Minnesota Street Project

BITFORMS GALLERY nyc /
Minnesota Street Project
Fifteen-Year Anniversary Exhibition
Opening reception:
Saturday, 5. November 2016 | 6 – 8pm
Artists include Jeffrey Blondes, Daniel Canogar, R. Luke DuBois,
Claudia Hart, Yael Kanarek, Beryl Korot, Rafael Lozano-Hemmer,
Sara Ludy, Manfred Mohr, Jonathan Monaghan, Mark Napier,
Tristan Perich, Quayola, Casey Reas, Daniel Rozin, Björn Schülke,
Siebren Versteeg, Addie Wagenknecht, Marina Zurkow, and Zimoun.
Exhibition: 5.Nov   – 29. Dec 2016
1275 Minnesota St, San Francisco 94107

http://www.bitforms.com/

14590494_1151218294944949_4796170248836642222_n Quayola, “Pleasant Places,” 2015. Installation view: GLOW Eindhoven
 New York-based bitforms gallery celebrates its fifteenth year with an anniversary exhibition at Minnesota Street Project in San Francisco. The curated presentation of works includes currently represented artists as well as those who have shaped the gallery’s identity over the years, demonstrating the program’s continued engagement with technologically informed practices.
Artist talks will take place in Gallery 200 during reception. Artists present for the evening include Daniel Canogar, Rafael Lozano-Hemmer, Manfred Mohr, Jonathan Monaghan, Casey Reas, Björn Schülke, Siebren Versteeg, Addie Wagenknecht and Marina Zurkow.

New York-based bitforms gallery celebrates its fifteen-year anniversary exhibition at Minnesota Street Project in San Francisco. The curated presentation of works includes currently represented artists as well as those who have shaped the gallery’s identity over the years, demonstrating the program’s continued engagement with technologically informed practices.

 

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Björn Schülke, “Luftraum #1,” 2012. Solar panels, motor, wood, aluminum, carbon fiber, cement, nylon fabric, custom circuits, motion sensors, paint.

 

Since 2001, bitforms has become synonymous with “new media” art and the work that falls into this evershifting categorization. As such, the program spans a range of media from traditional to experimental. With new media being relative to each generation, the gallery represents established, mid-career, and emerging artists, showing the diversity of approaches to media over several generations.

In a moment of economic downturn and global uncertainty, the gallery opened its doors in November 2001 in Chelsea, the epicenter of the New York art world. At the same time, media art was gaining institutional support with the hype cycle of the dot-com bubble. Prior to bitforms’ opening, five exhibitions at major institutions signaled a sea change in the art world: the Solomon R. Guggenheim Museum openedMediascape in 1996; SFMOMA opened {010101: Art In Technological Times}; the San Francisco Art Institute opened the traveling exhibition Telematic Connections: The Virtual Embrace; and the Whitney Museum of American Art opened BitStreams, all in 2001, and in the UK, Art and Money Online opened at the Tate Modern, also in 2001. Despite the dot-com bubble bursting, bitforms gained momentum and carved out a space in the gallery scene as the only program exclusively representing artists critically engaged with technology.

 

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bitforms’ fifteen-year anniversary comes at a moment when media art is garnering newfound attention, reminiscent to the beginning of the millennium. Within the past year, we’ve seen the landmark exhibition ElectronicSuperhighway (2016 – 1966) at the Whitechapel Gallery, spanning five decades of artists’ work impacted by computer and internet technologies; conservation and preservation of computer-based artworks gaining institutional support at the Guggenheim, MoMA, and SFMOMA; and the ever-increasing acquisition of post-internet art by collectors and institutions around the world. While contemporary technology is used for increasingly corporate ends, bitforms’ artists employ these same tools as a means for artistic expression.

Showcasing the full range of the gallery’s program, the exhibition at Minnesota Street Project spans three distinct spaces within the complex. In the main gallery, highlights include new LED wall sculptures by Daniel Canogar, a large-scale interactive work by Rafael Lozano-Hemmer, a sculpture that intercepts WiFi signals by Addie Wagenknecht, a drawing machine by Tristan Perich, algorithmically generated digital paintings by Siebren Versteeg, computer drawings from the 1970s by Manfred Mohr, a video compilation of Mark Napier’s net.flag––one of the first Internet artworks to be commissioned by a major institution, and works on paper inspired by Yael Kanarek’s browserbased World of Awe series. While the earliest works in the show date to the beginning of the 1970s, works by emerging artists––including Sara Ludy, Jonathan Monaghan, Quayola, and Addie Wagenknecht––showcase how a new generation of artists are engaging with contemporary technology. In their respective practices, these artists employ Second Life, computer-generated animation (CGI), lidar (light and radar three-dimensional scanning), and drone technologies.

 

 

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For the first week of the exhibition, a new work by R. Luke DuBois will have its debut in the media gallery. Like his 2012 piece, Acceptance 2016 takes the political party acceptance speeches given by the two major-party candidates, subjecting them to a computationally generated editing process based on the language used in each speech. Hillary Clinton and Donald Trump, two of the most contentious presidential candidates in recent history, use vocabularies of around 1,300 unique words in the hour-long monologues; 975 of these words (75%) are the same. For the remainder of the exhibition, the media gallery will offer a selection of single-channel video works on rotation. The program includes video pieces by Claudia Hart, Sara Ludy, Jonathan Monaghan Quayola, Casey Reas, and Marina Zurkow.

In the Atrium space, large-scale works by Daniel Rozin, Björn Schulke, and Siebren Versteeg showcase the variability of computer-based works, from surveillance tracking, physical computing, and digitally programmed painting software, respectively. Included in this will be Rozin’s iconic Wooden Mirror, originally produced in 1999.

Programming throughout the duration of the exhibition will include artist talks by Daniel Canogar, R. Luke DuBois, Rafael Lozano-Hemmer, Casey Reas, Daniel Rozin, Björn Schulke, Siebren Versteeg, Addie Wagenknecht, and Marina Zurkow, as well as conversations about the preservation and conservation of file-based artworks. bitforms gallery will also announce a new collaboration with Niio that will change the way file-based work is managed and collected. The gallery has also teamed up with Philips to present their new 98- and 75-inch 4K professional displays.

 

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Since its founding, bitforms gallery has been the only gallery in New York City exclusively exhibiting, supporting, and advocating for the collection of ephemeral, time-based, and new media art works. The gallery has placed works in the collections of the Museum of Modern Art, New York; Tate Modern, London; Solomon R. Guggenheim Museum, New York; Smithsonian American Art Museum, Washington, D.C.; National Portrait Gallery, Washington, D.C.; Center for Art and Media (ZKM), Karlsruhe; Centre Georges Pompidou, Paris; Victoria and Albert Museum, London; Stedelijk Museum, Amsterdam; and Borusan Contemporary, Istanbul, among other institutions internationally.

Coinciding with the exhibition at Minnesota Street Project is a solo exhibition of work by R. Luke DuBois at bitforms gallery in New York. The artist’s fourth solo show with the gallery, The Choice Is Yours presents work that considers how choices are made and framed in our society, with the United States democratic voting process as its framework. The exhibition is on view from October 26 through December 23.

bitforms gallery would like to thank all of the collaborators, collectors, curators, and of course, the incredibly talented group of artists, whom we have had the privilege of working with these past fifteen years.

Founded in 2001, bitforms gallery represents established, mid-career, and emerging artists critically engaged with new technologies. Spanning the rich history of media art through its current developments, the gallery’s program offers an incisive perspective on the fields of digital, internet, time-based, and new media art forms.

http://minnesotastreetproject.com/galleries

 

 https://www.facebook.com/events/691085251039716/

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