Bigindicator

Call and Response

Event  |  Reviews  |  Comments
20180120190356-the-essence-of-a-moment_-reverse-fourier_4
Call and Response
Curated by: Kelly Rae Aldridge

56 Bogart Street
Brooklyn , NY 11206
February 3rd, 2018 - February 25th, 2018
Opening: February 2nd, 2018 7:00 PM - 9:00 PM

QUICK FACTS
WEBSITE:  
http://www.nurtureart.org
EMAIL:  
gallery@nurtureart.org
PHONE:  
718-782-7755
OPEN HOURS:  
Thurs through Mon, 12-6pm
COST:  
Free

DESCRIPTION

NURTUREart is pleased to present Call and Response, a group exhibition curated by Kelly Rae Aldridge and featuring artists Salome AsegaSophia BruecknerOrnella Fieres, and Sam LavigneCall and Response explores how we speak to our machines and how our machines speak through us.

The pulse of communication, measured in clicks, clips, and sound bites, makes it difficult to discern what is being said and to whom.  Much of what we express through technology is conveyed by lines of code, but their impact on how our utterances move through space is often opaque. How do we parse these substrates of communication?

One way is to peel back technological paraphernalia to their most basic processes: input / output, post / comment, call / response. In the call and response, one voice addresses many, and many voices respond as one, creating a circuit between the participants through which knowledge and experience have been shared for centuries. Each artist in this exhibition explores this circuitry and how it moves through our technologically mediated present.

Ornella Fieres uses data analysis to transform found mid-twentieth century photographs into frequencies rendered as flares of light that are inextricably bound to their analogue source. When a computer translates this data back into an image, the original photograph echoes through the digital recast. Fieres pairs these photographs with video montages in which early television’s fascination with its own apparatuses — tools for capturing and broadcasting images — become both the subject and agent of their own remediation.

This excavation of the past continues through a series by Salome Asega. Beginning with a box of photographs belonging to her grandparents, Asega encodes the memories, locations, popular culture, etc., that get passed from one generation to the next into her family archive. She uses digital collage as an interface between intimate and global histories, which she then returns to her grandmother as postcards, reasserting their physical and personal context.

Sophia Brueckner also examines intimacy, in this case one drawn between herself and the computer. Inseparable from computers since the age of three, this series of programs and videos represent a period of personal disenchantment and later reconciliation with code. She sings C++ instructions that tell a program to run the recording of her instructions, creates a generative software that sings its own code, and captures her own frustrated breakdown by a dictation machines as it fails to understand her. Through moments of poetic alignment, cacophonous rupture, and the steady hum in-between, Brueckner explores the power and limitations of our increasing enmeshment with machines.

Taking this enmeshment further, Sams Lavigne investigates the ways artificial intelligence and natural language processing are integrating into social, economic, and even biological systems, thus enabling machines to speak to and through humans. He aims a machine learning system at gallery visitors which demands they perform movements and mimic behaviors for its benefit. The computer simultaneously learns from and judges the performers’ choreography, blurring the boundaries between participation, surveillance, and control.


 

Ornella Fieres was an inaugural Science Sandbox @ New Lab Fellow through the Simons Foundation and grant recipient from 1822-Forum Frankfurt.  She is represented by Sexauer Gallery in Berlin, and serves as a board member of SALOON, a network for women in the arts. Fieres’ work has been featured in PANTA Magazine, Frankfurter Allgemeine Zeitung, Spex, Exberliner, Juxtapoze Magazine, Frankfurter. She received her Diploma in Visual Communication from Hochschule für Gestaltung Offenbach.

Salome Asega is an artist, researcher, and current Technology Fellow at the Ford Foundation. She is co-host of speculative talk show Hyperorpia: 20/30 Vision on bel-air radio and the Director of Partnerships for POWRPLNT, a digital art collaboratory. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has given presentations at NEW INC, Performa, Eyeo, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.

Sophia Brueckner is an artist, designer, and engineer, and self-identified cyborg. Previously a software engineer at Google and Google Research, she designed and implemented products and experimental projects within Google Research. Brueckner’s work has been featured internationally including at SIGGRAPH, ISEA, the Peabody Essex Museum, the Bemis Center for Contemporary Art, the Urban Institute for Contemporary Art, and the Leaders in Software and Art Conference in New York. She is an Assistant Professor at Stamps School of Art & Design at the University of Michigan – Ann Arbor. Breaker received a Sc.B. in Computer Science and Applied Mathematics from Brown University, an MFa in Digital + Media at the Rhode Island School of Design, and an MS in Media Arts and Sciences from MIT Media Lab.

Sam Lavigne is an artist, programmer, and educator. He has exhibited at Lincoln Center, SFMOMA, Pioneer Works, DIS, Ars Electronica, The New Museum, the Smithsonian American Art Museum, and his work has been covered in the New Yorker, the Washington Post, the Guardian, Motherboard, Wired, the Atlantic, Forbes, NPR, the San Francisco Chronicle, the World Almanac, the Ellen DeGeneres Show and elsewhere. Sam is an Adjunct Professor at ITP/NYU, The New School, and the School for Poetic Computation.

Kelly Rae Aldridge is a doctoral candidate at Stony Brook University in Art History and Criticism. Her dissertation, Of Cabbages and Kings: Hospitality and Hostility in Participatory Art, situates contemporary socially engaged art in a lineage of rituals obligating one to receive, shelter, and nourish others. She is a Visiting Professor at Pratt Institute and Stony Brook University. In addition, she writes about time-based media and acted as the founding curator and director of programing for The Current Museum of Art. She is a member of NEW INC, where she is developing an educational curriculum that pairs computer science with studio art.

ArtSlant has shutdown. The website is currently running in a view-only mode to allow archiving of the content.

The website will be permanently closed shortly, so please retrieve any content you wish to save.