Maintaining Clarity: Recent Works in Distribution
Maintaining Clarity: Recent Works in Distribution
264 Canal Street #3W
New York, NY 10013
7:00 pm ET
Maintaining Clarity: Recent Works in Distribution
264 Canal Street #3W
New York, NY 10013
7:00 pm ET
Maintaining Clarity: Recent Works in Distribution
264 Canal Street #3W
New York, NY 10013
7:00 pm ET
Works
Using Amazon’s virtual voice assistant Alexa, a woman (played by Condit) interrogates the nature of consciousness — whether human, animal or man-made — as she walks through the woods, dragging electrical cords behind her like bread crumbs.
Assuming the role of visionary CEO Guy White, Musson pitches a functionless “anti-social social networking” app—co-developed with Buzzfeed founder Jonah Peretti for Rhizome’s Seven on Seven. The app, a blank white screen intended for infinite scrolling without the friction of content, is offered as an “American-sized solution to an American-sized problem.” The interface appeases social media users’ desire to be “connected” by distilling it into one core feature: the sensory feedback of physically caressing a screen. The sole content of the Blockedt! app, a “white void,” sends up digital start-up culture's fixation on flashy, stop-gap solutions and sleek aesthetics—anodyne all-white interfaces that implicitly, perhaps inadvertently, convey whiteness as a default.
Assuming the role of visionary CEO Guy White, Musson pitches a functionless “anti-social social networking” app—co-developed with Buzzfeed founder Jonah Peretti for Rhizome’s Seven on Seven. The app, a blank white screen intended for infinite scrolling without the friction of content, is offered as an “American-sized solution to an American-sized problem.” The interface appeases social media users’ desire to be “connected” by distilling it into one core feature: the sensory feedback of physically caressing a screen. The sole content of the Blockedt! app, a “white void,” sends up digital start-up culture's fixation on flashy, stop-gap solutions and sleek aesthetics—anodyne all-white interfaces that implicitly, perhaps inadvertently, convey whiteness as a default.
Assuming the role of visionary CEO Guy White, Musson pitches a functionless “anti-social social networking” app—co-developed with Buzzfeed founder Jonah Peretti for Rhizome’s Seven on Seven. The app, a blank white screen intended for infinite scrolling without the friction of content, is offered as an “American-sized solution to an American-sized problem.” The interface appeases social media users’ desire to be “connected” by distilling it into one core feature: the sensory feedback of physically caressing a screen. The sole content of the Blockedt! app, a “white void,” sends up digital start-up culture's fixation on flashy, stop-gap solutions and sleek aesthetics—anodyne all-white interfaces that implicitly, perhaps inadvertently, convey whiteness as a default.
An iPhone-shot reverie depicting poet and scholar Fred Moten letting loose to the eponymous 1965 jazz standard, performed by Josiah Wise (known professionally as serpentwithfeet). The effect is a blurry, constantly shifting interplay between singer, dancer, camera, and viewer, a cheeky tribute to the fluidity of performed identity.
Score for Joanna Kotze was written by Silver for the choreographer Joanna Kotze during their shared time at the Bogliasco Foundation Residency in Italy, and later reformulated as a moving image work. The score itself is un-danceable, examining the attunement to a surrounding environment enacted through performance.
Three Moons refers to the three seasons—summer, spring, fall—spanned during the project’s creation, and accompanying phases of land-care across this timeframe. The video was shot using a temporospatial camera with no viewfinder, custom-made for LoVid by long time collaborator Douglas Repetto. LoVid’s unpredictable, experimental approach presents frenetic movement collaged from overlaid images of friends and neighbors who are gardeners, environmental activists, and land caretakers, and the ecological surroundings of the artists’ home in Long Island, NY. The footage is set to a free improvised soundtrack by musician Greg Kelley.
Following up earlier works Eclipse and Baby Birds (2009), Three Waves amplifies and investigates the anatomical production of sound and its mediation through sensory technology — what Yeh describes as “kind of a moving-image riff on concrete poetry.”
