“I feel like I have a soul now,” Bunny Rogers said on the phone from Frankfurt, days after the opening of her exhibition Pectus Excavatum at the Museum für Moderne Kunst. Following her 2017 Whitney solo exhibition Brig Und Ladder, which served to complete a trilogy of installations about the Columbine High School massacre, the American-born artist retreated into a year-long hermitage. Read more on Interview.
Questioning how much we think we know, especially within a broader consideration of animal intelligence, is one of the main focuses of the show at MMK Frankfurt. I define intelligence as sensitivity, and in those terms, animals such as squid, octopi, and whales are indicative of the extreme sensory capabilities that we’ve barely scraped the surface of. Read and watch on ARTFORUM.
Über die Lebensweise von Riesenkalmaren und Teenagern ist wenig bekannt, das legt zumindest eine Ausstellung in Frankfurt nahe. Wie die Künstlerin Bunny Rogers tief in die Welt der Adoleszenz blicken lässt. Read in German on Monopol Magazine.
Cortright’s choice of subject lands on the perfect place along the art history spectrum for this conversation. The dozen or so works are variations on the floral still life genre, and “Lucky Duck Lights Out,” the exhibition title, references two varieties of dahlia, the former a sunny yellow and the latter, a velvety scarlet(…) Read more on ARTILLERYMAG.
Hell On Earth Podcast Zine Launch
March 13th, 2019, 7pm
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New York, NY 10012
Lu Yang videos burn themselves onto our retinas. Glaring and heady, they construct narratives of self-mutilation, which are used by the artist as a process of enlightenment. Both Yang’s best-known video installations, Delusional Mandala (2015) and Delusional Crime and Punishment (2016), tell the story of a bizarrely manufactured human figure (a 3D genderless simulation of Yang herself) stuck in limbo between a life of synthetic potential and its inevitable condemnation. Read more on Art Basel.
The Whitney Biennial 2019 is curated by Rujeko Hockley and Jane Panetta, the show runs from May 17 to September 22. Read more on Whitney Museum website.
Lu might be driven by a similar desire, joining the dots between Buddhism, neuroscience and biology in an oeuvre that resembles a manga franchise populated by a psychotic cast of gods, demons and cyborgs – as well as the artist herself. While Capra’s new-age tome sought to attune ‘modern’ scientific minds in the West to the ‘ancient wisdom’ of Eastern spirituality, Lu’s sciencefiction approach to religious iconography is a joyously accelerationist affair, fusing inquiries into consciousness and control in a dizzying cosmological cocktail. Read the full feature in Frieze Magazine.
Im Zweifelsfall ist das Material wichtiger als die Identität des Künstlers: Eine Schau in Frankfurt zeigt Arbeiten der amerikanischen Bildhauerin Bunny Rogers. Read in German on Süddeutsche Zeitung.
When artists experiment with virtual reality, they often lose themselves in the medium’s overwhelming possibilities. So A New Protocol VR v.1.2, 2018, the sole VR piece in Timur Si-Qin’s “East, South, West, North,” is a pleasant surprise. (…) Purchase full online access.
The first name that jumps to my mind is Lu Yang, surname Lu, a new media artist born and based in Shanghai, who we recently hosted here in Chicago for a talk. Her fame has shot up over recent years, and the work is fascinating.(…) Read more on artnet news.
The fact that people couldn’t enter made it a diorama, it flattened it. In a way, it was like a real life Neopets gallery. (…) Read full interview on Rhizome.
”The Art Happens Here: Net Art’s Archival Poetics” features sixteen works from throughout net art history, showcasing a wide range of forms—websites, software, sculpture, graphics, books, and merchandise—while offering a space for considering the internet as social process, material infrastructure, and lived experience. Among the works on view is Sister Unn’s (2012), an installation by Bunny Rogers and Filip Olszewski based on a mysterious storefront in Queens that led passersby to an equally enigmatic website, exemplifying the links between real and virtual space. On view at New Museum, New York.
“Floating in a purplish, cloudy outer space, the avatar undergoes stereotaxy, a high-tech form of minimally incisive brain surgery, which gives her the consciousness and form of a god. But as the body’s audacious mutability is revealed, so is its fragility: the artist succumbs to death, and is whisked to the afterlife in an ornate, dust-churning hearse. A cartwheeling, distorted sound track by DJ Cavia666 escorts the video to its end…”
Two cofounders of the algae-bar start-up Nonfood, artist Sean Raspet and writer Lucy Chinen, tell me that they see the protein-bar format as a way to introduce consumers to algae as an ecologically sustainable staple food.“In some of the ideas we had, when we were doing five things that were new, it got to be so people wouldn’t know what to do with it,” says Raspet, who worked as a flavorist for the notorious liquid-meal start-up Soylent before starting Nonfood. Read more on Topic.com.
Just as Cortright used the default effects that came with her camera, she also treated YouTube metadata as a readymade. She copied a string of terms often used by spam accounts on the platform, which were designed to draw in viewers who were trawling for titillating or offensive material, and pasted it into the keyword field for her own video. This led to numerous angry and confused commenters, with whom Cortright often engaged in all-out flame wars. Read more on Google Art and Culture.
Mit drei Ausstellungen ist Bunny Rogers in ihrer Heimat USA bekannt geworden, darin beschäftigte sie sich mit dem Columbine-Schulmassaker von 1999, die Künstlerin war zu diesem Zeitpunkt Mitte 20. Jetzt ist sie ein paar Jahre älter, derzeit Gastprofessorin an der Städelschule und hat für den besonderen Ort Zollamt des Museums für Moderne Kunst eine Installation erarbeitet, in der es zum ersten Mal überhaupt nicht um Columbine geht, wie sie selbst sagt. Read in German on Frankfurter Rundschau.
Puh, das muss man erst mal verdauen, was Bunny Rogers meint: Die Erinnerung an den Lieblingszeichentrickfilm ist genauso real wie die Erinnerung an einen toten, geliebten Menschen. Ist der Tote etwa nicht persönlicher? Read in German on Main-Echo.
A show at the New Museum celebrates the completion of Rhizome’s Net Art Anthology, a two-year project to preserve and archive digital artworks that were in danger of disappearing. Read more about Bunny Rogers and Filip Olszewski’s Sister Unn’s project on New York Times.
Im „Zollamt“ des Museums für Moderne Kunst sind Arbeiten von Bunny Rogers zu sehen, einer außergewöhnlichen jungen Künstlerin. In ihrer Ausstellung fasziniert sie mit Wesen aus einer anderen Sphäre.
Read in German on Frankfurter Allgemeine.
The 12th Shanghai Biennale opens 10th November 2018 at the Power Station of Art in one of China’s largest urban centres. The exhibition features new work by Lu Yang in a dedicated gallery space on the 3rd floor of the Power Station of Art. Read more on s edition’s website.
Timur Si-Qin (b. 1984, Berlin, Germany) creates artwork that posits advertising and commercial marketing as a result and extension of biology. Across his practice, Si-Qin works to combat essentialism—whether in branding, language, or nature itself. He often builds seemingly organic environments whose underlying industrial structures can be easily seen, thus calling into question the things we take for granted as “natural” or “unnatural.” For the High Line, Si-Qin presents Forgiving Change, aluminum casts of a burned tree branch from Pepperwood Preserve, which was the site of one of the many forest fires that crossed the west coast of North America in 2017.
Trisha Baga’s work in video and installation is a sustained inquiry into the possibility of disrupting art history—with the body, lived experience and identity. To be an artist is to both absorb that which has come before and to reject its claim to authenticity. Read more on CulturedMag.
For the 2018 Shanghai Biennale, LuYang created a large scale installation including a Dance Dance Revolution arcade game installation. The installation also include set design, LED displays, videos and modified arcade machines. The Shanghai Biennale is now on at the Power Station of Art from 10 November 2018 until 10 March 2019. Watch the teaser on MetaObjects Vimeo.
A motley assortment of enchanting ceramic sculptures fills the first room of Baga’s installation “Mollusca and the Pelvic Floor.” A half-dozen glazed poodle heads accompany melting guitars, volcanic islands, and fossil-like abstractions; two busts—a self-portrait and a deft rendering of RuPaul—house virtual-assistant devices. Read more on New Yorker.
The multimedia artist Bunny Rogers blends fact and fiction in her works. Here, she shares her creative process and diverse influences—from cartoons to fashion. Read the full interview on Barneys’ The Window website.
The real crime, however, was that these deadening works were hung near three inspired paintings by Jeanette Mundt, each depicting a gymnast torqueing through the air at Rio 2016 Olympics. (…)
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Organized by Living Content in partnership with Times Square Space, Living Content Live is a full day event consisting of talks, presentations, screenings, and performances, by some of the most thought-provoking contemporary artists, writers, and curators. Dealing with topics such as ecology, feminism, technology, and knowledge production, the featured speakers will present unique insights into their practices and their discourses. Read more on Living Content website
Petra Cortright’s first public art installation in Korea currently on view at Doota Plaza, Seoul until 28th of October, 2018. Watch full interview with Petra on YouTube.
Trisha Baga’s brand of weirdness draws from science fiction, spiritualism and contemporary oracles like Wikipedia and Alexa, the digital personal assistant. As art, it takes the form of a psychedelic 3-D video installation, ceramic sculptures in various sizes and paintings on lenticular photographs in the show “Mollusca & the Pelvic Floor” at Greene Naftali. Read more on The New York Times.
Sean Raspet discusses the corporation as a form of artistic practice, Nonbar prototype 2 (with sesame seeds), and scent rights. Read more on The creative independent website
The L.A.-based artist was commissioned by the Seoul shopping center for a new large-scale public art installation, which was unveiled today. Working with Korean creative agency SketchedSpace, which produced the project, Cortright created new digital paintings which “skin” the building’s facade, as well as 17 large flags bearing her designs. Read more on WWD
Bunny Rogers: INATTENTION on view now at Marciano Art Foundation.
September 1, 2018 – January 6, 2019
Trisha Baga’s third exhibition at Greene Naftali is also her most ambitious. “Mollusca & The Pelvic Floor,” like its cosmically hilarious and dizzyingly psychedelic predecessors, features a dazzling and untidy collection of found, handmade, and moving-image works: from doctored lenticular posters of human anatomy to idiosyncratic ceramic representations of everyday objects, all arranged around and within a deliriously complex 3D video installation. Read more on art agenda.
As startups looks towards increasingly abstract schemes, where is the art that answers to today’s deeply networked structures? Read more on Frieze
As playful as he is provocative, Darren Bader interrogates the meaning of art itself. Read more at nytimes.com
Trisha Baga at Greene Naftali
Mollusca & The Pelvic Floor
September 14 – October 20, 2018
For her third exhibition at Greene Naftali, Mollusca & the Pelvic Floor, Baga presents an installation comprising a wide-ranging landscape of ceramics in varying scales, as well as a new video installation. The exhibition’s eponymous central video examines language, technology, identity, and intimacy, through an expanding and contracting scope that ranges from galactic footage sourced from the sci-fi movie Contact, to video of intimate minutia such as Baga’s toes peeking out from a bathtub, an image echoed in a pair of small ceramic sculptures on the floor.
David Lewis Gallery
May 4, 2018
The September issue of Texte zur Kunst focuses on Amerika (U.S. America principally): the land, the idea, and all that seems to come with it. What is Amerika today other than a contradiction between brute political reality and a largely fictional self-image, where fiction says as much about fact as “alternative facts” say about the truth? Purchase full online access
The artist uses the web to create striking, ethereal art that sometimes seems too simple to be true. Elle USA
For the grand opening of the new Powerlong Art Centre in Hangzhou, Lu Yang presented a new and upgraded version of her Electromagnetic Brainology Live motion capture performance. The performance was presented during the opening ceremony of the centre alongside video installations of her work in a group exhibition title Nine Tomorrows curated by Yao Dajuin. Watch it on MetaObjects Vimeo
Watch the praised artist Bunny Rogers (b. 1990) talk about creating autobiographical work that draws from memory and deals with her childhood by archiving her feelings from that time: “You can’t make objective art, it’s going to be subjective.” Louisiana Channel on Vimeo
Sean Raspet describes his interest in the chemical structure of flavors and scents, and considers how molecular analysis presents new ways of thinking about the potential of art objects and their relationship to audiences. Swiss Institute on YouTube
Virtual reality is increasingly being used as a medium within the parameters of art: a development that connects to the way technology is increasingly shaping the way we live. How are artists engaging with this emergent techno-reality, and what future do they see?
Timur Si-Qin, Artist, Berlin Lu Yang, Artist, Shanghai Kening Zhu, Assistant Professor, School of Creative Media, City University of Hong Kong, Hong Kong Moderated by Victoria Chang, Director of VIVE Arts, HTC, London.
Can human beings mutate into we are historically used to call “gods” with the help of advanced technology? The Shanghai based artist discusses her interest in the physiology of the human brain, religious narratives, and the aesthetics of gaming and anime in relation to her hyper-stimulating, arcade-like installations. Read more on Mousse Magazine
Artist Petra Cortright & Carl Tashian, Engineer and Entrepreneur.
May 19th, 2018 at the New Museum in New York City. Rhizome on Vimeo
From a young age, I feel that the characters in the anime are easily pretty drawn only a few strokes. How can people be so tired and still look so ugly? I have Chūnibyō illness so it is easy to get into the role when cosplaying. Read and watch on Yuen Hsieh Vimeo
Katja Novitskova, born in 1984 in Tallinn, is currently based in Berlin, and Timur Si-Qin, born in 1984 in Berlin, is based in New York. Katja and Timur’s long friendship stems from their shared passion for nature and philosophy. Here, in the second issue of Living Content, they reminisce about their beginnings in art, their community spanning Berlin and Amsterdam, and they also discuss their interest in deep time, ecology and evolution. Read more on Living Content.
The theme of this issue – The New New Left – is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. Purchase full online access
Bunny Rogers is an artist that uses the Internet to create her artworks. For the exhibition “In Tune with the World”, she presents a series of refined self-portraits, where she depicts herself as Joan of Arc, from the American TV show “Clone High”. Fondation Louis Vuitton on YouTube
Trisha Baga presenting her work “MS Orlando” (2015) at the Nam June Paik Award 2016 at the Museum Folkwang, Essen. Kunststiftung NRW on YouTube
LA artist Petra Cortight and curator Aaron Lister talk about Cortright’s exhibition at City Gallery Wellington, RUNNING NEO-GEO GAMES UNDER MAME. City Gallery Wellington on YouTube
A candid meditation on the magic of film from the maestro of surreal cinema, David Lynch. Read more at Nowness
In this vlog, artist and educator Christine Sun Kim visits the studio of artist Trisha Baga. They discuss Baga’s process and her Whitney solo exhibition, Plymouth Rock 2. Whitney Museum of American Art on YouTube
Artist and Nonfood Co-Founder Sean Raspet & Francis Tseng, Designer and Developer.
May 19th, 2018 at the New Museum in New York City. Rhizome on Vimeo
Kaspar Müller fotografierte eine rote Glaskugel vor einem hochalpinen Panorama. Die Aufnahmen für dieses Bild entstanden in einem Walliser Bergdorf unterhalb der Baumgrenze mit Blick auf den Grande Dent de Veisivi (3418 m ü. M.), den Dent de Perroc (3676 m ü. M.) und den westlich vom Matterhorn gelegenen und von der Kugel verdeckten Dent d’Hérens (4171 m ü. M). Kaspar Müller untersucht mit seinen Arbeiten die Wahrnehmung einer Realität, die selbst schon Bild oder Zitat ist: Populärkultur und Warenwelt halten dafür viele Beispiele bereit, die er in seinen Werken aufgreift und künstlerisch befragt. Download at ricola.ch
Outside of Our Minds – Timur Si-Qin’s mostly depicts peaceful scenarios which convey the notion of a new image of humanity and a new humanism within it. In conversation with SCHIRN curator Matthias Ulrich the Berlin artist gives in-depth insights in his work and filmic interest. Schirn Kunsthalle Frankfurt on YouTube
For Timur Si-Qin (born 1984), working with new media is second nature. “VR is a natural extension of my skill set,” he says. “I’ve used [it] for several years to plan my exhibitions and have worked with 3D software since I was a teenager.” Read more on Financial Times