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David OReilly, additional photograph of “4004” accompanying the artwork via KSPEC, 2021

View 4004 in the K21 gallery here

David OReilly’s 4004 is not just art, it’s an OOPArt.

Out-of-place artifacts are the anomalous data points in the timeline that undermine pat historical narratives. The Antikythera machine, the sophisticated two-thousand-year-old Greek astrological computer of interlocking bronze gears found at the bottom of the Mediterranean; an electrical battery dating to ancient Baghdad; an incandescent light bulb inscribed on the wall of a Dynastic Egyptian tomb; an early-twentieth-century pickaxe ensconced in a Paleozoic rock formation: such examples suck the wind out of just-so theories of the past and even the very notion of…


China Tracy, “Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月,” 2021 (still)

View Einstein on the Beach — Chasing the Moon / 沙滩上的爱因斯坦-追月 in the K21 gallery here

China Tracy made her first appearance in 2006 on Second Life. Svelte and stylish, she embodied in name exactly where she was from — a virtual utopia called China, where the best of Communism and capitalism intermingled in a futurist landscape carved from free expression and electric dreams of abundance. She was adventurous, courageous, engaging, and ultimately beguiling. The star of her own three-part documentary film, i.Mirror (2007), China Tracy shared her personal journeys through the Second Life metaverse — teleporting, exploring, socializing…


Liam Gillick, “On the Appearance of Noncircularity,” 2021 (still)

View On the Appearance of Noncircularity in the K21 gallery here

It seems inevitable, in retrospect, that Liam Gillick would have produced an NFT. In an artistic career devoted to the interrogation of modernism and the flows of capital enabled by it, he has probed the abstract systems that sustain modernist thought. IKEA and the International Style, corporate culture and factory structure, the global summit and universal pre-k, folklore and the formulaic equation are all fodder for his multidisciplinary practice. Gillick weaves a complex web of references and associations in his work that subtlely reveal the gaps and fissures…


View the K21 Collection at

Computers are supposed to tell the truth. Programming languages must be able to distinguish between true and false in order to perform their required functions. The foundation of logical operations in computing requires an irrefutable presence of verity (and an acknowledgement of what is incorrect). For those who came of age in the era of the PC, it was assumed that computers always got it right: mathematical calculations, scientific formulae, and immense amounts of data could be stored and set in motion on a scale and at a speed that far outperformed the human brain. Since truth is essential for…


Jenna Sutela, “YAMSUSHIPICKLE,” 2021 (still)

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

Hank Willis Thomas × Wide Awakes, “Ametropia,” 2021

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.


Suzanne Treister, “The Cosmic Number,” 2021 (still)

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…


View the K21 Collection at

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…


Simon Denny, “NFT Mine Offset: Ethereum Kryptowährung Mining-Rig,” 2021 (still)

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…


Filip Hodas, “Bikini Bottom,” 2018

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. …



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