Month: May 2023
Alison Nguyen’s Andra8 and the Gig Workers of the Data Economy
Sitting in front of a wrinkled sea-green backdrop is Andra8, the protagonist of Alison Nguyen’s 19-minute film my favorite software...
WangShui: Uncertainty in the Network
One of my earliest memories of the artist WangShui is of cats. Cats were the focus of their undergraduate thesis...
different ways to describe the ends of things
notes on Laurie Anderson
ID: A video still of artist Laurie Anderson, cropped against a light blue-and-white background. Anderson, a White woman in her...
Behavior Conditioner: The Narrative Imagination of Ian Cheng
The inscrutability of the universe is quite enough for us to think about. —Fernando Pessoa, The Book of Disquiet After...
Neo Muyanga: A Mass of Cyborgs
A Mass of Cyborgs, Neo Muyanga’s first solo, is a fitting inaugural exhibition for the Center for Art, Research and...
Some Questions Surrounding Robots and Rivers
Media artist and theorist Mark Amerika engaged in a conversation with GPT-2 (generative pre-trained transformer)—an open-source language model released in...
The 16th Lyon Biennale: manifesto of fragility
Moments like these, where the show drilled down on its complex resistance to heteronormativity (and thus paternalism), heightened the breakdown at Usines Fagor, with its abundance of large-scale installations that, while meaningful—as with Dana Awartani’s Standing by the Ruins of Aleppo (2021), a clay brick reproduction of the courtyard floor in Aleppo’s Grand Mosque—hinted at a curatorial anxiety to fill the site’s cavernous spaces.
Not The Only One (N’TOO)
Not The Only One (N’TOO) is the multigenerational memoir of a Black American family told from the perspective of an...
Stephanie Dinkins: Building Something Now
In a recent conversation, a colleague made the claim that the math supporting the technology under discussion was not cultural....