:) , 2015, by Andrea McGinty. humidifier, women’s juniors crop top, 11 x 5 x 5in
+ Low-Grade Euphoria
Hosted by SVA MA Curatorial Practice
April 15, 6 PM – 10 PM
Pfizer Building, 630 Flushing Avenue, 3rd Floor,
Opening Reception: Friday, April 15, 6 pm – 10 pm with performances by Terry Boyd, Aya Rodriguez-Izumi, Carlos Martiel, and Puppies Puppies
Performance Series: Saturday, April 23, 4:30 pm – 9 pm with Max C Lee, Laraaji, Antenes, and Data Garden
Exhibition on view: M–Th: by appointment only, Friday–Sunday: 10 am–6 pm
Antenes, Andrea McGinty, Aya Rodriguez-Izumi, Brian Wondergem, Calori & Maillard, Carlos Martiel, Christopher Lin, Data Garden, Hannah Black, Institute for New Feeling, Ioanna Pantazopoulou, Jo Shane, Kiichiro Adachi, Laraaji, Max C Lee, Puppies Puppies, Shana Moulton, Terry Boyd, and The Lot Radio
Over the last century, technologies, economies, societies, and political systems have been transformed, constituting a revised yet always shifting cultural landscape. In order to keep up, we constantly search for new feeling by way of the next lifestyle app, the next detox, the next transformative spirit journey to calm the nerves. Low-Grade Euphoria highlights the work of artists who respond to these shifts in the cultural landscape and suggest sensory experiences to guide us through them. It is a simultaneously frantic and subdued search for the traces of joy that enable and perpetuate social life today. With the help of performances, video, sound, and installation works, the exhibition rushes forward, toward new feelings and temporary joys, happily, in a daze.
Curated by: Sanna Almajedi, Valerie Amend, Patrick Jaojoco, Rebecca Nahom, Ikechukwu Onyewuenyi, Vera Petukhova, Jovanna Venegas, under the leadership of Mark Beasley
+ European Media Art Festival (EMAF) 2016
Apr 20 at 7 PM – Apr 24 at 11:30 PM
European Media Art Festival (EMAF)
Lohstraße 45a, 49074 Osnabrück, Germany
The EMAF in Osnabrück is one of the most important forums of international Media Art, and is an open laboratory for creative and artistic experiments that help shape media and the aesthetics of their content. As a lively meeting place for artists, curators, lenders, gallery owners and a specialist audience, it has been instrumental in forming the themes and aesthetics of Media Art.
THE FUTURE OF VISIONS – Don’t expect anything
This year, the European Media Art Festival will query the importance and impact of strategies for the future. It is taken for granted that the debate on how to shape societies, their economies and cultures necessarily involves looking to the future, creating drafts and scenarios, speculating and having visions.
However, it should also be a matter of course to ask: who creates these visions, who could have an interest in the implementation of these plans, and whose purpose do these strategies actually serve?
The festival will present the whole range of experimental media artwork over the course of five days. The accompanying exhibition at the Kunsthalle Osnabrück will be open to visitors until 25 May.
Experimental shorts and feature films, documentaries, music videos, specials, retrospectives
Current media-installations related to the festival’s topic
// EXPANDED MEDIA
Artistic projects of digital media, live performances, music, sound and projects in the web
The Media Campus got a new label and with its new team will also offer new events, special film programmes and installations.
Talks, workshops, presentations and panels about the history, present and future of media art
for more information about the festival, visit our homepage www.emaf.de or find EMAF on vimeo, twitter and flickr.
+ BEAUTIFUL INTERFACES: THE PRIVACY PARADOX
April 14, 7 PM – 9 PM
516 West 25th Street, #306, New York
**!!!RSVP & FiREFoX REQUiRED!!!***
BEAUTIFUL INTERFACES: THE PRIVACY PARADOX is a project that explores the dichotomy between the private and the public, creating a platform for distribution of data on an independent and anonymous network. Everyday online social practices could look like harmless actions through a naive eye, but they contain the potential for unexpected consequences when they are traced and connected to algorithmic surveillance systems. And even though our increased communication practices on the Social Web result in an increase of personal information online, the ‘Privacy Paradox’ suggests that despite Internet users’ apprehension about privacy, their behaviors do not reflect those concerns. Curated by Helena Acosta and Miyö Van Stenis, BEAUTIFUL INTERFACES: THE PRIVACY PARADOX features work by Jennifer Lyn Morone, Heather Dewey Hagborg, LaTurbo Avedon, Annie Rose Malamet and Carla Gannis. This new edition of Beautiful Interfaces is a decentralized network to show and distribute new media art – a web island accessible via a private network from hacked wifi routers, which are not connected to the Internet. Each router has a private network, allowing visitors to connect from their own devices, cell phones or ipads, in order to view the exhibition.
BEAUTIFUL INTERFACES: THE PRIVACY PARADOX will open on Thursday, April 14th from 7pm – 9pm at REVERSE. As space is limited, RSVP is required for the event. Remember to bring your fully charged devices and headphones to the opening. Before you came to the Gallery, please Install FireFox Browser on your mobile device. However if you use Android you can use the Browser by default of the operating system called Internet
As part of the CreativeTech Week New York 2016, a panel discussion called “Post Privacy: is privacy becoming a thing of the past?” will also accompany the exhibition, with participation from the creator of occupy.here, Dan Phiffer, curator Lior Zalmanzon, and the artists Carla Gannis and Jennifer Lyn Morone.
Beautiful Interfaces Deepweb/Darknet – P2P Gallery, is a project focus in create file-sharing networks to show and support media art as a data outside of the conventional WWW. Created in 2013 by Miyö Van Stenis was part of the first edition of The Wrong – New Digital Art Biennale as an official pavilion called Beautiful Interfaces: The Deep in the Void, an Deepweb file-sharing exhibition.
Beautiful Interfaces: The privacy paradox is powered by Occupy.here
Occupy.here developed by Dan Phiffer in 2011, it’s a custom OpenWRT, free, anonymous and uncensored resource for share media information in the virtual space. For more information visit
REVERSE is a multidisciplinary workspace and art gallery with an emphasis on new and experimental forms of expression.
Brand Launch, by mSNOWE (2015 – 16 SPACE Residency Artist), Installation shot, 2014, Sorbus Gallery, Helsinki
+ OpenPROCESS #5: Dissent
April 13, 6:30 PM – 8:30 PM
SPACE Art + Technology
The White Building, Queen’s Yard, White Post Lane, E9 5EN London, United Kingdom
A collaboration between SPACE and Arebyte, responding to ‘Dissent as an iPhone App’ curated by Angels Miralda, who will be joined by Saemundur Thor Helgason and SPACE This Time With FEELing artist in residence Debora Delmar Corp to discuss the model of the exhibition and methods behind their work.
The app in question is imagined as a multi-layered solution to the online exhibition format. It attempts to provide a participatory critical platform where audience members can engage with the exhibition. It exists online but via a physical space and series of events, overlapping the virtual platform with a physical space.
An initial screening organised by Angels Miralda will inform the discussion on how artists use virtual space to interact with real space bringing about the connection between the two rather than their isolation. After the screening we will go deeper into the motivations behind the app and serve as a discussion platform post-exhibition when concrete evidence and data will become available.
18.30 – 18.40 Introduction
18:40 – 19:10 Screening
Thomas Yeomans – A Common Future
Jon Rafman – You, The World, And I
Sydney Shen – Master’s Chambers
Joey Holder & Viktor Timofeev – Lament of Ur
19:10 – 20:10 Discussion with Angels Miralda / Debora Delmar Corp. / Saemundur Thor Helgason
20:10 – 20:30 Q&A
OpenPROCESS is a platform that responds to process-led practice. The series explores artistic production as a framework for discussion, investigating what it means to foreground process as the subject of display and exploration.
Dissent as an iPhone App is commissioned by arebyte Gallery and part of its 2016 programme ‘Legal Aesthetics’. The show is also supported by O2ThinkBig.
about::: SPACE Art + Technology
SPACE runs two dedicated spaces for exploring creative technology. Open Space at SPACE HQ has been home to all manner of activities including a roster of technology courses and workshops, free co-working days, software training, youth media training, artists residencies, talks and more for many years.
The White Building, Hackney Wick, is London’s centre for art, technology and sustainability. It is anchored by a residency programme which offers opportunities for emerging and mid-career artists to produce new work on an international platform, as well as an public programme of talks, events, seminars and workshops.
SPACE AT’s mission is to celebrate process and process led practice through innovative curatorial public frameworks. By placing process at the centre of SPACE AT, new ways for artists and audiences to interact with and value processes are explored.
Cloud Pond 2, Digital Projection, 2015 by Sara Ludy
+ Irreality: An Exhibition Featuring Mark Dorf & Sara Ludy
Hosted by SVA MA Curatorial Practice
April 8th, 6:30 PM – 8:30 PM
CP Projects Space 132 West 21st Street, 10th floor
Artists Mark Dorf and Sara Ludy create digital representations—photographs, GIFs, projections, and videos—of reality. These digital means inspire illusionistic layers that shift our notion of reality to irrealty—a mediated state between the real and the imagined.
Art produces an infinite number of simulacra that communicate through signs and symbols. These representations take many forms: shadows reflect the silhouettes of objects, photographs capture the impression of images, screen-based platforms present virtual realities. Plato theorized a fabricated notion of reality in his allegory of the cave, leading to the explanation that truth is the realization of objects revealed.
Reproduction and interpretation of imagery is an omnipresent pattern of science and technology. Dorf creates digital compositions of landscapes that are inspired by scientific research. While working as an artist-in-residence at the Rocky Mountain Biological Research Laboratory, he used photography and algorithms to create visual representations of his surroundings. The result showcases stunning hybrid landscapes of image and data. These multilayered images highlight scientific processes and new ways of visualizing the natural world.
The proliferation of digital technology into everyday life often creates disparities between the real and the hyperreal. Ludy’s work draws upon the surreal qualities produced by these disparities. The artist explores the online virtual world Second Life, and shares her experiences with the viewer through abstracted video landscapes that inform new contexts of reality. A gentle breeze through leaves of a palm tree is now an animated GIF—a cloudscape is transformed into glistening layers of saturation and hue.
Mark Dorf currently lives and works in Brooklyn, New York. He grew up in Louisville, Kentucky and graduated from The Savannah College of Art and Design with a B.F.A in Photography and Sculpture. Dorf’s work explores the post-analogue experience – society’s interactions with the digital world and its relationship to our natural origins. He has exhibited internationally including at Division Gallery, Toronto, 2015; Postmasters Gallery, New York, 2015; Outlet Gallery, Brooklyn, 2015; The Lima Museum of Contemporary Art, Lima, 2014; Mobile World Centre, Barcelona, 2014; Harbor Gallery, New York, 2014; SCAD Museum of Art, Savannah, 2013; and Phoenix Gallery, New York, 2012. Dorf’s work is included in the Fidelity Investments Collection and the permanent collection of the Savannah College of Art and Design.
Sara Ludy’s practice investigates the confluence of the physical and virtual. Her works include websites, animation, photography, sculpture, and audio-visual performance. Previous exhibitions of her work include the Museum of Contemporary Art Chicago, Chicago; Berkeley Art Museum, California; Honor Fraser, Los Angeles; bitforms gallery, New York; Postmasters Gallery, New York; Klaus von Nichtssagend, New York; Interstate Projects, Brooklyn; Eyebeam Center for Art and Technology, New York; Vancouver Art Gallery, Vancouver; Western Front, Vancouver; Kuenstlerhaus Bethanien, Berlin; Carroll Fletcher, London; Espace Verney-Carron, Lyon; and C-Space, Beijing.
+ Open Call: Pimp your Router for ADAF 2016
April 21 at 11 PM
Athens Digital Arts Festival
Miltiadou 18, 10560 Athens, Greece
«Home is where your wifi connects automatically» claims a recent popular Internet meme. This reflects how wifi has become a basic part of our daily needs, like electricity, like running water. One can estimate the amount of wifi routers in the world by a few billions. Yet they (almost) all suffer from the same discrepancy: they are all boring.
“Boring?”, you might ask. “How can this gateway to the universe’s information be boring?” So yes. While our home router caches our wildest fantasies, our innermost secrets, it sits in its corner, unnoticed, unglamourous.
!!!celebrating WiFi freedom!!!!
Recently, the FCC has been considering a proposal to require manufacturers to lock down computing devices (routers, PCs, phones) to prevent modification, if they have a “modular wireless radio”. This means that hardware and wifi freedom are being attacked. In response to these ridiculous measures, we are offering a playful DIY router pimping party. Let’s celebrate our freedom of creative hacking!
No two routers are alike! What would your individual router look like?
Routers covered in pink and gold glitter? Routers dressed as Darth Vader? Routers disguised as sex-toys? Routers hiding behind anonymous’ Guy Fawkes mask?
We call all router-owners to reflect on the unique bond they have with their router. Re-design your router in a way to reflect its position in your life. See how other router owners imagine their router.
Send us images of your pimped up routers and get a place in the 12th edition of Athens Digital Arts Festival (ADAF)! In order to submit your router please post a picture of it on Facebook or Instagram with hashtags #ADAFyourRouter and #RouterPoP and send your submission to email@example.com along with your name, age, location, model of the router, and a few words about your re-design if you like.
The 5 best pimped routers, selected by a jury, will be invited to be exhibited as part of the RouterPoP installation at ADAF2016.
How to submit:
A PDF with: your name, age, location, and model of the router.
Up to 300 words describing what your router means to you.
Up to 5 jpeg images of the redesigned router.
Deadline: 21 April 2016
The winners will be decided by 28 April 2016
Routers that will be no longer in use may be donated to Sarantaporo DIY wireless network upon their owners request.
Members of the jury:
Yoav Lifshitz, Tal Messing, missdata, artists (initiators of the project)
Regine Debatty, We Make Money Not Art
James Bridle, writer, artist, publisher, technologist
Ilias Chatzichristodoulou & Katerina Gkoutziouli, ADAF
TLC ‘FanMail Tour’ Intro (1999), via y2kaestheticinstitute
y2k-rave/tDR pledge flyer by Terrell Davis
+Support The Institute for Y2K Aesthetics
when we covered the Grand Opening of the Institute for Y2K Aesthetics in February 17, 2016′s edition of TH15 W33K 1N N3T_ART, the NewHive blog was the first media outlet to announce the Grand Opening and gain an *exclusive* interview with the visionary mind behind of the popularity and trending-hivemind-fascination with what he dubbed ‘y2k aesthetic’ (also known as Y2K-Futurism): Evan Collins.
Now, Evan Collins has created a Patreon asking ppl to donate toward the cause of supporting & sustaining the Institute for Y2K Aesthetics. This is why you should:
Finding great ‘Y2K aesthetic’ content has become a passion of mine over the past two years, though the forgotten & lost-to-time nature of the period means it takes time to discover the really great examples! By donating, you help us with these goals:
Supporting the time it takes to search through old archived sites, Google Books scans of magazines/books, Discogs, etc., and clean up the images.
Buying more physical content, like books, magazines, and posters to scan and share with you guys! (I’ve got a Y2K Amazon wish list 100 books long)
Potentially starting an account with pay sites that grant access to huge archives of advertising materials. (Coloribus, Advertolog)
Getting in touch with designers and companies from the Y2K period, in order to get content that may have either never been uploaded online, or lost/corrupted over time.
In short, becoming a patron helps to both keep up the constant flow of great content, and allows us to purchase/access media that we otherwise wouldn’t be able to afford.
- Evan Collins
He’s only tryna hold a dollar, guys, in the name of cataloguing and preserving Artifacts of OUR millenium’s Industrial Revolution. Popular Culture from the very recent past is endangered species. definition is getting lower and lower, buffering time increases, involuntary interaction with advertisements, increased prices of both time & money, and the pop stars of today aint shit compared to Y2K (imho). I will never be able to relate to all you Drake fans out there (except for YOLO, obv), because i had developed a distinct understanding (full confession: i had all the box sets of all the seasons of degrassi: next generation on dvd from the first one until about 2002) of Aubrey Graham’s identity, or, his image at least. Sentimentality for the very recent past is probably a manifestation of guilt for choices regretted, a subconscious historical revision that the years of our youths were filled with the best pop culture of any other generation. And while most of us children of the dark web are likely to have experienced some sort of childhood trauma, depression, isolation, mental illness, mall goth, whatever….Truth is, we kind of did win the lottery on times to be born. And hey, if nothing else, we didn’t all end up dying on Y2K due to a hypothetical collapse of technology to be caused by all the world’s computers not knowing how to synchronize their calendars and time ceasing to exist, anarchy,….or something?
But we didn’t die!