Curator
Group Exhibition
Curator
Group Exhibition
DP-1 playlist, version 1.1.0. 10 items: Victoria Chang x Alexandra Crouwers, Victoria Chang, Lillian-Yvonne Bertram x Dina Chang, Lillian Yvonne Bertram, P. Scott Cunningham x Connie Bakshi, P. Scott Cunningham, John James x Soliman Lopez, John James, Soliman Lopez, Seth Bockley x Helena Sarin, Helena Sarin, Denise Duhamel x Diane Drubay, Denise Duhamel, Ana Maria Caballero x Nancy Baker Cahill, Nancy Baker Cahill, Kalen Iwamoto x Julien Silvano, Kalen Iwamoto, Sasha Stiles x Nathaniel Stern, Nathaniel Stern, Marci Calabretta Cancio-Bello x Gretta Louw, Marci Calabretta Cancio-Bello.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to display this playlist, or copy the link and open it there.
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"text": "Victoria Chang\nVictoria Chang’s forthcoming book of poems, With My Back to the World will be published in 2024 by Farrar, Straus & Giroux and Corsair Books in the U.K. Her most recent book of poetry, The Trees Witness Everything was published by Copper Canyon Press and Corsair Books in the U.K. in 2022, and was named one of the Best Books of 2022 by the New Yorker and The Guardian. Her nonfiction book, Dear Memory (Milkweed Editions), was published in 2021 and was named a favorite nonfiction book of 2021 by Electric Literature and Kirkus. OBIT (Copper Canyon Press, 2020), her most recent poetry book, was named a New York Times Notable Book, a Time Must-Read Book, and received the Los Angeles Times Book Prize, the Anisfield-Wolf Book Award in Poetry, and the PEN/Voelcker Award. It was also longlisted for a National Book Award and named a finalist for the National Book Critics Circle Award and the Griffin International Poetry Prize. She has also received a Guggenheim Fellowship and the Chowdhury Prize in Literature. She lives in Los Angeles and is a Faculty member within Antioch’s low-residency MFA Program.\nAlexandra Crouwers\nAlexandra Crouwers (NL, 1974) is an artistic researcher and lecturer in the digital realm, working on the cusp of escapism and activism. Crouwers studied at Sandberg Institute in Amsterdam, and is currently a PhD in arts candidate at LUCA School of Arts/Leuven University in Belgium, focusing on finding new and unusual – sometimes unsettling and occasionally sardonically funny – means to deal with eco-anxiety and ecological grief.\nIn the research trajectory, a former family forest – a victim of the European spruce bark beetle plague – functions as a lens to look at global issues in the context of (post-)pandemic sentiments towards the ecological and climatological system crisis.\nCrouwers’ artistic practice is explorative and versatile, generating a range of output such as immersive video-installations, .gifs, emoji proposals, digital 3d sculptures, audio, in situ animations, woven tapestries, and public art works.\nNext to her visual practice, Crouwers publicizes her writings on the research, and on digital art and NFTs in relation to the wider field of contemporary art. Crouwers is currently based in Antwerp, Belgium."
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"description": "The film uses Ips typography, a custom made font based on the distinct hieroglyphic patterns the European spruce bark beetle (Ips typographus) leaves behind after its devastation. The font was designed by Jeroen Joebob van der Ham in 2020 and based on my drawings of bark beetle patterns from bark, found as evidence of the beetle’s passage on a clear-cut: a plot of family land – bought in 1964 by my grandfather – that was home to a small forest until its demise in September 2019.\nSome Last Questions\nWill the clock dissolve?\nDid rain enjoy falling? Did\nthe hands truly love me? Did\nthe treetops know? Was\nsadness what we wanted? Were\nthe fireflies warning us?"
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"text": "Lillian-Yvonne Bertram\nLillian-Yvonne Bertram is an African American writer, poet, artist, and educator who works at the intersection of computation, AI, race, and gender. They are the author of Travesty Generator (Noemi Press), a book of computational poetry that received the Poetry Society of America’s 2020 Anna Rabinowitz prize for interdisciplinary work and longlisted for the 2020 National Book Award for Poetry. They are the recipient of a National Endowment for the Arts Poetry Fellowship. Their other poetry books include How Narrow My Escapes (DIAGRAM/New Michigan), Personal Science (Tupelo Press), a slice from the cake made of air (Red Hen Press), and But a Storm is Blowing From Paradise (Red Hen Press). Their fifth book, Negative Money, is forthcoming from Soft Skull Press in 2023.\nDina Chang\nDina Chang is an American artist and curator whose work merges traditional photography with machine learning, video, misused software, and science. She seeks an emotional response from viewers as opposed to an intellectual one. Previous exhibitions of her work include MoMA PS1 as part of the Expo: 1 New York module ProBio; The Andy Warhol Museum; and Refraction Festival New York and Tokyo. She has been a visiting critic at Rutgers, Parsons the New School, and The International Center of Photography. She is also co-founder of Setta, an experimental creative studio based in New York City."
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"description": "“Spring So Uneasy” is a collaboration between poet Lillian-Yvonne Bertram and artist Dina Chang, in which Chang’s visuals provide a stunning photographic take on Bertram’s poem “The Body Deformed by Tidal Forces.” The poem is a muscular lyrical meditation on the physics of tidal forces that simultaneously create solidity and changes of season through rotation and gravitational push/pull and threaten destruction when the same forces of these rotating celestial bodies are brought into too close a contact to sustain their individual integrities. The same phenomenon, Bertram suggests, literally and figuratively applies to earth-bound human bodies and the ways people too are bound to an ungodly planet spinning ferociously through the cosmos.\nThe Body Deformed by Tidal Forces\nDarkness still here, hunkered against the trees.\nSpring so uneasy this year.\nNo matter morning’s boundary culling our bodies,\nanother romantic passage assaults us!\nO limp future centered on this body!\nIn the model solar system, planets suspend & twirl\nas if from a spider’s whirl.\nThe quantum in backpedal, in decline, spring so un-\ngripping this year. Bored mouth. Bored fingers.\nThe umpteenth day/night running like such—\ntruly, truly—this troubling with physics!\nNot still winter, not yet anything.\nO thuggish awakening.\nAll planets but this one were named after gods."
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"description": "Applying the lens of artificial intelligence and degenerative manipulation to the verse of P. Scott Cunningham’s “Gray,” this collaboration with Connie Bakshi decodes the language of the withheld to unravel the ties that bind. Drawing inspiration from early generation genetic sequencing protocols, the creation of the final work denatures, fragments, and replicates the “DNA strands” of an AI-generated image — synthesized with select words of the poem — to reveal points of origin and termination. The process reflects both the dynamic tensions and brute physicality beneath the surface of “Gray,” resulting in a piece that considers the legacy of biological bonds, the persistence of generational scars, and the choices that would cleave a departure from the past. Even after the last line of the poem, a question remains: where blood is thicker than water, when do the rules break from code?\nGray\nTo apologize\nmy mother texts me some birds.\n“What are these?” she asks beneath\nthe picture, which is blurry from\nhow, instead of walking closer\nto the flock, she pinched the screen\nwith her fingers to bring my eyes\ncloser to their bodies, each one\nin a different stage of lifting off\nfrom the lake’s slate table.\n“Whatever they were,” I say,\n“they’re gone.”"
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"description": "We live in a period of hybridizations occurring in all directions, from biological mutations themselves to major environmental changes. The art world also presents these hybridizations. Today everything is amplified by technology, from poetry to bio art. In “The Hybrid Branch,” Solimán López has versioned and synthesized the poem “Pastoral” by poet John James to turn it into a hybridization, in which the words become a digital tree and the audio becomes a genetic sequence precisely from the text of the poem.\nPastoral\nA peach tree in the snow.\nA black cloud in a peach tree in the snow.\nI am talking, now, to a consultant\nfrom the online tax firm\nabout a form that needs fixing\nand this flimsy piece of former wood\nwavers in the hand.\nIn the wind, in the hand.\nIt could have made peaches, or framed a house’s bones.\nInstead it serves as background\nfor columns of numbers\nthat signify financial decline.\nA real and imminent catastrophe.\nIt is Greek, catastrophe, meaning “downturn,”\nand derives primarily from theater.\nA peach tree in the snow.\nPaper leaves in a peach tree in the snow.\nAcross the street, some men fell a tree,\na rigid pine whose torqued enormity reminds me\nof the clustered redwoods lining the campus creek\nor logged to build Victorian structures\nhulking Telegraph’s curb.\nThey put the wood in a machine\nthat makes wood chips.\nThe smell of burning gas precipitates\na real and imminent catastrophe.\nA peach tree in the snow.\nWood chips in a peach tree in the snow.\nSheep, deer, wild elk. With their antlers\nthey terrorize the bark. Anthers.\nThe purple flowers throw their seed\nand other flowers catch it.\nSpent stamen, little rusted pistol.\nA bullet lodged in the trunk.\nMy daughter decapitates\ndandelions, cradles the heads\nin her hand, watches as the old ones\nscatter in the real and imminent wind.\nThey float on unimpeded\nin the hand, in the wind.\nA peach tree in the snow.\nShell casings in a peach tree in the snow.\nMy species is industrious,\ndapper and intelligent,\nformed in the lucid substance between\nthe sublime and the belligerent.\nIce caps retire and slip into\na warming, gorgeous sea.\nWe place granite on our counters,\nwhite stones in the garden.\nWe watch the turbines turn.\nA black cloud in the snow.\nA peach tree in a black cloud in the snow."
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"text": "Seth Bockley\nSeth Bockley is a writer of plays, poems, stories and screenplays. His stage works have been seen in Mexico City, Singapore, rural Ireland, Canada and all over the U.S. Current projects include King Gilgamesh & the Man of the Wild, a maqam-jazz inflected retelling of the ancient epic featuring Iraqi-Canadian actor-musician Ahmed Moneka. He is at work on a collection of short stories about magic in the American Midwest, and a novel about outsider art. He teaches at the University of Chicago, and serves as Director of Creative Engagement for the international eco-tech nonprofit Sovereign Nature Initiative, where he leads projects encouraging understanding and entanglement between humans and non-humans through art and technology.\nHelena Sarin\nHelena Sarin is a visual artist and software engineer who has always worked with cutting edge technologies. First at Bell Labs, designing commercial communication systems, and for the last few years as an independent consultant, developing computer vision software using deep learning. Save for the occasional foray into generative art with Processing and computational photography, all her art was analog... until she discovered GANs (Generative Adversarial Networks). With GANs, there is the adventure of new models and new datasets. There is a certain unpredictability that inspires, unblocks, and creates something special — something that goes far beyond Instagram/ Photoshop filters or ordinary style transfer. Recently she founded Neural Bricolage Studio to demystify, promote, and display AI assisted artwork."
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"text": "Helena Sarin is a visual artist and software engineer working with cutting-edge technologies for tech companies. At the same time, she has done commission work in watercolor and pastel, as well as in the applied arts like fashion, food, and drink styling and photography. Art and software had always run as parallel tracks in her life —software in the digital realm and art in the analog—until she discovered GANs. Since then, generative models became her primary medium. Sarin is known for her artisanal AI art practice, where she works with small datasets made up of her own sketches, ink drawings, engravings, and photographs, which—through the help of AI technologies—are transformed into images that lie across the digital and the analog realm. Her still lifes inherit the particularities of the media in her datasets—we see traces of pastels, newspapers, and photographs as well as the specifics of the AI models. The results are colourful, energetic, and highly personal.\nShe is a frequent speaker at machine learning conferences delivering invited talks at institutions such as MIT, Eyeo Festival, Library of Congress and TEDx Konstanz. Her artwork has been exhibited at a variety of AI Art exhibitions including in Zurich, Dubai, Oxford, Shanghai and Miami. Sarin has published a series of artist books including the sell-out “The Book of GANesis” followed by “GANcommedia Erudita”."
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"description": "“Notes From A Hackberry Seed” is part of Seth Bockley’s Nature Speaks! series. This initiative, created through the poet’s position as Director of Creative Engagement for Sovereign Nature Initiative, a web3 tech/theory/art collective, imagines giving human voice to nonhuman experiences, while recognizing the impossibility of fully translating those experiences. Helena Sarin’s visual rendering pays homage to the hackberry seed itself, the wood of the tree, its germination, pulsating, becoming, and the smile and energy with which the poet delivers the poem in the audio file that forms part of this collection.\nNotes from a Hackberry Seed\nDo you feel it?\nPotential.\nI always feel it, I’m a seed, it’s actually all I feel, 24/7. It’s dark in here, but I’m buzzing, almost glowing. I’m basically supervibrating with the energy of my potential, with the prospect of germination. Yeah… germination, it’s not the sexiest word, but it’s kind of a sexy feeling. Like you have a good idea and you’re about to say it. Like you’re about to walk into the nightclub where you will fall in love across the dance floor, just with eye contact. Like you’re pregnant with the future.\nIt’s a chemical feeling. I guess all feelings are.\nBut mine is pure right now, distilled.\nLike you, I was first a zygote, made from an ovule and pollen. But then when you sprawled out in your water womb I calcified, concentrated, bunched up and built strong, durable. Like a bomb, like a collapsing star. I’m ready to explode, into something. What will I be? I giggle to myself at night in my shell, just wondering.\nAnyway, I’m feeling my potential.\nHope you feel it too."
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"text": "Denise Duhamel\nDenise Duhamel’s most recent books of poetry are Second Story (Pittsburgh, 2021) and Scald (2017). Blowout (2013) was a finalist for the National Book Critics Circle Award. A proponent of collaboration, she and Maureen Seaton have co-authored five collections, the most recent of which is CAPRICE (Collaborations: Collected, Uncollected, and New) (Sibling Rivalry Press, 2015). Her nonfiction publications include The Unrhymables: Collaborations in Prose (with Julie Marie Wade, Noctuary Press, 2019). A recipient of fellowships from the Guggenheim Foundation and the National Endowment for the Arts, she is a professor in the MFA program at Florida International University in Miami.\nDiane Drubay\nDiane Drubay is a visual artist who uses photographs and videos to create optimistic visions of possible futures, inspired by social science fiction literature, color psychology, and scientific discoveries. Her fascination with natural light and colors began in 2012 while waiting for the golden hour in Claude Monet's garden at Giverny. Her work includes projects such as “Odyssey,” a 23-minute video compiling impressions of rising and setting suns, and exploration of natural glitches and their impact on our vision of landscapes and the future. Her work has been exhibited in various galleries and festivals worldwide."
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"description": "“Futurum Febris,” fruit of the collaboration between the poet Denise Duhamel and visual artist Diane Drubay, takes us on a journey towards a distressing transcendence. The planet becomes a metaphor for the memories and thoughts of the narrator of “Pilgrims,” Duhamel’s poem. Like a path that accompanies the text, going from the naivety of youth to the realization of a conflicting system, the exploration of the two planets invites us to travel towards a feverish future.\nThe visual piece is composed of an excerpt from Duhamel’s poem “Pilgrims,” encircling the planets like a blue guiding thread. The two rotating 3D objects are covered with photographs of interference colors captured in the sky. One is calming and peaceful, creating a meditative state and a moment of harmony. The second is heated and alarming, causing a sense of fascination and panic at the same time. Drubay uses psycho-active colors and the feeling of total isolation to heighten the senses and embrace new ideas and perspectives.\nThis work plays with a descriptive narrative that takes the viewer/reader into a scene of changing emotions and states, calling for transformation by creating true impact.\nInteraction instructions:\nScroll mouse wheel or pinch to zoom and enter the orb\nMiddle mouse button or finger drag to pan the view\nPilgrims\nIn June 2012, Mecca had the hottest downpour\nin earth’s history–rain at 109 degrees. I had just finished\nreplacing my last old light bulb with the new expensive twisty kind\nwhich I now learn contains mercury,\nthat beautiful dollop\nthat once rolled out from a broken thermometer when I was a child,\nits elusive silver shimmer. I had a fever, now the planet has a fever.\nI don’t remember how\nmy mother disposed of the mercury,\nbut we are supposed to open the windows if we break\none of these new bulbs, wear gloves for the clean up.\nThe earth’s fever will not break.\nFeverish agribusiness\nno crop rotation, overgrazing. It is difficult to get a man\nto understand something, when his salary depends on\nhis not understanding it, wrote Upton Sinclair.\nEveryone\nat the dinner parties I go to agrees–we have to do something.\nSincerity. Irony. It doesn’t really matter which. Thieves\nof pennies and dimes…put out of the way\nby the swindlers\nof millions. Upton Sinclair, again. Pilgrims to the holy city\nlooked up, surprised by the warm drops, by a breeze coming in\nfrom the Red Sea where ancient turtles slogged through crude."
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"text": "Ana María Caballero\nAna María Caballero is a Colombian-American poet and artist. Her multiple award-winning work explores how biology delimits societal and cultural rites, ripping the veil off romanticized motherhood and questioning notions that package sacrifice as a virtue. She’s the recipient of the Beverly International Prize, Colombia’s José Manuel Arango National Poetry Prize, the Steel Toe Books Poetry Prize, and a Sevens Foundation Grant. Her Pushcart Prize and Best of the Net-nominated work has been sold at live auction, published in top literary outlets and exhibited internationally. She’s the author of the chapbooks Reverse Commute and mid-life. In 2022 she published her first digital book TRYST. She published a full-length poetry collection Entre Domingo y Domingo and A Petit Mal, a nonfiction manuscript, in 2023 and will be publishing Mammal in 2024. Widely recognized as a web3 poetry pioneer for her own innovative work, she’s also the co-founder of digital poetry gallery theVERSEverse.\nNancy Baker Cahill\nNancy Baker Cahill is an award-winning interdisciplinary artist whose hybrid practice focuses on systemic power, consciousness, and the human body. She creates research-based immersive experiences, video installations, and conceptual blockchain projects rooted in the history of drawing. Her monumental augmented reality (AR) artworks extend and subvert the lineage of land art, often highlighting the climate crisis, civics, and a desire for more equitable futures. She is the founder and artistic director of 4th Wall, a free AR public art platform exploring site interventions, resistance, and inclusive creative expression. She has exhibited internationally at museums and galleries, and her solo exhibition Slipstream: Table of Contents was recently acquired by LACMA. In 2023, she will have her first solo mid-career retrospective exhibition at the Georgia Museum of Art which will travel in 2024. In addition, The Whitney Museum has commissioned and will acquire an Artport video and AR installation, launching in the fall of 2023."
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"text": "Nancy Baker Cahill is an interdisciplinary artist and expanded filmmaker whose hybrid practice focuses on systemic power, consciousness, and the human body. She creates research-based immersive experiences, video installations, and conceptual blockchain projects rooted in the history of drawing. Her monumental augmented reality (AR) artworks extend and subvert the lineage of land art, often highlighting ecological imagination, civics, and a desire for more equitable futures. She is the Founder and Artistic Director of 4th Wall, a free, AR public art platform exploring site interventions, resistance, and inclusive creative expression.\nBaker Cahill’s globally-exhibited geolocated AR installations have earned her profiles in The New York Times, Frieze, and The Art Newspaper, among other publications. In 2023, the Georgia Museum of Art exhibited her first solo mid-career survey, which will travel through 2025. The Whitney Museum of American Art commissioned and acquired CENTO, the museum’s first participatory AR project co-built by a global audience, on view through 2024. She will premiere her immersive, expanded film SEEK in 2024, marking the inaugural art experience at COSM in Los Angeles.\nBaker Cahill is an artist scholar alumnus of the Berggruen Institute and a TEDx speaker. In 2021, she was awarded the Williams College Bicentennial Medal of Honor and a C.O.L.A. Master Artist Fellowship. She is a 2022 LACMA Art and Tech Grant recipient, and 2024-5 Harvard metaLAB Affiliate. Her work is held in the collections of the Los Angeles Museum of Contemporary Art, Los Angeles, CA; Whitney Museum of American Art, New York, NY; The Museum of Art and History, Lancaster, CA; RFC Art Collection, Miami, FL; and 0x Collection, Prague, CZ."
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"description": "“The Body Prepares” combines Nancy Baker Cahill’s acclaimed Slipstream series with a poem from Ana María Caballero’s prize-winning manuscript Mammal. This work fuses both artists’ interest in the tension between physicality and selfhood, between biological processes and their cultural implications, and between ecology and the storylines we construct to explain (and thus attempt to contain) it. Societal engines have appropriated the facts of our physical selves, often with a limiting view. But no entity can claim credit for the way our bodies work, and as such any attempt to brandish the body as a weapon is baseless. Embodied experience is murky ground, at once the root and lofty branch of consciousness, but if we are to disassemble the narratives that are used against us, we must first dare to name them — without romanticism or preciousness. Baker Cahill and Caballero’s collaborative work creates a palimpsest of poetic time and poetic space in which meaning moves with the fluidity of plasma to unwrite imposed, socio-cultural rites.\nThe Body Prepares\nIf female, the body prepares\nfor the possibility of child—builds walls of sustenance, cushions of clay.\nQuiet as grotto,\nawaits insemination, conceivable fertilization—the shuffle of nucleic matter we sort\nas epithet: discreet,\nthick, slight, brave. Though we absorb them as custom, as culture, the syndromes of\nour organs’ labors\nresult not from endeavor but from fact—blood runs down the inner thigh\nof a grown\ngirl. Once I spot red, I can claim I’ve lived enough, seen enough, to come of age:\nto walk as\nlatter lady, little woman, ripened daughter. My girl mind, my girl soul,\nlime green mangos\nfallen—ovular in their form."
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"text": "Kalen Iwamoto and Julien Silvano have worked together on text-based art since 2021, and launched Wen New, an experimental art and language atelier, to create and experiment at the meeting-point of art, language, web3, digital and physical art.\nKalen Iwamoto is a conceptual writer and artist. Her concept-driven work is based on a transdisciplinary and transmedia practice at the intersection of art, writing, and technology. She takes a playful and experimental approach in exploring new, blockchain-native writing practices and reading experiences. In addition to her literary and artistic practice, Iwamoto is the founder of the crypto writers discord and co-founder of theVERSEverse, a literary gallery where poems are works of art.\nJulien Silvano is a pluridisciplinary artist who explores the intersection of art, technology, and our relationship to systems of communication, data creation, and distribution."
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"text": "Kalen Iwamoto is a conceptual crypto writer and artist exploring the possibilities of literature on the blockchain. Her work takes blockchain technology and crypto culture as its point of departure, and focuses on playfulness, exploration, and experimentation to push the boundaries of the NFT medium and of conceptual writing and art. Always faithful to the concepts that drive her pieces, she uses various forms and media — micro autofiction, multimedia poetry, metaversal word art installations — to experiment with new writing and reading experiences. Kalen is also the founder of the crypto writers discord and cofounder of theVERSEverse, a literary gallery where poems = works of art."
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"description": "A collaboration between conceptual writer Kalen Iwamoto, artist Julien Silvano, and Mother Nature, “Seed Words” is a conceptual poetry artwork that leaves to the vagaries of Nature the successful completion of a technological operation. The NFT’s poem was created from an Ethereum seed phrase, in the original order with three missing words, represented by the ellipses. The artists have sown the missing words in the field depicted in the NFT as a Google map image with the location’s GPS coordinates. Will the seeds bloom into legible words? Will anyone ever complete the seed phrase and discover the gift planted in the wallet?\nThe blooming of the flowers will be tracked over time, and photos of the field periodically posted on the artists’ website and Twitter account (@WenNew_Atelier).\nProduce\n….record melt,\nIsolate.\n….\n….\nHost seed,\ntruly consider\ncolor."
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