SOCIÉTÉ

Journal:

Mortality in the digital age: the many deaths of Lu Yang

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.LINEBREAK

Technofuturistic imagery of video artist Lu Yang

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.LINEBREAK

Eisberg voraus

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.LINEBREAK

Visit Bunny Rogers’ installation at the New Museum as part of “The Art Happens Here: Net Art’s Archival Poetics”

”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.LINEBREAK

Portrait Lu Yang, The Universe Is On Fire by Harry Burke

“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…”LINEBREAKThis text appears in Spike #58. You can buy it in Spike online shop.LINEBREAK

How the military, a marathoner, and the relentless march of capitalism turned protein bars into an unlikely American staple.

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.LINEBREAK

The Making of Rhizome’s Net Art Anthology: Petra Cortright’s VVEBCAM

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.LINEBREAK

Future Shock! From Video Games to Art with Lu Yang at China Institute

Watch full talk on YouTube.LINEBREAK

Die Hölle brennt in Eiseskälte

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.LINEBREAK

Reales und Fiktion mischen sich immer mehr

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.LINEBREAK

Die Tiefsee als Rückzugsort der Phantasie

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.LINEBREAKRead in German on Frankfurter Allgemeine.LINEBREAK

Lu Yang presents new work in the 12th Shanghai Biennale

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.LINEBREAK

Timur Si-Qin: Forgiving Change, 2018 at High Line, New York

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.LINEBREAK

New York artist Trisha Baga resists authority with humor

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.LINEBREAK

Lu Yang’s Dance Dance Revolution Installation at Shanghai Biennale

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.LINEBREAK