View “YAMSUSHIPICKLE” in the K21 gallery here →
Cybernetics was Norbert Weiner’s mid-20th century neologism for the then novel field of “man-machine” interaction. It gave us the language and mechanics to leash carbon to silicon in a random walk toward convergence. Built on the logic of the feedback loop, the information tether between man and machine, cybernetics made each more similar to the other, like an owner that begins to resemble their dog.
The initial model of an aircraft pilot fused with their fighter jet — cyber comes from kyber, Greek for the steward of a vessel — gave way…
Wide Awakes is an open-source network who radically reimagine the future through creative collaboration
View “Ametropia” in the K21 gallery here →
Hank Willis Thomas occupies a central place in the Venn diagram of contemporary art and political activism. He is a catalytic force, energizing cross-disciplinary collaborations dedicated to social justice and civic discourse while also producing a rich body of highly relevant artwork. His photography interrogates the representation of Black bodies throughout American history, especially in the media. And his public sculpture celebrates the Black Power movement with positive symbols of self-actualization.
View “The Cosmic Number” in the K21 gallery here →
Suzanne Treister is more than a pioneer in the digital, new media, and web-based artistic fields: she is a visionary and her oeuvre, an oracle. Focused on the relationships between emerging technologies, society, and worldviews, her multi-modal artworks offered portals to the future we find ourselves in today.
Treister began developing projects about video games, virtual reality, and software in the late 1980s. Conjuring and rendering uncanny technologies in a painterly form has been one of her primary mediums for distilling and communicating a vast range of information throughout her…
What are we? Who are we becoming? How should we organize ourselves? The big questions require us to embiggen our universe. They require multiplying the territory to make a useful map.
Ancient cultures from Cuzco to Giza started by defining an axis mundi, a world axis. Whether a simple staff or a sky scraping pyramid, a vertical structure would mark a navel of the Earth, a symbolic but active center around which everything else could orbit. The archetypal axis was a tree or mountain, a conduit that could be scaled to traverse between worlds, transcending the local folds of the…
View “NFT Mine Offset: Ethereum Kryptowährung Mining-Rig” in the K21 gallery here →
Early anthropologists transmuted artworks into artifacts. They extracted objects from ritual and routine in favor of dusty shelves and desk drawers, turning them into evidence of otherness, fodder for theory. Plucked from their native contexts, they were brought near in order to further exoticize: specimens stripped of their power, they told hollow tales of far-off lands for audiences without the experience to counter them. Simon Denny does much the opposite.
A native of New Zealand — a Pākehā, the offspring of settlers — who relocated back to…
View “Bikini Bottom” in the K21 gallery here →
In the last decade 3D art has increasingly emerged as a legitimate form of art due not only to its massive exposure to the public, but mainly to the technological advancements that have allowed artists to single-handedly achieve production-quality results on a single workstation.
Filip Hodas is one of the first artists who have been heavily leveraging GPU render technology since its inception and pushing forward a new aesthetic. …
View “untitled 2021 (rich bastards beware)” in the K21 gallery here →
Have you ever been offered free Thai curry at an exhibition opening? Or played ping-pong in the middle of a museum? Or found yourself in an apartment where you were welcome to stay or sleep or shower, but it was actually in an art gallery that happened to be open twenty-four hours a day? If so, you’ve experienced the ever-so-generous art of Rirkrit Tiravanija.
Artists have always been society’s seers. They envision futures yet unknown, daring to visualize hitherto unimagined scenarios for life on earth as well as for otherworldly dimensions. Whether plumbing the mysteries of the unconscious or the essence of intelligible life in distant galaxies, artists picture what we might intrinsically sense but do not yet have the tools to render visible.
Artists specialize in what we used to call “science fiction.” But now, much of the formerly projected future is here: space travel, alien visitation, particle accelerators, supercomputers masquerading as phones, visual teleportation, AI, digital twins, cloning… The list goes on…
View think of the body as ash spilling an orbital road in the K21 gallery here →
Texts on Precious Okoyomon — and there are increasingly many as curators around the world keep offering Okoyomon their venues, praise, and awards; one after another, sometimes overlapping — often point out that Okoyomon is a poet, chef, and artist. A cultural triple threat. Though the list could easily become a litany — they are a playwright, too — or perhaps be bottled down into, simply, poet, as it might have been in a different age. The Greeks thought poetry the seed of…
View Forest and Egg in the K21 gallery here→
A well-thumbed copy of a Frances Yates book on the esoteric aspects of the Renaissance sat on a desk next to a digital timer. The mid-twentieth-century iconoclast’s emphasis on the hidden dimensions of culture was a radical break from more prudish official histories. Rachel Rose was making her way through it — twenty-five minutes at a time, a couple hours a day — in between editing a series of new films about pre-Enlightenment agrarian witchcraft.
This was a little over four years ago. A new U.S. president had just stoked a…
ART FOR THE NEXT 100 YEARS