Our essay When Zero Equals Affinity will be published in In the Mind, But Not From There: Real Abstraction and Contemporary Art, Verso Books, edited by Gean Moreno
MOURNING MONEY is three symposiums organized by UKK Organisation for Artists and Curators. The aim is to investigate questions around art and finance, as they relate to the role of the artist, the circulation of work and novel organizational forms in the field of art. We will be presenting in the second of three symposiums titled: OPERATIVE POWERS OF ART PRACTICE with Alexandra Pirici and Tirdad Zolghadr.
OPERATIVE POWERS OF ART PRACTICE considers the implications of control in relation to the operative powers of art practice. The symposium will discuss (post-)contemporary art practice as subject to arts financialization, asking what transitional role art may face. Reassessing the term ‘artistic agency’, we will ask what are the scales and implications necessary, to allow art to bend the means of control rather than causing it to block future potential. How may the artist step out of contemporary arts systemic agency, and, why and how to think this might be necessary? How could art as a practice influence the cultural financial sector, which it is currently both tokened by, supporting and upholding?
We will be exhibiting work in Some Kind of Halfway Place at Higher Pictures organized by artist Joshua Citarella.
Dates: December 15, 2018 - January 19, 2019
Opening Reception: Saturday, December 15, 4 - 6 pm
Artists: Eleanor Antin, Aria Dean, Joao Enxuto and Erica Love, Felicity Hammond, Daniel Keller, Christopher Kulendran Thomas and Annika Kuhlmann, Eva and Franco Mattes, Wyatt Niehaus, Joseph Strick, Lu Yang and UV Production House.
Higher Pictures 980 Madison Avenue, New York, NY 10075
Studio visits will be followed by an artist talk
We contributed a sketch called “ISCA Global Exhibition Module Prototype” for X-TRA magazine’s Realized Sketches in Two Dimensions, Summer 2018
“Potential Payday: Blockchain, the Art Market & Droit de Suite” organized by Even Magazine and Daata Editions, Ace Hotel, New York, NY
with James Tarmy, Bloomberg, Amy Whitaker, New York University, Jess Houlgrave, Codex, and Noah Wunsch, Sotheby's
This program is about art and blockchain technologies, focusing first and foremost on artists and the myriad ways in which technology is changing their positions and practices.
Zach Blas, Tyler Coburn, João Enxuto, Erica Love, Pedro Neves Marques, Wyatt Niehaus, Elizabeth Orr, Sondra Perry, Mariana Silva, Jemima Wyman
Curated by Laurel Ptak
Thursday, March 1, 2018
Anthology Film Archives
32 Second Avenue
New York, NY 10003
Art in General presents After Effects, a cinema screening featuring video works by contemporary artists that consider the landscape of technology as an active agent in the production of our subjectivity. The program includes recent work by: Zach Blas, Tyler Coburn, João Enxuto, Erica Love, Pedro Neves Marques, Wyatt Niehaus, Elizabeth Orr, Sondra Perry, Mariana Silva, and Jemima Wyman. The videos on view interrogate a wide-range of themes, from algorithms to affect, digital labour to decolonization, environmental ruins to economic structures, hyperlinks to human obsolescence. When viewed together, they ask us to consider a dialectical tension in our current relationship to technology: while created in the name of progress to attend to our human desires, how do objects, interfaces, processes, aesthetics and norms ultimately reshape these desires, and—in turn—reshape us?
The screening is organized by Art in General at Anthology Film Archives in conjunction with the exhibition Zach Blas: Contra-Internet on view at Art in General through April 21, 2018. After Effects is supported by Humanities New York and was originally presented at Artis Cinema in Tallinn in collaboration with the Center For Contemporary Arts Estonia with support from the Trust for Mutual Understanding.
After Effects is curated by Laurel Ptak, Executive Director and Curator of Art in General with assistance from Marta Cacciavillani, Curatorial Fellow and Tomson Tee, Media Fellow. Special thanks to all the artists, designer Eric Nylund, as well as the staff and interns at Art in General and the staff at Anthology Film Archives.
“Is the Museum a Database?” with Zach Blas, Chrissie Iles, and Mike Pepi, MA Curatorial Practice, SVA
“Is the Museum a Database?” MA Curatorial Practice, School of Visual Arts, New York, NY
MA Curatorial Practice presents a discussion between artists Zach Blas and João Enxuto and Erica Love, curator Chrissie Iles and art critic Mike Pepi.
"The critique of the museum was a defining discourse of the twentieth century. But today the museum faces more virulent destabilizations that have emerged alongside new behavior from the general public. Today we find the museum organizing itself for transmission and retrieval, anticipating the final aspirations of an algorithmic regime. The resulting database logic aligns the institution with interests originating from the model of the Silicon Valley enterprise—in constantly updating streams/cycles, the museum reformats its content towards structured, indexed or digitally stored data sets or sets of relations among data."
—Mike Pepi, "Is a Museum a Database?: Institutional Conditions in Net Utopia"
Zach Blas is an artist and writer whose practice confronts technologies of capture, security and control. Currently, he is a lecturer in the Department of Visual Cultures at Goldsmiths, University of London.
João Enxuto and Erica Love collaborate on projects about art institutions, labor conditions and value systems shaped by recent technologies.
Chrissie Iles is the Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art in New York. Iles co-curated the 2004 and 2006 Whitney Biennials as well as the recent exhibition "Dreamlands: Immersive Cinema and Art 1905–2016."
Mike Pepi is a New York-based critic who works at the intersection of art and technology. His work has appeared in Frieze, e-flux, Flash Art, Art in America, DIS magazine and The Art Newspaper.
We were awarded The Creative Capital | Andy Warhol Foundation Arts Writers Grant for 2017!
Contemporary.Institute is an online project that investigates endeavors in the contemporary art field that are creating agency for artists and art workers. It will focus on technological and pedagogical innovations, activist interventions, and political organizing in the economy of contemporary art production. It will make the case for practices that risk abandoning conventional artistic strategies to creatively experiment with the economic, legal, and techno-institutional structures that frame the art field and beyond.
We’ve been invited by Mike Pepi to contribute to Open Space at SFMOMA for Winter 2018 titled Heavy Machinery, “Digital platforms remake our connection to the everyday, and have assumed an outsize role in aesthetic and political mediation. With these new players come new critiques. Yet platforms seem to be more than just new institutions; something else is there. How do we respond?”
We responded with http://www.sfmoma.domains/
and the purchase of nine other domains: sfmoma.consulting, sfmoma.careers, sfmoma.ventures, sfmoma.community, sfmoma.technology, sfmoma.investments, sfmoma.solutions, sfmoma.estate.
We are honored to have received a NYFA Artist Fellowship! We are in excellent company:
2017 Digital/Electronic Arts Awardees
Merche Blasco (Kings)
Jeremy Couillard (Queens)
João Enxuto and Erica Love (New York)
Melinda Hunt (Westchester)
Zohar Kfir (Kings)
Jen Liu (Richmond)
Amelia Marzec (Kings)
Eva and Franco Mattes (New York)
Joseph Morris (Kings)
Ziv Schneider (Queens)
Pascual Sisto (Kings)
Christopher Woebken (New York)
Selected by Lab NT2 to exhibit at the HyperPavilion, curated by Philippe Riss-Schmidt for the 57th Venice Biennial
We have been included in the Venice Biennale Uchronia | What If? Exhibition at the Hyperpavilion 2017.
We wrote a piece for the new special issue of Finance and Society on ‘Art and finance’ co-edited by Suhail Malik and Gerald Nestler.
We hope you will join us for a screening of our work at P! Gallery for the New York launch event:
January 25, 6-8pm
334 Broome Street
New York, NY, 10002
Presentations by :
Emily Rosamond (research article contributor)
Laura Lotti (research article contributor)
Q&A, moderated by Patricia Margarita Hernandez and Gerald Nestler
João Enxuto, Erica Love, The Institute for Southern Contemporary Art (ISCA), video, 16:20 min.
Sylvia Eckermann and Gerald Nestler, WHISPER. Status code: No entity found, 2k-video, 4:49 min.
Sea Change, curated by Brian Willems, Gean Moreno, Jasna Gluić at the Multimedia Cultural Centre in Split, Croatia.
Participating artists: Hito Steyerl, Group AST (Elite Kedan, Felice Grodin, Diann Bauer, Suhail Malik), Tanja Deman, Ursula Biemann, Doming Castillo, Eric del Castillo, Cara Despain, Joao Enxuto and Erica Love, Toni Meštrović, Nadija Mustapić, Dan Oki, Nika Radić, Allan Sekula & Noël Burch, Emmanuel Vaughan
Hidden Assembly is a group exhibition that will foreground work and workers in an era of hidden labor, curated by Yaelle Amir. The starting point of the exhibition is the recognition that under capitalism most production is rendered invisible. The labor that people perform is obscured or eliminated–an effect heightened by the expanded tech field, global outsourcing, and the rise of precarious work. Hidden Assembly addresses our reconfigured labor market by featuring projects that examine what it means to work in current times, and creative campaigns geared towards exposing exploitative conditions that precarious laborers face today from cultural workers to caretakers to independent contractors.
Artists/Projects: Art Handlers Alliance (AHA-NY) | João Enxuto & Erica Love | Anna Gray & Ryan Wilson Paulsen | GULF Labor Coalition | Michael Mandiber | Betty Marin | Huong Ngo & Hong-An Truong | Laurel Ptak | Studio REV- (lead artist: Marisa Morán Jahn) | Andrew Norman Wilson | Patricia Vasquez
Curated by Yaelle Amir
Jointly presented with the Newspace Center for Photography and the Center for Contemporary Art & Culture at PNCA.
Opening Reception at Newspace Center for Photography: Friday, November 4, 6:00 – 8:00pm.
Screening of Institute for Southern Contemporary Art (ISCA) followed by Franco "Bifo" Berardi's keynote lecture at the annual Impakt Festival.
This year is titled Authenticity? curated by Bas Hendrikx and Barbara Cueto and will be a five-day multi media festival with exhibitions, lectures and screenings at different locations in the city of Utrecht, The Netherlands.
International Cybernetics, Corinna Kirsch, Thursday, October 20
Beyond Inputs and Outputs: The Global Reach of Cybernetics and Open Systems
Chair: Corinna Kirsch, Stony Brook University
Megan Hines, Stony Brook University, Lygia Clark's Bichos: An Alternate Cybernetic Utopia
Gabriela Aceves Sepúlveda,Simon Fraser University Surrey, Independent Publishing Networks, Cybernetics and Art: El Corno Emplumado/The Plumed Horn, 1962-1969.
Christine Filippone, Millersville University, The Whole Earth: Open Systems and Eco-Art
João Enxuto and Erica Love, Contemporary.Institute
Our video Institute for Southern Contemporary Art (ISCA) has been featured on Rhizome and the New Museum's First Look with essay by curator Lauren Cornell.
As Contemporary.Institute we are happy to announce our first public event on Thursday, January 28, 2016, 4:00-5:00pm, Kopleff Recital Hall, Georgia State University.
OUR LITERAL SPEED is a collective based in Selma, Alabama. They will be represented by Christopher P. Heuer, an Associate Director at the Clark Institute in Williamstown, Massachusetts and Matthew Jesse Jackson, an Associate Professor in the Departments of Visual Arts and Art History at the University of Chicago.
We are excited to be participating in a group exhibition in London at The Photographers' Gallery titled, PowerPoint Polemics with contributions also from Stephan Dillemuth, IOCOSE, Lev Manovich, Rosa Menkman, Sascha Pohflepp, Claire Tolan, Rebecca Roth (NASA), Joe Gibson & Mishka Henner, Joachim Schmid, Olga Goriunova & Matthew Fuller, Paul Wombell, Clunie Reid, Werkflow & Mechanical Turk.
For more information about our contribution visit The Photographers' Gallery
We gave a talk at the Louisiana Museum of Modern Art, Denmark titled, “From an Institution of Critique to an Administration of Disruption” It can be viewed on the Louisiana Museum of Modern Art’s site.
We just participated in the Whitney program 99 Objects with a performative lecture on Barnett Newman’s painting Day One.
Named in honor of the Whitney’s new address, 99 Gansevoort Street, 99 Objects is a series of in-gallery programs focusing on individual works of art from the Museum’s collection on view in America Is Hard to See. Speakers include artists, writers, Whitney curators and educators, and an interdisciplinary group of scholars.