Maxine-Helen, Origin Story, and More
Sydney Gush (US)
Documentation takes the form of a bespoke video piece in which the artist’s sculptural works with defunct, recalled and dangerous children’s toys of the ‘80s and ‘90s converse and collaborate in ritualistic summoning, combining childhood memories with fears of those memories’ perversion.
Reid Arowood (US)
Feed, play with, or ignore MyReid, a game-like digital version of the artist who has needs and will, if ignored, eventually pass away in his holding cell.
Who Do You Love
Jungwoo Lee (KR)
Who Do You Love is an installation exploring human and non-human boundaries based on the minimal machine. Utilizing computer vision, simple robots perform the complicated human process of finding love.
Blake Fall-Conroy (US)
Surveillance cameras depict live, real images sourced from security cameras accessed and fed from all over the world. The real images are pieced together into collages that depict unreal scenes, and the audience member acts as security operative, watching the dream worlds of the work for any real activity.
Flapping memories of a lost gaze
Juliana Castro Duperly (CO)
Structured around the artist’s father’s last-written letters before his passing, this meditation on love and the natural Colombian world takes on a dream-like fantasy quality. Multiple phones with fractured screens flicker in time with the recorded and isolated audio creating a kind of naturally occurring morse code that beckons the audience into a life beyond death.
Moon Jelly Flow
Sarah Brophy (US)
Moon Jelly Flow pulls source material from real “wellness content” released online by zoos and aquariums to create a satirical guided meditation for a simulated jellyfish tank. The work explores technology’s ability to extend “access to nature” while also sterilizing the human understanding of the natural world as it is experienced through the screen.
Detachment Trilogy, Part I: Proof and Argument
Nimrod Astarhan (IL)
Entering into a conversation with Milorad Pavic’s 1984 novel Dictionary of the Khazars, Detachment Trilogy, Part I: Proof and Argument investigates the artist’s own hereditary connection to the nomadic Turkic Khazars of the sixth, seventh, and eighth centuries.