DIGITAL CATHARSIS

METASENSORIUM

ABEL ENKLAAR AND AMY JOHNSON

"MetaSensorium responds to the social isolation pervasive to the pandemic by speculating on the ability of wearable technology to create new levels of connection between people at a distance. Emerging from the designers’ autobiographic experiences of separation, disconnect, and the desire to be physically present with others, MetaSensorium started with a question of how a physical and sensorial connection can be constructed through virtual means. The resulting wearable is activated when two wearers face one another at a distance, triggering their devices to deliver a sense of the other’s presence as a spectral embrace.MetaSensorium draws upon feminist practices and the new materialistic entanglements of Haraway or Barad, as well as the concept of Heterotopias. Adding to the sensorium another sense engenders tuning-into an ‘other space’ as in Foucault’s ‘Of Other Spaces: Utopias and Heterotopias’. This is the space between, a liminal, shared space forming a foundation for connection through sensorial experience at a distance."

Adrian Schachter

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"Throughout art school, even while growing up, I was taught to question everything, not to accept anything as given. As a result, I've developed a kind of idealistic cynicism where I am moved to analyze all that I encounter, searching out hypocrisies and inconsistencies, before I can wholeheartedly believe in anything and become passionate. When applied to the world of images I was bombarded with online since childhood, along with the rest of my generation, my mind could barely cope. From the moment I could scroll, my love and appetite for digesting data in every form was nothing less than voracious, like a hungry hippo. Yet, the more diverse and psychologically charged the information I stumbled upon, the more I became increasingly numbed and detached. While trying to elaborate this thought in my art, I found that pairing disparate but somehow tangentially related imagery created unintended relationships more profound and unexpected than when they existed on their own. In the process of mining for content that gets translated into my paintings, I tease out and highlight connections that transform the way the viewer perceives the underlying material, creating new and unforeseen narratives in the process. "

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Samuel de Gunzburg - Side Cup Thing - 20

Samuel De Gunzburg

 "In relation to the covid-19 self-isolation period, these works can be understood as a reevaluation of one’s self. The process is based on reinterpreting the artist’s own organic paintings on editing programs and creating a digital version which is then repainted flat onto canvas and thus can be seen as another version of the same entity. A step in another direction, with elements which have a different painterly character than the works the paintings are originally based on, though graphically being based on the same image, they differ in two separate styles of painting."

MAD WORLD
Maxime Boublil and Clara Yolks

"As "Dive" started to make an impact in Peru, Clara, who opened for Shawn Mendes last year, reached out to me to make this silly cover and video of "Mad World". It’s a  fun message to let everyone know it's okay to go a little crazy as long as you stay inside. Collaboration between France and Peru."

Jo McGary

Portraits (2020-)

"The focus of my work is on the relationships between new and old media, in order to explore the multiple viewpoints and parallel realities these things expose - to look beyond McLuhan’s rear view mirror and through the looking glass."

  

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'Bloodbath'

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"In 2016 I made a computer game, ‘Bloodbath on a Sunny Day’.

Using the tropes of computer gaming, the player navigates interactively through several vignettes. Scenes reference news stories / terrorist attacks/ historical painting/ holidaying/ mass graves / defecation / sexual acts - whimsical, evil, vulgar and banal events are triggered that amuse or shock or disgust. Bloodbath V.2 was created in 2019 as a remix of the original 'Bloodbath on a Sunny Day’ (2016) game. The linear narrative structure of the original - more akin to a conventional computer game - was scrapped, along with the interactivity. I wanted to leave the preconceptions and hang ups of the formula of computer gaming and explore the medium for what it is. What is left is a continuous, autonomous, ever changing pit full of all the assets of the original - from hearts and beach balls to gushing blood and severed heads. The program is able to generate an endless stream of unique images.In this work I want to try to explore the nature of the virtual realities which increasingly influence and make up our world, and how the distinction between 'real' and 'virtual' is arguably less and less relevant. Virtual reality is not the world you see simulated on a new expensive headset developed by google - we're already living in it."

ENRICA GRECO

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