Pantheism, ([YEAR])

Joanie Lemercier

[MEDIUM]

This piece is part of the Wall drawing series, installations where a visual is drawn or printed directly onto the wall and augmented with a layer of projected light and ambient sound. The visual is composed of straight lines, and repetitive patterns that represents structure of landscapes, rocks, planets, caves, made out of simple patterns, moiré, tessellated patterns. The image drawn is a symbol of “the Universe“ inspired by the Pantheistic belief. It plays with light, depth and visual perception, this series is strongly Inspired by Sol Lewitt’s wall drawings.

Plotter Drawings, ([YEAR])

Joanie Lemercier

[MEDIUM]

In his plotter drawing series, Joanie explores the capacities of a drawing machine. Creating visuals with repetitive patterns, complex and detailed compositions, the use of a robot will reveal mechanical glitches coming from the machine, wear and ink glitches coming from the pen, crashes and unfinished lines coming from the custom software. The drawings are not perfect and so original shapes emerge from artifacts.

Wireframe Mountain, ([YEAR])

Joanie Lemercier

[MEDIUM]

A contemplative journey across a generative landscape. Motion and perspective bring a different sense of scale, details, and space. Despite the minimal monochrome wireframe aesthetics inherited from earliest videogames, the viewer might perceive details in rocks, erosion, sand valleys, all made from a single line of code.

Planet 17.114, ([YEAR])

Joanie Lemercier

[MEDIUM]

A tiny planet made of thousands of dots. This unique drawing was made by a plotter machine: dots are layered on paper, thanks to a Voronoï algorithm creating gradients and a depth illusion when seen from a distance. The polygonal planet is augmented with a layer of projected light: comets, stars, moons or suns, reveal the triangular structure of the minuscule world.

The Game: The Game, ([YEAR])

Angela Washko

[MEDIUM]

‘The Game: The Game’ is an immersive installation and platform to experience the first chapter of a video game presenting the practices of several prominent seduction coaches (aka pick-up artists) through the format of a dating simulator. In the game these pick-up gurus attempt to seduce the player using their signature techniques taken verbatim from their instructional books and video materials.

Players explore the complexity of the construction of social behaviors around dating as well as the experience of being a woman navigating this complicated terrain. The video game is presented alongside the video and print-based source materials from the seduction coaches themselves as well as handmade cyanotype prints, videos and books produced by the artist in response to her experience investigating this field and the ways in which women are literally presented as objects in physical and digital space.

‘The Game: The Game’ is a continuation of ‘BANGED’ a year-long project in which the artist interviewed ‘Bang’ series author/manosphere figurehead and tried to get in contact with his alleged sexual partners. After working on ‘BANGED’, the black and white ways in which this field has been portrayed seemed too simple and unfair to all parties who encounter it and provoked this question: Is practicing “game” inherently wrong and dishonest or can it be practiced in a way that simply levels the dating playing field in favor of those who are otherwise socially or physically disadvantaged?

By disguising the most notorious PUAs alongside game-less individuals and PUAs-in-training and placing the player into the perspective of a woman forced to distinguish between them all – Washko hopes to add levels of complexity to public conversations around both pick-up and feminism which have both found themselves most often presented in highly polarized, dichotomous positions in mainstream media.

The first chapter of the game was presented at TRANSFER Gallery in NYC along with a musical score composed by Xiu Xiu, whose perverse, challenging, personal and complex music complement the murky, frequently dark, isolating and complicated experiences and aesthetics presented in ‘The Game: The Game’.

Equilibrium, ([YEAR])

Memo Akten

[MEDIUM]

‘Equilibrium’ is an interactive abstraction, a data dramatization, of the delicate balance in which an ecosystem hangs – a fragile structure, a snapshot of a moment of harmony, amidst chaos and disorder.

The project was inspired during an expedition to Madagascar with the Unknown Fields Division following the trail of global resource extraction into the heart of one of the most unique ecosystems on the planet, exploring the endangered rainforests, mining landscapes and wild west sapphire towns. The country is a popular hotspot for tourists and wildlife lovers, rich in biodiversity with many endemic species and a unique ecology. It’s rich in resources desired by the affluent world such as rosewood, gold, sapphire, nickel and cobalt; and exploited by lawless industries. While the country’s residents live in extreme poverty – with a tradition of unsustainable slash-and-burn subsistence farming – corrupt battles ensue for political power. The land rich with these different types of resources – ecological, financial, social, political or simply subsistence – is pulled apart from all directions, based on the shifting balance of these values.

A system can be temporarily stable when the forces acting upon it and its components are balanced. At a macroscopic level its behavior may appear to be static or pulsate slowly, even though microscopic interactions might still be occurring and components fluctuating furiously. The system can retain this steady state until an external perturbation, upon which it falls into chaos, searching for a new equilibrium, which it may or may not find.

These behavioral concepts apply to many systems beyond Madagascar: populations and ecosystems on various scales, climate, politics, social and economic trends, and many other biological and physical systems.

Touch the screen, disturb the balance, and watch the system fall into chaos. Then wait for it to settle and reconfigure, self-organize to form a new arrangement, while it searches for a new balance, a new harmony, a new temporary equilibrium.

NSAF, ([YEAR])

Hyphen Labs (Ashley Baccus-Clark & Carmen Aguilar y Wedge)

[MEDIUM]

NSAF innovates on how we will engage with black women through content in their digital future. Exploring alternative content through tangible products, new worlds and 3D landscapes, and scientific research, in order to inform and change the way we depict black women in society, culture, and the future. Hyphen Labs' philosophy is to create an impactful narrative that inspires the next generation of developers and media consumers, to radically transform virtual reality into a world where people of color exist, and to prove that VR and human-centered design can be a tool for the betterment of society.

The Other Nefertiti, ([YEAR])

Nora al-Badri & Jan Nikolai Nelles

[MEDIUM]

Nefertiti is returning to the place where it was found. For the first time since the sculpture was excavated and stolen over 100 years ago, the iconic artefact will be shown in Cairo. “The Other Nefertiti” is an artistic intervention by the two German artists Nora Al-Badri and Jan Nikolai Nelles.

Al-Badri and Nelles scanned the head of Nefertiti clandestinely in the Neues Museum Berlin without permission of the Museum and they hereby announce the release of the 3D data of Nefertiti's head under a Creative Commons Licence. The artists 3D-Print exhibited in Cairo is the most precise scan ever made public of the original head of Nefertiti. With regard to the notion of belonging and possession of objects of other cultures, the artists’ intention is to make cultural objects publicly accessible. The Neues Museum in Berlin until today does not allow any access to the head of Nefertiti nor to the data from their scan.

“With the data leak as a part of this counter-narrative we want to activate the artefact, to inspire a critical re-assessment of today’s conditions and to overcome the colonial notion of possession in Germany” the two artists say.

Metafold, ([YEAR])

Can Buyukberber

[MEDIUM]

Multidisciplinary artist Can Buyukberber premieres a new 3d printed sculptural work from his current residency at the Autodesk Pier 9 AiR Program.

[TITLE OF THE ARTWORK], ([YEAR])

The Digital Museum of Digital Art

[MEDIUM]