Mar. 3 - Mar. 5, 2023.
๑˃‿˂꒱ **As part of the project Dissipating the Mist, 30 people from different backgrounds (artists, designers, philosophers, economists, etc.) met in May and June 2022 to imagine, through artistic practices, counter-narratives to the dominant vision of digital : « cloud computing. "**
Chroniques biennale 2022
Nov. 10, 2022 - Jan. 22, 2023.
Friche la Belle de Mai
Populated by those who keep watch, night owls, insomniacs or night workers, the night is also haunted by our working machines that offer us an uninterrupted, permanent, incessant flow, promoted by 24/7 capitalism, analyzed by Jonathan Crary as the ideal of a life without a break, active at all hours of the day and night. The exhibition at the Friche la Belle de Mai invites us into the odyssey of our nights transformed by the arrival of electricity in our cities, a phenomenon accentuated by this performativity extending our bodies, our dreams and our desires.
Images: Grégoire Édouard for Biennale Chroniques
WHEN DID I BECOME CONTENT?
Aug. 23 - Sep. 05, 2022.
Galerie D., Fondation Fiminco
What is being, with technology? And what lines can be drawn to distinguish yourself from it? In this series of works, the relationship between technology and aspects of personhood is examined repeatedly within wide ranging domains of self-identification from working life to care, and being past death.
The promise of tech to alleviate the physical strain of working life appears largely to have been subverted by some sleight of hand, trading brutality for erosion, and manufacturing a dualistic trade-off between mind and body in which the conservation of the latter has given ground to the unsustainable, exhaustive engagement of the former. Consequently, resources previously available to question the status quo are altogether consumed by the tedium of working life and attention capital as a result of constant connectivity and terminal “onlineness”. We’ve settled for less than we desired and let our online personas pick up the slack.
Text by Niklas Ayris
HOW TO BEAM: END-OF-SEASON PROGRAM
Jun. 9 - 12, 2022.
KX at Kampnagel, Hamburg
This end of season program is the culmination of artistic exploration carried out by artists Nadja Buttendorf (DE), Dasha Ilina (RU/FR) and Olsen (DE) during How To Beam: Do It Yourself Teleportation for Hybrid Times residency.
From the 10th-26th of June the public is invited to take in artworks, happenings and a series of talks that explore the shifting concept of what it presence means in digitally mediated time.
Camping with Computers
Nov. 10 - 20, 2021.
WHA Gallery, Kunstuniversität, Linz
The show is the outcome of a week-long worksession with 15 international artists in the austrian alps organized by servus.at and Matthias Pitscher as part of the 2021 Art Meets Radical Openness Research Lab.
With: Błażej Kotowski, Dasha Ilina, EKHEO (Aude Langlois & Belinda Sykora), Erica Jewell, Lina Schwarzenberg, Maks Valenčič, Mariana Marangoni, Naoto Hieda, Sebastian Mira, So Kanno, Yuxi Liu, Matthias Pitscher, Giacomo Piazzi, Hess Jeon, Davide Bevilacqua
Special thanks to Giacomo Piazzi, Emma Fehlig, and Derek deBoer.
Working towards our own obsolescence
Jun. 18 - Jul. 30, 2021.
This exhibition features the work of artists who are critically investigating the ways the Silicon Valley economy is affecting labour conditions. Their works help us understand the pervasive constrictions we, as passive consumers, have unintentionally aided implement.
The proposed works fall into five spheres of investigation: the myth that the machines are replacing us; the emergence of an army of invisible, or rather invisibilised workers; the transformation of labour conditions through precariousness and the atomisation of tasks; the body of workers disciplined to act like machines and finally, the ways workers and consumers can fight back with not just resistance but positive alternatives.
The participating artists are Pippin Barr; Larisa Blazic; Peter Buczkowski; Stéphane Degoutin, Gwenola Wagon, and Pierre Cassou-Noguès; Dasha Ilina; Sanela Jahić; Lisa Ma; Liz Magic Laser; Julien Prévieux; Laurel Ptak.
Feb. 5 - Mar. 14, 2021.
Mains d'Œuvres, Saint-Ouen
A dreamlike and poetic exhibition, a subtle link with the dystopian shift that is taking place.
stranger dreams is first of all an invitation to plunge into a dreamlike universe where images, sounds and senses unfold according to the logic of dreams: sometimes improbable, magical, surrealist.
stranger dreams is an aesthetic and poetic experience. A wandering in a familiar and elusive landscape, which attracts us and escapes us constantly.
stranger dreams is the testimony of a shift that is taking place - where the disturbing strangeness gradually gives way to dystopia.
stranger dreams is a collection of phenomena and metaphors, which can be read together or separately; where aesthetics meets surveillance, artificial intelligence mingles with the unconscious, the Californian desert rubs shoulders with data centers and mysticism confronts big data; and where we sometimes get too close to the sun.
Control Shift Network Festival
Oct. 2 - 18, 2020.
The Galleries, Bristol
Center for Technological Pain (CTP) offers DIY products for tech-pain free lives. The mock-company was set up to manage, prevent and treat the symptoms caused by digital technologies. Among their products are contraptions to relieve eye-strain, insomnia, and strained elbows and fingers. This installation presents the latest innovations from CTP as well as exhibiting new products made by Bristol-based designers and makers in a recent workshop with CTP CEO, Dasha Ilina.
Exhibition co-produced with Knowle West Media Centre and KWMC: The Factory
Photos by: Ibi Feher and Control Shift 2020.
Cyberarts Exhibition, Ars Electronica Festival
Sep. 9 - Sep. 15, 2020.
OK im OÖ Kulturquartier, Linz.
The OK im OÖ Kulturquartier has been presenting the CyberArts exhibition since 1998. As a showcase for the Prix Ars Electronica winners, it is an excellent platform from which to observe current developments and trends in our digital age, with a special focus on their social and economic impact. The selected works exemplify the social dynamics and issues that are dominating today’s discourse.
Le Peuple des Images, Hors Pistes Festival
Jan. 24 - Feb. 9, 2020.
Centre Pompidou, Paris.
From Khartoum to Santiago, from Beirut to Hong Kong, from Algiers to the Champs-Elysées: for a year and a half, human waves have been sweeping the streets and squares, like on television or smartphone screens. In these gatherings, the images do not simply bear witness: because these new ephemeral peoples are filming and being filmed, fictionalized and are fictionalized by others, their images act as so many links and relays.
Taking the measure of this crowd that populates our eyes today: is what is proposed in this fifteenth edition of Hors-Pistes, a festival dedicated each year to the exploration of moving images and meeting those who make it the subject of their creation, their thoughts or their writing.
Jan. 16 - Feb. 16, 2020.
Le Botanique, Brussels
The exhibition Mensch Maschine is touching on elements of machine learning fundaments: the feed, the successes, as well as the failures. News about technological development seem to be generally positive. However, critical journalism and research are teaching us about machine learning as a biased and even discriminating entity.
The Center for Technological Pain by Dasha Ilina mocks and questions our increasing connection, as a body, to the Internet of Things. The center produces a selection of DIY and Open Source objects to relieve pain caused by digital technologies such as smartphones and laptops. Among the developed prototypes are mechanical eye shields that reduce eyestrain, a headset to free the user’s hands, an insomnia-free box and various more or less absurd gadgets to relieve tense elbows and fingers. CTP also offers DIY manuals on how to build low-tech accessories from cheap materials.
press-refresh and epicentre
Nov. 1, 2019 - Mar. 1, 2020.
The Wrong, online
epicentre is a digital art group exhibition on routers and screens for the wrong biennale
42o works by 135 artists showcased simultaneously in 21 embassies: institutions and municipalities of the valencian community each hosting a part of the exhibition. all together make epicentre
press-refresh is an open pavilion of the wrong by david quiles guilló. is a yoga routine created by Dasha Ilina within the framework of Center for Technological Pain, a mock company that provides DIY solutions to health problems that come from technology. This routine is at once a relaxation tool - a way to meditate and exercise while keeping up with recent updates from your friends via your phone - and a way to ridicule our obsessive media consumption by inserting our phones into one of the most solitary activities. Throughout this 7-minute video, the viewer gets to learn three different yoga positions designed specifically to ensure stress-free phone use. At the same time as mocking our everyday addictive behavior, this routine actually forces the person performing it to reflect on that behavior while making the overall browsing experience a lot more pleasant.
Nov. 1 - Nov. 7, 2019.
< die digitale düsseldorf > combines different cultural spaces around the topic of digital culture.
The festival shows digital art and music projects from all over the world and explores interdisciplinarily what has been achieved with the digitization of almost all social, economic and cultural processes. The problems that have been created, those that have been solved, what is suitable for entertainment and what is for reflection.
Jul. 20 - Oct. 6, 2019.
MU Artspace, Eindhoven
The first computers were programmed by women, 75 years ago, and women wrote the software behind Neil Armstrong’s ‘giant leap for mankind’. Since then, IT has become ever more important and gradually turned into a field for nerds where women seem out of place altogether. But the tide is turning: a new wave of Computer Grrrls presents itself in MU, from Saturday 20 July to Sunday 6 October 2019.
The exhibition highlights the historical role women played in the development of computer science but it also offers self defence instructions against technology, outlines the relationship between gender and algorithms and reveals dazzling visions of the future. 22 artists obliterate the existing representation of women and computers. They decolonialise the internet and reclaim their place in the technological domain. Meanwhile, with each work, they create room for new forms and ideas, for dialogue and reflection. Hilarious, poetic, critical and visionary: this is Grrrl Power.
Mar. 14 - Jul. 14, 2019.
Gaîté Lyrique, Paris
Twenty-three international artists and collectives offer sharp, critical perspectives on digital technology, revisiting the history of women and machines and outlining scenarios for a more inclusive future.
What if we put the ‘grrrls’ back in computers? Computer Grrrls is showcasing 23 international artists and collectives that are rewriting dominant narratives about technology. Women who are unearthing the little-known role their predecessors played in the early days of computing. Women who decode and recode ones and zeros and sketch the lines of convergence toward a society with fewer stereotypes.
The works produced by these artistic researchers, hackers and makers – 3D-printed objects, video installations and virtual reality – examine minorities’ place on the Internet, gender bias, digital surveillance and electronic colonialism.
Dec. 6 - Dec. 22, 2018.
AIR Gallery, Manchester
The works will seek to investigate the impact technology has on our everyday lives; how it can aid us to live a more efficient, convenient life, and conversely affect our mental and physical health. We begin to rely on our devices, often to function. Our society is dominated by technological advancements; technology is everywhere from our phones to the cars we drive – they makes our lives easier and more comfortable, but what is the cost? Are we losing an fundamental part of what makes us human as our decision making is being influenced by and often replaced by machines?
Social media has become an integral part of our lives. It is a tool, a means to stay in contact with friends, a forum in which we share aspects of our everyday lives. Human interaction is supplemented by social media – but is it some way being replaced? Adverts are tailored towards our spending habits, our actions online recorded and monitored. Where our lives were once private, databases now exist. Scrolling social media has become a normal daily action that ironically enables us to spend more time monitoring other people’s lives than living our own.
Is our virtual reality a utopia or dystopia?
Oct. 27, 2018 - Feb. 24, 2019.
HMKV at Dortmunder U, Dortmund
The exhibition Cmptr Grrrlz brings together more than 20 international artistic positions that negotiate the complex relationship between gender and technology in past and present. Computer Grlz deals with the link between women and technology from the first human computers to the current revival of technofeminist movements. An illustrated timeline with over 200 entries covers these developments from the 18th century to the present. Invited are artists, hackers, makers and researchers who are working on how to think differently about technology: by questioning the gender bias in big data and Artificial Intelligence, promoting an open and diversified Internet, and designing utopian technologies.
Photos by: Hannes Woidich
Le Futur de la Création (La Nuit Européene des Musées)
May 18 - May 20, 2018.
American Center for Art and Culture, Paris
Center for Technological Pain offers DIY and Open Source solutions to health problems that can arise from digital technology, such as smartphones and laptops. Some of the methods used to eliminate the problems are devices such as glasses that prevent eye strain, educational workshops and self-defense classes against technology. All of the devices made within the center include instructions on how to remake them, so that technological pain could be easily eradicated anywhere in the world. Self-defense against technology moves and classes are organized in order to educate the public on how one can help out a friend (or a stranger) to beat their addiction to technology. In order to find out more about the project visit: centerfortechpain.com
Photos by: Julien Mouffron Gardner
MERGE: An Exhibition of Art && Design Made with Code
Dec. 12, 2017.
Plateforme Gallery, Paris
8 works by the senior BFA Art, Media, and Technology and second-year MA Design and Technology students from Chris Sugrue's Creating Coding class.
+ ‘After a Storm’ by Ice Baibolova
+ ‘Crowdsourced Automated Painting’ by Dasha Ilina
+ ‘Augment Monument’ by Sanie Irsay
+ ‘Gracious in Defeat (reprise)’ by Erica Kermani
+ ‘The Zone’ by Amanda Lewis
+ ‘Neil Says’ by Kris Madden
+ ‘In Sight by’ Bella Vasile
+ ‘Dreaming Drink’ by Qinqin Yang
Plus, VJ sets by all students!
A More Fruitful Way to Spend Free Time
May 20, 2017.
Plateforme Gallery, Paris
This showcase of works from the class Disnovation taught by French artist Nicolas Maigret will focus on the friction spaces generated by the Gig Economy. During the spring 2017 semester students from the BFA AMT and MFA Design + Technology have been making work and research around various topics related to technological innovation and their social, political and environmental impacts. This exhibition will be a continuation of a series of events around this topic co-organised by the Art, Media and Technology Department of Parsons Paris and Nicolas Maigret since 2013.
In the frame of this exhibition, www.send-me-a-task.com was performed for the first time. www.send-me-a-task.com is an online service directing artists Dasha Ilina and Amanda Lewis to fulfill algorithmic tasks emulating the demanding workflow that workers subjected to gig economy standards experience every day.
Apr. 14, 2017.
Parsons Paris, Paris and Online at spamm.fr
SPAMM the Super Modern Art Museum is an international platform of post-Internet artists, a space open to digital creation, a decentralized alternative to the elitism of contemporary art.
Founded in 2011 by the French net-artist Systaime, at the origin of the French Trash Touch (a nod to the French techno vein that brought Daft Punk & co to international attention), SPAMM is the emanation of a net-culture that defends an open access to creation and appropriation by digital artists of their work and exhibition space.
REFRAG IS A SYMPOSIUM EXPLORING NEW CONNECTIONS BETWEEN ART, CULTURE AND TECHNOLOGY. R3FRAG IS THE THIRD ANNUAL FESTIVAL OF PARSONS PARIS ART, MEDIA & TECHNOLOGY DEPARTMENT.