The show is a “remixed” extension of an exhibition shown at the International Symposium on Mixed and Augmented Reality 2014 (ISMAR) in Munich. Curated by Furtherfield and mixed reality media artist Julian Stadon, it brings together a number of leading contemporary artists to explore how technology disrupts, enhances and alters the way we live.
On the approach to the gallery, in the McKenzie Pavilion in the heart of Finsbury Park, you’re immediately immersed by the transformation of the walls into lush, teeming images of water lilies; a hacked Monet for the 21st century. Giverny Remediated, by US-based artist Nathaniel Stern, is part of his Compressionism series. Defined by shifting, interactive prints, and inspired by classic Impressionism, the images were captured with uniquely twenty-first century methods — Stern strapped a scanner to his body to capture the blooms.
“I might scan in straight, long lines across tables, tie the scanner around my neck and swing over flowers, do pogo-like gestures over bricks, or just follow the wind over water lilies in a pond,” Stern writes on his website. “The dynamism between my body, technology and the landscape is transformed into beautiful and quirky renderings, which are then produced as archival art objects.”
Water and fluidity as a metaphor for data is a central theme of Stern’s work. As part of Beyond the Interface — London, Stern has also been commissioned to create a brand new installation, Rippling Images of Finsbury Park, a public artwork based in the park’s boating lake. Visitors will be able to download the artworks by public USB installed in the gallery’s walls, using anonymous file-sharing network Dead Drops.
Also in the show, Zach Blas’ Facial Weaponization Suite is an uncanny, disturbing protest against the dehumanising effects of biometric facial technology. The New York-based artist creates “collective masks” from facial data collected by participants in community workshops. These masks — distorted, amorphous blobs, almost resembling chewing gum — erase the recognisable features of the human face, ensuring wearers are unable to be detected by biometric facial scanners. Fusing a cry against government over-surveillance with a sympathy for those frequently pushed to the social margins, Blas’ work is provocative and politically charged.
Also on show is Jennifer Chan’s Grey Matter. The Hong Kong-raised, Chicago-based artist employs videos, gifs and webpages to cast a wry, quizzical look at representations of gender and in modern media culture. In the five-minute video, Chan adopts the persona of a teenage internet user creating her own confessional online diary, using social media — sharing, posting, following — to confront issues of privacy, voyeurism and online identity.
Beyond the Interface — London runs at the Furtherfield Gallery until 21 June, 2015
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