metropolitan Avenue
::: OPENING RECEPTION ::: SATURDAY November 15 ::: from 7 -11PM :::
