#cyborgs brings together work from across disciplinary divides for a multiplatformed art experience focused on Donna Haraway's concept of the cyborg as a queer political body. #cyborgs connects photography, digital images, video, score based performance, digital avatars, social media residencies, and potent fusions of them all.
0rch1d in SUPERCHAMBERS
There is a viscous fusion of truth and falsehood on the Internet; particularly concerning the way social media enables us to perform our identity. Authenticity is impossible when we have complete control over what is shared and what remains unseen. The performance of the self becomes dominant over the authentic self, a curated fiction blends into truth. This act of performance is rarely questioned, as we consume each other’s media on social networks and thus contribute to a collective obscurity of reality.
In order to explore the idea of the artificial self, this work is manifested as a 3D modeled digital avatar named Orchid who stems from Anneli's corporeal presence. This avatar is entirely artificial but mimics the strategies used in media, specifically social media, to perform a version of ourselves for the viewing pleasure of others. As a way of taking ownership over the artist's complicity in this cycle, Anneli takes this performance to a greater extreme: She forms a new identity through which to perform. In conceiving of digital space as queer space, Orchid and Anneli exist as two separate entities. Orchid’s persona is based on her's but is autonomous, even as it is under her authority in her role as the administrator, behind the screen. Under the handle @digitalQueer Orchid can communicate with the corporeal world from within their digital one.
a performance for Instagram in which a brand-aware contemporary artist attempts to recruit people into a MASTERMIND to teach them the secrets of working less and getting more famous through social media then crashes and burns out after no one signs up. she then re-emerges several days later advertising her new role as a fitness queen. Ladd's performance toes the line between satire and mimesis.
h:3 it has it’s called :: _____________________
but AAAA _____________________ in italics, isn’t rly _______________________
so I guess _____________________ will have to __________________________
_____for_once_[~]_seα /=/ - ^
there might be an interdimensional virus feeding
on everything that could, yet didn’t happen in my timeline.
I feel infected and I think I woke up wrong.
Words wailing in the void between send and receive
Words wailing in the void between send and receive was a Twitter residency that used performative and embodied patterns of writing, which are designed to challenge general modes of traditional literary practice and blur the arbitrary distinctions between poetry, fiction, tweets and critical or theoretical analysis. Hana used this residency to explore playing with text through reading and representations of performativity that allowed her to speak to her experiences of alienation and dislocation as being Māori, Pākehā and a digital ‘native’.
An Instagram residency that explore the impact of machine learning algorithms within Instagram, and their impact on users' mental health. Vishal trained an Instagram account on the most explicit and harmful content on its platform and produced posts and videos that were reflections on that process and the content that is made available to anyone who claims to be over the age of 13.
MEME WARS was a social media residency on Instagram and Facebook that explored the intersection between the aesthetics of far-right politics and the languages of the social media. The main topic was the rise of nationalist parties over the world, and how it takes shape in social networks. The artists took control of the platform from an extreme position: the storytelling of a dystopian context. The modifications on the activity of the social networks made visible the empowerment of radical ideologies.
the blending of different levels of reality has become a trending topic for the sorcerers of silicon valley; Garrett’s work has been dwelling there for decades waiting for them to arrive.
this is also where some of the garrett's art happens, in the mental/sensorial blending of the “virtual” and the “real”, in our very understanding of where the things around us sit on this alleged divide.
Noah Travis Phillips's WATERxRIVAL is a new work created as part of peripheral form's pavillion, The Wrong Water, in the 2016 edition of digital art biennale The Wrong. WATERxRIVAL is the confluence Noah's current investigations (collaboration with a deep learning AI trained on my artwork and image archive, named RIVAL) and a previous investigation (speculative web-page about water evaporation as a 4th-dimensional phenomenon). This convergence becomes an exploration more ecological in scope and perspective.
RIVAL's algorithmic flows/processes are let out into the open waters of internet image & keyword searches, returning with specimens and samples for Noah to compose and cultivate meaning(fulness) with. The initial set of images (from the speculative exploration of water and space) are put into relationship with the ocean of media flooding all around us. In this way, highly subjective material trespasses into broader cultural discourses.
liquid, site, body, bottle
Manion Kuhn was artist in residence on peripheral form's facebook page for the month of October in 2017. liquid, site, body, bottle explores the politics and infrastructure of hydration, focusing on the omnipresence of the bottle water industry and its promise of bodily purity.
the emerging 'public sphere' appears to be more of a multiplicity of public spheres that we move across like nomads move between oases in the desert, following the reality that conforms best to a world in which we feel like we belong, following the trail of homophily.
L.O.V.E. stands for “Laboratorio Orbital de Video Experimental” (Experimental Video Orbital Laboratory) is a micro-multimedia experimental novel. Using hypertext, QRs, Video, Audio and experimental storytelling narratives, it interweaves a complex and profound experience for the viewer, encouraging introspection, discovery, curiosity and rhyzomatic ludopathism. The story is that of the nuclear cloud of love humanity shall soon be turned into.
A selection of two series of visual investigation made on and with Facebook.
when we see a digital image, we are truly seeing a simulacrum, a collection of pixels formatted to trick the eye/brain of the observer into forming an impression of the real. it is only through the malfunction of this system, the glitch, that the true material reality of the image can be revealed. the embrace of the mistake or failure represents a powerful gesture in a culture obsessed on maintaining the image of success (even if this image is built on the reality of deep precarity).
The ease of self-documentation, the norm of frequent sharing, and the interconnectedness between representations of self and documentary practices of others, work to craft an environment in which the self is unavoidably on display. Within this context, the Selfie becomes a way to claim representational control, to be at once the artist and the subject, to manage inevitable visibility with self-directed hyper-visibility.