Quadriptych of glitch curation (2010 - 2014)
Between 2010 and 2014 I (co-)curated 4 group shows, dedicated to uncover and understand the many different strata that the realms of glitch art has developed into; from Filtering Failure (2010), focusing on the filtering out and the filtering for failure in the (digital) arts, to the establishment of the genre (Glitch Moment/ums, 2113) and it subsequent sub-genres and genealogies ((ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies, 2013). In Tactical ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litches (2014) Nick Briz and I researched the tactical use of glitch.
Between 2010 and 2014 I (co-)curated 4 group shows, dedicated to uncover and understand the many different strata that the realms of glitch art has developed into; from Filtering Failure (2010), focusing on the filtering out and the filtering for failure in the (digital) arts, to the establishment of the genre (Glitch Moment/ums, 2113) and it subsequent sub-genres and genealogies ((ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies, 2013). In Tactical ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litches (2014) Nick Briz and I researched the tactical use of glitch.
Filtering Failure
28 of February - 1st of April 2010
curated in collaboration with Julian van Aalderen
At Planetart, Amsterdam, Nl.
︎exhibition catalogue
︎Documentation: flickr
“Filtering Failure is about the changing roles of failure in (lo-fi) art. The exhibition aims to show the ambivalence of failure in art and is an ode to everything that can happen after the tipping point of failure - within the realm of pure and unpure, not yet completely commodified or what is understood as glitch art.
Some of the works on show in the exhibition are ironically standardized by repetition and as such exist as a compromise in-between what is ‘cool’ and what is ‘hot’.”
With:
ASDFG.org by Jodi (1998)
{} by Nullsleep (2011)
6 yrs of Currupt by Benjamin Gaulon (2005-2011)
Glitch: a new mode of textile design by Notendo
GlitchNes 2.0 by no-carrier (2009)
Bended video mixer by Karl Klomp (2009)
TBF1b by Gijs Gieskes (2011)
Codec by Paul Davis (2009)
QTzrk by Jon Satrom (2011)
Welcome to Videogramo by Videogramo (2009-2011)
28 of February - 1st of April 2010
curated in collaboration with Julian van Aalderen
At Planetart, Amsterdam, Nl.
︎exhibition catalogue
︎Documentation: flickr
“Filtering Failure is about the changing roles of failure in (lo-fi) art. The exhibition aims to show the ambivalence of failure in art and is an ode to everything that can happen after the tipping point of failure - within the realm of pure and unpure, not yet completely commodified or what is understood as glitch art.
Some of the works on show in the exhibition are ironically standardized by repetition and as such exist as a compromise in-between what is ‘cool’ and what is ‘hot’.”
With:
ASDFG.org by Jodi (1998)
{} by Nullsleep (2011)
6 yrs of Currupt by Benjamin Gaulon (2005-2011)
Glitch: a new mode of textile design by Notendo
GlitchNes 2.0 by no-carrier (2009)
Bended video mixer by Karl Klomp (2009)
TBF1b by Gijs Gieskes (2011)
Codec by Paul Davis (2009)
QTzrk by Jon Satrom (2011)
Welcome to Videogramo by Videogramo (2009-2011)
(ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies
19.03.2113 - 23.03.2113
curated in collaboration with LEAP (Daniel Franke, John McKiernan). At LEAP, Berli, De
︎exhibition catalogue
︎Documentation: Triangulation
︎Documentation: flickr
“Over the last 10 years, glitch, a perceived break from a flow in a technological system, has become a more and more popular subject matter in the (new) media arts. Today, Glitch Art is indeed so popular that theorists often feel the need to categorize and historicize the genre. Dada, Futurism and de Stijl are just a couple of historical Avant-Garde movements that have been used to delineate ‘the history’ of Glitch Art. But this teleological principle defies and confines glitch’ procedural and fragmented nature.
The exhibition (ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies does not focus on glitch art from a historically singular point of view, nor does it attempt to give an all encompassing historical or causal overview. Instead, (ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̐litch) Art Genealogies recognizes the complexities and processes of glitch arts’ many affiliated, interconnected and (geo-)fragmented discourses: it tries to shine a light on why particular glitches develop social-political momentum in a specific point in time and how this momentum changes over time.
(ᴳ̐litch) Art Genealogies is an effort to show just five of the many threaded glitch discourses that play a role in the curators subjective understanding of glitch art at this present. In these threads, generations of different communities of (visual) glitch artists and their working methods, conceptual themes and politics are (inter)connected and/or juxtaposed.”
With (organised per cluster)
#NES circuitbending esthetic
The Punch-Out! Variations by noteNdo, (2007)
glitchNES by no_carrier, (2009)
#Enigmatic Realities
Max Miptex by Julian Oliver, (2001)
YPTOLM by Alex Myers, (2012)
RANDOM SEED by Rick Silva, (2013)
Psych and Seek by Kevin Carey, (2013)
LVLS by Nick Kegeyan, (2013)
nowhere? by Bryan Peterson, (2012)
#GUI Politics and Prose
OS Desktop from the My%Desktop, (2002-2010) series by JODI, (2009)
Plugin Beachball Success by jon.satrom, (2012)
Post_it_desktop_Feedback by miYö van Stenis, (2012)
spectrumcube by Emilio Gomariz, (2012)
#Psychedelia and New Psychedelia
AURAE by Sabrina Ratte, (2012)
Youth In Trouble - The Presets by Yoshi sodeoka, (2012)
gridSol_altar2 by A Bill Miller, (2012)
Sect 7 N-E by Anton Marini vs Rutt Etra, (2013)
skymappr by Brenna Murphy, (2012)
#Authorship // Openness
General Motors by Phil morton, (1970)
ᶀƦ⟲Ⱪ3ᥒ ⟒Ɍ3𐆖𐆖𐆖⟳ⱤĐƵ (AKA: Broken Records: Hystories i Of Noise && Dirty New Media by jonCates, (2011)
Apple Computersby Nick Briz, (2013)
19.03.2113 - 23.03.2113
curated in collaboration with LEAP (Daniel Franke, John McKiernan). At LEAP, Berli, De
︎exhibition catalogue
︎Documentation: Triangulation
︎Documentation: flickr
“Over the last 10 years, glitch, a perceived break from a flow in a technological system, has become a more and more popular subject matter in the (new) media arts. Today, Glitch Art is indeed so popular that theorists often feel the need to categorize and historicize the genre. Dada, Futurism and de Stijl are just a couple of historical Avant-Garde movements that have been used to delineate ‘the history’ of Glitch Art. But this teleological principle defies and confines glitch’ procedural and fragmented nature.
The exhibition (ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies does not focus on glitch art from a historically singular point of view, nor does it attempt to give an all encompassing historical or causal overview. Instead, (ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̐litch) Art Genealogies recognizes the complexities and processes of glitch arts’ many affiliated, interconnected and (geo-)fragmented discourses: it tries to shine a light on why particular glitches develop social-political momentum in a specific point in time and how this momentum changes over time.
(ᴳ̐litch) Art Genealogies is an effort to show just five of the many threaded glitch discourses that play a role in the curators subjective understanding of glitch art at this present. In these threads, generations of different communities of (visual) glitch artists and their working methods, conceptual themes and politics are (inter)connected and/or juxtaposed.”
With (organised per cluster)
#NES circuitbending esthetic
The Punch-Out! Variations by noteNdo, (2007)
glitchNES by no_carrier, (2009)
#Enigmatic Realities
Max Miptex by Julian Oliver, (2001)
YPTOLM by Alex Myers, (2012)
RANDOM SEED by Rick Silva, (2013)
Psych and Seek by Kevin Carey, (2013)
LVLS by Nick Kegeyan, (2013)
nowhere? by Bryan Peterson, (2012)
#GUI Politics and Prose
OS Desktop from the My%Desktop, (2002-2010) series by JODI, (2009)
Plugin Beachball Success by jon.satrom, (2012)
Post_it_desktop_Feedback by miYö van Stenis, (2012)
spectrumcube by Emilio Gomariz, (2012)
#Psychedelia and New Psychedelia
AURAE by Sabrina Ratte, (2012)
Youth In Trouble - The Presets by Yoshi sodeoka, (2012)
gridSol_altar2 by A Bill Miller, (2012)
Sect 7 N-E by Anton Marini vs Rutt Etra, (2013)
skymappr by Brenna Murphy, (2012)
#Authorship // Openness
General Motors by Phil morton, (1970)
ᶀƦ⟲Ⱪ3ᥒ ⟒Ɍ3𐆖𐆖𐆖⟳ⱤĐƵ (AKA: Broken Records: Hystories i Of Noise && Dirty New Media by jonCates, (2011)
Apple Computersby Nick Briz, (2013)
Glitch Moment/ums
8 June - 28 July 2013
curated in collaboration with Furtherfield
At Furtherfield, London, Uk.
︎website
︎Documentation: We Make Money Not Art, Prosthetic Knowledge, flickr.
“To study glitch is to engage a study of the succeeding turns and changes of failure and functionality, revolutions and ossification. A movement also critiqued in Antonio Roberts work ‘What is Revolution?’.
My first encounter with a piece of glitch art came hand in hand with a feeling of shock. What had once been a first person shooter was now a broken, pixelated vortex of confusion (Jodi, Untitled Game, 2006). I was lost and in awe, trying to come to terms with an experience that seemed unforgivable. But finally, these ruins of expected functionality revealed a new opportunity, a spark of creative energy that showed that something new had taken shape. I felt questions emerge; what is this utterance, and how was it created? Is this perhaps ...a glitched video environment? But once I had named the glitch, the momentum -the glitch- was gone ...and in front of my eyes suddenly a new form had emerged.
These days I try to understand glitches as a manifold of moment/ums, having their meaning depend on time, discourse and context from which they are perceived. First, the glitch is a break from an expected flow within a (digital) system. Here, it is perceived as an absence of (expected) functionality and often experienced as an uncanny, threatening loss of control. This moment itself then can become a catalyst, with a certain momentum - a power that forces knowledge about actual and presumed media flow, onto the viewer. What was voided of meaning, becomes interpreted and gains new meaning.
But as I wrote in the catalogue for the (ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies exhibition I organized at LEAP Berlin earlier this year: [the meanings of] these glitches are constantly subject to revision: their language systems emerge, their meanings shift, idioms ossify and standardize into a fashion or genre.
...and then they change again.
The glitch thus heralds a transformative power - a potential to modulate or productively damage the norms of (techno-)culture.“
With:
Empty Spinning Circle become Full (part b) (2012) from the Further Abstract series by Alma Alloro
One Square in colors from the Further Abstract series by Alma Alloro (2012)
untitled [screencaptures] by Melissa Barron (2010)
The Glitch Codec Tutorial by Nick Briz (2011)
KindleGlitched by Benjamin Gaulon (2012)
Thoreau Glitch Portrait by José Irion Neto (2011)
Copyright Atrophy by Antonio Roberts (2013)
What Revolution? by Antonio Roberts (2011)
Beyond Yes and No by Ant Scott (2013)
0P3NR3P0
8 June - 28 July 2013
curated in collaboration with Furtherfield
At Furtherfield, London, Uk.
︎website
︎Documentation: We Make Money Not Art, Prosthetic Knowledge, flickr.
“To study glitch is to engage a study of the succeeding turns and changes of failure and functionality, revolutions and ossification. A movement also critiqued in Antonio Roberts work ‘What is Revolution?’.
My first encounter with a piece of glitch art came hand in hand with a feeling of shock. What had once been a first person shooter was now a broken, pixelated vortex of confusion (Jodi, Untitled Game, 2006). I was lost and in awe, trying to come to terms with an experience that seemed unforgivable. But finally, these ruins of expected functionality revealed a new opportunity, a spark of creative energy that showed that something new had taken shape. I felt questions emerge; what is this utterance, and how was it created? Is this perhaps ...a glitched video environment? But once I had named the glitch, the momentum -the glitch- was gone ...and in front of my eyes suddenly a new form had emerged.
These days I try to understand glitches as a manifold of moment/ums, having their meaning depend on time, discourse and context from which they are perceived. First, the glitch is a break from an expected flow within a (digital) system. Here, it is perceived as an absence of (expected) functionality and often experienced as an uncanny, threatening loss of control. This moment itself then can become a catalyst, with a certain momentum - a power that forces knowledge about actual and presumed media flow, onto the viewer. What was voided of meaning, becomes interpreted and gains new meaning.
But as I wrote in the catalogue for the (ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies exhibition I organized at LEAP Berlin earlier this year: [the meanings of] these glitches are constantly subject to revision: their language systems emerge, their meanings shift, idioms ossify and standardize into a fashion or genre.
...and then they change again.
The glitch thus heralds a transformative power - a potential to modulate or productively damage the norms of (techno-)culture.“
With:
Empty Spinning Circle become Full (part b) (2012) from the Further Abstract series by Alma Alloro
One Square in colors from the Further Abstract series by Alma Alloro (2012)
untitled [screencaptures] by Melissa Barron (2010)
The Glitch Codec Tutorial by Nick Briz (2011)
KindleGlitched by Benjamin Gaulon (2012)
Thoreau Glitch Portrait by José Irion Neto (2011)
Copyright Atrophy by Antonio Roberts (2013)
What Revolution? by Antonio Roberts (2011)
Beyond Yes and No by Ant Scott (2013)
0P3NR3P0
Tactical ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litches
24 January - 24 Feb 2014
curated in collaboration with Nick Briz
At Sudlab, Portici, It
︎website
︎Facebook page
︎artist profiles
︎press release
︎Documentation: flickr, facebook, ref. material: Nick Briz on Tactical Glitch
“Technologies come with expectations, but these expectations aren’t always met. An mp3 might skip and crackle. A computer monitor might—for a moment—show shards instead of windows. A website might hickup on load and scramble its contents. When this happens, we call this unexpected occurrence a glitch. While these moments are rarely anticipated and usually unwelcome, they are at times intentionally provoked. The result of this intentional and creative instigation is what we often call GLITCH ART.”
With:
glitchr by Laimonas Zakas (2011) (LT)
Corrupted Miley Cyrus by Theo Darst (2010) (USA)
sOS by Pox Party (2011) (USA)
Glti.ch Karaoke (2014) (UK - ROK)
New Vulnerability (2012) UCNV (JP)
Ana Hui Zhang (CN)
Eleccion Guate by Sherpa (2011) (GT)
Corrupt.desktop (retail poisoning) by Benjamin Gaulon (2012) (FR)
A woman under the influence by Tatjiana Marusic (2002) (CH / DE / HR)
I see you by Nancy Mauro-Flude (2003) (AUS)
0P3NR3P0
24 January - 24 Feb 2014
curated in collaboration with Nick Briz
At Sudlab, Portici, It
︎website
︎Facebook page
︎artist profiles
︎press release
︎Documentation: flickr, facebook, ref. material: Nick Briz on Tactical Glitch
“Technologies come with expectations, but these expectations aren’t always met. An mp3 might skip and crackle. A computer monitor might—for a moment—show shards instead of windows. A website might hickup on load and scramble its contents. When this happens, we call this unexpected occurrence a glitch. While these moments are rarely anticipated and usually unwelcome, they are at times intentionally provoked. The result of this intentional and creative instigation is what we often call GLITCH ART.”
With:
glitchr by Laimonas Zakas (2011) (LT)
Corrupted Miley Cyrus by Theo Darst (2010) (USA)
sOS by Pox Party (2011) (USA)
Glti.ch Karaoke (2014) (UK - ROK)
New Vulnerability (2012) UCNV (JP)
Ana Hui Zhang (CN)
Eleccion Guate by Sherpa (2011) (GT)
Corrupt.desktop (retail poisoning) by Benjamin Gaulon (2012) (FR)
A woman under the influence by Tatjiana Marusic (2002) (CH / DE / HR)
I see you by Nancy Mauro-Flude (2003) (AUS)
0P3NR3P0