Blair Simmons

Concrete sculptures composed of a piece of discarded technology (sourced from people in the artist’s life) cast in concrete, then uncovered through hammering and chiseling. These sculptures are portraits of the person that owned and used the piece of technology.

On View in NYC (April 20–29) and LA (April 28–29).

Jamison Edgar

White Man’s Foot is an interactive video essay that choreographs the cultural and technological legacies of one of America’s oldest invasive plant species — Plantago major. The video weaves together performance documentation with found footage, and participatory computer animations to explore the ways in which non-human species have been assembled into technologies of surveillance and colonization throughout American history.

On View in LA (April 28–29).

Juan M. Villanueva

The piece speaks to the paradigm shift I experienced during the pandemic; by examining memories of my grandmother using traditional ‘Curanderismo’ practices to treat and heal our family. It questions this loss of knowledge, which has been ripped from our culture, partially due to how we label people, practices, & things.

On View in NYC (April 20–29).

Kate Parsons

Commissioned by Standard Vision Studios for national and international screenings, Bloom AR is a lighthearted meditation on springtime and rebirth that utilizes the AR app Artivive to bring new layers of interactivity to a still of the original piece.

On View in LA (April 28–29).

Suzanne Anker

Biota is a porcelain sculptural installation employing the morphology of the sea sponge as a matrix. In the sea, such exoskeleton frameworks signal the degradation of coral reefs throughout the world and their support for diverse species’ habitats. These sculptures act as fossils commemorating the time reefs were living entities. Sea sponges are primal forms of life, arising hundreds of millions of years ago as one of the first multi-cellular animals. While ceramics is an ancient technology, the attached figurines are rapid prototyped sculptures that are coated in silver leaf.

On View in NYC (April 20–29).

Sarah Sweeney

”My father died when he was forty-four and I was seventeen. When I turned forty-four I wanted to talk to him again. I contacted Resemble AI, a company that creates clones of voices using machine learning, and we worked together to create an AI model of my father’s voice. This project is a series of six conversations created through my interactions with the audio deepfake of my father.”

On View in NYC (April 20–29) and LA (April 28–29).

Folly Feast Lab (Viviane El Kmati & Yara Feghali)

Be.Longing XR is a filmic road diary seen through the eyes of Amal, an immigrant woman from Beirut who just Landed in Los Angeles. We join her on a ride through a fictitious reconstructed residential streetscape as she searches for signs of her queer community on the houses’ front yards, porches, and windows.

On View in LA (April 28–29).

Nicholas DelCastillo

Taxidermy and death go hand in hand, but through the use of biomaterials a piece of taxidermy can be grown from scratch. Mycelium forms mimic the commercial polyurethane animal bodies used for the practice and serve as an environmentally friendly, biodegradable alternative. Dried SCOBY mimics the damp animal leather as it is stretched and arranged over the form. From form assembly to the arranging of the skin to be pinned into place, it feels almost identical to the traditional taxidermy process.

On View in NYC (April 20–29).

Nicole Yi Messier and Victoria Manganiello (Craftwork Collective)

Inspired by the textiles that have held humanity’s secrets across time and space, this triple-woven installation is made with soft electronics to collect, store and cumulatively visualize solicited secrets from viewers using sentiment analysis and long term data-textile storage.

On View in NYC (April 20–29) and LA (April 28–29).

Laure Michelon

Machinic Reflection confronts bias in emerging technologies. A camera is placed strategically in the gallery that captures an image of any viewer in close proximity to the work. An algorithm trained on a curated dataset of categories. The proximate items on the vanity, [Mask.01.A] and [Mask.02.A] are AI-generated representations of the artist's face. The masks serve as a type of tool or prosthetic through which the user could disrupt their classification originally deemed by Machinic Reflection.

On View in LA (April 28–29).

Aaron Edgcomb, Dominic Coles, TJ Borden

In celebration of their annual festival of experimental and improvised music and sound art – scheduled for October 13–14, 2023 – High Desert Soundings presents improvisations featuring instrumentalists from the festival’s history: drummer Aaron Edgcomb, electronics operator Dominic Coles; and cellist and festival co-director TJ Borden.

Performance in NYC on April 28th at 6:30pm ET. More →

María Buenaventura

The piece brings together some documents from the process of searching for the Captain Fish, which the artist has undertaken since 2008. This Bogotá fish, the main food of this place until the 19th century, was completely forgotten by the current inhabitants of the city and its surroundings. This legendary fish - a character, a mythical being for the artist - is a symbol of other relationships with water, of the life of this particular ecosystem today in crisis: a large wetland at an altitude of 2,600 meters and of a fishing village in cold lands, which was silenced by the Spanish invasion, and even more difficult, by the same Creole elite.

On View in NYC (April 20–29).

Joe Diebes

This drawing performance is a riff on the notation systems used for business management and software design. Although those are generally used to represent closed systems, in this work the lines and patterns are improvised by the artist and unpredictably recombined in real-time, resulting in an infinitely expanding diagram.

On View in NYC (April 20–29).

Claudix Vanesix

An immersive film that uses Artificial Intelligence and performance art to challenge gender norms in traditional religious dances in indigenous Peru. It's an autobiographical documentary about the traditional dance of Claudix's family "Los Negrasos de Sipsa", that explores a centennial view on the themes of gender, memory and reinvention of the ancestral.

On View in NYC (April 20–29).