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0000 A SPECTRUM OF LOST AND UNNAMED COLOURS
0001 A NEW HOROLOGY OF GLITCH
0010 A COLLECTION OF COLLECTIONS FOLDED INTO A LIBRARY
0011 EXHIBITIONS, TALKS, PRIZES AND HONOURS
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In a not-too-distant future, a media archaeologist has tasked herself with compiling an atlas dedicated to lost or unknown ways of seeing. During this mission she finds herself captivated by a NEON Rainbow Fairy Light, an object seemingly plucked from a child's bedroom. The archeologist proclaims the fairy light to be a quintessential artifact that encapsulates the entire history of the decline of nature's original "glitch"—the atmospheric rainbow.
Proper observation of rainbows has become rare due to a double process of pollution. On the one hand, climate change, environmental degradation, and light pollution have dulled atmospheric rainbows’ brilliance, making their occurrence increasingly unusual and their sightings more precious. On the other hand, within the realms of image processing, digital pollution has corrupted and distorted the representation of rainbows even more: as generative artificial intelligence struggles to differentiate between symbolic representations—the rainbow-alike—and actual depictions of natural phenomena, images of authentic rainbows have become anomalous.
0000 A SPECTRUM OF LOST AND UNNAMED COLOURS
From September to November 2023, I was artist in residence at at the EPFL - CDH - the Enter the Hyper-Scientific Program.
The work that I developed during that time, is now on show at the Pavilions (23.2.–17.3.2024). It is beautiful, and if you are around and have the chance, you should definitely go and see.
However, if Lausanne is too far, I embedded a special documentation video that I believe gives a good overview.
Partners: EPFL Center for Imaging, Edward Andò, CLIMACT Center for Climate Impact and Action UNIL & EPFL
Credits: Rosa Menkman
Sound: Debit
With support from: Lotte Menkman, Herman Hermsen, and So Kanno
Curator & head of program: Giulia Bini <3 thank youuuu
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0001 A NEW HOROLOGY OF GLITCH
In recent cycles, a lot has been written about “glitches” or “glitch art.” I am using the word “cycle” here because I am not referring to the linear time of seasons, years or histories, but rather to the nonlinear and overlapping cycles of clocks, drops, and iterations our technologies now inhabit.
Is the question still “what is a glitch”?
Or should we (also) ask Who or what gets to experience, deploy, deconstruct or be wronged/righted by or with the glitch? Where is the glitch? Whose glitch can we see, and what glitches remain invisible?”
Whatever the question, writing histories of glitch merely means to write certain practitioners or glitches out of the program.
Read my short essay on glitch and time for Outland Art here
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A Collection of Collections Folded Into A Library is an expanded video essay, in which I introduce my collecting habits and how they help me develop new insights and perspectives, or even create knowledge.
This expanded lecture is based on a presentation at the BiblioTech event at NeMe in Cyprus that I then reworked for the Institute of Network Cultures’ the Void podcast, which is concerned with the changing role of collecting, the library and publishing in a post-digital age.
The flat-chapter version (image and text) will also be published in the upcoming Bibliotech book.
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at the Chongqing Science and Technology Museum
(on show right now)
Here are some wonderful shows featuring my work right now: EPFL Pavilions Lausanne, Chongqing Science Museum, Photo 2024 Melbourne, Pinakotheka Munich and Düsseldorf KünstPalast.
This semester, besides a few talks and performances (amongst which a keynote at University of Basel and a conversation with Karen Archey at the Lima Preservation of Digital Art conference), I will also be heading the second semester of the im/possible lab at the work.master @HEAD, Geneva.
An almost fully updated list of engagement can be found here.
Last but definitely not least, in 2023 I was honoured to receive:
- for my JPEG from a Vernacular of File Formats, (2009 - 2010), 2023 revisitation with hidden message in DCT,
I was awarded first prize in the Lumen Prize still image category.
Which lead to an ALT Histories interview with Greg J. Smith for HOLO magazine about DCT / JPEGs. On the occasion, I released the my DCT Research Repo.
- for my im/possible images research I received a S+T+ARTS nomination.
- In December, a Mondriaan Artist Basic Grant, which is not basic at all, and will help me proceed my research in a time that seems otherwise financially more and more difficult.
For this, I am very, very grateful.
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and a Vernacular of File Formats at the Pinakotheka, Münich
(see my chipmunk walkthrough video).
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