Articles | ArtSlant https://www.artslant.com/ny/Articles/show en-us 40 The Trouble with “Neighbors”: Ai Weiwei, the Istanbul Biennial, and Forced Migration <p>Last month Public Art Fund in New York opened Ai Weiwei&rsquo;s citywide exhibition, <em><a href="https://www.publicartfund.org/ai_weiwei_good_fences_make_good_neighbors" target="_blank">Good Fences Make Good Neighbors</a></em>. The project entails steel, fence-like architectural interventions and large-scale banners depicting photographs of Syrian refugees from the artist&rsquo;s time in Lesbos, Greece. The exhibition is not alone in its use of domestic language to address global issues of mass forced migration. The 15th Istanbul Biennial, which concluded last week and was curated by Danish-Norwegian artist duo Elmgreen &amp; Dragset, took the title <em><a href="http://15b.iksv.org/home" target="_blank">a good neighbour</a></em>.</p> <p>The conceit of &ldquo;neighbor&rdquo; brings us to the scale of the home without quite entering <em>our</em> home: a neighbor, after all, is our closest foreign element. Today, both Turkey and the US find themselves embroiled in internal debates over policies concerning both external borders and internal relations between communities. The invocation of neighbors addresses&mdash;though to what end varies between these exhibitions&mdash;geopolitical issues over borders and boundaries and the legal designations that determine the futures of populations displaced by war and famine. In Ai&rsquo;s installation borders are evoked by fences and images of refugees installed in public spaces around the city. The Istanbul Biennial, on the other hand, nods to Turkey&rsquo;s status as hosting one of the highest populations of displaced Syrians more intimately, focusing on the private rather than public spaces.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117153513-12.-GoodFencesPhoto_JasonWyche_4027_ed.jpg.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Ai Weiwei, <em>Arch</em> from <em>Good Fences Make Good Neighbors</em>, 2017, Galvanized mild steel and mirror polished stainless steel. Courtesy of Ai Weiwei studio and Frahm &amp; Frahm. Photo: Jason Wyche</span></p> <p>&nbsp;</p> <p>Last March Angela Merkel negotiated what has since been termed the &ldquo;EU-Turkey Deal,&rdquo; offering Turkey 6 billion Euro in refugee aid in exchange for the country preventing further crossings to Europe, particularly via Greece. Anyone arriving &ldquo;irregularly&rdquo; to Greece&mdash;even those seeking asylum&mdash;would, according to the deal, be returned to Turkey and made to apply from there. In Turkey, however, only asylum seekers originating from Europe qualify as &ldquo;refugees&rdquo; in any legal sense, as the country signed the 1951 Geneva Convention with a &ldquo;geographical limitation.&rdquo; The three million asylum seekers currently in Turkey, and any held in transit to Europe, are instead deemed &ldquo;<a href="https://www.loc.gov/law/help/refugee-law/turkey.php" target="_blank">persons of subsidiary protection</a>&rdquo;&mdash;a designation that nefariously keeps would-be asylum seekers outside of the international refugee system that would protect them.</p> <p>While many asylum seekers are living in camps in the south of Turkey, others have made it to cities, and Istanbul reflects its new population. In the months preceding the exhibition, promotional posters for the Biennial introduced the &ldquo;good neighbor&rdquo; theme in a series of questions: <em>Is&nbsp;a good neighbor&nbsp;your friend on Facebook?</em> <em>Is&nbsp;a good neighbor&nbsp;someone who lives the same way as you? Is&nbsp;a good neighbor&nbsp;a stranger you don&rsquo;t fear?</em> The inquisitive framework&mdash;<i>what is a good neighbor anyway?&mdash;</i>contrasts the aphoristic &ldquo;good neighbor&rdquo; in Ai&rsquo;s title, which references an ironic and <a href="https://www.theatlantic.com/entertainment/archive/2010/05/sarah-palin-misinterprets-robert-frost/57248/" target="_blank">often misunderstood</a> line from Robert Frost&rsquo;s 1915 poem &ldquo;Mending Wall.&rdquo; In both cases, however, the notion of neighbor works to &ldquo;domesticate&rdquo; debates about migration, to bring them down to the scale of the local, the neighborhood, the family, the home&mdash;at least ideologically. In its iterations since the the Gezi Park protests of 2013, the Istanbul Biennial has included works that take a wide-angle analysis of global socio-economic changes, featuring artists and collectives whose practices offer broad analyses of the socio-economic actors at work in the changing city. In its 2017 edition, the Biennial instead &ldquo;zoomed-in&rdquo; to show art that takes the home and interiority as its jumping-off point.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117153712-TP2_4648Ai_Weiwei_on_Porcelain__Sakip_Sabanci_Museum__Istanbul__2017__courtesy_of_Sakip_Sabanci_Museum_.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117184706-IMG_4287.JPG" /></p> <p style="text-align: center;"><span style="font-size:12px;"><em>Ai Weiwei on Porcelain</em>, Sakip Sabanci Museum, Istanbul, 2017. Courtesy of Sakip Sabanci Museum</span></p> <p>&nbsp;</p> <p>Ai, who has been praised for addressing the migration crisis and critiqued for his tone-deaf or misguided attempts at doing so, opened the show <a href="http://www.sakipsabancimuzesi.org/en/page/exhibitions/ai-weiwei-porcelain" target="_blank"><em>Ai Weiwei on Porcelain </em></a>at the Sabanci Museum in Istanbul timed with Biennial. The exhibition includes many of his most recognizable works as well as recent work addressing the Syrian refugee crisis. Many newer works on view use domestic objects as materials and canvases&mdash;including pottery, dishes, and wallpaper emblazoned with black-and-white vignettes of refugees in makeshift camps, in transit, or running from the police. In one particularly distressing instance this wallpaper stretches around a huge atrium space, serving as a backdrop to larger-than-life documentation of Ai&rsquo;s notorious performance work, <em>Dropping a Han Dynasty Urn </em>(1995). Similarly the work <em>Study of Perspective</em> (1995&ndash;2003), in which Ai photographs his hand &ldquo;flipping off&rdquo; various architectural symbols of power around the world, reads as a kind of tone-deaf bad boy move when placed in the context of aestheticized images of refugees, people to whom the option to move around the globe so freely is all but impossible.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117153925-Screen_Shot_2017-11-15_at_10.55.11_AM.png" /></p> <p style="text-align: center;"><span style="font-size:12px;">Ai Weiwei on eBay</span></p> <p>&nbsp;</p> <p>Prior to the Public Art Fund opening in New York, the organization opened a Kickstarter crowdfunding campaign and it is currently offering limited editions of the artist&rsquo;s work on eBay, including small prints of the wallpaper included in the Sabanci exhibition. No portion of the proceeds have been announced as directed toward organizations working to aid victims of forced migration, nor were donation options offered on the crowdfunding campaign menu. Rather than instrumentally benefitting refugees, the resulting &ldquo;good fences&rdquo; around New York City are aesthetically pleasing passageways and architectural interventions that offer seating and social space in parks and art venues including Washington Square, the Queens Museum, Cooper Square, and Central Park. According to the artist, the artworks are meant to &ldquo;raise awareness&rdquo; of the global refugee crisis and to the bordered and bounded lives of individuals. Instead, they materialize as convivial social projects in a city central to the international power structures that produce global inequalities&mdash;further pointing to questions about Ai&rsquo;s relationship to the state powers he aims to critique. If indeed this project is intended to &ldquo;raise awareness,&rdquo; how does that function within a leisure space? And what does it mean to do so using &ldquo;neighbor,&rdquo; in a place like New York, where, unlike Turkey, it is largely rhetorical? Ai&rsquo;s interventions do little to interrogate their namesake. Who <em>are </em>these neighbors&mdash;us or them? What makes a neighbor good or bad? Who, if anyone, is implicated or educated by this artwork?</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117154044-14.-GoodFences_CircleFence_TimothySchenck_05.jpg.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Ai Weiwei, <em>Circle Fence</em> from <em>Good Fences Make Good Neighbors</em>, 2017, Powder coated mild steel, polypropylene netting. Courtesy of the artist. Photo: Timothy Schenck</span></p> <p>&nbsp;</p> <p>Last Year Ai was &ldquo;<a href="http://www.artnews.com/2016/10/31/political-reactions-a-testy-ai-weiwei-speaks-with-tania-bruguera-at-the-brooklyn-museum/" target="_blank">testy</a>&rdquo; in a talk with Tania Bruguera at the Brooklyn Museum, responding to her criticisms of his now infamous photograph of himself reenacting the death of three-year-old Alan Kurdi on a beach in Bodrum, Turkey. He reprimanded Bruguera for not knowing the exact count of those who&rsquo;d lost their lives in passage. The trouble with counting the dead and depicting only their loss or desperation is that the refugee &ldquo;crisis&rdquo; isn&rsquo;t just a moment: it is an ongoing situation that continues even as Ai builds his beautiful fences in New York. To count is a process of memorialization we enact when a war is over, and those numbers can be put to wicked use. While Ai aggregates objects&mdash;life vests, clothing, shoes&mdash;to materialize the vast numbers of dead or displaced people, FRONTEX, the European Union&rsquo;s border agency, and its supporters use the same numbers to argue for further limitations on passage and harsher criminalization, which leads desperate people to attempt even more risky routes in order to avoid detection.&nbsp; Ai&rsquo;s 2016 installation of 14,000 life jackets on the columns of the Konzert Haus in Berlin was tagged with #safepassage which may have raised some awareness of refugees&rsquo; plights, but it also overwhelmed that hashtag&rsquo;s use by Medicine Sans Frontiers and aid groups who often used it for updates on travel conditions. The image of the thousands of bright orange life jackets became a favorite social media share and was retweeted and praised by some of the same officials who supported the EU-Turkey Deal (which further restrained refugees coming from Syria). Keeping refugees in Turkey has been instrumental in Europe, leaving already vulnerable people in a much less protected position&mdash;good neighbors indeed!</p> <p>&nbsp;</p> <blockquote class="twitter-tweet" data-lang="en"> <p dir="ltr" lang="en">Powerful art installation by Chinese artist <a href="https://twitter.com/aiww?ref_src=twsrc%5Etfw">@aiww</a> draping 14k refugee life vests from Greece to <a href="https://twitter.com/hashtag/Berlin?src=hash&amp;ref_src=twsrc%5Etfw">#Berlin</a> concert hall <a href="https://t.co/kHbDvEAchI">pic.twitter.com/kHbDvEAchI</a></p> &mdash; Sebastian Ernst (@seb_ernst) <a href="https://twitter.com/seb_ernst/status/698823489864736768?ref_src=twsrc%5Etfw">February 14, 2016</a></blockquote> <p>&nbsp;</p> <p>Converse to spectacles of horror and vignettes of tragedy on fine china, the Istanbul Biennial stepped away from the directly political, particularly from the limited ways in which Turkey&rsquo;s art scene has come to be read as a go-to site for geopolitical catastrophizing. Without artwork directly critical of the government, the exhibition has been <a href="https://www.theguardian.com/world/2017/sep/15/istanbul-biennial-hires-provocative-curators-but-wheres-the-political-art" target="_blank">critiqued</a> as lacking in political art. To say the work included is not political, however, misses the strength and subtlety of the exhibition. In contrast to the more broadly critical artworks presented in past biennials, Elmgreen &amp; Dragset have largely included artists and artworks that address daily life or engage in the making of domestic space and the borders that surround and divide it. Many works point to the ways in which the home is not a haven from the political but the seat of its entrenchment. None does this more clearly than Lee Miller&rsquo;s <a href="http://www.leemiller.co.uk/media/Lee-Miller-in-Hitler-s-apartment-at-16-Prinzregentenplatz-Note-the-combat-boots-on-the-bath-mat-now-stained-with-the-du/WDCDbTDMLParKJghr89Pdw..a" target="_blank">haunting photographs</a> made in the home of Adolf Hitler.</p> <p>Around the corner from Miller, in the Pera Museum, <a href="http://www.pacegallery.com/artists/507/fred-wilson" target="_blank">Fred Wilson</a> draws on materials common to stately old Istanbul homes to interrogate the erasure of Black and Afro-Turk histories from official Ottoman and Republican Turkish histories and Ottoman Turkey&rsquo;s connection to slave routes through Vienna. He commissioned two intricate chandeliers that utilize both Turkish and Venetian glass methods&mdash;in one, the two styles seem to be engulfing the other. On the surrounding walls are Ottoman Turkish-style tiles painted in Arabic script with the phrases &ldquo;Mother Africa&rdquo; and &ldquo;Black is Beautiful.&rdquo; The most powerful of his works are the smallest: etchings Wilson purchased from local souvenir art shops depicting Ottoman-era images of the city. He overlaid these in translucent velum, carefully excised to obscure all but the small and often singular black figures hidden among crowds.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117154140-IKSV_15B_Sahirugureren_307.jpg" /></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117164829-IMG_4225.JPG" /></p> <p style="text-align: center;"><span style="font-size:12px;">Fred Wilson, <em>Afro Kismet</em>, 2017, Historic photographs, engravings and oil paintings; contemporary acrylic paintings and miniatures, late 19th century Othello poster; Anthropomorphic terracotta flask from the 3rd century BC, glass pendants from the 5th century BC; contemporary Iznik tile panels, carpet, chandelier sculptures, globe sculpture, blown glass sculptures; mid 20th century wooden African mask, late 20th century African figures, wooden false wall, birdcage, antique chair and table, wall vinyl, mounted photo scans, cowrie shells, Dimensions variable. Courtesy of Pace Gallery and the artist. Sponsored by the Denver Art Museum. Photo (top): Sahir Uğur Eren. Photo (below): the author</span></p> <p>&nbsp;</p> <p>While few works address the refugee crisis directly, there are strong pieces that address the precariousness of &ldquo;home,&rdquo; be it house or country. Mahmoud Obaidi&rsquo;s&nbsp;<em>Compact Home Project</em>&nbsp;consists of archives of sketches, newspaper clippings, and other ephemera he has collected since leaving Iraq.&nbsp;<a href="http://www.pedrogomezegana.net/" target="_blank">Pedro G&oacute;mez-Ega&ntilde;a&rsquo;s</a>&nbsp;<em>Domain of Things</em>&nbsp;is a darkly beautiful performance installation in the Galata Greek School: an elevated domestic space suspended on rails is slowly shifted and disrupted by performers uncomfortably entangled among the supports.<a href="http://www.officinedellimmagine.com/lungiswagqunta_bio.html" target="_blank">&nbsp;Lungiswa Gqunta</a>&rsquo;s&nbsp;<em>Lawn</em>&nbsp;reproduces the very stage of neighborly relations, the lawn, in the green hues of broken pop bottles, filled with oil to evoke the small homemade fire bombs of riots.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117154236-IKSV_15B_Sahirugureren_235.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Pedro G&oacute;mez-Ega&ntilde;a, <em>Domain of Things</em>, 2017, Metal structure, wooden panels, furniture, sound, performance Dimensions variable Courtesy of the artist Produced with the support of Arts Council Norway, Office for Contemporary Art Norway, City of Bergen Norway, Faculty of Fine Art, Music and Design, University of Bergen and BIT Teatergarasjen. Presented with the support of QP Magazine. Photo: Sahir Uğur Eren</span></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117154342-IKSV_15B_Sahirugureren_058.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Lungiswa Gqunta, <em>Lawn 1</em>, 2016/17 Wood, 3,168 broken Coca Cola glass bottles, petrol, ink, 25.5 x 484 x 366 cm. Courtesy of the artist. Photo: Sahir Uğur Eren</span></p> <p>&nbsp;</p> <p>In both the Biennial&rsquo;s domestic sensibilities and Ai&rsquo;s fences-cum-playgrounds and images of toiling refugees, what is most conspicuously missing is an investigation into the lives of communities. While, as Ai&rsquo;s work makes clear, thousands have died in transit at sea or remain in danger, millions of people are now living in new places. And millions of Turks now find themselves with new neighbors in the midst of an already turbulent and suspicious political climate that strains trust among even established relations.</p> <p>Across Istanbul there are many groups, both art and community projects, addressing these issues. <a href="http://www.pagesbookstorecafe.com/" target="_blank">Pages</a>, a bookstore founded by a Syrian children&rsquo;s book author and his wife, is a home not only for other refugees but also a space in which to welcome those wanting to learn more about Syrian culture, including evenings of live music. It made an appearance in the biennial, if only as the site where the artist Victor Leguy met Syrians and collected their personal artifacts. These were then displayed in the Istanbul Modern, hung and partially obscured by a line of white paint. It is a beautiful work but one that also troubles the continued question of why is it that refugees are so often represented as absences or artifacts, when they aren&rsquo;t being portrayed en mass. There are, by most counts, between two and three million refugees from Syria quietly going about their lives in Turkey, as well as many more from Libya, Iraq, and Afghanistan. Their lives are not limited to the hour of border crossing, or to the suffering and loss they have experienced; their representations should not be limited to death and loss of home.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117165846-IKSV_15B_Sahirugureren_244.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Victor Leguy, 2017, Istanbul Modern, 15th İstanbul Biennial. Photo: Sahir Ugur Eren</span></p> <p>&nbsp;</p> <p>One work in the Biennial addresses another population weathering the precarity of globalization, though their displacement is more economic than violent. Chinese photojournalist Sim Chi Yin&rsquo;s <em>The Rat Tribe </em>is a portrait series depicting migrant low-wage workers in their underground living spaces within the 6,000 basements and air raid shelters around Beijing. Despite the bleak conditions and cramped quarters depicted, these images work to show the realities of people in migration. Their home lives, relationships, personal proclivities, and even joys are evident.</p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171117184331-image1.jpeg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Sim Chi Yin, 2017, Pera Museum, 15th Istanbul Biennial. Photo: the author</span></p> <p>&nbsp;</p> <p>Critiques that the 15th Istanbul Biennial lacks political edge ring false. That the domestic or interior is somehow apolitical is an old-fashioned assertion, one no longer fitting, lest we suggest that it is only bodies in the street, only public action made visible that can be deemed truly political. Rather now, <em>how</em> we consider the domestic, the interpersonal, dare I say, the feminine, remains a central question. The obvious, if hollow, political&mdash;the zoomed-out scale, the representations of borders and bodies so often present in the work of &ldquo;political&rdquo; artists&mdash;is everywhere, and as Ai&rsquo;s exhibitions show, highly popular and profitable.</p> <p>How and when does the domestic encounter and engage its already political place? How can kinship be reordered, and by whom? It is in these questions that we find the politics within the social and physical markings of the home, and where we open up an important assumption at the heart of the conceit of &ldquo;neighbor&rdquo;: the given-ness, the taken-for-granted acceptance of borders, at any level. Porosity marks lives in cosmopolitan centers; food, culture, faith, music, and language travel across borders the way sounds and smells travel through walls. Our relationships within walls are never hermetically sealed to what is outside. The domestic, the home, its neighbors and its fences, are not merely metaphors for the nation, its borders, and those outside its boundaries. Instead the domestic is itself always already engaged in the production and contestation of those systems in question. Just as the public produces our private selves, so too does the private produce a public, a national, an international; the very notion of who has a private life not only reflects but reinforces divisions of value in world politics and policy.</p> <p>&nbsp;</p> <p>&mdash;<a href="https://www.artslant.com/global/artists/show/200738-danyel-ferrari?tab=REVIEWS">Danyel Ferrari</a></p> <p><em>Danyel M. Ferrari is an artist and writer based in Brooklyn and Istanbul. She is a current PhD candidate at Rutgers University in Media Studies.&nbsp;</em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: Promotional poster for the 15th Istanbul Biennial, Curated by Elmgreen &amp; Dragset. Photos by Lukas Wassmann, Graphic design by Rupert Smyth)</span></p> Sat, 18 Nov 2017 07:14:28 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Genevieve Goffman | Katrina Majkut | Sheelah Mahalath Bewley <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/490681-genevieve-goffman?utm_source=GenevieveGoffman&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Genevieve Goffman &ndash; Portland, OR</span></span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1063863?utm_source=GenevieveGoffman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1063863/u3azr9/20170916202813-101216_GGoffmage-4__1_.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1063870?utm_source=GenevieveGoffman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1063870/mf2ji7/20170916202843-111316_GGoffman-31.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1063867?utm_source=GenevieveGoffman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1063867/mf2ji7/20170916202824-111316_GGoffman-1.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1063868?utm_source=GenevieveGoffman&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1063868/mf2ji7/20170916202826-111316_GGoffman-9.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/181750-katrina-majkut?utm_source=KatrinaMajkut&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Katrina Majkut &ndash; Brooklyn</span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1073135?utm_source= KatrinaMajkut&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073135/u3azr9/20171031200101-Consent_Is_Asking_Every_Time_Condom.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1073592?utm_source=KatrinaMajkut&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073592/mf2ji7/20171101131912-Step_7_Vaginal_Swabs_and_Smears.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1073583?utm_source=KatrinaMajkut&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073583/mf2ji7/20171101131906-Kit_Cover.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1073589?utm_source=KatrinaMajkut&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1073589/mf2ji7/20171101131910-Step_4_Debris_Collection.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/490547-sheelah-mahalath-bewley?utm_source=SheelahMahalathBewley&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Sheelah Mahalath Bewley &ndash; UK</span></a></p> <p><a href="https://www.artslant.com/ams/works/show/1061425?utm_source=SheelahMahalathBewley&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1061425/u3azr9/20170830093923-2_bra.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1061447?utm_source=SheelahMahalathBewley&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1061447/mf2ji7/20170830095529-3_lighten_up.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1061449?utm_source=SheelahMahalathBewley&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1061449/mf2ji7/20170830095600-9_Wreath.JPG" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ams/works/show/1061448?utm_source=SheelahMahalathBewley&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1061448/mf2ji7/20170830095541-2_running_scared.JPG" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170213165906-ArtSlant_Prize_IX_2017-01.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/foundation?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.amazon.com/sp?_encoding=UTF8&amp;asin=&amp;isAmazonFulfilled=&amp;isCBA=&amp;marketplaceID=ATVPDKIKX0DER&amp;orderID=&amp;seller=A2JPU387EQQ9HR&amp;tab=products&amp;vasStoreID=#" style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182634-sales-room-200-logo.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Fri, 17 Nov 2017 06:08:06 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: The Wrong Edition <p><a href="http://thewrong.org/" target="_blank">The Wrong</a> is a decentralized biennial exhibition, the largest of its kind, dedicated to contemporary digital art and culture. Now in its third edition, simply titled <em>(biennale)</em>, The Wrong features a tremendous number of curated exhibitions, projects, and events&mdash;both online (in &ldquo;<a href="http://thewrong.org/filter/pavilion/" target="_blank">pavilions</a>&rdquo;) and off (in &ldquo;<a href="http://thewrong.org/filter/embassy/" target="_blank">embassies</a>&rdquo;).</p> <p>Because of the sheer magnitude of content, tackling the biennial can be an overwhelming prospect, even for the initiated. For this week&rsquo;s Wednesday Web Art column, we&rsquo;re easing you into the world of The Wrong, sharing some of our favorite work from the 2017 edition. But as you&rsquo;ll quickly learn, with such an extensive exhibition at your fingertips&mdash;1,400 artists across 70 pavilions and nearly 30 embassies&mdash;it&rsquo;s hard to stop here. Consider these works as launching points for charting your own path into the seemingly endless corners of The Wrong.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/HuMcfHjiVTg" width="700"></iframe></p> <p>&nbsp;</p> <p><strong>Artist:</strong> Aleksandra Kovačević &amp; Jelena Nikolić</p> <p><strong>Artwork:</strong> <em><a href="https://wrongprostheticco.wordpress.com/portfolio/aleksandra-kovacevic-jelena-nikolic/" target="_blank">meetme@heaven</a></em><br /> This strangely calming, perpetually rotating marble slab carved with inspirational messages is the perfect way to start your Wrong adventure. It can be a challenging, emotional journey, but as the artists of this piece state: &ldquo;&lsquo;Life is full of problems, and the only way to improve our chances of overcoming most of these problems is to optimize how we think about them.&rdquo;</p> <p><strong>Pavilion:</strong> <em><a href="https://wrongprostheticco.wordpress.com/" target="_blank">Prosthetic</a></em>, Curated by Darko Vukic<br /> This pavilion is inspired by the quote from political theorist Hannah Arendt: &ldquo;Our life is prosthetic. We assume that through these variety of processes we can realize our desires which themselves are becoming prosthetic. We also assume other life through this prosthetization of our current endeavors.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/Q-kkh_jaDcY" width="700"></iframe></p> <p>&nbsp;</p> <p><strong>Artist:</strong> Karin Ferrari</p> <p><strong>Artwork:</strong> <em><a href="http://postinternet.art/pages/karin.html" target="_blank">Hyperconnected (The Whole Picture)</a></em><br /> Ferrari&rsquo;s work is an exploration of the explosion of conspiracy culture in the internet age. The fact that this video is specifically about the &lsquo;truth&rsquo;&nbsp; behind the symbolism of the internet means the it functions brilliantly on multiple levels of paranoia and digital creation.</p> <p><strong>Pavilion:</strong> <em><a href="http://postinternet.art/index.html" target="_blank">Postinternet.art</a></em>, Curated by Juha van Ingen &amp; Jarkko R&auml;s&auml;nen<br /> The contributing artists were only given the name of the pavilion as inspiration for their work, leading to an eclectic mix of art dedicated to this ubiquitous term.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171115155435-Lara_Joy_Evans.png" /></p> <p>&nbsp;</p> <p><strong>Artist:</strong> Lara Joy Evans</p> <p><strong>Artwork:</strong> <a href="https://lightlitecoin.info/lje" target="_blank">https://lightlitecoin.info/lje</a><br /> The primal woman&mdash;part neural network, part Neanderthal, part mud, according to DNA panel results&mdash;joyfully connects with internet life. Evans&rsquo; work, comprising &ldquo;photographs altered by AI and neural network,&rdquo; is a welcome moment of pure human vitality among the digital hive-mind.</p> <p><strong>Pavilion:</strong> <a href="http://lightlitecoin.info" target="_blank"><em>Light Lite Coin</em></a>, curated by Coleman Mummery<br /> Described by the curator as, &ldquo;self help for collective paranoia,&rdquo; the artworks in this pavilion are all programs. &ldquo;There are bio-social implications to running these programs on yourself and sharing them with others.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/137466365" webkitallowfullscreen="" width="700"></iframe></p> <p>&nbsp;</p> <p><strong>Artist:</strong> Morgan Beringer</p> <p><strong>Artwork:</strong> <em><a href="https://www.thenormalpavillion.xyz/morgan-beringer" target="_blank">Abstraction 47</a></em><br /> An endlessly morphing, mysterious and beautiful vision that evokes something between an unfathomable alien storm and a haunted impressionist watercolor.</p> <p><strong>Pavilion:</strong> <em><a href="https://www.thenormalpavillion.xyz/" target="_blank">Normal</a></em>, curated by Ilavenil Jayapalan<br /> This enigmatic pavilion interrogates what constitutes &ldquo;Normality.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/xlanYJwnuvw" width="700"></iframe></p> <p>&nbsp;</p> <p><strong>Artist:</strong> Elizaveta Perebatova</p> <p><strong>Artwork:</strong> <em><a href="http://proteytemen.com/diapavilion/perebatova/" target="_blank">ATTENTION</a></em><br /> Perebatova suggests that &ldquo;we have worked out ways of interacting with the world and have stopped notice the moment of interaction [sic]. We are automatic and enslaved by our habits.&rdquo; Her witty and enchanting video presents cryptic illustrations of banal design objects, with instructions to &ldquo;listen to reality, to look at it as if we are doing it for the first time.&rdquo;</p> <p><strong>Pavilion:</strong> <em><a href="http://proteytemen.com/diapavilion" target="_blank">Diapavilion</a></em>, Curated by Protey Temen<br /> The artists in this pavilion are students of fine arts and contemporary illustration at HSE Art and Design School in Moscow, Russia. Most of works they have created are surreal and inventive pastiches of social and scientific instructional films.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171115155220-MutantClub.gif" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Artwork &amp; Pavilion:</strong> Various Artists, <em><a href="http://www.mutantclub.net/" target="_blank">Mutant Club</a></em>, Curated by Enrique Salmoiraghi<br /> One of the few pavilions where the collected contributions of the artists seamlessly form a single piece of art. They have provided the dancers and decorations for the titular intergalactic u.f.o. nightclub. This just might be the most universal, engaging, and downright entertaining pavilions in the whole biennale.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171115155134-Renee_Cox.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Renee Cox</span></p> <p>&nbsp;</p> <p><strong>Artworks &amp; Pavilion:</strong> <em><a href="http://gisdejeunersurlherbe.tumblr.com/" target="_blank">Gis Dejeuner Sur L&rsquo;Herbe</a></em>, Curated by Jeroen Bouweriks<br /> This is one of the most successful pavilions shaped by a singular concept. The idea itself basically overwhelms the contributions of the artists, making it the curator&rsquo;s work more than anything else. Bouweriks asked a long list of artists, theorists, curators, gallerists, and designers&rdquo; in iPhone chats to Google Manet&rsquo;s painting<em> Le D&eacute;jeuner sur l&rsquo;Herbe</em> and then send him the &ldquo;original&rdquo; as an attached image. This prompt inspired reactions ranging from delight to confusion, with most contributors following his instructions exactly. Some deviate from the plan a little and send work adapted from or inspired by the famous painting, like this response (above) from the brilliant Renee Cox.</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/QByGFQBiV20" width="700"></iframe></p> <p>&nbsp;</p> <p><strong>Artist:</strong> Peter Rahul</p> <p><strong>Artwork:</strong> <em><a href="http://gfxfreeerror.com/peter-rahul.html" target="_blank">Phase 2</a></em><br /> A hypnotic abstract exploration of vintage computer graphics and CRT technology, this piece finds the right balance between warm nostalgia and an alternative future in a parallel universe where analogue conquered digital.</p> <p><strong>Pavilion:</strong> <em><a href="http://gfxfreeerror.com/index.html" target="_blank">GFX Free Error</a></em>, Curated by Haydi Roket<br /> Named after the error warning given to a malfunctioning video card, this pavilion features works that question the effects of broken technology on our perception of reality. The curator asks: &ldquo;Do we merely create new realities from these faults? If it&#39;s the sole truth, then what happens to those broken realities around us?&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" src="https://www.youtube.com/embed/bXn1xavynj8" width="700"></iframe></p> <p>&nbsp;</p> <p><strong>Artists:</strong> Signe Pierce &amp; Alli Coates</p> <p><strong>Artwork:</strong> <em><a href="https://q-safe-q.tumblr.com/tagged/signepierceandallicoates/" target="_blank">American Reflexxx</a></em><br /> A modern masterpiece of documentary art: the reaction these artists got for simply being &ldquo;different&rdquo; among those who consider themselves &ldquo;normal&rdquo; is truly horrifying. The film presents a perfect representation the soul-crushing culture of trolling and bullying that is now synonymous with being online. The subject was highlighted and compounded by the fact that the abuse continued when <a href="https://www.youtube.com/watch?v=bXn1xavynj8" target="_blank">the video was posted online</a>. Pierce says, &ldquo;It did feel similar to the mob scene all over again, only yes, people had the opportunity to bash me anonymously.&rdquo;</p> <p><strong>Pavilion: </strong><em><a href="https://q-safe-q.tumblr.com/tagged/home/chrono" target="_blank">Safe</a></em>, curated by Christopher Clary<br /> This pavilion explores the concept of being &ldquo;safe&rdquo; and &ldquo;safe spaces&rdquo; in network culture. The artists have each contributed work that &ldquo;questions the validity of safety through expressions of intersectional trauma&mdash;personal, familial, collective, and systemic.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="394" mozallowfullscreen="" src="https://player.vimeo.com/video/234747372" webkitallowfullscreen="" width="700"></iframe></p> <p>&nbsp;</p> <p><strong>Artist:</strong> Josefin Jonsson</p> <p><strong>Artwork:</strong> <em><a href="http://pinkpinkmoon.altervista.org/josefin-jonsson/" target="_blank">Falling Stars</a></em><br /> According to <a href="https://www.instagram.com/pastelae/" target="_blank">her Instagram</a>, Jonsson creates &ldquo;pastel original artworks with dream layers and soft pink internet feelings.&rdquo; This descriptor barely prepares you for this unsettling slice of futuristic, new-age hypnotherapy.</p> <p><strong>Pavilion:</strong> <em><a href="http://pinkpinkmoon.altervista.org/" target="_blank">Pink, Pink Moon</a></em>, Curated by Fabio Paris<br /> An all-women pavilion that is also one of the biennial&rsquo;s most compelling and subversive. The artists have made work that presents &ldquo;the pink as nexus of contemporary aesthetics and not as a feminist reading.&rdquo;</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171115154831-Mani_Nilchiani.gif" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>Artist:</strong> Mani Nilchiani</p> <p><strong>Artwork:</strong> <em><a href="http://foreverfornever.xyz/" target="_blank">You-Eye</a></em><br /> A clever, minimalist, motion-activated interactive piece that questions the value and meaning of familiar symbols of modern life. It&rsquo;s also a lot of fun to play with!</p> <p><strong>Pavilion: </strong><em><a href="http://foreverfornever.xyz/" target="_blank">Forever Fornever</a></em>, Curated by Chris Romero<br /> This pavilion looks at the disappearing line between our digital personas and our physical bodies. The artworks &ldquo;portray the present, a hyper-technological world, and hypothesize the future&mdash;a dream caught between utopia and nightmare.&rdquo;</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></p> <p><em>We run an online magazine, so of course, we&#39;re interested in what&#39;s happening with art on the web. We invited online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.</em></p> <p>&nbsp;</p> Thu, 16 Nov 2017 04:45:40 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Rebecca Kaufman Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/48461-under-the-radar-haya-ogura-rebecca-kaufman-lesley-blakelock" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from <a href="https://www.artslant.com/global/artists/show/489829-rebecca-kaufman" target="_blank">Rebecca Kaufman</a>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I am trying to communicate a re-evaluation of perception using the ancient&nbsp;technology&nbsp;of painting to reflect on the addictive visual technologies we rely so heavily upon today.</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>An artist&rsquo;s&nbsp;responsibility is to visually and conceptually communicate life experience&nbsp;within their community, connecting consciousness across space and time. As a mentor of mine once put it, &ldquo;the micro is always a&nbsp;reflection&nbsp;of the macro.&rdquo;</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171113085046-IMG_1060.jpg" /></p> <p>&nbsp;</p> <p>I don&rsquo;t know if this is the&nbsp;greatest thing I have ever made, but it&rsquo;s one of the greatest things I have had part in making. This mural was a collaboration between myself and a peer in graduate school, Greta Anderson, for a group exhibition we had&nbsp;titled <em>Psychedelia</em> at the Swell Gallery in San Francisco in 2016. The image was taken from a Bridget Riley painting, then mirrored vertically and horizontally and projected into the corner of two 16-foot-high walls. We easily logged 30 hours painting and installing the show, just to have to paint white over it 10 days later&mdash;but it was absolutely worth it.</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>If I want to make something, I will make it. No&nbsp;matter&nbsp;how monumental, or how many years it takes to complete, it will happen. Never say never!</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p><a href="http://laurarokas.com" target="_blank">Laura Rokas</a>, <a href="http://tcolcord.wixsite.com/tomcolcord" target="_blank">Tom Colcord</a>, and <a href="http://www.maryamyousif.com" target="_blank">Maryam Yousif</a></p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>End of Line</em>, 2017,&nbsp;Acrylic on Canvas, 67 x 84 x 1.3 inches)</span></p> Mon, 13 Nov 2017 00:53:33 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list “Good Art Always Gives”: Alvaro Barrington’s Generous First Solo at PS1 <p>Brooklyn-based artist <a href="https://www.instagram.com/alvarobarrington/?hl=en" target="_blank">Alvaro Barrington</a> views Marcus Garvey as &ldquo;an abstract avatar...like a saint or a north star of some sort.&rdquo; It&rsquo;s one of the things that drew him to London, where he attended the Slade School of Fine Art for graduate school in 2015&mdash;and where I befriended him. He describes his time there as a &ldquo;pilgrimage,&rdquo; often citing Garvey&rsquo;s life in London in relation to the body of work he made there:</p> <p style="margin-left: 80px;">[Garvey] died poor in London. It wasn&rsquo;t until decades later that Jamaica&mdash;where he was born&mdash;realized his influence and began to celebrate him. I imagine London being where the first real shift in his radical thinking early on in his life took place, and later [where] he had to take in his failures and the forces that destroyed his movement.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107142916-0E9A2187.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">All images: Installation view of&nbsp;<em>Alvaro Barrington</em>. On view at MoMA PS1 in New York from October 22 to December 31, 2017. Courtesy MoMA PS1. Photos: Pablo Enriquez</span></p> <p>&nbsp;</p> <p>Alvaro&rsquo;s painting, <em>Garvey loves flowers too </em>is the header image for <a href="https://www.moma.org/calendar/exhibitions/3901" target="_blank">his first (ever) solo show, at MoMA PS1</a> in New York, which opened October 22 and runs through December 31. The painting is large and arresting, made on burlap and partially woven with brown yarn using techniques orally passed on to him by his Grenadian aunts. The series represents the progression of Garvey&rsquo;s life. Alvaro described the process to me:</p> <p style="margin-left: 80px;">I used really high quality paint, Old Holland, in [<em>Garvey loves flowers too</em>] so the colors are vibrant; the last painting will be made of cheap quality house paint that will lose color and vibrancy quickly. It will be [Garvey] at the end of his life, confronting himself and where he might have went wrong.</p> <p>After a studio visit, Klaus Biesenbach invited Alvaro to show his work at PS1 shortly after he graduated. The intention of the exhibition is to reproduce the same energy of that visit and capture Alvaro&rsquo;s approach to painting, one that is more process-oriented and less product-based. Alvaro decided to include two works he did not make that are important to him: <em>Transaction in the sky</em>, a painting by Brooklyn-based artist <a href="http://www.ttfarrell.com" target="_blank">Teresa Farrell</a> and <em>A clock with no hands</em>, a porcelain sculpture I made. I was curious about his decision to include Teresa&#39;s and my work but mostly wanted to discuss his own. As the resulting conversation shifted back and forth between our practices it became clear how much we influence each other&rsquo;s work, and also how much the very act of dialogue and exchange are paramount to Alvaro&rsquo;s practice.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107142943-0E9A2255.jpg" /></p> <p>&nbsp;</p> <p><strong>Alvaro Barrington: </strong>As a way of making, everything comes from a personal place. All my material choices are things that were part of past experiences. The imagery&rsquo;s usually taken from something, then I push it. For example, I am making this dick painting based on Chris Ofili&rsquo;s <em>Pimping ain&rsquo;t easy. </em>I thought maybe I could do something with it, &lsquo;cause I got where Chris was coming from but didn&rsquo;t feel the same way. So I took the graphic structure, which is just a black dick that goes from the top to the bottom of the canvas, and as I was sewing it, I remembered my grandmother used to hang clothes outside to dry and I thought maybe I needed to bring some clothespins into the painting. But also before I got the idea to make a dick painting, I had bleached burlap thinking about Helen Frankenthaler and her staining, and my grandmother bleaching clothes to remove stains so I thought it would be cool to make a painting that starts with my grandmother, goes into a dick, then ends with my grandmother.</p> <p>I started sewing &lsquo;cause I remember my aunt had made me a tablecloth when I was like 15, which at the time I didn&rsquo;t really appreciate but kept using it for months &lsquo;cause I knew she would appreciate that I used it. The memory of her color choices always stuck with me and now I realize she was actually a quite brilliant artist.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107143148-0E9A2214.jpg" /></p> <p>&nbsp;</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;Art is always about visibility and being seen.&rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p><strong>Cristine Brache: </strong>It&rsquo;s interesting how you weave canonical works in with your personal history. It feels like you start with a purpose when making work but the purpose functions more as a point of departure, allowing the subconscious to consciously creep in.</p> <p><strong>AB: </strong>The studio is really the place that I process my own subconscious thinking, like, what images I pay attention to. Then I spend a year or two working through that particular image till it becomes something and in turn, my ideas change in the process too.</p> <p><strong>CB: </strong>I can relate to that.</p> <p><strong>AB: </strong>I remember you being very slow in your making. There is something important about your speed. I always think about your work in relationship to time, which is why I asked if I could put <em>A clock without hands</em> in the show.</p> <p><strong>CB: </strong>I&rsquo;ve never considered the actual time I&rsquo;ve spent making work in relation to its conceptual framework. Time, or more specifically, lost time, really resonates with me because it comes with feelings of erasure or non-being, yearning, and memory loss.</p> <p>The way you use material maternal figures in your life did also speaks to time and the preservation of being, almost as a way to canonize your family and give them space to be seen. Your decision to accentuate the presence of time in your paintings is what I chose to make absent with <em>A clock without hands</em>. Its inclusion in your show is poignant and poetic.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107143452-0E9A2221.jpg" /></p> <p style="text-align: center;">&nbsp;</p> <p><strong>AB: </strong>Art is always about visibility and being seen. It&rsquo;s what makes hip hop so powerful, it&rsquo;s the voice of people that society may not see. I was raised by mostly women and incorporating the materials they use is my way of trying to see them. It&rsquo;s like taking that journey with them and listening or being ready to listen cause I have a hint of what they went through.</p> <p><strong>CB: </strong>How do you think about time in relation to your own work?</p> <p><strong>AB:</strong> Time more recently is something that sits in an abstract place for me because I have the privilege of choosing how I exist in it. When I was working shitty jobs&ndash;&ndash;getting paid $5.15 an hour&ndash;&ndash;it was deeply tied to the idea of time as having a monetary value because it dictated so many aspects of my life. In the studio though, it&rsquo;s not so much about time but about what the work needs and sometimes it needs a quick gesture. Other times it needs a slow working that can take months.</p> <p>The cultural history in my work is very romanticized because I left Grenada when I was 8 and it&rsquo;s no longer the Grenada that I knew. But I make paintings that reflect that my early childhood was formed there. I&rsquo;m a lot of cultures blended together &lsquo;cause I think that reflects the immigrant experience. Cultures become a tool for me to use, to pick up and drop off, to think about my experiences. I guess because paintings get preserved, it&rsquo;s automatically a preservation of that.</p> <p>Maybe somewhat like you being Puerto Rican but not quite being Puerto Rican. I remember years ago us talking about what some would call code switching, but I think when you talked about it&mdash;about existing in these different cultural spaces in Florida, then China&mdash;it felt like you were talking about you and not the label of an action. It was like you were talking about things that can be labelled but really it was about you, not the label.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107143610-0E9A2173.jpg" /></p> <p>&nbsp;</p> <p><strong>CB: </strong>I think it&rsquo;s hard to feel rooted anywhere when my parents moved to the U.S. to raise me. Miami is particular in that it&rsquo;s a microcosm of Latin America. So almost everyone I grew up with was a first generation American, taking on both Latino and American cultural characteristics. My identity is very specific to Miami but it changes when I go to Puerto Rico or when I&rsquo;m in places outside of Miami in the U.S., or like China and Europe. In China people often didn&#39;t believe I was American because I don&#39;t have blonde hair or blue eyes, in Europe people were surprised when I told them I was Puerto Rican because they thought Puerto Ricans were all black. In other parts of the U.S. I was often put in the position to defend my identity often hearing &ldquo;Where are you <em>really</em> from?&rdquo; when I&#39;d first say I was from Miami. It&#39;s a burden and a gift.</p> <p><strong>AB: </strong>It always leaves me at a place of comfort and discomfort &lsquo;cause I like the mobility aspect of my identity and as an artist I get to play with it. But I imagine it&rsquo;s very different when your identity is grounded. Like, I see my two youngest brothers who were born in Brooklyn, and it&rsquo;s amazing to see how very secure in their narrative they are. I look back at when I was 20 and I felt so lost.</p> <p>But I&rsquo;m curious about how you end up with your material choices and also your reduction of specific objects, like <a href="http://cristinebrache.info/beware.html" target="_blank"><em>Beware of Dog</em></a>. It feels like they hint at things that you don&rsquo;t give away... I&rsquo;m glad we are having this conversation &lsquo;cause I never really want to ask you about your work. I think your work is the thing that people need to look at, not your personal history.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107143546-0E9A2161.jpg" /></p> <p>&nbsp;</p> <p><strong>CB: </strong>I think about material so much. It&rsquo;s very important to me that the material contradicts the objects it occupies, pointing to a space between (English) words. I think about what weight certain objects carry, associations that people typically project onto them and then think about how I can heighten that mood by making the object using an equally thought out material.</p> <p>Most successful work tends to open up and poke at emotional coordinates within psyches without being too explicit or arriving at any categorical statements. It also gives the viewer an opportunity to take a step into the grey area people often have so much trouble sitting still in. It&#39;s great to talk about methodologies and process but it&#39;s important that the conversation doesn&#39;t make the work. Ultimately, the work needs to complete itself.</p> <p>I felt that sense of completion the first time I saw your work. You have such a firm grasp on the formal qualities of painting, its history, and use of color and composition. When you add how carefully considered your subject matter and choice of material are, like the burlap and yarn, I am left with a strong feeling of closure with regards to the inner motions that occur in viewing it. It feels like an ardent trip that is very big and present yet doesn&#39;t dominate me. I think the way you handle abstraction and figuration helps navigate this process for the viewer.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107143639-0E9A2216.jpg" /></p> <p>&nbsp;</p> <p><strong>AB: </strong>Giving is really important in art in that it&rsquo;s the artist&rsquo;s personal experience of making it, but someone who is experiencing it feels like they have space in there. I think that&rsquo;s what holds me to your work &lsquo;cause it actually situates itself far less personally than my work does. I&rsquo;m always screaming for attention.</p> <p><strong>CB: </strong>[laughs] But you manage the demands for attention well. The big presence, both visually and emotionally don&rsquo;t dominate or try to control me.</p> <p><strong>AB: </strong>I think that&rsquo;s the presence part &lsquo;cause as I was an orphan, I never felt quite seen after my mom died. But I also want to be someone who can move without responsibility to stay. Control is tied to responsibility for me.</p> <p><strong>CB:</strong> Your install at PS1 is a very immersive feat.</p> <table align="center" width="600"> <tbody> <tr> <td style="padding: 10px;"> <p style="font-family: georgia, palatino; font-size: large; color: rgb(31, 31, 31); text-align: center;"><span style="font-size: x-large;"><em>&ldquo;One of my cousins who never goes to museums or galleries said he felt comfortable in the room and that meant everything to me. &rdquo;</em></span></p> </td> </tr> </tbody> </table> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107143850-0E9A2168.jpg" /></p> <p>&nbsp;</p> <p><strong>AB: </strong>It was meant for folks to question their own experiences so that it has to go back to the viewer. A lot of young artists make the mistake of thinking art means doing what they want to do and you look at the work and it takes from you emotionally &lsquo;cause it&rsquo;s not very giving. The artist is very selfish, but good art always gives. So when you say you&rsquo;re thinking about the materials in terms of how folks understand it, you&rsquo;re having a conversation with people about possibilities in their life.</p> <p>I always make so that I don&rsquo;t have to explain to my brother too much. So that he gets it from his own experiences or can just look and get enough of it. The intention with the work and the installation was for him and the community I grew up in could be in PS1 and feel like there is a space there for them. One of my cousins who never goes to museums or galleries said he felt comfortable in the room and that meant everything to me.</p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171107144021-0E9A2221.jpg" /></p> <p>&nbsp;</p> <p><strong>CB: </strong>Yeah I think I remember a conversation we had about that, I remember saying something along the lines of &ldquo;if my grandma can take something away in the viewing of the work then I&rsquo;ve succeeded.&rdquo; Art became a language through its history and context, hence its study. It is so niche it winds up alienating a lot of people who haven&#39;t learned its language and history when the work is solely operating on a conceptual level. I really don&rsquo;t like to make people feel stupid, which is why I think layers are important. They allow the work to be accessible to different kinds of viewers. It&rsquo;s confusing because art is often considered universal, though, contemporary art rarely is. It&rsquo;s a parallax that needs to be accounted for depending on the level of connectivity you&rsquo;re after.</p> <p><strong>AB: </strong>Art always happens in a community and that history has told the wrong story. It often isolates artists, especially black artists. You and Teresa [Farrell, also in the PS1 show] along with a lot of other folks are in my community. Your ideas and how you make helps push me. Like you and Teresa work opposite of each other in that she is a maximalist like Hieronymus Bosch and anything can end up in her work, including gum or a guy she had a relationship with, a TV show she saw, music she listens to. It can all end up in a single painting. And you&rsquo;re a minimalist in that you reduce things through a very considered deliberation. I like working between the two of you.</p> <p>I don&rsquo;t arrive at my ideas out of nowhere. It comes from our conversations about life and art, the same with my community and ways of seeing. The show is really about looking.</p> <p><br /> &mdash;Cristine Brache<br /> &nbsp;</p> <p><span style="font-size:12px;">(All images: Installation view of <em>Alvaro Barrington</em>. On view at MoMA PS1 in New York from October 22 to December 31, 2017. Image courtesy MoMA PS1. Photo by Pablo Enriquez.)</span></p> Wed, 08 Nov 2017 01:10:50 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Gregory Eddi Jones Answers 5 Questions <p><em>This is&nbsp;5 Questions. Each week, we send five questions to an artist featured in&nbsp;<a href="https://www.artslant.com/ams/articles/show/48370-under-the-radar-alphonso-dunn-traci-mims-gregory-eddi-jones" target="_blank">Under the Radar</a>, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers fro</em><em>m <a href="https://www.artslant.com/global/artists/show/487178-gregory-eddi-jones" target="_blank"><em>Gregory Eddi Jones</em></a></em><em>.</em></p> <p>&nbsp;</p> <p><strong>What are you trying to communicate with your work?</strong></p> <p>I generally manipulate appropriated images to critique the politics of original image sources. With my newest work, I&rsquo;m making Dadaist digital collages that signify their own futility as reflections of political spectacle.</p> <p><strong>What is an artist&rsquo;s responsibility?</strong></p> <p>I tend to shun that sort of mysticism, and I think if you think about the inverse of that question, what defines an irresponsible artistic act, there&rsquo;s little that could be mentioned aside from maybe the guy who shot a dog in the 70s. So I guess my conclusion is that the artist&rsquo;s responsibility is to not shoot dogs.</p> <p><strong>Show us the greatest thing you ever made (art&nbsp;or not)?</strong></p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/32120/1dkh/20171106133754-Untitled_Screen_Cap__12__the_fourth_wall_--_Gregory_Eddi_Jones_2017.jpg" /></p> <p style="text-align: center;"><span style="font-size:12px;">Gregory Eddi Jones, <em>Untitled Screen Cap #12 (the fourth wall)</em>, 2017</span></p> <p>&nbsp;</p> <p><strong>Tell us about a work you want to make but never will:</strong></p> <p>This probably doesn&rsquo;t count, but one time I wrote out a list of instructions, kind of like a Sol Lewitt thing, that people have to follow by using a camera in various utilitarian kinds of ways. One is that the reader must wait until nighttime, go outside, and throw their car keys as far as they can into the dark. Then they have to take photographs with a camera flash to find them and print the resulting photos. It&rsquo;s a pretty stupid thing, and I will never do it. (But if you want to do it, you have the instructions, and I would be happy to review your results.)</p> <p><strong>Who are three artists we should know but probably don&rsquo;t?</strong></p> <p>Well, I publish artists so I don&rsquo;t know if I want to point to individuals. All the artists published on <a href="http://www.inthein-between.com/featured-artists/" target="_blank">In the In-Between: Journal of Digital Imaging Artists</a> are worth knowing in my mind.</p> <p>&nbsp;</p> <p>&mdash;The ArtSlant Team</p> <p><em>ArtSlant is an open Arts community with over 200,000 free, user-generated&nbsp;<a href="http://www.artslant.com/ny/intros/plans" target="_blank">artist profiles</a>. The support of our community is an essential part of our mission&mdash;from our&nbsp;<a href="https://www.artslant.com/ew/articles/editorial" target="_blank">magazine</a>&nbsp;to our&nbsp;<a href="http://www.artslant.com/ny/articles/show/33747" target="_blank">residency</a>&nbsp;and&nbsp;<a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank">prize</a>.&nbsp;Follow your favorite artists to see new work and exhibitions by adding them to your&nbsp;<a href="http://www.artslant.com/global/articles/show/11143" target="_blank">watchlist.</a></em></p> <p>&nbsp;</p> <p><span style="font-size:12px;">(Image at top: <em>Flowers for donald </em>&nbsp;#<em>16 (press room [with sponsored content])</em>, 2017, Digital Collage)</span></p> Mon, 06 Nov 2017 05:43:00 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Under the Radar: Jill Pauline Smith | Will Peck | Janna Dyk <table style="width: 100%;"> <tbody> <tr> <td> <table align="center" border="0" style="width: 100%;"> <tbody> <tr> <td> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">ArtSlant is an open Arts community with over 200,000 free, user-generated <a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs" style="color: #097ff5; text-decoration: none;">artist profiles</a>. The support of our community is an essential part of our mission &mdash; from our <a href="http://www.artslant.com/ny/articles/editorial?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Mag" style="color: #097ff5; text-decoration: none;">magazine</a> to our <a href="http://www.artslant.com/ny/articles/show/33747" style="color: #097ff5; text-decoration: none;">residency</a> and <a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" style="color: #097ff5; text-decoration: none;">prize</a>. Every week our editors select the best artist profiles from under the radar. </span></em></span></p> <p><span style="font-size: medium;"><em><span style="font-family: georgia, palatino; line-height: 24px;">Follow your favorite artists to see new work and exhibitions by adding them to your <a href="http://www.artslant.com/global/articles/show/11143" style="color: #097ff5; text-decoration: none;">watchlist.</a></span></em></span></p> <hr /> <p><a href="https://www.artslant.com/global/artists/show/493030-jill-pauline-smith?tab=PROFILE?utm_source=JillPaulineSmith&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="font-family: georgia, palatino; font-size: large;"><span color="#097ff5" face="georgia, palatino" georgia="" large="" palatino="" size="4" style="color: #097ff5; text-decoration: none;">Jill Pauline Smith &ndash; Toronto</span></span></a></p> <p><a href="https://www.artslant.com/ew/works/show/1068725?utm_source=JillPaulineSmith&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1068725/u3azr9/20171016230350-_MG_9295.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1068724?utm_source=JillPaulineSmith&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1068724/y8wnrh/20171016230349-_MG_9276.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1068727?utm_source=JillPaulineSmith&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1068727/y8wnrh/20171016230355-_MG_9310.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1068728?utm_source=JillPaulineSmith&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1068728/y8wnrh/20171016230359-_MG_9316.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/493115-will-peck?utm_source=WillPeck&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Will Peck &ndash; Norwich</span></a></p> <p><a href="https://www.artslant.com/ew/works/show/1069839?utm_source=WillPeck&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1069839/u3azr9/20171023152503-Will_PeckPhotopaper_sceen_shots_9.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1069832?utm_source=WillPeck&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1069832/y8wnrh/20171023152414-Will_PeckPhotopaper_sceen_shots_4.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1069838?utm_source=WillPeck&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1069838/y8wnrh/20171023152501-Will_PeckPhotopaper_sceen_shots_10.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1069848?utm_source=WillPeck&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1069848/y8wnrh/20171023152626-Will_PeckPhotopaper_sceen_shots_19.jpg" width="100%" /></a></td> </tr> </tbody> </table> <hr /> <p><a href="https://www.artslant.com/global/artists/show/493505-jannadyk?tab=PROFILE?utm_source=JannaDyk&amp;utm_medium=image&amp;utm_campaign=Radar" style="text-decoration: none;"><span color="#097ff5" face="georgia, palatino" size="4" style="color: #097ff5; font-family: georgia, palatino; font-size: large;">Janna Dyk &ndash; New York</span></a></p> <p><a href="https://www.artslant.com/ew/works/show/1070277?utm_source=JannaDyk&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1070277/u3azr9/20171024195412-janna_dyk_this-lr.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="100%" /></a></p> <table width="100%"> <tbody> <tr> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1070261?utm_source=JannaDyk&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1070261/y8wnrh/20171024192604-DykJanna_Certain_People-HD_IMG_5981-lr.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1070259?utm_source=JannaDyk&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1070259/y8wnrh/20171024192352-janna_dyk_is-lr.jpg" width="100%" /></a></td> <td style="padding 0px;" width="33%"><a href="https://www.artslant.com/ew/works/show/1070272?utm_source=JannaDyk&amp;utm_medium=image&amp;utm_campaign=Radar"><img src="https://s3.amazonaws.com/media.artslant.com/work/image/1070272/y8wnrh/20171024194250-DykJanna_YouAreMySunshine_lr.jpg" width="100%" /></a></td> </tr> </tbody> </table> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><em><span style="font-family: georgia, palatino; font-size: medium; line-height: 24px;">ArtSlant supports thousands of contemporary artists through our outreach and exposure programs&mdash;come join the best online arts community today!</span></em></p> <p style="text-align: center;">&nbsp;</p> <table> <tbody> <tr> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/articles/show/8456?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Prize" target="_blank"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170213165906-ArtSlant_Prize_IX_2017-01.jpg" style="width: 100%;" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.artslant.com/par/foundation?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Residency"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182447-residency-logo-300.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="https://www.amazon.com/sp?_encoding=UTF8&amp;asin=&amp;isAmazonFulfilled=&amp;isCBA=&amp;marketplaceID=ATVPDKIKX0DER&amp;orderID=&amp;seller=A2JPU387EQQ9HR&amp;tab=products&amp;vasStoreID=#" style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182634-sales-room-200-logo.jpg" width="100%" /></a></td> <td style="padding 0px;" width="25%"><a href="http://www.artslant.com/ny/intros/plans?utm_source=Radar&amp;utm_medium=image&amp;utm_campaign=Subs"><span style="font-family: georgia, palatino;"><img src="http://dbprng00ikc2j.cloudfront.net/userimages/84518/3mfh/20150605182549-profile-subscriptions-logo-300.jpg" width="100%" /></span></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Sun, 05 Nov 2017 06:58:07 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list DEADLINE EXTENDED - Georgia Fee Artist | Writer Residency, Paris <table align="center" cellpadding="10" style="width: 600;"> <tbody> <tr> <td> <p><span style="font-family: georgia, palatino; font-size: 18px;">We experienced some glitches that prevented some from applying over the last two days. To remedy this, we&rsquo;ve extended the application period to </span><strong style="font-family: georgia, palatino; font-size: 18px;">Friday, November 3rd at 7 PM Eastern Time</strong><span style="font-family: georgia, palatino; font-size: 18px;">.&nbsp;</span></p> <p><span style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">The Georgia Fee Artist | Writer Residency provides the recipient with:</span></p> <ul> <li> <p><span style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">An apartment/studio in the 15th arrondissement from February 1&ndash;March 31, 2018.</span></p> </li> <li> <p><span style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">Travel to and from Paris</span></p> </li> <li> <p><span style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">$1000/month stipend&nbsp;</span></p> </li> </ul> <p style="text-align: center;"><strong><span style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">Apply&nbsp;<a href="https://www.artslant.com/par/foundation" style="text-decoration: none; color: rgb(0, 207, 166);">here</a>.</span></strong></p> <p>&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171005162505-georgia-fee-studio.png" width="600" /></p> <p style="text-align: center;"><span style="font-size:10px; font-family: georgia, palatino;">The Georgia Fee Artist | Writer Residency, 2017&nbsp;</span></p> <p style="text-align: center;">&nbsp;</p> <p style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">The&nbsp;Georgia Fee Artist | Writer Residency&nbsp;was established in memory of&nbsp;<a href="https://www.artslant.com/ew/articles/show/32913" style="text-decoration: none; color: rgb(0, 207, 166);">ArtSlant&rsquo;s Founder who passed away December 8, 2012.</a> Georgia was dedicated to supporting and investing in artists and writers, and had a deep connection with the city of Paris.&nbsp;</p> <p style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">The Residency selects artists and writers who critically engage with the city of Paris, its history and its potential. It provides an opportunity for awardees to explore the cultural landscape of the city; to deepen their practice through experimention and research; and to increase exposure of their work to an international audience.</p> <p style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">Visual artists of all mediums, art writers, and critics, 24 years or older are welcome to apply. Selection is made based on the merit of past work, the potential for future success, the ability to independently develop new work, and the proposed project&rsquo;s relevance to the city of Paris. Recipients will be required to produce a serial, web-based component (blog, visual essay, hypertextual experiment, etc.) which will be hosted on ArtSlant.com.</p> <p style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">The Georgia Fee Artist | Writer Residency in Paris provides the recipient with lodging for 2 months in an apartment/studio in the 15th arrondissement, travel to and from Paris, and a $1000/month stipend. Residents are expected to secure their own travel documents and visas. Requirements depend on country of origin.&nbsp;</p> <p style="font-family: georgia, palatino; font-size: 18px; line-height: 28px; text-align: center;"><strong style="text-align: center;"><span style="font-family: georgia, palatino; font-size: 18px; line-height: 28px;">Apply&nbsp;<a href="https://www.artslant.com/par/foundation" style="text-decoration-line: none; color: rgb(0, 207, 166);">here</a>.</span></strong></p> </td> </tr> </tbody> </table> Thu, 02 Nov 2017 05:25:45 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list ArtSlant Prize Round 8 Jurors Announced - Apply by Nov. 3rd <p>Round 8 closes November 3rd! Apply today for your chance at $5k in prizes!</p> <p>To apply, sign in to <a href="https://www.artslant.com">artslant.com</a>, click the navicon in top right&nbsp;and select&nbsp;ArtSlant Prize from the menu.</p> <p>The ArtSlant Prize is an annual competition for emerging artists hosted by ArtSlant.com. Up for grabs are cash prizes, an exhibition, and sales opportunities like inclusion in our&nbsp;<a href="http://www.amazon.com/gp/node/index.html?ie=UTF8&amp;marketplaceID=ATVPDKIKX0DER&amp;me=A2JPU387EQQ9HR&amp;merchant=A2JPU387EQQ9HR&amp;redirect=true">Amazon Art Sales Platform</a>&mdash;not to mention great exposure to thousands of ArtSlant readers and followers throughout the whole process!</p> <p>Check out the latest submissions from the ArtSlant Community on our&nbsp;<a href="http://www.artslant.com/ny/showcases/showcase">Art page</a>.</p> <p>Previous ArtSlant Prize Winners&nbsp;have gone on to secure gallery representation and have been purchased by prominent collectors, museum directors, and personalities.</p> <hr /> <p style="text-align: center;"><span style="font-size:20px;"><strong>ROUND 8 JURORS:</strong></span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171030152204-patton_hindle.png" style="width: 300px; height: 300px; margin-left: 10px; margin-right: 10px; float: left;" /></p> <p style="line-height: 30px;"><font face="georgia" size="4"><strong>Patton Hindle</strong> is the Director of Arts at <a href="https://www.kickstarter.art/" style="color: #00cfa6; tex-decoration: none;">Kickstarter</a> where she oversees the Arts and Performance Arts team, whose specialists works closely with visual and performing artists, arts organizations, museums and cultural institutions around the world to help them realize creative and ambitious ideas through Kickstarter. Hindle was previously the Director of Gallery and Institutional Partnerships at Artspace and is a current partner at Lower East Side gallery, <a href="http://yoursmineandoursgallery.com/" style="color: #00cfa6; tex-decoration: none;" target="_blank">yours mine &amp; ours</a> &mdash; a space she opened September of 2016 with RJ Supa, Courtney Childress, and Nick Rymer. Hindle came to New York as the Director of DODGEgallery, a Lower East Side program which she helped open and run. She was raised in London and attended university in Boston, Massachusetts.</font></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20171030152126-The-They-Co-032_R.png" style="width: 300px; height: 300px; float: left; margin-left: 10px; margin-right: 10px;" /></p> <p style="line-height: 30px;"><font face="georgia" size="4"><strong>Ambre Kelly </strong>and<strong> Andrew Gori</strong> are the co-creators of the social experiment art fair <a href="http://www.springbreakartshow.com/" style="color: #00cfa6; text-decoration: none;" target="_blank">SPRING/BREAK Art Show</a>. Styled as a pop-up biennial in the guise of a trade show fair, independent curators are given no-cost exhibition space in underused New York City landmarks to fulfill art themes relevant to overarching social and cultural predicaments. Kelly is a painter, currently fulfilling her latest Current Affairs series and Gori is a filmmaker, currently developing projects with his film company, CAMERA READY. Together they are artistic collaborators on the photographic series SIGHTSEERS, as well as subsequent film and production content through their collaborative company, THE THEY CO.</font></p> <p style="text-align: center;">&nbsp;</p> <hr /> <p style="text-align: center;"><img alt="" src="https://s3.amazonaws.com/media.artslant.com/userimages/84518/3mfh/20170104153040-ArtSlant_Prize_IX_2017-01.jpg" style="width: 200px; height: 200px;" /></p> <p style="text-align: center;"><span style="font-size:20px;"><strong>Previous ArtSlant Prize Winners</strong></span></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2016+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2016:</a>&nbsp;</strong></span><a href="https://www.artslant.com/global/artists/show/318334-brigitta-varadi" style="font-family: georgia, palatino; font-size: large;" target="_blank">Brigitta Varadi</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/71495-tiffany-smith" style="font-family: georgia, palatino; font-size: large;" target="_blank">Tiffany Smith</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/280850-sterling-crispin" style="font-family: georgia, palatino; font-size: large;" target="_blank">Sterling Crispin</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/468710-bex-ilsley" style="font-family: georgia, palatino; font-size: large;" target="_blank">Bex Ilsley</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;</span><a href="https://www.artslant.com/global/artists/show/373164-zzin-jinhee-park" style="font-family: georgia, palatino; font-size: large;" target="_blank">Jinhee Park</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2015:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/16146-theresa-ganz" style="font-family: georgia, palatino; font-size: large;" target="_blank">Theresa Ganz</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/315939-tina-tahir" style="font-family: georgia, palatino; font-size: large;" target="_blank">Tina Tahir</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/204298-rachel-garrard" style="font-family: georgia, palatino; font-size: large;" target="_blank">Rachel Garrard</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/347173-bryan-volta" style="font-family: georgia, palatino; font-size: large;" target="_blank">Bryan Volta</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2014+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2014:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/45525-edra-soto" style="font-family: georgia, palatino; font-size: large;" target="_blank">Edra Soto</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/246553-adam-douglas-thompson" style="font-family: georgia, palatino; font-size: large;" target="_blank">Adam Douglas Thompson</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/241839-anastasia-samoylova" style="font-family: georgia, palatino; font-size: large;" target="_blank">Anastasia Samoylova</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/378398-oren-pinhassi" style="font-family: georgia, palatino; font-size: large;" target="_blank">Oren Pinhassi</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2013+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2013:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/247077-robin-kang?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Robin Kang</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/238335-maureen-meyer?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Maureen Meyer</a><span style="font-family: georgia, palatino; font-size: large;">,&nbsp;&nbsp;</span><a href="http://www.artslant.com/ny/artists/show/334738-alison-pilkington?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Alison Pilkington</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/311414-alexis-courtney?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Alexis Courtney</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2012+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2012:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/135691-veronica-bruce" style="font-family: georgia, palatino; font-size: large;">Veronica Bruce</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/23907-steven-vasquez-lopez" style="font-family: georgia, palatino; font-size: large;" target="_blank">Stephen Vasquez Lopez</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/152389-susan-meyer" style="font-family: georgia, palatino; font-size: large;">Susan Meyer</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/224530-timothy-gaewsky" style="font-family: georgia, palatino; font-size: large;" target="_blank">Timothy Gaewsky</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2011+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2011:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/233718-holly-murkerson" style="font-family: georgia, palatino; font-size: large;" target="_blank">Holly Murkerson</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/36482-jason-irwin" style="font-family: georgia, palatino; font-size: large;" target="_blank">Jason Irwin</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/57515-christine-de-la-garenne" style="font-family: georgia, palatino; font-size: large;" target="_blank">Christine de la Garenne</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2010+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2010:</a>&nbsp;</strong></span><a href="http://www.artslant.com/global/artists/show/18169-chantel-foretich?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Chantel Foretich</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/global/artists/show/29757-robert-minervini?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Robert Minervini</a></p> <p style="margin-left: 40px;"><span style="font-family: georgia, palatino; font-size: large;"><strong style="font-size: large;"><a href="http://www.artslant.com/ny/showcases/showcase?sublist=winners%5E2009+Winners" style="text-decoration-line: none; color: rgb(0, 0, 0);">2009:</a>&nbsp;</strong></span><a href="http://www.artslant.com/ny/artists/show/103857-michael-zelehoski?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Michael Zelehoski</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/46020-yo-fukui?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Yo Fukui</a><span style="font-family: georgia, palatino; font-size: large;">, </span><a href="http://www.artslant.com/ny/artists/show/10432-julie-davidow?listtype=showcase" style="font-family: georgia, palatino; font-size: large;" target="_blank">Julie Davidow</a></p> <hr /> <p><span style="font-family: georgia, palatino; font-size: small;">**All participants in the ArtSlant Prize Showcase Series agree to ArtSlant&#39;s&nbsp;&nbsp;<a href="http://www.artslant.com/global/articles/show/5575">Terms &amp; Conditions</a>.</span></p> <p><span style="font-family: georgia, palatino; font-size: small;">**<em>Fees from the Artslant Juried Showcase competitions will be dedicated to the promotion of our prize winners and the administration of the competition.</em></span></p> Wed, 01 Nov 2017 06:04:19 -0700 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list Wednesday Web Artist of the Week: Tom Galle <p>Belgian-born, New York-based <a href="http://tomgalle.online/">Tom Galle</a> is the epitome of the contemporary web artist. His work is saturated with the very essence of hyper-digital nowness. He has created an online persona that is at once supremely infatuated with and deeply questioning of the profound impact that the internet has had on all of our bodies and brains.</p> <p>Galle creates art that operates on two distinct levels: it is philosophical and political but also instant and accessible, effortlessly walking the line between academic art and internet meme cultures. In this way, his dark humor-laced practice can be seen as a telling indicator of the nature of successful art in the internet (and post-internet) age.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:57.22222222222222% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BV5jUEKgwgi/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>Christian Petersen: Were you a rebellious kid? </strong></p> <p><strong>Tom Galle:</strong> Funny question, I indeed wasn&rsquo;t the easiest kid. I was very uninterested in school&mdash;everything seemed so boring and I turned to trolling teachers (not in an aggressive way) to find a source of excitement. As a result I was kicked out of a few schools, and ended up in private school by the time I was 16. Through a sort of alternative educational system I ended up getting my high school diploma at 18 and went off to art school. I&#39;ve always felt a bit complex compared to other people since I never had the &ldquo;basic&rdquo; education, but recently I feel like I actually learned trolling back in those days, which I&rsquo;m using often in my work&mdash;so I&#39;m very thankful to all those teachers that made things very boring and never believed in me.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BV0kBPEjrMs/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by </a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: When did you first become aware of the existence of the Internet?</strong></p> <p><strong>TG:</strong> Probably when my parents installed it at home : ) I was still very young but I remember a huge amount of excitement and anticipation around the idea that people now suddenly have access to &ldquo;anything&rdquo;&mdash;all we had to do was search for it. At that time it felt like no one could really grasp the complete idea of it and where it was going. The excitement only grew with chat apps, gaming, and early social media platforms.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:49.907407407407405% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BTFTz6PjhAd/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by </a></p> </div> </blockquote> <p>&nbsp;</p> <p><strong>CP: What did you imagine it to be before you used it?</strong></p> <p><strong>TG:</strong> I literally had no idea, but the idea of it being such a new, free landscape of opportunities, connections, and obscurities&mdash;it felt overwhelming and exciting at the same time. Like whole a new free world, it had an anarchistic side to it. There were no rules. Obviously that was an entirely different time. We&rsquo;re surfing in a corporate landscape these days.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BNczmbIjanA/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <p>&nbsp;</p> <p><strong>CP: What early experiences of the internet are most memorable to you?</strong></p> <p><strong>TG:</strong> <a href="http://rotten.com/">rotten.com</a>. Connecting with strangers on chat platforms or games. I loved <em>Worms</em>, <em>Command &amp; Conquer</em>, <em>Counterstrike</em>, etc. Connecting to random people for chatting and gaming was one of the first things that blew me away&mdash;things we take for granted now. That general feeling of <em>anything is possible here</em> was very exciting.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BN-Qk1Lj2nL/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: When did you start re-appropriating the common language and aesthetics of the internet into your work?</strong></p> <p><strong>TG:</strong> I started my career in the creative agency/advertising world and was lucky to end up in a forward-thinking agency. That was around 2008, and advertising seemed pretty boring and conservative in my eyes&mdash;a lot of TV ads and stuff. As a counter-reaction I started making internet-focused work. The work was very much focused on speaking the language people speak on the internet to get them engaged. Work that takes part in the culture on the internet. I made a couple of brand projects that worked really well in that regard, and at the same time I was very attracted to the internet art world. I started making side projects such as <em><a href="http://tomgalle.online/Graffiti-Loop" target="_blank">Graffiti Loop</a></em>, the <a href="http://tomgalle.online/1000000-for-iPhone" target="_blank">$1000000 app</a> for iPhone, and these simple one-off websites, things I&rsquo;m still very proud off. I think both practices enforced each other; they&rsquo;re both very conceptual and had a similar approach in taking part in online culture, which is what I still do today.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:57.08333333333333% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BU5GCINDiHZ/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: Do you think the internet has lived up to its initial promise?</strong></p> <p><strong>TG:</strong> I don&rsquo;t think there was any promise. It was just a plain new playground full of opportunity and without many rules. You could say that the way the internet was envisioned by its creators didn&rsquo;t live up to its promise. They envisioned it to stay free&mdash;without state interference or corporate powers overtaking it. That obviously didn&rsquo;t happen, as we all know. I think that&rsquo;s just the world we live in unfortunately. As if state and corporate powers would leave the internet and all its opportunities untouched, lol&mdash;they&#39;re mostly doing with the internet what they do in real life.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BWLo2QDjjZo/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What does &ldquo;trolling&rdquo; mean to you?</strong></p> <p><strong>TG:</strong> Trolling has a very negative connotation on the internet. &ldquo;Real&rdquo; internet trolls are pretty hardcore bullies that get off on hurting people on online platforms. In my work I try to approach it very differently&mdash;it&rsquo;s much more about finding a precise tone of voice that tries to poke fun at touchy subjects without going too far. It challenges people to be somewhat self-deprecating. <em><a href="http://tomgalle.online/Goodbye-Unfollower" target="_blank">Goodbye Unfollower</a></em> is a good example. People got unsolicited tweets about touchy subject like unfollowing; because it is a loaded subject taken out of context, that&rsquo;s what makes it funny.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BC6YqOBkO2s/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: How would you describe your sense of humor? </strong></p> <p><strong>TG:</strong> Dry humor? Satire? Irony? I love to find the humor in the sad things on the internet. Unfollowers, Tweets that don&rsquo;t get attention, negative comments. It&rsquo;s sort of a depressing, self-deprecating tone of voice I guess. A lot of it is also based on meme-humor. Things like <em><a href="http://tomgalle.online/Tinder-VR" target="_blank">Tinder VR</a></em> or the <a href="http://tomgalle.online/Jesus-Christ-Fidget-Spinner" target="_blank">crucified Fidget Spinner</a> try to capture that language and take part in that cycle.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BUzZTM8DIpu/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: You work shows a love/hate relationship (fascination and fear) with the rise of digital culture. Do you&nbsp;think the internet is ultimately a positive influence on humanity? </strong></p> <p><strong>TG:</strong> That fascination and repulsion is exactly how I feel about it. There are a lot of positive aspects to the internet, but at the same time we&rsquo;re accepting weird behavior we never thought we would years ago. Think of an idea like Tinder where you&rsquo;re simply swiping through people in a way to find a potential lover. We accepted all these behaviors at an amazingly fast pace.</p> <p>I love creating surreal scenes that express my feeling about these behaviors and poke fun at them, in an effort to confront people with it and make them feel uncomfortable, intrigued, or even repulsed. It&rsquo;s not unusual for people to get angry about my work. All I want to say to them then is, &ldquo;You&rsquo;re angry at (your) internet behavior. I&rsquo;m just the messenger.&rdquo; None of my work tends to judge or make bold statements about things. It&rsquo;s just a reflection on what we are doing and the way we are consuming the internet.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BXLcTNEDPmc/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: Is the internet&rsquo;s pressure on creative people to constantly produce content healthy? </strong></p> <p><strong>TG:</strong> I think it&rsquo;s a very exciting time for creatives on the internet. We get a constant stream of inspiration and can create and release an idea in a couple of hours and get immediate feedback. It can have a very positive effect. The excitement turns into more ideas and before you know it you&rsquo;re on a streak. I think my work comes to life in that sort of cycle&mdash;which is bordering on the edge of healthy excitement and addictive, obsessive behavior. I remember very overwhelming moments when things go viral and I got carried away by unhealthy behavior, but over time I learned the importance of taking breaks and distancing myself from the internet to keep the work genuine and not purely audience-guided.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BR2Ax2Dj3dr/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: You describe yourself as a &ldquo;meme-artist.&rdquo; When did you first become aware of the term &ldquo;meme&rdquo; and its meaning?</strong></p> <p><strong>TG:</strong> It was actually a friend of mine who coined this term for me. At a dinner I struggled to introduce myself to a group of people and my friend just jumped in and said &ldquo;He&rsquo;s a Meme-Artist.&rdquo;</p> <p>I liked how that sounded; it felt broad enough and I like to roughly define it as &ldquo;work that speaks the language of the internet.&rdquo; Meme language is the commonly spoken language of the internet, transcending culture and language. Not only in imagery but also in the way people talk and behave online. It&rsquo;s incredible how it is completely integrated in almost all aspects of the internet. My work tries to interpret aspects of meme culture and its language, and integrate/transform it into ideas that themselves become memetic and take part in that cycle.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BHFDSw1DX1y/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What do you think the art &ldquo;establishment&rdquo; thinks of internet art? Have you had any interest from that side of things?</strong></p> <p><strong>TG:</strong> I can start feeling an interest from the art world now, but it&rsquo;s very recent. I think the art world always had difficulties with internet art in a gallery context but they had their love story with internet/media art a couple of years ago with Cory Archangel, Petra Cortright, Jon Rafman, and co. Some really interesting artists found their way in and became established artists now, and it seems like their practice is somewhat adjusted to that audience.</p> <p>With the rise of social media and this whole new generation of artists doing such interesting things, it feels like we&rsquo;re way underrepresented in the art world. The art world is probably somewhat scared, and it&rsquo;s not unjustified. Platforms offer a voice to everyone and similar meme-language gets spoken by all users so it all blends into one melting pot.</p> <p>It&rsquo;s probably time to redefine what an &ldquo;artist&rdquo; is these days. It seems like the art world can&rsquo;t find an appropriate way to deal with this generation, and the artists are having too much fun on the internet to even bother.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BS1voF-DVnG/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: When did you first become aware of the concept of corporate culture and its negative effects?</strong></p> <p><strong>TG:</strong> When I moved to the US : ) Europe is somewhat moderate since the government sets some limits to what corporations can do. Here the culture feels so focused around corporate money and power, sold to people under the idea of the American dream. I found it very confrontational and it made me feel isolated and scared. I started thinking of how free we really are, where our opinions come from and how we live in a society of mass compliance to a system that seems doomed to fail, probably not in a good way. It felt like something I wanted to address and my friends and I started thinking and talking about those subjects.&nbsp;</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BWbDB2_D8OP/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What inspired your new series of <a href="http://tomgalle.online/Corp-Gear" target="_blank">corporate logos recreated as weapons</a>?</strong></p> <p><strong>TG:</strong> Corporate culture became a common subject amongst me and my friends, and my friend and frequent collaborator Moises Sanabria and I came up with the idea of creating weapons that somewhat represent or visualize the oppressive/aggressive aspects of corporate institutions. The objects at the same time could be symbols for revolt against them, which gave them an interesting tension. We loved the idea and worked with Alyssa Davis from <a href="https://www.instagram.com/crucible.nyc/" target="_blank">@crucible.nyc</a> and Brian Yudin. We designed the weapons and Alyssa and Brian made them in a specialized metal studio. We like to see &ldquo;Corp Gear&rdquo; as a concept that could keep evolving into different things that translate a similar idea, and our friend Devon Halfnight Leflufy was brought into the conversation to also make some sort of <a href="http://tomgalle.online/Devon-SS17-Presentation" target="_blank">fashion line</a> around it. So we&rsquo;re planning on more releases under this umbrella :)</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BYtQ3_QDDcl/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: Your work can be very political but also works as easily digested meme art. How do you create that balance?</strong></p> <p><strong>TG:</strong> I&rsquo;m just not into straightforward art that presses specific messages upon you. I think the best art is work that leaves things open for interpretation and doesn&rsquo;t tell you what to think&mdash;at that point you&rsquo;re making communication/advertising work. I think that&rsquo;s what makes it easy to digest. It sets a tone of voice and probably triggers some people, but it doesn&rsquo;t tell you exactly what to think or how to feel. They can fill that in themselves.&nbsp;Another reason could be that my work speaks a language that people are familiar with on the internet.</p> <p>&nbsp;</p> <blockquote class="instagram-media" data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"> <div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:50.0% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;">&nbsp;</div> </div> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/p/BXI03z_jTRC/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank">A post shared by</a></p> </div> </blockquote> <script async defer src="//platform.instagram.com/en_US/embeds.js"></script> <p>&nbsp;</p> <p><strong>CP: What else do you have coming up?</strong></p> <p><strong>TG:</strong> My friend Moises and I have our first solo show on December 6 in <a href="https://upforgallery.com/future/" target="_blank">Upfor Gallery</a> in Portland. That&rsquo;s our main focus for now :)</p> <p>&nbsp;</p> <p>&mdash;<a href="http://www.artslant.com/global/artists/show/441718-christian-petersen?tab=REVIEWS" target="_blank">Christian Petersen</a></p> <p><em>We run an online magazine, so of course, we&#39;re interested in what&#39;s happening with art on the web. We invited online gallerist, founder, and curator of&nbsp;<a href="http://www.digitalsweatgallery.com/" target="_blank">Digital Sweat Gallery</a>, Christian Petersen, to write a bi-monthly column for us. Every other Wednesday he selects a Web Artist of the Week.</em></p> <p>&nbsp;</p> Tue, 07 Nov 2017 03:58:49 -0800 https://www.artslant.com/ny/Articles/list https://www.artslant.com/ny/Articles/list