Sun Jun 22, 2014 00:00 - Tue Jul 22, 2014

The Neural Plasticity Webring sets up a kind of “social” dynamic, in the Lefebvrean sense, within itself. As a linked series of works, the webring suggests a dialogic connection between its elements, as well as with the viewer, whose consumption of the work takes the form of an inspection or browsing, each iteration of which will necessarily emphasise some elements and de-emphasise others. The work is comprised of a number of sites or nodes, each with its own identity. GHOSTING shows a multi-lobed object reminiscent of a cell undergoing mitosis, travelling through a space comprised of amorphous, shifting geometries, some of which resemble iridescent asteroids. The work is suggestive of genesis, formation and flux, occurring at a variety of scales; the cellular object suggests the (perceptually) vast spaces revealed within the everyday by technologies such as electron microscopes, while the asteroidal forms bring to mind the equally unfathomable depths of space. Elsewere, BARRIO depicts a blocky city-scape, suggestive of early 3D games, the name indicating that this is to be understood as a shanty-town or colony of some sort; an essentially Lefebvrean kind of social space, in the sense that it is, in fact, a “counter-space,” operating between the interstices of city planning and other macro-scale social architecture.

Tue Apr 15, 2014 00:00 - Thu May 15, 2014

webspace.gallery is pleased to present Computers Watching Movies: a series of computationally-produced videos derived from computer-vision software written by Benjamin Grosser.

Tracking various areas of prominence in clips from 2001: A Space Odyssey; American Beauty; Inception; Taxi Driver; The Matrix; and Annie Hall, Grosser’s software records what computational systems see when they watch the same films as humans. As part of his exhibition at webspace.gallery, Grosser has also made available a previously unseen video produced from a clip from Good Will Hunting, which can be viewed here.

Whether running face detection algorithms on characters, attempting to predict the patterns inherrent in the movment of a plastic bag or tracking individual pieces of shrapnel from an explosion, Computers Watching Movies provides an intriguing insight into the phenomenological “experiences” of our less sentient counterparts.

Sat Mar 15, 2014 00:00 - Mon Apr 14, 2014

LaTurbo Avedon
Sunset at Mt. Gox

Laturbo Avedon is an artist, but not a real person. On Avedon’s Facebook, Twitter, SoundCloud and Tumblr pages, pieces of an identity can be gleaned of an ostensibly female character: Selfies of a glamorous blonde taken in different virtual environments; pitch-shifted remixes of pop songs by Kylie Minogue and Justin Timberlake; a first Tweet asking “A/S/L?” Laturbo Avedon is an artist-avatar without a real world referent, a digital manifestation of a person that does not and has never existed outside of a computer.

For her first exhibition at webspace.gallery, Avedon has erected an equally virtual monument to Mt. Gox: The Tokyo-based Bitcoin exchange that disappeared in February this year along with nearly half a billion U.S. dollars worth of bitcoins. For the duration of the exhibition, visitors to webspace.gallery are encouraged to anonymously submit images and 3D objects to be left at the monument on their behalf. Every second day, new renders of the monument will be uploaded, showing the various acts of vigil, or vandalism requested by visitors. A video of the monument will be uploaded on April 14 to document the end-result of this month-long process.