The Art Newspaper presents Gretchen Andrew’s work ’The Next American President’, a project that the artist qualifies as ‘a power trip’ enabling her to ‘reprogram the internet and to make it what I want it to be’. That way Andrew inserts herself into major cultural events and political discourse. Read the full article here.
CNN features Gretchen Andrew’s project ‘The Next American President’ in which the artist puts forward her desire toward the upcoming election rather than her personal ambitions. Her work is both a political statement and a wish to encourage internet literacy and shift how we use it as a tool. Read the complete article here.
‘Soft Paintings’, the exhibition by Rachel de Joode has been reviewed in Organ Thing, in which Sean Worrall notes that the body of work ‘is beautifully tactile, it is so tempting to reach out and touch the pieces’. Read the complete review here.
Rachel de Joode: Soft, currently exhibited at the gallery, has been featured on Galleries Now, a curated international art listings of the world’s best galleries. Read the complete feature here.
Stine Deja is the protagonist of an in-depth, detailed article published on the third 2020 issue of Springerin. The feature dives deep into Deja’s practice and explores with profound sophistication the theories that stand behind her artistic career. The writer, Barbara Seyerl, reports: “Like the technological posthumanists´ and transhumanists´ imaginations of a utopian digital afterlife, Deja´s works interpret the digital realm as a refuge and an escape from an increasingly menacing world.” You can purchase a physical copy of the magazine here.
Ai-Da’s current exhibition, “Do Robots Dream of Electric Bees?”, has been selected and featured on Club Innovation & Culture France website. The article includes an in-depth survey of the exhibition, including pictures and videos from the gallery’s Instagram profile. You can read the article (in French) here.
“Do Robots Dream of Electric Bees?”, the exhibition by the robot artist Ai-Da at AKG, has been featured on CLOT Magazine. The show, on view until October, 10th, builds on a new body of work by the humanoid artist and includes paintings, sculptures and video. You can read the article here.
Art Daily notes: ‘Annka Kultys Gallery in East London is the first commercial art gallery to represent a humanoid robot artist.’ The article, focusing on Ai-Da Robot’s artistic practice, dives deep into her body of works exhibited in the occasion of her solo show at AKG, on until October, 10th. You can read the article, at this link, to gain a comprehensive and in-depth view of Ai-Da’s first-of-a-kind works and exhibition.
Robot artist Ai-Da is featured on the Russian magazine Kommersant in relation to his participation in the exhibition “Do Robot Dream of Electric Bees?” currently on view at AKG. The article contains information about Ai-Da as well as details about her practice and future shows. Read the full piece (in Russian) here.
The forthcoming exhibition “Do Robots Dream of Electric Bees?” at Annka Kultys Gallery has been featured as one of the “Top Gallery Exhibitions to Visit this September” alongside shows at White Cube, Victoria Miro and Marian Goodman Gallery. The show will open on September, 10th, and will be the first commercial exhibition featuring new works by the ultra-realistic humanoid artist Ai-Da. You can read the article at this link.
Gretchen Andrew is now having a solo show at the Monterey Museum of Art, CA, and for the occasion she has been interviewed by The Californian. In the article, which you can find at this link, Andrew introduces the exhibited works and the show, which she defined as “positive,” “feminine,” “powerful”. You can read the full article here.
Stine Deja is interviewed in the 31st issue of Figure Figure. The article, a conversation between the artist and Marco Galvan, features an in-depth dialogue about Deja’s artistic practice, past shows at Annka Kultys Gallery and future projects. Concerning her body of work, the artist is quoted saying “I am really interested in people and how we change because of technology and the opportuni- ties that technology brings. I think of my work as a kind of anthropological investigation and a reflection on how much the world we live in has changed as a result of technology, over a relatively short period of time”. You can find the full interview here.
The German magazine Wirtschafts Woche has published an article focused on Gretchen Andrew’s artistic practice. Reporting about her search engine art, as Andrew defines it, the feature tells about how “Andrew outwits with unicorns and flowers the most sophisticated algorithm in the world: Google’s search engine.” You can real the full piece, in German, here.
Gretchen Andrew is the protagonist of a recent article published on Wirtschafts Woche. The feature focuses on her practice as a “search-engine artist”, a term Andrew coined in reference to her online performances and works. To discover more about the artist, you can read the article (in German) at this link.
The online guide the Londonist has featured Do Robots Dream of Electric Bees?, Ai-Da Robot’s upcoming show at the gallery, as one of the “9 Must See Exhibitions In London” in September 2020. Annka Kultys Gallery and the “world’s first humanoid robot artist” have been featured alongside venues such as The British Museum, South London Gallery and Imperial War Museum. You can read the entire article here.
Stine Deja’s installation Synthetic Seduction is part of the group show “Real Feelings” currently on view at HeK, Basel. For the occasion, Deja has been interviewed by the German magazine Gallerytalk: the result is an illuminating conversation about the impact of technology on our day-to-day emotions. You can read the full piece (in German) here.
Stine Deja’s work Foreigner (2018) has been featured by CLOT Magazine in an article about the forthcoming show Real Feelings: Technology and Emotion at HeK in Basel. Deja, who’s also part of the roster of artists taking part in the show, has realized the work together with Marie Munk in 2018. You can read the feature and see Deja’s work, at this link.
Bill Posters’ online show Dissimulation, on view on Annka Kultys’ digital platform [The art happens here], has been featured in an article on CLOT Magazine. The short review includes details about the artist’s practice and about the two video works exhibited in the show, Veridical Fakes and Big Dada. Read the full piece at this link.
Gretchen Andrew has been interviewed by the curator and writer Anika Meier. In the piece, published on Monopol Magazine, Gretchen sheds light on her practice, her Internet performances and her next projects – such as her first solo show in a museum in Monterey. You can read the full piece here.
Hell Gette’s current exhibition at Annka Kultys Gallery, ‘##’, has been reviewed in The Quietus. The writer of the article, Robert Barry, notes that “As the tall y-axis and shorter x-axis of these paintings suggest, these images are not just landscapes but also portraits – depictions of our digital selves. Or perhaps the truth of Landscape 3.0 is that, today, all landscapes become portraits. We capture the picturesque scenery only in order to depict ourselves.” You can read the full review here.
Hell Gette’s show at Annka Kultys Gallery has been featured by Galleries Now in the Weekender, the weekly selection of great exhibitions. Read the article here.
Ben Elliot’s digital show, which took place on Annka Kultys Gallery website, has been noted by Flash Art. You can read the feature here.
The Washington Post recently featured Gretchen Andrew in an article about net artists and the challenges they face working in a decentralised, evolving environment such as the web. Andrew explains the role the digital has in her artistic practice, and how her background working at Google gives her the opportunity to create ‘with the scrutiny of a renegade insider’. You can read the full feature by Kelsey Ables here.
The latest exhibition at Annka Kultys Gallery, ‘##’ by Hell Gette, has been inserted in the June-August issue of Flash Art. You can read the full feature here.
Jeremy Kahn, editor at Fortune Magazine, has inserted a feature about Gretchen Andrew in his weekly newsletter about A.I. and business. Kahn delineates Andrew’s artistic practice related to the world of artificial intelligence, and reports: “Gretchen says she wants to create ‘counter-narratives about how things work—how the art world works, how tech works, how the Internet works and what artificial intelligence really is.'”. Read the full feature here.
Laura Lisauskaitė, from Arterritory, interviews Gertrūda Gilytė via Instagram DMs in the occasion of her the first exhibition @successful_art_project on Annka Kultys Gallery’s digital platform. In the interview, Gilytė touches upon the themes that delineate her artistic practice, such as DIY spirituality trends, social media presence and online authenticity. You can read the whole interview here.
Signe Pierce is noted in “10 Contemporary Artists You Need to Know.” by the Manual Magazine. Other artists are: Damian Hirst, Takashi Murakami, Cindy Sherman, Julianna Huxtable, Rashaad Newsome, Jeff Koons, Richard Prince, and Virgil Abloh, Click here to read the entire article.
Molly Soda has been featured by Kesley Ables in the article An introduction to the world of Net Art for the Washington Post as one of the principal artists to know when being introduced to the world of digital art. Referring to Soda, Ables writes: “Imbued with a gnawing emptiness, so much of Soto’s work seems to teeter on the brink of a breakdown, raising the question, how much sharing is too much? In one video, Soto details the fungus growing in her armpit. In another, her face, wet with tears, glows on a computer screen while she takes iPhone selfies.” You can read the full article here.
Flaunt Magazine’s writer Sophie Lee features Gretchen Andrew for one of her Q&As. Saying that Andrew “has turned hacking into an art form”, Lee investigates the artist’s artistic practice, her personal vision of the online world and about her future projects. You can find the full interview here.
Molly Soda has been featured by Rosalind Duguid in her article Got Cabin Fever? Explore the Art of Looking Through Windows for Elephant. Duguid writes: “Twenty-five years down the line, Tumblr-famous Molly Soda was regularly updating 30,000 people (myself among them) on the internet. Soda’s work since has played with the feelings of the thrill and anxiety induced by carving out a window into your life online.” You can read the entire article here.
Metal Magazine has published an interview with Stine Deja. Focusing on her most recent practice and works, Deja explains: “I don’t necessarily seek answers, I’m more interested in dialogue and reflection, and that’s exactly what art is so great at. I think art is not only the tangible works inside a gallery or museum setting, but it’s also the streams of thoughts you leave with as a result of encountering artworks”. To read the full article by Arnau Salvadò, click here.
Time Out recommends an online talk held by Molly Soda and part of the live programming for Well Now WTF?, an online exhibition by Silicon Valet. The event features a digital tour of Soda’s favourite Tumblr accounts and a discussion about how the platform evolved through time. Find more details here.
Gretchen Andrew has been invited to artist Derek Boshier’s breakfast, one of many taken place in the same LA diner for over a decade. The experience has been featured by editor Jonathan Griffin, also invited by Boshier, in LALA Magazine. You can read the full article here.
Welcome to the Art-Lovers Movie Club, where every week you’ll find a new artist’s video available exclusively online at artreview.com for seven days.
If you’ve ever come across any ‘wellness’ products, you’ll know they can be a bit helpful, a bit expensive and also a bit self-indulgent and silly. These are the ideas that Danish London-based artist Stine Deja emphasises in 4K ZEN, her two-part project originally commissioned for the Roskilde Festival in Denmark in 2017. The first video works as a commercial showcasing the product: a guided meditation video that comes with a branded mat and this sensory-isolating thingamajig resembling a VR headset. The second video is the actual meditation you are guided through: serene nature scenes, whooshing sounds of water, the full works. Yet nothing is quite as calm as it first seems. “The sunlight from the clear blue sky is catching the tops of the waves in the distance” the narrator intones. “The whole ocean seems to shimmer and sparkle like paparazzis snapping perfect pictures of you.” Take a deep breath and… relax?
Screening dates: 17–23 April 2020
Gretchen Andrew conversed with Juan Marco Torres, writer at White Hot Magazine. The article underlines the underlying contrapositions of Andrew’s experiences and practice. Torres writes: “Gretchen is both an internet renegade and an enlightener. Her work illuminates the gray areas of the binary virtual world and the real world. It is in this new awareness of these gray areas that we are able to dive deeper into our outlook in order to shape our own destinies and how the internet can help us achieve these destinies.” Read the full feature here.
FAD Magazine has featured Ai-Da and her Zoom talks with artist and sculpture Sadie Clayton. The series of talks, which the editor Mark Westall called “unlike any other,” consisted of an informal chat between the two artists, who had already collaborated last October for Tate Exchange. You can read the article here.
Gretchen Andrew has been interviewed by Kate Mcilwee, editor at FAD Magazine. In the article, Andrew explains in more details some elements of her practice and notes: “Something that has always been a part of my practise is thinking more and more about the reputation of the feminine and masculine within art and within my work. Imperialism and artificial intelligence and technology are these traditionally male dominated worlds whereas the materials I’m using, the vision boards and language I adopt from manifestation culture – it’s very trivialised because I think its associated with the feminine.” Read the full interview here.
An extensive survey of American Reflexxx, Signe Pierce and Allie Coates’ video work, has been published on 21st Century Digital Art. The article exposes a thorough analysis of the video, underlining the visual and thematic influences that inspired it and the social and political issues it unveils. You can click here to have access to the full essay.
Molly Soda has been featured on Garage in relation to her solo exhibition You Got This at Jack Barrett Gallery. Soda is quoted saying “I believe that we’re all sort of performing. I’m performing when I talk to the cashier at Target too. We’re obsessed with understanding the authentic self, but it’s fictionalized. We need people to toe these lines between authentic and fake.” Click here to read the full article by Hannah Hightman.
Stine Deja’s Last Resort, the last show with the gallery, has been featured on Galleries Now. Click here to read the full article.
Last Resort, Stine Deja’s fourth exhibition with the gallery, has been featured in TZVETNIK. read the full listing here.
Gretchen Andrew recent Internet performance in the occasion of Frieze Los Angeles has been featured in the Los Angeles Times. In 2019, Andrew, thanks to her profound knowledge of search engines algorithm, tricked Google into displaying her virtual gallery as the first result for searching ‘Frieze Los Angeles’. You can read the full article by Catherine Womack here.
Laura Netz, contributor at CLOT Magazine, features Stine Deja’s work Cryptic Ruins in her article, in relation to Deja’s participation in the show Hyper Functional, Ultra Healthy at Somerset House. Netz writes: “Stine Deja’s body of works includes media such as 3D animation, immersive installation, moving image, and digital surrogates to simulated spaces, uncanny avatars, not-quite-real products which provoke fascination and revulsion with our hyper-commercialized contemporary culture.” You can read the full feature about art and toxic wellness culture here.
Stine Deja’s work is featured in the article Digital. Virtuell. Posthuman? Read the full article by Magdalena Kröner here
Ai-Da Robot has been interviewed by editor Geraldine Wharry for Dazed Digital. The conversation between the two features a dialogue about Ai-Da practice, inspirations and “why she’s here to push us to reconnect with what it means to inhabit our sense of community as humans who consider ourselves part of one group, one species.” You can find the full feature here.
Signe Pierce has been mentioned in The Guardian for her music performance in Miami, Florida, during Art Basel Miami. Pierce performed her new music single Do You Wanna Be Alive? together with exhibitions by well-known artists and DJs Grimes, Sophie and Nina Kraviz. To read the full piece, click here.
Gretchen Andrew has been interviewed by Jacob Lomas for Art She Says. In the interview, the two talk about Andrew’s often-used term ‘Internet Imperialism’, artistic practice mediated by technology and fake news. You can read the full feature here.
Ai-Da has been mentioned in an essay about the relationship between AI and creativity, and about its legitimacy in the art world. Concerning the ultra realistic humanoid artist, the writer Chris Fite-Wassilak compares Ai-Da’s work to Andy Warhol and reports “after devising ‘her’ paintings, the schemes are handed over to a human artist, Suzie Emery, to execute; the results still being fey abstractions”. You can read the full piece here.
Ai-Da Robot has hosted a workshop at Tate Exchange, together with artist Sadie Clayton. Called Black Creativity & Technology, the event has focused on “engaging the public to question our relationship with technology, art, race and identity”. It’s Nice That reported the event on their magazine, you can read the feature and see Ai-Da’s works here.
Recently, Signe Pierce sat down for a candid interview with Ralph Arida of Plastik Magazine to discuss the current state of pop culture and fine art. Pontificating on the role of the artist in mass media, and her self-proclaimed status as a reality artist, Pierce said: “The separation of an artist’s work and an artist’s life is rapidly disappearing. We use our phones and computers to capture our lives in media, and can instantly export and broadcast that content on the Internet. We are all the stars of our own reality show.” To read the complete interview, click here.
Signe Pierce has been the protagonist of a podcast episode from the “Health is Hell” series. With the host Ali Weiss, Pierce explores “living in the Matrix, the perks of being ‘lowbrow,’ developing & maintaining personal identity, and how to use overt sexuality to communicate intellect (if you want).” To listen to the one-hour-long episode and have more information about the podcast, click here.
DAZED has featured Gretchen Andrew’s latest online performance in an article: the writer, Gunseli Yalcinkaya, explains how Andrew tricked the Google algorithm to believe that she won the Turner Prize. Andrew is quoted saying: “The entire system of the internet, every computer breaks down into ones and zeros and I think this binary thinking has seeped into us. You know everyone is talking about how our world is completely divided, it’s left and right, it’s black and white, it’s rich and poor.” Read the full article here.
Gretchen Andrew has been recently featured in an article for WePresent. About her artistic practice, she notes: “There are power gaps and information gaps and both of those have a relationship to create authority gaps. What I’m doing is taking a power gap and closing it with an information gap.” You can read the full article here.
Signe Pierce is interviewed by Alice Bucknell in MOUSSE magazine: ” “Digital Streams of an Uploadable Consciousness” is a phrase that I often use when I’m writing and thinking [about] my media of choice: my life exported and seen by others. It’s also a way of talking about being a “reality artist”—a quest I fully acknowledge to be a paradox—and my attempts to decode what’s happening to reality as we enter an increasingly digital and virtual field. Reality was already difficult enough to conceptualize before we introduced technology, which I consider to be a new dimension. ” Read the complete interview here
A deep survey of Ai-Da and her artistic practice has been published on the Time. The editor of the article, Suyin Haynes, tells the reader about her meeting with the AI humanoid and about the exhibition Ai-Da participated in Oxford, UK. To read the full article and see a few of Ai-Da’s works, click here.
Signe Pierce’s new essay, “15 Million Minutes of Fame”, has been published on Bauhaus 100 in the occasion of the art movement and school’s centenary. By surveying her personal artistic practice and theoretical influences, Pierce explores the role that art has, and should have, in the hyperconnected era. The result is an encouraging piece, that stimulates a new understanding of the concept of art and artistic innovation. You can read the full essay at this link.
In occasion of Stine Deja’s last installation in the Danish sports center Holbæk Sportsby, the editors Rikke Luna and Matias from I Do Art.dk reveal the challenges Deja encountered when perceiving the project, and the research opportunities of exhibiting in such a peculiar, unexpected setting. You can read the full article (in Danish) here.
Frieze’s editor Dan Fox wrote an article about Ai-Da, after his participation in the unveiling of the AI humanoid artist in Oxford, UK. In this analytical opinion piece, Fox delineates the event and Ai-Da’s creation process, reporting that Aidan Meller, its creator, “hopes Ai-Da will provide a way for humans to grasp what machines will bring in the coming decade”. You can read the full piece at this link.
In an interview for Musée Magazine, Signe Pierce dialogues with Lara Pan about her video works and series of distorted, liquid selfies. During the interview, she talks about her work American Reflexxx and notes: “I’ve had a mantra, ever since I was in art school, that “I’ll do anything for art.”. The reactions started getting increasingly violent, and I was like, “This is what’s happening right now and this is what’s meant to happen.” Read the full interview here.
The show by Ai-Da Unsecured Futures, in Oxford, UK, has been featured in Artnet. The editor, Naomi Rea, dives into a deeply informative conversation with the creators of Ai-Da, and discusses Ai-Da’s appearance and artistic practice. Click here to read the piece.
On the occasion of their nomination for the Remmen Foundation Art Prize 2019 for Synthetic Seduction, their show at Annka Kultys Gallery in March 2018, Stine Deja and Marie Munk have been featured by Stine Hansen as “tomorrow’s stars in the arts”. In the short interview, Deja and Munk talk about their practice as a duo and the interconnections between art and society. You can read the full article here (in Danish).
The Los Angeles Magazine featured Gretchen Andrew’s Internet performance in occasion of Frieze Los Angeles 2019. The writer, Catherine Womack, calls Andrew’s practice of tricking the Google algorithm to show pictures of her paintings as a “dream manifestation through search engine optimization”. You can read the full article about Andrew’s artistic practice here.
In the occasion of her solo exhibition REFLEXXXIONS at EIGEN + ART Lab in Berlin, Signe Pierce has been interviewed by the German, online magazine mus.er.me.ku. In the article, the writer Angelika Schoder underlines the mixture of physicality and virtuality of Pierce’s installation, also referring to the artist’s self-identification with the concept of ‘reality artist’. You can read the full article (in German) clicking here.
Molly Soda’s new video game titled Wrong Box has been featured as one of the 10 best games of GDC 2019. Holly Green, the author of the article published on Paste Magazine, explains her choice by reporting: “Wrong Box is such a nostalgic specimen of the online world I once knew, a veritable walking tour through my teenage social life, from the shiny blinged clip art and the crude pop-up ads, to the niche web forums and tacky personal pages, each bursting with the hope and promise of random but meaningful human connection”. Click here to read the article.
Lara Pan has interviewed Molly Soda for the 21 issue of Musée Magazine. The short interview focuses on Soda’s artistic practice and on the relationship between her private and online life. She is quoted saying “I’m often appropriating my own image and remixing it, using elements from my early years on the Internet. I’m super drawn to imagery found on old, now defunct platforms, such as MySpace or Geocities. It’s important for me to archive and reuse imagery that’s been lost or forgotten, or even considered ugly or a nuisance.” You can read the full interview here.
An article on Design Your Trust explores Signe Pierce’s use of Instagram and of her characteristic neon, hyper-saturated aesthetic. To read the full feature and see Pierce’s works, visit this link.
On the occasion of the release of her new videogame titled Wrong Box, Molly Soda has been featured by editor Hannah Hightman in V Magazine. Highlighting how the digital world has changed and evolved through the last decades, the text puts an accent on Soda’s nostalgia for “going online as a conscious decision”. The artist explains: “I used to make time in my day to sit down at the computer and surf the web. I long for that feeling of being lost online, of being surprised and excited by whatever I had found. The internet is no longer a special place away from the world, but instead a tool for navigating the world.” Read the full article here.
Gretchen Andrew’s online performance in occasion of Frieze Los Angeles has been featured in Hyperallergic. The writer, Matt Stromberg, quotes Andrew saying “Information systems is all about how companies use technology for competitive advantage. Translated into art, I’m asking how I can use information to create meaning.” You can read the full article here.
Gretchen Andrew’s internet project performed online during Frieze Los Angeles 2019 has been featured in a dedicated article on Artnet News. The writer, Caroline Goldstein, delineates Andrew’s idea behind the performance and how she put it in practice, and quotes: “Now that the internet, through the lens of search engines and the optimization algorithms they operate with, is the arbiter of definition…interesting things are happening. Whatever a pipe is or is not, Google determines it.” Read the full article here.
Tomorrow, Signe Pierce will be giving a lecture at the The SMU Meadows Division of Art as part of their visiting artist lecture series, spanning from September 2018 – April 2019. For more information about the talk and how to attend, click here.
Rui Lin’s exhibition, included in the second week of CACOTOPIA 03, was reviewed in Organ Thing. In the review writer Sean Worrall points to how in “Week two of Cacotopia 03 then, every bit as good as week one, a complete contrast to week one, as rewarding as week one.” Read the complete review here.
Stine Deja’s series of videos Hard Core, Soft Body has been featured in Pylon Hub in the occasion of her recent installation at Schimmel Projects Art Center, Dresden. Underlining the contrapositions between humans and technology, key in Deja’s practice, the article reports that “HARD CORE, SOFT BODY investigates the complexity of the human physique and exemplifies an idea of how technology offers a way of maximizing it’s physical potential”. Read the full piece here.
ORGAN THING: Cacotopia 03 kicks off in style with the exciting lines of Marton Nemes at Annka Kultys Gallery… by Sean WorrallContinue reading “ORGAN THING | 7 December 2018”
Yumiko Sakuma has written an article for Numero TOKYO’s 127th issue that speaks about Signe Pierce and her oeuvre as a reality artist. To purchase a copy of the magazine, click here.
Katharina Hoi has reviewed Artificial Paradise for Kulturwoche, a group show at the KM Künstlerhaus featuring work from Olga Fedorova, writing that the lenticular prints “appear three-dimensional due to the tilting effect.” To read the full review, click here.
The Washington Post has reviewed the National Portrait Gallery’s new exhibition Eye to I: Self-Portraits From 1900 to Today, which includes the video work by Molly Soda Who’s Sorry Now. To watch the video and read the review by Sadie Dingfelder, click here.
Magali Nachtergael has written an article titled Vue sur chambre for Simone, an annual newspaper made to accompany PhotoSaintGermain, a photographic journey along the rive gauche made up of galleries, cultural institutions and bookshops. The article considers the relationship between Molly Soda and Amalia Ulman, their different Instagram personalities and intertwining photographic careers. To read the article, in French, click here.
Wall Street International has featured Impressions, Jillian Mayer’s first solo exhibition at AKG. Through videos, sculptures, online experiences, photography, performances, and installations, Mayer explores how technology affects our lives, bodies, and identities. You can find Wall Street International‘s listing here.
Olga Fedorova’s digital artworks have been disseminated in an article by VIVISXN DIGITAL, an alternative news and culture portal. The writer speaks about digital Dadaism, 3D software and her previous exhibition at AKG, Short Term Memories. Read the post on their website here.
In an article written by Jonathan Weinel for Oxford University Press, a paper by Gretchen Andrew is mentioned. Weinel writes: “Gretchen Andrew’s insightful paper commented on the biases of search engine technologies, as she demonstrated the inherent sexism of Google Images. Gretchen Andrew hacks these mechanisms with her “search engine artworks,” overriding search engine results with her own paintings.” You can read the full feature here.
In an interview with Paper Magazine, Nathalie Halgand mentions Signe Pierce when speaking about rising stars in the art world “I think she will be really big one day. I believe she will be in this generation of female artists who talk about political issues, feminism, sexism—all themes that are important to me. She sees herself as a “reality artist,” because she goes out into public spaces and does “interventions” with her body. It’s all about stereotypes and femininity.” Read the full interview, conducted by Dalya Benor
artnet news has reviewed the The Museum of Pizza’s pop up exhibition, including Signe Pierce and Emma Stern’s Pizza Vortex, writing that its “a wild 3-D animation projected and reflected in mylar mirrors, famous sculptures and pop culture icons swirling around in a portal that opens up into pizzas past, present, and future”. To read the review by Sarah Cascone, click here.
VICE has reviewed the The Museum of Pizza’s pop up exhibition, including Signe Pierce and Emma Stern’s Pizza Vortex, writing that its ‘a hypnotic 3D-animated pizza tunnel that ricochets off the walls of the reflective room that encases it’. To read the review by Beckett Mufson, click here.
Works by Signe Pierce have been featured in Mindstate Malibu, a new book edited by Joshua Groß, Johannes Hertwig and Andy Kassier. The book is described as “an involuntary generation portrait, a guide to a new world. For a world where fear and confusion are there to ride their waves. A manifesto for the boys. The hungry. The Explorer. The Content Creator. The dreamer. The awakened. The saber-rappers.The heroes. And everyone who wants to become one.” To read more about the book and to purchase a copy, click here.
Mousse Magazine has featured Short Term Memories, Olga Fedorova’s second solo show at Annka Kultys Gallery. The show features sculptures, made from granite but in the form of large scale USB drives, which have the potential to be construed as gravestones to the analogue era. To check out the listing, click here.
Signe Pierce’s performative contribution A glitch in the echo chamber of big sister’s cave to ANTI, the 6th Athens Biennale, has been featured on Daily Lazy. See the complete feature here.
Olga Fedorova’s current exhibition Short Term Memories featured on TZVETNIK. See the complete feature here.
Paul Carey-Kent mentioned Olga Fedorova’s exhibition ‘Short Term Memories’ on his Instagram account. See the post here.
The Selfridges Eye, a monthly round-up of us news, future trends and awe-inspiring innovations in the world of art and culture, has featured Olga Fedorova’s current exhibition at AKG, Short Term Memories. The author writes: “Most of us today probably own more digital belongings than physical ones. If you count up the amount of photos, Word docs, MP3s and other digital detritus that you’ve gathered over the years, you’d be amazed at the overwhelming quantity of stuff. And, as morbid as this is, that digital presence will long outlive you. Olga Fedorova’s latest show is a dialogue with that idea; the artist bringing it to life by using sculpture to bridge the connection between the humble USB stick and the morbid gravestone.” To read the full article, click here.
Irina Papadimitriou shares the news of the publication of Search Engine Art, a collaborative project between Gretchen Andrew and Digital Futures, a platform for the display of multidisciplinary art. The publication explores the world of digital and net art by exploring the practices of nine artists. You can read the full piece here.
Multimedia artists Signe Pierce and Emma Stern have contributed a “Pizza Vortex,” a fluorescent black-light room featuring a 3-D video installation, to the The Museum of Pizza, scheduled to be open from 13 – 28 October 2018. Read the full article here.
Wall Street International has featured Short Term Memories, Olga Fedorova’s second solo exhibition at AKG. Implicit in the show is the idea of memory, asking what imprint the human race will leave on earth after it inevitably passes away.. You can find Wall Street International‘s listing here.
Olga Fedorova’s current exhibition Short Term Memories is featured on Galleries Now. See the feature here.
artnet News mentions Molly Soda in an article about young artists’ strategies to get attention and sponsorship outside their gallery space. The author writes: “While making compelling artworks online is certainly a great way to garner a large and dedicated following, it’s not exactly the road to riches. So it makes perfect sense that Soda would make an account on Drip to ask her followers for financial support in exchange for her content”. Read the article here.
Time Out has featured Short Term Memories, Olga Fedorova’s second solo show at Annka Kultys Gallery. The artist uses 3D digital rendering software to create deeply unsettling cyber women/mannequins that inhabit various imagined spaces. To check out the listing, click here.
DROOL Creatives has featured Short Term Memories, Olga Fedorova’s second solo show at Annka Kultys Gallery. The exhibition features three large scale prints on glass, a video on a new type of transparent glass screen that the artist has developed, and three granite sculptures. To check out the listing, click here.
AKG Summer exhibition Terms and Conditions May Apply artists Shamus Clisset, Marion Balac, Fabio Lattanzi Antinori, Alyssa Davis, Tom Galle, Moises Sanabria and Jillian Mayer have been asked five questions by DATEAGLEART about their work on view at the gallery. Read the interviews here.
Anne Vieux was interviewed by Brian Alfred for SOUND & VISION, a podcast focusing on conversations with Artists and Musicians about the creative process. To listen to the podcast, click here.
AKG Summer exhibition Terms and Conditions May Apply curated by Bob Bicknell-Knight is featured on Tzvetnik. The exhibition features Fabio Lattanzi Antinori, Marion Balac, Bob Bicknell-Knight, Patrick Colhoun, Shamus Clisset, Alyssa Davis, Tom Galle, James Irwin, Jason Isolini, Jillian Mayer, Rosa-Maria Nuutinen, Moises Sanabria, Lotte Rose Kjær Skau, Owen Thackeray and Addie Wagenknecht. More information can be found here.
AKG Summer exhibition Terms and Conditions May Apply is featured on Galleries Now. See the feature here.