for more info:

http://www.facebook.com/phrame.network/posts/272533282838709

“I try an author-less universe during a intersection of tellurian labor and digitized systems, a confused range between tellurian creativity and appurtenance intelligence,” says artist Clement Valla in a matter on his website. This matter describes one of his projects titled, “Postcards from Google Earth” usually perfectly. Valla has a array of opposite images that were prisoner on Google Earth that move to life a technical blunder that’s finished “in an bid to modify 3-D space onto a 2-D mechanism screen.” It is always fascinating when an artist takes an blunder of some kind and turns it into something beautiful, and a New York formed artist does an well-developed office of this.

Apparently, this plan of Valla’s happened, as many shining things in art do, accidentally, when he was acid on Google Earth and saw a building that seemed to be upside down. At that moment, something pretentious contingency have sparked in his mind, and stirred a origination of this pleasing collection of surrealistic Internet snapshots. These warps in a Internet interpretation of existence are being called involved accidents, due to Google’s consistent office to repair things on a tellurian map. One could usually wish that it won’t forestall people from formulating moving things like these.

In box we were wondering if all of a works are usually a image alone of a Google interface, there is a small bit of tweaking finished to some of them. But no matter how a final outcome is reached, a pieces are positively overwhelming and resemble a arrange of complicated reflection to Salvador Dalí’s work, as good as some other artists of a Surrealism movement. The approach that a synthetic landscapes seem to be melting into space could be associated to a approach Dalí embellished a swinging clocks in works like The Persistence of Memory.

But it would not be loyal to contend that this is all Valla is attempting to do, saying as he has some really singular and engaging other motives in formulating these works, detached from formulating a surreal. Valla seems to be really meddlesome in exploring that claimed really skinny line between male finished things and computers.

He explains, “Human and mechanism activity is frequency distinguishable. we am meddlesome in a moments where a standard eminence is confused or even inverted.”

I am the latest artist profiled on Rhizome, the digital art component of the New Museum in New York. My latest work is featured as part of Rhizome’s project “The Download.”

This new work is a collaboration between John Cayley and myself, called ‘Hapax Phaenomena.’

Check out the interview here:
http://rhizome.org/editorial/2012/jan/3/artist-profile-clement-valla/

Check out the download here:
http://rhizome.org/the-download/

sys(x)tem
a group exhibition curated by Tal Sznicer

OPENING // Friday Jan 13 / 8PM
EXHIBITION // through Sunday Feb 5
GALLERY HOURS // Sat & Sun / 1-6pm & by appointment
www.splatterpool.com for more info

ARTISTS //
Shay Arick / Future Archaeology / Megan Feehan /
Riley Hooker / Carla Streckwall /
Clement Valla + John Cayley /

Splatterpool artspace is please to present sys(x)tem, a group show featuring five artists and one artist collective exhibiting new works. Within our contemporary digital culture, systems have assumed a central role in our daily lives in both overt and inconspicuous ways. Decision making and learning have become ever more dependent on these systems as we voluntarily submit increasingly detailed and private information about the way we conduct our personal and business matters. As systems continue to develop, even beyond the understanding of their designers, we can begin to see their patterns and analogousness to systems in nature. Failures, errors and glitches can be likened to mutations in evolutionary models. And as in their counterparts, these deviations often lead to the advancement of a system’s sophistication and survival — or ultimately, to new forms altogether. sys(x)tem is a multidisciplinary exhibition with the common thread of a probing deconstructive process. It seeks to provide a conversational, playground context for the invited artists to make observations and pose questions on the function and dysfunction of systems with which we interface. If we consider the definition of system to be a whole compounded by several parts, the artists are here attempting to insert themselves as a component of disruption. But rather than disruptions at random (as in natural mutation), these are made in a deliberate fashion with focused intention. Through methods of intervention, the artists may succeed in revealing fresh insight into familiar questions within the contemporary art discourse concerning reality versus representation. Ideally, the resulting statements made here will not be seen as critical in either a positive or negative value; but rather, viewers will be challenged to be more aware of their interaction with systems in our digital and physical environment.

Oct. 22 – Nov. 19,2011
West Side Gallery (SVA)

133-141 w21 St.
New York, NY 10011

On teaching Processing in Foundation Studies at RISD. Wednesday, August 11th in Vancouver.

Culturehall Feature Issue 69

I’m giving a lecture at the City University of Hong Kong on March 30, 2011.