The label’s key international artists presenting will include: Aleksandra Domanović & M.E.S.H., James Hoff, TCF, Harm van den Dorpel, Lee Gamble, Nora Khan & Steven Warwick, Ville Haimala & Jenna Sutela, Embassy for the Displaced & HELM.
Held across 4-5th October 2016, the multi-disciplinary group shows, in continuation of the dialogue initiated by the PAN showcase at MoMA PS1 last year, will further develop the artists’ evolving projects as well as present new additions.
The show is curated by Bill Kouligas and Matt Williams.
Aleksandra Domanović and M.E.S.H. (James Whipple) have been occasional collaborators ever since meeting in Berlin in 2009. Aleksandra, who works in sculpture, video, photography and computer-generated imagery uses research as a central tool in her practice. Her ongoing investigation into the CRISPR gene editing technology has led her to the archives of Rosalind Franklin. Franklin was an English chemist and X-ray crystallographer who made significant contributions to the understanding of the molecular structures of DNA, RNA, viruses, coal, and graphite. At the ICA Domanović will be presenting a series of video vignettes centred around the discovery of the structure of DNA while looking at the history and development of science through a gender-conscious lens. She continues her collaboration with M.E.S.H. , who has provided sound and music for several of her works.
M.E.S.H. will also be performing a short collection of new solo work.
eAR is a location-based augmented reality sound and text piece in the form of first-person fiction. It presents a series of dramatized field recordings from a digitally mediated environment together with commentary inspired by the Let’s Play format.
The performance eAR SW1Y 5AH presents a continuous audible and narrative zoom from the farthest known point in space to the nucleus of a carbon atom resting in the protagonist’s ear sitting at the ICA Theatre.
For his talk at ICA, Berlin-based artist and programmer Harm van den Dorpel will stitch together the fragmented associative theories that inform his practice. He will elaborate on his ongoing research of topics like cognitive development, associative aesthetics, natural language and genetic algorithms.
Van den Dorpel’s artistic practice starts with the premise that algorithms do not necessarily confiscate the agency of people, but that new modes of hybrid collaboration between software and human beings can stimulate the emergence of unexpected solutions and unimagined aesthetics.
His recent project ‘death imitates language’ consists of an enormous population of speculative specimens, generated by inheriting sequences of information – a sort of DNA, from their ancestors. These ‘genetic’ codes determine which elements appear in the work and in what form or constellation. The population changes over time by means of subjective (‘natural’) selection by the artist: micro feedback or ‘likes’. This feedback causes the genetic program to mutate and arguably improve over time. When creatures reach their optimal state they are ‘frozen’ and translated into physical objects. Recently the first generations of this body of work have been exhibited at the Museum Kurhaus in Kleve, Germany, as a reflection on their Joseph Beuys collection.
In continuation of this project, Van den Dorpel will present his preliminary findings of ‘Talking Turtles’ where he generates complex organic objects by combining turtle graphics with a genetic algorithm. Turtle graphics are a drawing system described by Seymour Papert in which an imaginary turtle moves around the computer screen, drawing as it goes. In an attempt to introduce children to programming, this system was strongly advocated for in the late 60s. ‘Being’ the turtle would help children engage with complex topics.
During the talk van den Dorpel’s speech will be syntactically highlighted on screen.
2015 went down in European collective imaginary as the year of mass population movements. With over a million people seeking refuge on European soil, Greek islands neighbouring the Turkish coast became the informal gate for refugees and migrants’ bodies on their way to the European mainland.
As forcefully displaced bodies -deprived of their legal rights- flee destruction and penetrate into fortress Europe, a new human topography carves its way through the continent, affecting the political and spatial realities along the so-called ‘migrant corridor’. This contested space assumes qualities of an archipelago of exception, with conflicting agents making for the emergence of extraterritorial islands within the borderscape, sites in which notions of sovereignty and citizenship for refugees and hosting communities alike are open for negotiation.
Established between London, Athens and Lesvos island, the ‘Embassy for the Displaced’ is deployed as a vessel that facilitates the navigation of the contracting waters of the migrant archipelago, in an effort to document and examine this displacement of historic proportions, and establish the criteria that allow for the subversive insertion of dissident practices that negotiate issues of citizenship, space, and the production of life on the border.
For the collaboration with PAN, EFTD will present a video installation comprised of a series of 3D scanned objects, events and landscapes in Lesvos, North-East Greece, are experienced. Accompanying the video material will be a series of carefully archived objects sourced on the sites portrayed, serving as a haptic link between the digital environments and the audience. This attempt for an archaeology of present displacement will be accompanied by a music piece composed by HELM.
Through a close, three dimensional gaze at the migrant body, the camp, and, eventually, the landscape, an inventory of the potential of digital media and archival knowledge in formulating new imaginaries for bordering and citizenship is to be attempted.
New York-based artist James Hoff will be presenting a new sound work as part of an ongoing project to create music from latent, environmental Radio Frequencies using software and hardware interfaces.
Over the last several years, Hoff has utilized parasitic and viral forms as the starting point for generating visual and audio works. In this series, he widens his attention to the ambient communication network through which we all move, a data/communication infrastructure used for satellite data transmissions, weather prediction, cellular communication, and tracking military crafts (submarines, airplanes, drones, etc), to name a but a popular few.
The work will be improvised utilizing several radio frequencies during the performance along with hardware that receives onsite GPS data transmissions from the room.
40 pitched decomposed dynamic patterns. Cimmerian glow. Entropy is your friend.
The Rhizome writer specialising in digital art and artificial intelligence, Nora Khan, and multi-disciplinary artist Steven Warwick (aka Heatsick) combed through seminal episodes of The X- Files to explore the Clinton era’s climate of fear and paranoia and early Internet culture.
Through Laura Mulvey-style documentary commentary, Warwick and Khan narrate how the X-Files posited fear as an inherent quality of domestic life in America; fear existed within your house, on your block, in the safety of the suburbs. They then link this fear index to the series’ marked impact on early Internet use, as it was one of the first with a global Internet fan base.
The 1990s marked the birth of an era of networked communication, while also operating within an increasingly dense cloud of paranoia. The X-Files emerged in this unique period between the residue of post-Cold War fear and pre-9/11 millennial optimism. In its figuration of bogeymen and enemies, the series spoke to the psychological anxieties of a complex time. The show allowed viewers to monitor a collective need for an enemy of the state. Aliens, ghosts and the paranormal replaced Communism and prefaced our current Islamophobic climate, while the destabilizing force of neoliberalism remained an undetected invisible man in the room.
The X-Files was perfectly suited for its target demographic: suburban teenagers and young adults who were learning to use the Internet, logging onto dedicated forums and manic chat rooms to discuss episode content, speculate on theories, and come up with urban legends of their own. As the show developed, characters become more engaged with the Internet, using it to navigate an increasingly uncertain world, and sort and pick through the inexplicable and weird. The Internet was put forward as meaning-making tool, a compass or map to the outside. It became its own frontier space, where conspiracy theories and paranoiac narratives could circulate with abandon, to be picked up, believed, or discarded.
In relation to an upcoming series of releases on PAN, the artist & composer will be having his whole genome sequenced – to be available as raw data (150gb), downloadable as a Bittorrent archive. The archive will be free to use and exploit without restrictions.
Following the decision to release his genome, Aedrhlsomrs Othryutupt Lauecehrofn (TCF) invited Sam Hart, a bioinformatician and Editor of the online magazine Avant.org, to work in technical consultance and collaborate in the publication of the genome.
While making one’s genome available is neither conventional nor recommended practice, the body perpetually sheds personal material, genetic or otherwise. In the near future, we might expect advertising, insurance, and other information technology industries incorporate biometric data into consumer analytics. As such collection is folded into a regime of ubiquitous sensing, and embraced by private and state actors, cultivation of an informed public discourse regarding the various uses of personal information will be fundamental to preservation of civil liberty.