JOHANNA HEDVA is KEYNOTE at SICK THEORIES,A TRANS-DISCPLINARY CONFERENCE ON SICKNESS & SEXUALITY
KEYNOTE at SICK THEORIES, A TRANS-DISCPLINARY CONFERENCE ON SICKNESS & SEXUALITY
FRIDAY, Nov 9 4:30 – 6pm
Johanna will be in conversation with Margeaux Feldman about On Hell.
University of Toronto, Centre for Sexual Diversity Studies,
Jackman Humanities Building, Room 100, 170 St. George Street, Toronto
free but! registration is required
registration opens Friday, October 12
go to the conference homepage to register
JOHANNA HEDVA in NYC's FESTIVAL ALBERTINE: REDEFINING NORMALITY AND DISEASE
FESTIVAL ALBERTINE: REDEFINING NORMALITY AND DISEASE
Sat, Nov 3, 4:30 – 6pm
Johanna will be on a panel with Siri Hustvedt, Laure Murat, and L’Oiseau Mouche Theater Company as part of the Festival Albertine, curated by Masha Gessen.
Albertine Bookstore, 972 Fifth Avenue, New York, 10075
free but! registration is required at eventbrite
email me if you need wheelchair access
watch this event live via livestream on nov 3 at 4:30pm (est)
JOHANNA HEDVA in London at THE WHITE REVIEW LAUNCH PARTY
THE WHITE REVIEW LAUNCH PARTY
Tue Oct 11, 7 – 9:30pm
readings begin 7:30 sharp
Johanna will be reading from On Hell w/ Julia Armfield and Imogen Cassels. Sadie Coles,
1 Davies St,
Mayfair, London W1K 3D
* free & there will be drinks
CASEY REAS Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 at the Whitney Museum of American Art
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Whitney Museum of American Art, Sep 28, 2018–Apr 14, 2019
Professor Casey Reas' work Software Structures is featured in "Programmed: Rules, Codes, and Choreographies in Art, 1965–2018" at the Whitney Museum of American Art. The exhibition establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences.
SU HYUN KIM exhibiting works in
The Post Surface shows exposed boundaries between life form and artificial intelligence life form. The artist Su Hyun Kim created Post Apoptosis and Bloody surface via the convergence of art and technology where the living creatures such as mushroom and blood cell are substituted/replicated with the artificial intelligence. The exhibition highlights the phenomenon between life and artificial intelligence:
how artificial intelligence could be mixed and created in the form of alternative living creature.
Address: Post Territory Ujeongguk, 42 Dokmackro 22-gil,
Mapo-gu, Seoul, Republic of Korea
2018.10.16. ~ 2018.10.30.
Opening & Blood surface_Performance: 2018.10.16. 6pm
AHMED EL SHAER at 31st Festival Les Instants Vidéo
Since 1988, the international festival Les Instants Vidéo is an event dedicated to video, digital and poetic arts (single-band, installations, performances, multi-media ...). It takes place in Marseille Friche the Belle de Mai in November, and before and after these dates, we collaborate with partner structures to organize the stops of the festival in other places of Marseille, in the Region ... and abroad. All of these stopovers form what we call a poetic constellation . There is no contest , entries are free and free , as is the call for participation open every year between January and June.
The festival is a laboratory where artists and works of international repetition rub shoulders with works still fragile, in preparation, delicate.
Start in 7th Dec 2018 to 2nd Dec 2019.
Friche la Belle de Mai
JAY YAN IN GROUP SHOW AT MACKEY GARAGE TOP
Oct. 17th. 7pm - 9pm
Mackey Garage Top
1137 S. Cochran Ave.
Los Angeles, CA 90019
Rebeca Méndez guest curates
As guest curator of the next exhibition in Cooper Hewitt, Smithsonian Design Museum’s acclaimed “Selects” series, artist and designer Rebeca Méndez investigates the interaction of humanity, nature, design and science. Drawn from the diverse collections of Cooper Hewitt, the Smithsonian’s National Museum of Natural History and Smithsonian Libraries, “Rebeca Méndez Selects” is the 17th installation in the series in which designers, artists, architects and public figures are invited to guest curate an exhibition. It is on view Oct. 5 through June 16, 2019, in the Nancy and Edwin Marks Collection Gallery.
“Within the design world, Rebeca is an impassioned voice for environmental awareness through a multidisciplinary body of work rooted in her identity and elevated with her knowledge of science, history and visual culture,” said Caroline Baumann, director of Cooper Hewitt. “For this ambitious installation, Rebeca has assembled objects, from an extraordinary Resplendant Quetzal specimen to an autonomous flying microrobot about half the size of a paperclip, to illuminate design’s interplay with the natural world.”
“Rebeca Méndez Selects” spans five centuries and examines the spectrum of human interactions with birds, from observation and study to extraction and eradication. Among nearly 80 objects on view are 30 specimens representative of the birds that ruler Moctezuma II collected in his extensive private aviaries in Tenochtitlan, the city-state that served as the center of the Aztec empire in the 16th century. Following the capture of Tenochtitlan by Hernán Cortés and his soldiers, the aviary was burned. From the vantage of this calamitous moment of cultural contact, Méndez’s installation probes how Europeans amassed material wealth at the expense of the environmental resources of the Americas. The exhibition’s digital experience enables visitors to listen to birdcalls that would have resounded through the aviary, and to view historical codices.
Xin Xin Solo Show Labor in a Single Shot @ Margie E. West Gallery, Lamar Dodd School of Art
A factory worker re-enacting keyboard assembly. A game character performing the extraction of personal data. A music video singing the songs of technological redlining. A nonsensical virtual archive of Foxconn. Xin Xin presents a new installation "Labor in a Single Shot.", a collection of material and immaterial labor in the tech industry. The exhibition pays tribute to "Labor in a Single Shot", a group project initiated by Antje Ehmann and Harun Farocki.
Xin Xin is an interdisciplinary artist and educator working at the intersection of technology, labor, and identity. Xin co-founded voidLab, a LA-based intersectional feminist collective dedicated to women, trans, and queer folks. They initiated the School of Otherness which seeks to empower marginalized communities through storytelling, forums, and workshops that process experiences of the other. Their work has been exhibited at Ars Electronica, the Hammer Museum, Gene Siskel Film Center, Tiger Strikes Asteroid and Machine Project. Xin received their MFA from UCLA Design Media Arts and teaches at the University of Georgia as the Assistant Professor of Media Design and Women’s Studies.
October 12 - November 9, 2018
Margie E. West Gallery, Lamar Dodd School of Art
270 River Rd, Athens, GA 30602
LAUREN McCARTHY Wins 360 Journalism Challenge Award
Lauren McCarthy has been awarded a 360 Journalism Challenge Grant from Google News Initiative, Knight Foundation, and Online Association to develop "Home with our Stories" in collaboration with DMA Alum David Leonard. The project will explore the question, "What happens when our smart homes start reporting new stories about us?" They will create a series of short films using the smart home as a remote reporting tool, offering an alternative, immersive relationship between journalist and interviewee based on intimacy and care, while questioning the implications of bringing monitoring and automation technologies into the home.
FLOAT (Kate Parsons and Ben Vance) Win Google ARCore Competition
FLOAT was a winner of Google ARCore and Indiecade's Augmented Reality Competition and Jam, held September 13th and 14th in Los Angeles. The winning piece featured escape room mechanics and explored the themes of Dark Media and surveillance.
REBECA MENDEZ work in West of Modernism: California Graphic Design, 1975–1995
West of Modernism: California Graphic Design, 1975–1995
Ahmanson Building, Level 2
September 30, 2018–April 21, 2019
The late 20th century was a transformational period for graphic design. Questioning the increasingly rigid rules of modernism, designers pressed for greater autonomy in their work. At the same time, dizzying advances in technology upended existing design and production processes. Far from the established New York design world, California became a haven for avant-garde designers, a hub of innovation in both discourse and practice.
This exhibition is part of LACMA’s Graphic Design Initiative, an interdepartmental project spearheaded by the Decorative Arts and Design and the Prints and Drawings departments. The initiative was established in 2014 with the goals of systematically building a graphic design collection, organizing exhibitions and programs around the subject, and integrating graphic design into larger narratives of international art and design history. Drawn entirely from the acquisitions made since 2014, this installation explores how the intense ideological debates and technological changes were manifest in posters and publications. It features the work of many influential designers including Emigre, Inc., Ed Fella, April Greiman, Rebeca Méndez, Deborah Sussman, and Lorraine Wild.
GARETH WALSH autonomous kinetic sculpture ‘Ouroboros’ @ the La Jolla Historical Society
If your in or around San Diego this Friday, or feel like traveling down, in a giant traffic snake from LA, please come and checkout my latest autonomous kinetic sculpture ‘Ouroboros’ @ the La Jolla Historical Society
Exhibition: San Diego - The Architecture of Four Ecologies
Curated by Rebecca Webb
Friday September 21st 2018, 5 - 7pm
Exhibition continues through January 20th 2019
For the Los Angeles Philharmonic’s centennial, REFIK ANADOL, is using the past to project the concert hall into the future.
LOS ANGELES — Can a concert hall dream? The Los Angeles Philharmonic has a lot riding on the answer.
On Sept. 27, with big-ticket donors watching expectantly from a parking lot across the street, Refik Anadol, a Turkish-American artist, plans to transform the billowing steel superstructure of the orchestra’s Walt Disney Concert Hall into a swirling, phantasmagorical collage.
The 12-minute performance will be fashioned from artifacts from the Philharmonic’s own history: millions of photographs, printed programs and audio and video recordings, each one digitized, microcrunched and algorithmically activated to play in abstract form across the building’s dynamic metal surface. If all goes according to plan, “WDCH Dreams,” as the production is known, will kick off the Philharmonic’s centennial season with the kind of brio that befits the company that Zachary Wolfe described last year in The New York Times as “the most important orchestra in America. Period.”
FLOAT (KATE PARSONS and Ben Vance) artist talk and walkthrough at LaunchLA for SHe
An exhibition of artists informed by historical imagery explore what it means to portray the female persona through contemporary interpretation. FEATURING: Kim Tucker, J Michael Walker, Douglas Tausik Ryder, Andrea Patrie, Deborah Martin, Cima Rahmankhah, Sara Alavikia, FLOAT (Kate Parsons and Ben Vance), Kristine Schomaker, Annelie Mckenzie, Phung Huynh.
FLOAT's Augmented Reality work "Still Unravished Bride" pulls from the writings of the late Jungian Psychoanalyst Marion Woodman's writings on the struggle for perfection.
Curated by Elizabeth Tinglof.
170 South La Brea Ave, Los Angeles, CA 90036
ERKKI HUHTAMO Lectures in Amsterdam
Erkki Huhtamo Lectures in Amsterdam
Professor Erkki Huhtamo has been invited by the EYE Film Museum, Amsterdam, to give a Research Group Lecture. The lecture is titled "On Media Archaeology: The Brown-Urban-Joy Spirograph as a case study." It will be held at the EYE Collection Centre, Cinema 5, on Friday September 14, at 3pm - 5:30pm. In conjunction with the lecture, Huhtamo will be consulting the museum's film apparatuses collection.
DAHN GIM (Camella) is in ground show at Steve Turner Gallery, "Inside Out"
September 8 – October 20, 2018
Opening reception: Saturday, September 8, 7-9 pm
@ Steve Turner Gallery
EXHIBITING WORKS BY SAMANTHA BITTMAN, MARIEL CAPANNA, NICK DOYLE, HANNAH EPSTEIN, LUCY FRADKIN, DAHN GIM, BEN JACKEL, G.T. PELLIZZI AND CAMILO RESTREPO
*Whew Chile The Ghetto! - RAKEEM CUNNINGHAM & Ramon Espinosa
We are pleased to announce the first two-person show by Los Angeles-based artists Rakeem Cunningham and Ramon Espinosa. New photographic works and installation by Rakeem Cunningham and mixed media works on paper by Ramon Espinosa are going to be exhibited in TAG Gallery’s loft space.
Rakeem Cunningham was given the loft space for two weeks for an open plan project, without any restrictions from the gallery board. He then invited Ramon Espinosa to plan a project with him. The result is a show that is a direct reaction to how people view art, and how people interact with bodies within this space, specifically with queer non-white bodies. Cunningham will be showing odalisque type of self-portraitures that relate to queer Black experiences while Espinosa will be showing works on paper that demand interpretation while mirroring his own struggle with the questions of interpretation.
The video clip of Nene Leakes walking through the streets of Atlanta while saying “Whew chile! The ghetto!” has been meme-ified, and has become a collective sentiment and standard meme response of younger generation of POCs. The exhibition adopted Leakes’ reaction to Atlanta’s ghetto to convey the frustration of being queer POC in the Art/art world – the ghettoization of queer black and brown bodies in these institutions, and the rest of the world.
Rakeem Cunningham studied at UCLA for Design and Media Arts and has shown in Castelli Art Space, The South Bay LGBT Center, and The Los Angeles LGBT Center in Los Angeles, California, and in Littman and White Galleries in Portland, Oregon. Ramon Espinosa has participated in group shows in the Pete and Susan Barrett Gallery in Santa Monica, LA Art Share in Los Angeles, and in Trunk Gallery in Venice, California.
September 18 - 30, 2018 Opening Reception:
Thurs, Sept 20, 2018 (7pm-10pm)
Rakeem Cunningham & Ramon Espinosa
*WHEW CHILE THE GHETTO
VICTORIA VESNA and NOISE AQUARIUM in Ars Electronica’s Deep Space 8K
Current scientific studies have shown with shocking examples that noise sources such as sonar and fracking are extremely harmful to large marine life. Noise also affects microscopic organisms such as plankton, as Victoria Vesna and her collaborators show in their interactive installation in Deep Space 8K at the Ars Electronica Festival 2018.
September 6 - 10
Ars Electronica, Linz, Austria
Ars-Electronica-Straße 1, 4040 Linz
JENNIFER STEINKAMP talks about her video at the Clark Art Institute
The Los Angeles-based artist Jennifer Steinkamp’s Blind Eye, 1, 2018, a roughly three-minute-long animated loop, depicts a life-size grove of birch trees cycling through the seasons, their ocular scars delivering an uncanny, plural gaze. The video is included in a survey of the artist’s work at the Clark Art Institute in Williamstown, Massachusetts, titled “Blind Eye,” which comprises the first video installations shown at the museum and is on view through October 8, 2018. Here, Steinkamp talks about inspirations for “Blind Eye,” the limitations of vision, and learning to decide.