Curated by Tina Sauerländer and Peggy Schoenegge
Helena Acosta, Alma Alloro, Maggy Almao, Anthony Antonellis, Kim Asendorf,
LaTurbo Avedon, Domenico Barra, Uğur Engin Deniz, Mark Dorf, César
Escudero Andaluz, Dor Even-Chen, Ole Fach, Ornella Fieres, Katherine Frazer,
Carla Gannis, Sara Goodman, Claudia Hart, Philip Hausmeier, Paul Hertz, Faith
Holland, Mark Klink, Erica Lapadat-Janzen & Sophia Borowska, Gretta Louw,
LoVid, Vince Mckelvie, Rosa Menkman, Lorna Mills, Brenna Murphy, Zach
Nader, Od Niwr, Eva Papamargariti, Will Pappenheimer, Michael Pelletier, Niko
Princen, Casey Reas, Antonio Roberts, Rachel Rossin, Cecilia Salama, Nicolas
Sassoon, Robert Seidel, Yoshi Sodeoka, Anne Spalter, Mathieu St-Pierre, Phillip
Stearns, Daniel Temkin, Giselle Zatonyl, Erik Zepka, Damon Zucconi
Will Pappenheimer, Bufo Virtanus Heroicus Sublimis in MoMA,
augmented reality screenshot collage, 2010
Erica Lapdat-Janzen & Sophia Borowska
Vince Mckelvie’s work is part of a series of abstract computer generated images and animations which are highly interactive. The environment in which the graphical treatments are embedded, informs the aesthetic decisions for the objects added to the scene.
Where are the newer media? (2016, 3:12) deals with incompatibilities of programs/interfaces. It is made with Powerpoint, then exported as a JPEG slideshow, then animated in Modul8, and controlled by Midi and Syphoned as textures into a Unity environment.
SCRAP: Rayon by Lorna Mills is part of an ongoing series of animated abstractions, extracted from scanned textiles and manipulated with distortion tools.
Brenna Murphy’s ModeWrap from her ongoing series of geometric digital sculptures wrapped with photographic textures is an exercise in meshing physical, virtual, temporal and material experience.
Zach Nader’s three bodies and a broken table conducts image-based experiments through the reworking of existing photographic materials.
Od Niwr’s work 1604040832 (Floating Past) combines the aesthetics of a rough abstract pixel structure (that is reminiscent of early computer graphics and games) with a glitchy distortion.
Artificial Wave is an abstract sequence of moving images using ‚frozen’ digital sculptures of simulated liquid models as material. The natural flow of the organic elements is interrupted and becomes a surface or an object, a pattern or a texture.
Late in November, 2010, the Bufo Virtanus toad from the WeARinMoMA augmented reality intervention exhibition at MoMA, mutated and multiplied into the Bufo Virtanus Heroicus Sublimis subspecies, taking its name from the famous Barnett Newman painting exhibited there. It has been suggested that the virtual subspecies thrives from sublime artworks and produces a similar effect when the skin on its back is touched or licked.
Time of Flight is a 3D animated work which follows a continuing theme of the artist’s work in which data, representing the human form, are digitized, translated and transformed while using the ensuing errors as a place of exploration.
Niko Princen’s lines and the nodes of the Vlinder network reveal the connections between the devices and therefore the people. Consequently, abstraction can be found between technology and human beings.
By distorting the original source, the works by Casey Reas – here a GIF of Americans – continuously change its structural patterns. Thereby the process of algorithmic programming is elementary in his work.
Inspired by Rosa Menkman, Antonio Roberts creates his own vernacular What is your glitch? (2011) of lesser known and lesser used file formats including PCX, PPM and PIX. Using a clip from the 1994 film Reality Bites Roberts demonstrates the different types of glitches that can be achieved in these file formats.
For Compress 'FPS' for Web Rachel Rossin made ghosts out of hacked animation cycles from the First Person Shooter game, Call of Duty, to inhabit the 3D bodies they weren’t initially intended for.
Cecilia Salama’s work is part of a series based on screenshots of Youtube videos of a teenage gymnast that the artist recreated in a blur fantasy world including floating pull-up bars floating and pools of iridescent paint and latex.
Nicolas Sassoon’s RIDGE 3 is a screen-based animation created by using a digital moiré technique. The animation is informed by memories of rainstorm textures, sand patterns and ocean waves which are emulated to visual and behavioural qualities.
In Vitreous Robert Seidel pushes the boundaries of abstracted beauty through cinematographic approaches, as well as ones drawn from science. The nine virtual sculptures show clusters of fibrous refractions and the gravitational lensing of volumetric as well as chromatic densities - with each element revealing its own visual axis and vanishing point.
Credits: Film by Robert Seidel, Music by Nikolai von Sallwitz, 2015, 3:24 min
Artist Yoshi Sodeoka works on a neo-psychodelic level: His work Disc:Void combines noises with the spatial perspective of a spiral black hole.
Anne Spalter’s work Complexities is a 61 second digital video drawing that is based on original graphite drawing.
Glitch artist Mathieu St-Pierre’s Analog Days is an Etude (study) of color spectrum created from analog glitch source transferred to digital.
Polar Vision 001 shows an image of a sunset, scanned top to bottom, one row of pixel at a time, from which video frames were created by mirroring, stretching and then animated in sequence at 15fps.
Unprintable #1 by Daniel Temkin is a digital image that escapes digital representation. As one zooms out from the image, different and conflicting sets of artifacts manifest.
Giselle Zatonyl’s works like Cajon de Pena deal with a certain way of calmness to meditate and get dissociated from the over-stimulated real world by creating digital abstract worlds.
The interface of science fictional ideas and experimental realism is part of Erik Zepka’s work in which he constructs digital worlds which are supposed to be discovered by the viewer. Cellophane Causality, an interactive glitching, speaks about the absurd layers of technoscientific excess.
Damon Zucconi’s work Reversal of Relief is a collapsed version of an earlier diptych relief which was produced by scanning two planes tilted away from the scanner aperture in opposite directions. The left and right images were converted to opposing monochrome color channels and mixed into a single composite image.