Part 1 of a New Series of Videos I am making with A E Benenson for Rhizome



Surface Survey is an Artforum Critic’s Pick

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The Universal Texture in Baadlands a group show at the Tin Sheds Gallery in Sydney

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Info about the show here: http://emergencity.net/baadlands/


Iconoclashes on the cover of Palatten Magazine




“Paintings from Wushipu” at Bitforms part of Blouin Artinfo’s picks for The Best Art From Around the World, June 2013

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Some new work over at cloaque

see it at http://cloaque.org

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Photos of Vanishing Point at Bitforms Gallery curated by A. E. Benenson

Zhongbo Copies J.F. Kensett’s Almy's Pond and Paints in the View from his Studio Window

Zhongbo Copies J.F. Kensett’s Almy’s Pond and Paints in the View from his Studio Window

Mark Copies J.F. Kensett’s Lily Pond and Paints in the View from his Studio Window

Mark Copies J.F. Kensett’s Lily Pond and Paints in the View from his Studio Window


Vanishing Point at Bitforms Gallery

Curated by A.E. Benenson

bitforms gallery nyc 

May 30 – July 19, 2013

Opening Reception: Thursday, May 30. 6:00-8:30 PM

Summer Gallery Hours: Mon – Fri, 11 AM – 6 PM (beginning May 30)

Elaine Reichek. SETI, (detail view) 2004. Hand embroidery on linen. 40 x 57″ / 101.6 x 144.8 cm

Curatorial statement by A.E. Benenson:

At the birth of modern computing, a paradox: only after Alan Turing theorizes an infinitely large computer* do we begin to plausibly imagine how our world could be digitally remade as small as possible. That is, it’s only after Turing fixed our technological gaze outwards onto infinity that we began our relentless dwindling inwards, towards miniaturized circuits and virtualization. Taking this contradictory movement as both its content and form, the exhibition Vanishing Point presents views of a contemporary digital vastness that is both boundless and barely there.


By understanding computing as an ongoing experiment in the incommensurate, the artists in this exhibition draw the discipline of computing into various unlikely associations: outer-space, the afterlife, Abstract Expressionism, Greek Tragedy. And yet at the same time, there is a move to deconstruct the traditional aesthetic associations with the infinite (e.g. “the sublime”) in terms of a contemporary virtual sprawl that is often pathetically insignificant, banal and quotidian. These analytical impulses are tempered with modes of address that are more lyrical, less direct; formal experiments within the contradictions of a new vastness that is simultaneously too large and too small to be fully apprehended.


Here, “vanishing point” refers not only to the infinitely distant and small destination where everything rushes to converge, but also to a potential moment of disappearance – an event horizon where technology swallows something once and for all…what exactly – irrationality, expressivity, scarcity, suffering? Nothing in this exhibition claims to know with certainty. The objective is not to make predictions, but to press ourselves a little closer to the arc that bends towards the limit.

*the universal Turing machine, 1936


Exhibited Works:  

Annie Dorsen, “Hello, Hi There“, 2011-2013

Kyle McDonald, “Only Everything Lasts Forever” 2009

Boris Meister, “Above the Cloud – Archaeology of Social Networks”, 2012

RAND Corporation, A Million Random Digits with 100,000 Normal Deviates, 1955

Elaine Reichek, “SETI”, 2004

Sebastian Schmieg, “Search by Image“, 2011-ongoing

Mungo Thomson, “Einstein #1″, 2008

Clement Valla, “Paintings from Wushipu”, 2009

Siebren Versteeg, “2×3″, 2013


For images and more information, please visit:http://www.bitforms.com


Photos from the Show at Mulherin + Pollard

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Iconclashes opens at Mulherin + Pollard on May 11

Info here: http://www.mulherinpollard.com/Clement_Valla_Erik_Berglin_Iconoclashes.html


Iconoclashes at SCARF, the Scandanavian Art fair




April 18 – May 5, 2013

Curated by Christina Latina and Daniel Leyva

319 Scholes
319 Scholes Street
Brooklyn, NY 11206


What’s the state of the modern myth? How do myths proliferate, what do we use to represent them, and what’s the cultural value of storytelling? #FUTUREMYTH presents digital artists engaged in contemporary myth-making who are using the gallery as a way to navigate, define, and discuss the current landscape of mythology and its relevance in our technologically dependent lives.

Participating artists include: Kari Altmann, Matthew Arkell, Iain Ball, Enrico Boccioletti, Manuel Bürger, Sterling Crispin, Claire L. Evans, Ryan Whittier Hale, Erin Henry, Emily Jones, Taylor Kuffner, Paul Laffoley, Kareem Lotfy, Jonas Lund + Sebastian Schmieg, Einar Öberg, Rafaël Rozendaal, Jasper Spicero, Tanner Family, and Clement Valla + Erik Berglin.

from twitter: