Art exhibitions tend toward the physical, a fact made no more obvious than by the ever-growing count of international biennials; every year, artists, architects, curators, designers, and all manner of hangers-on set off to Venice or Lisbon or São Paolo or Seoul. Jet fuel is burned, lukewarm Prosecco is drunk. In an era that traffics in data, what might be the digital answer to the brick-and-mortar biennial? The Wrong is perhaps one of the right responses to this question. Founded in 2013 by David Quiles Guilló, the online biennial has showcased thousands of artists as part of its radically open exhibition format. Any artist or curator might submit an exhibition, and The Wrong will continue adding them to its directory until the very last day of the biennial. Living in an off-the-grid home in Alicante, Spain, Quiles Guilló may seem like an unlikely candidate for running a global biennial of net art, but perhaps this is what best embodies The Wrong: de-centered and democratic by definition, one need not be near any global art center—or have the means to reach it—to participate fully in the exhibition. “The Wrong wants to make it easy for curators and artists to exhibit their work, and for the public to enjoy it,” Quiles Guilló said. “Everything I work toward is to achieve this premise.” He is quick to stress however that The Wrong is not designed in opposition to the IRL biennial. “I believe the wrong is a complement to all the already existing events and biennials, a different experience for curators, for the artists, and for the public.” That said, as infinite as an exhibition like the Venice Biennial might feel, The Wrong has them beat. “It’s so vast there is no way you can visit it all,” Quiles Guilló explained, “which mirrors the infiniteness of the digital space.” Artist (and AN contributor) Alice Bucknell, who is exhibiting as part of the pavilion Too beautiful to be real, noted that in contrast to the Venice Biennale or art fairs, there is a “divergence,” perhaps a positive one, between The Wrong and its physical siblings. “There’s an inherent hierarchy informed by the spatiality in traditional biennials and fairs—it conditions your experience of them whether you notice or not,” she said, adding that most art biennials or fairs also have been run in more or less the same way since their inception. “With The Wrong there’s no hierarchy in terms of how you navigate. There are no central pavilions or national pavilions like Venice, there is no up-and-coming sector like Frieze or Basel. There are no costs.” That said, she pointed out that the exhibitors lean heavily toward Euro-America, though this appears to be improving. The Wrong has also attracted its fair share of showy names over the years amid myriad others, such as Marisa Olson and Elisa Giardina Papa. The Wrong’s official landing page is all text, composing many, many links to its various “pavilions.” Bucknell described this design as a “romantic, quite nostalgic idea of the internet as a digital village where you can travel in any order.” In the age of the infinite scroll and the algorithmically organized news feed, where users spend time on just a handful of monopolizing websites, The Wrong brings pack a long-gone Geocities era of the internet with raw hyperlinks and seemingly infinite discovery. “Media today is consumed almost 100 percent based on algorithms, so you only consume something related to what you consumed yesterday, and it is quite hard to break the spell,” said Quiles Guilló. “The Wrong does not use any algorithms, nor compile data from its visitors, so it is a new opportunity to access art and ideas that are not on your regular online diet.” The Wrong opens its fourth edition to the public on November 1. To attend the opening party, click “Going” on the Facebook event and start commenting.
Posts tagged with "digital art":
The University of Michigan's Taubman College of Architecture and Urban Planning presents Michigan Meeting Winter Symposium: Living In Digital Environments
In 2012 the first 4K resolution screen became available on the commercial market at the common 30” desktop size, making it possible for a user with 20/20 vision seated 24” away from a computer screen to be confronted with the same amount of visual information as could be experienced in the surrounding environment. This development brought verisimilitude to another realm that has gradually emerged for decades, the constitution of the digital sphere as a kind of environment itself. Today, we live inside the digital. Increasingly, our public and private lives are conducted online and in digital space where our relationships are forged, nurtured, or deleted, where our bills are paid and finances tracked, and where our ideologies are fed and our politics balkanized by our respective media bubbles. And while the digital now constitutes more and more of our daily routines, it can also offer a distorting abstraction of “external life.” Swiping left is easier than breaking up, and even the most civil among us can become an entitled consumer on Yelp. At once, our digital environments offer new grounds for engagement and interaction, and immersive venues for escape from the exigencies of the outside world. This session will discuss this dialectic. Drawing contributors from across art, architecture, design, and media studies, we will examine the digital as both a totalizing environment unto itself – a bubble apart from the external lifeworld – and a new venue for social organization and engagement.
The New Museum has created a new app showcasing mobile virtual reality artworks. Developed in coalition with Rhizome—an art organization affiliated with the New Museum since 2003 that specializes in art and network technologies—the app showcases the exhibition First Look: Artists’ VR. Theapp-cum-exhibition six artists—Jeremy Couillard, Jayson Musson, Peter Burr, Rachel Rossin, Jacolby Satterwhite, and Jon Rafman—who undertook experimental approaches to digital animation in virtual reality. The result, according to the New Museum, reflects both the possibilities and difficulties faced when working with such a media platform. First Look: Artists’ VR presents a wide range of art that can be construed as social commentaries. These include: "A memorial to victims of police violence (Musson); an uncanny scenario of deconstructed video game characters (Rossin); a queer fantasia set in an industrial nightclub (Satterwhite); a mutating labyrinth populated with writhing figures (Burr, with Porpentine); a simulation of the afterlife (Couillard); and an unsettling dive into an alternate world rife with avatars both banal and magical (Rafman)." The First Look exhibition series focuses on art in digital mediums and is now in its fifth year. Also cementing the New Museum's status within the world of virtual art is NEW INC. Another digital, artistic arm of the museum, NEW INC, has been an incubator for those dabbling in virtual reality and other digital arts. The VR medium is quickly spreading in the realm of architecture exhibits too. Pierre Chareau: Modern Architecture and Design, currently on view at the Jewish Museum, places audiences into virtual rooms from Chareau's 1932 dwelling, the Maison de Verre in Paris. The VR movement, though, in terms of its artistic role, is still in its infancy. “I would say that there is a real swell of interest in VR right now as it becomes more attainable," said Lauren Cornell, a New Museum curator, speaking to The Creators Project at Vice. "That said, it’s costly and challenging to negotiate distribution and exhibition. It remains to be seen how truly accessible a medium it will be.” The First Look: Artists' VR app is available to download for free from the Google Play store. An iOS app meanwhile, is apparently on its way.
Paris-based digital projection artist Miguel Chevalier turned the University of Cambridge’s 16th century King’s College Chapel into an intellectual hypnosis chamber during the recent Dear World… Yours, Cambridge charity event. As each speaker presented, Chevalier illustrated their points with projected lights designed specifically to the chapel’s interior. For example, when hearing of Stephen Hawking’s research on black holes, the chapel became a sea of constellations. Professor Hawking told the invited audience, "When I arrived in Cambridge I was lucky. I was lucky to meet the brilliant minds that broadened my horizons. I was lucky to be given the space to think, and I chose to think about space." Chevalier is the first artist invited to make a spectacle in the 500 year old Perpendicular Gothic chapel. And his projections accompanied speeches of renowned professors and alumni. According to Chevalier, the Cambridge project "imagines a number of different graphic universes, which are generated in real time and use their own ‘digital’ language to illustrate and interpret a wide variety of subjects including academic excellence, health, Africa, biology, neurosciences, physics, and biotechnologies." Previously, Chevalier created displays for the 1992 Olympic Games in Barcelona and Paris' Grand Palais.
Digital artist Jennifer Steinkamp’s first installation in a series at St. Louis’ Contemporary Art Museum is up and running, transforming the museum’s facade into a projection screen for large-scale video art. Steinkamp’s installation, Orbit, features trees, vines, and other plants whipped up by turbulent wind. AN brought you images from the work back in October, but take a look at the newest video of the project below.