Friday, 7 October 2022 - 6:00pm to Sunday, 20 November 2022 - 6:00pm
Exhibitors / Artists:
Victoria Vesna
"I am Everywhere but Nowhere"
Exhibition Venue:
Seongsan Art Hall (B1, 1F, 2F, and outdoors on the premises), 3·15 Nuri Marine Park, Chang-dong Art Village Art Center, Jinhae Black & White, and Jinhae Jungwon Rotary
Alien Star Dust : Signal to Noise
7분 23초
Single channel video, Augmented Reality (AR)
In a Series of Monthly Animal Gatherings,
We Move Around the Wheel of the Chinese Zodiac. We are on the 9th Animal...MONKEY!
Featuring Fantastic People Born in the Sign of the MONKEY
.
.
Cristina Albu (Missouri)
Cristina Albu is an art historian, educator, and writer focusing on crossovers between contemporary art, cognitive sciences, and technology. She is Associate Professor of Contemporary Art History at University of Missouri-Kansas City (UMKC). Albu is the author of Mirror Affect: Seeing Self, Observing Others in Contemporary Art (Minnesota University Press, 2016) and the co-editor (with Dawna Schuld) of Perception and Agency in Shared Spaces of Contemporary Art (Routledge, 2018). Her writings have appeared in scholarly anthologies (e.g. Nervous Systems, Hybrid Practices, Framings, The Permanence of the Transient, Crossing Cultures) and journals (e.g. Afterimage, Artnodes, Camera Obscura, and the Comparative Media Arts Journal). At UMKC, Albu teaches courses on global contemporary art, participatory and site-specific tendencies, museum studies, and the role of emotion in art reception.
Girija Hariharan (India)
Girija Hariharan, is an artist and Muralist based out of Bangalore, India. She works with street art, large art installations and art intervention workshops to effect social change and community healing. Recognised as one of the top innovators of Bangalore, her street art and interviews have appeared in multiple publications. Along with traditional fine art mediums, Girija explores body art, music, poetry, tech art, graphic design, book covers, illustrations. Her original artworks are sold worldwide, with her primary themes amalgamate feminism, mythology, anthropology, environment and spirituality.
Mana Salehi (Spain)
Mana Salehi, video artist and researcher of Iranian origin, has lived and worked in Barcelona since 2004. She received her doctorate from the Faculty of Fine Arts of the University of Barcelona. The subject of her research and artistic production is “Water and the symbols of the garden in contemporary art”. She has done several researches in Japan, the United States and Iran. She has participated in various international and national solo and group exhibitions. In her work, she explores environmental crises and human emotions through visual poetics. She has been a professor of Visual Arts and new media at various universities in Tehran and has also organized a workshop at the Faculty of Fine Arts of the University of Barcelona.
In 2020 she was a member of the jury of the Asian Film Festival Barcelona organized by Casa Asia and, she was a professor of course secrets of Persian garden at Casa Asia.
Currently, she is displaying her recent video art The Voice of Saffron at the Royal Botanical Garden of Madrid.
She is also a member of Woman Eco Artists Dialog (WEAD) in the United States.
Organized by Warren Neidich in collaboration with UCLA Art Sci center, The Getty Research Center, The Saas-Fee Summer Institute of Art and the Museum of Neon Art.
Friday, September 23, 2022, 9:30 a.m. to 6:30 p.m.
UCLA California NanoSystems Institute (CNSI)
Presentation Space, 5th floor
570 Westwood Plaza
Building 114
Los Angeles, California
This conference endeavors to describe the role of art and artists in cognitive capitalism in which
the brain and mind are the new factories of the 21 st century. We are no longer only proletariats
working on assembly lines to create objects but cognitariats or mental labors working on screens
to produce Big Data which is sold to policing, governmental and cooperate entities. This has led
such authors as Byung-Chul Han, in his book Psycho-politics: Neoliberalism and New
Technologies of Power, to understand that in our moment biopower, Foucault’s power over life
as a form of the granular management of life, has transitioned to psychopower or psychopolitics
in which the mental laborers or cognitariats gladly give up their freedoms without direct coercion
to labor incessantly and overtime to interact with digitality. His new term for this is “smart
power”. But we are now on the doorstep of another transition almost or maybe as important as
that which transformed the agricultural/manufacturing economies into knowledge and
information economies. It is referred to as a neural based economy in which the material brain
and its neuroplasticity have become the focus of capitalistic commodification directly and
indirectly. Directly through technologies like brain computer interfaces, nootropics and cortical
implants and indirectly with Big Data, neuroeconomics and neural consumerism. In this neural
economy, psychopower has further transitioned to neural power where the material brain is put
to work. In psychopower and neuropower the body’s importance is reduced and subsumed by the
brain and mind. The brain, as understood here, is not restricted to the bony carapace of the skull
as cognitivists would have us believe but is a situated complex that extends into the socio-
political-cultural-ecological milieu with which it coevolves. Changes in the external milieu are
mirrored in the architectural composition of the brain through a process that Bernard Stiegler,
later in his life, referred to as exosomatic organogenesis, in which technical rather than genetic
evolution is at the core of the liberation and perfection of organ systems, especially the brain.
This brain-model is a diverse, variable, rhizomatic, intensive, becoming entity in constant
transformation. Consciousness is no longer understood as something restricted to and most
elegantly formed in humankind but rather is traced into the deep history of inorganic matter and
shared with plants and animals in non-hierarchical alignments.
This is the starting point for this symposium in which artists, architects, art historians, and
philosophers using their own practices, materials, histories, and apparatuses unveil the mysteries
of this becoming brain model. In fact, the power of art is its special alliance with the sensory,
perceptual, and cognitive as a source of emancipation, magic, and diversity in contradistinction
to cognitive neuroscientific models of aesthetics in which it becomes a map or model of data
points subject to forms of institutionalization, normalization, and demystification. This is where
the idea cognitive activism becomes evident as a reaction and form of dissensus against these
conservatisms. Key to this conference is Catherine Malabou’s entreaty that the brain is our
work, and we have the capacity to make our own brains if we have the fortitude to do so. In this
vein we also will engage with Victoria Pitts- Taylor in her book The Brain’s Body understands,
“the plastic, social brain also reveals neurobiology to be political-that is, capable of change and
transformation and open to social structures and their contestation.”
Faculty
David William Bates, Arne DeBoever, Jordan Crandall Anders Dunker, Igor Galligo, Katie
Grinnan, Karen Lofgren, David Rosenboom, Victoria Vesna, Anuradha Vikram, Pinar
Yoldas, Warren Neidich.
COLOR, LIGHT, MOTION is an online series featuring media artists and scholars in dialogue about artworks from the Bermant Collection of media and kinetic arts. Each featured presenter will discuss selected artworks in history and context and in relation to their own work and connections. This series is produced in collaboration with Harvestworks NY and the David Bermant Foundation.
Important Info
Start at North campus (Broad Arts center) – immerse yourself in the Noise Aquarium, and then follow the map and guided soundscape to South campus (CNSI. End by immersing yourself in [Alien] Star Dust. Experience the walk from the arts and humanities (N) to the sciences and engineering (S) while listening to the in between spatialized sounds of outer space and underwater noise.
Date + Time
September 23, 12-2pm (start is at half hour)
Duration
30 minutes
Bring
Cell phone + Headphones
Parking Info
Public parking is available at a wide variety of parking lots on the UCLA campus for $13.00 per car per day. The closest parking to the Broad Arts Center is Lot 3.
Cristina Albu is an art historian, educator, and writer focusing on crossovers between contemporary art, cognitive sciences, and technology. She is Associate Professor of Contemporary Art History at University of Missouri-Kansas City (UMKC). Albu is the author of Mirror Affect: Seeing Self, Observing Others in Contemporary Art (Minnesota University Press, 2016) and the co-editor (with Dawna Schuld) of Perception and Agency in Shared Spaces of Contemporary Art (Routledge, 2018). Her writings have appeared in scholarly anthologies (e.g. Nervous Systems, Hybrid Practices, Framings, The Permanence of the Transient, Crossing Cultures) and journals (e.g. Afterimage, Artnodes, Camera Obscura, and the Comparative Media Arts Journal). At UMKC, Albu teaches courses on global contemporary art, participatory and site-specific tendencies, museum studies, and the role of emotion in art reception. She is currently working on a book which charts how artists have paired neurofeedback technology with sounds and video images to cultivate an embodied understanding of our entanglement in more or less visible systems.
Alvaro and Sam present to you a small show. Though one deals with the ecological and botanical and the other with games and [power]fantasy, the works of both attempt to contain massive systems, ecologies, and histories within small objects. Attempting to retain in each the contingencies, nuances, complexities, and contradictions of their colossal subjects. Collected are 3 works by each artist:
In Tortilla Maps, Alvaro burns the 600 year drainage process of the Valley of Mexico [Anahuac] into the surface of hand-made tortillas. Sam’s Dust Knights transforms the coincidences and constraints of a player's home into a treacherous fantasy-land for microscopic creatures. Maize Should be Capitalized seeds 10,000 years of human/maize interaction in a plot at the UCLA Botanical Gardens. In Game Pieces 0: Rules for the Construction of the Role Playing Games interpretations of game design are illustrated through the perspective of the lowest and most numerous game piece, the pawn. In Alvaro’s newest work a science lab briefcase sprouts rows of plastic corn. And in A Modern Wargame, a 250 gigabyte video game with millions of active users is re-built through printed zines and 1 centimeter tall game pieces.
Come examine the results of these experiments.
Where to meet: We will be meeting in front of the EDA June 7th at 5pm and walking together to the California NanoSystems Institute (CNSI) ArtSci Gallery.
Location: Art|Sci Gallery (Room 5419), California NanoSystems Institute (CNSI). In front of the Bombshelter Bistro.
COLOR, LIGHT, MOTION is an online series featuring media artists and scholars in dialogue about artworks from the Bermant Collection of media and kinetic arts. Each featured presenter will discuss selected artworks in history and context and in relation to their own work and connections. This series is produced in collaboration with Harvestworks NY and the David Bermant Foundation.
Toni Dove is considered an innovator in the field of interactive and immersive narrative, New York-based artist Toni Dove creates hybrid performance, installation and screen-based art that fuses film, game or instrument-based interaction with experimental theater. In her work, performers and participants interact with an unfolding narrative, using technologies such as motion sensing or machine learning to connect with on-screen characters.
Projects include Spectropia: feature length live-mix movie performance: premiered: Wexner Center for the Arts; REDCAT, LA Nov 2007; EMPAC, Troy NY, 2008, the Kitchen, NYC, 2010, Roulette, NY, 2012. Lucid Possession, a live mix music cinema performance, a co-production with Issue Project Room, Roulette and HERE, premiered in NYC in 2013 after a preview show at Center for the Arts at Virginia Tech. An interactive cinema and robotics installation ‘The Dress That Eats Souls’, premiered in a survey of 20 years of Dove’s interactive work “Embodied Machines” at The Ringling Museum in Sarasota, Florida, 2018.
Dove was Hirshon Artist/Director in residence, New School for Social Research in Media Studies 2014/15. She has received numerous grants and awards including support from the Rockefeller Foundation, New York State Council on the Arts, National Endowment for the Arts. She received the Eugene McDermott Award in the Arts from M.I.T. And a lifetime achievement award from I.D.M.A.a. Dove was appointed to the 2000/2003 Government Advisory Committee on Information Technology and Creativity, National Research Council, USA. She was Artist in Residence at Bell Labs E.A.T. Program 2020, Pioneerworks Immersive Lab 2019, and Integrated Digital Media, Tandon, NYU, ongoing. Her current project uses motion and machine learning to animate responsive characters in a narrative and is a collaboration with Yale CCAM, Brown CRCI and The Fralin Museum at UVA.
Knotting the memory//Encoding the Khipu_
From a decolonial perspective, I am working on the vindication of the memory contained in the ancestral interfaces of the Andes of South America taken away by colonization and their connections with art and science. I reuse this ancient technology in new artistic processes related to sound, New Interfaces for Musical Expression (NIMEs), tangible live coding, and multimedia performance.
