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
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.
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.
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.
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.
Signe Pierce has been featured on the television program Tracks, aired on ARTE, the European Culture Channel. You can watch the episode—which also features Blackfish Collective, Serpentwithfeet, Martha Cooper and The Charlatans—here.
Broadly has just published a new interview with Signe Pierce in collaboration with Vice. Published alongside the interview are a new series of photographs by Pierce, which the artist has created without the use of digital manipulation. Describing these works, the author writes: “With these images, [Pierce] wants to straddle the line between technology and biology, control and submission, self and selfie, by placing her own nude body in its crosshairs and dismantling the stigma that comes with photographing oneself.” The essay and accompanying photographs are published in Broadly‘s Privacy and Perception Issue as well as Vice‘s Photography issue. You can find the full interview with accompanying images here.
Signe Pierce has been commissioned by Refinery 29 to photograph pop music artist Kali Uchis for The Come Up series, which highlights inspirational female artists. Pierce shot Uchis on location in her immersive installation Tesseract at Times Square Space in New York. To see the full shoot and accompanying story, click here.
Spanish magazine !Ah! has profiled Signe Pierce. Titled “Art & Feminism in the iPhone Era,” author Irene Calvo describes the relationship between Pierce’s signature hyper-saturated aesthetic, feminism and the current state of digital culture. You can find the full profile here.
Cactus has included works by Signe Pierce in Issue 06 of its print magazine. To see the images and check out the full issue, click here.
In a new guide to the city, London-based blog Lazy Oaf has listed Annka Kultys Gallery as its contemporary art choice. The author writes, “Upstairs from an unassuming row of shops by Cambridge Heath station, you’ll find one of the leading platforms for a future generation of artists. With a focus on multimedia art, Annka Kultys encourages these artists to bring their work from digital and online platforms into the gallery space, marking it out as different from your average gallery experience.” Check out the full guide here.
Chinese platform ArtLink Art has featured Metamirrorism, Signe Pierce’s solo show at Annka Kultys Gallery. You can find the full listing here.
The Selfridges Eye, a new editorial project focusing on individuals who challenge conventions and defy expectations, has featured Signe Pierce’s solo show Metamirrorism. The author writes, “Walking into the space is like stepping into a digital blender – or, in layman’s terms, as if the internet had vomited on itself. But look a little closer and there is no digital trickery at play here; this is reality remixed.” To read the full article, click here.
French publication Open Minded has profiled Signe Pierce. A self-proclaimed reality artist, Pierce’s practice employs the fabric of every day life as a medium in order to critically examine the nature of our subjective realities. Signe Pierce’s second solo show, Metamirrorism, will be on view at Annka Kultys Gallery through 28 April. To read the full profile, click here.
In a listing of the top shows this week, FAD has named Signe Pierce’s solo show Metamirrorism as one of its top picks. See the full rankings here.
In a round-up of “shows to see now,” critic Tabish Khan lists Metamirrorism as one of the top shows in London. Take a look at the full listing here.
The Art Partners, a collector’s service and criticism blog, has included Signe Pierce’s solo show Metamirrorism in a weekly digest of the best cultural events in London. To read their short review of the show, click here.
In an ode to floral photography, Hunger TV lists Signe Pierce as one of its favourite photographers of flowers. Pierce’s botanical shots were last shown in her first solo show, Faux Realities, at AKG in June 2017. Right now, Pierce’s second solo show, Metamirrorism, is on view at the gallery through 28 April. To read Hunger’s full piece, click here.
Tamara Al-Mashouk, mentions Signe Pierce in relation to rockstar artists in the age of social media, stating “Signe Pierce has a really interesting relationship to today- to social media, and the internet. Her instagram is the most developed version of her work online, she uses it- with it’s massive reach- almost instead of a website or exhibition. It’s like a musician without a record label.” Read the full interview, conducted by Addie
The Leipzig Global writer Maeshelle West-Davis has reviewed Virtual Normality — Women Net Artists 2.0, a group show at Museum der bildenden Künste, Leipzig featuring works by Molly Soda and Signe Pierce. West-Davis quotes Soda in the article: “All the work I do is very much about and for girls in their bedrooms – from my bedroom to yours. What we do when we’re alone and making that public.” To read the full review, click here.
In his round-up of top April shows, critic Paul Carey-Kent adds Signe Pierce’s Metamirrorism, on view at AKG through the 28th. He writes: “Observing the methods of projection, reflection and lighting, and the various films and holograms which populate her studio environment in New York, Signe Pierce saw that she could create a visually echoic gallery installation. All is controlled through her mobile phone, but the effects are actually ‘real’ rather than digital.” To read the full review, click here.
Things-to-do App Dojo has listed Signe Pierce’s ephemeral projector painting installation Metamirrorism as a top show to check out this weekend. To read what they have to say about the exhibition, click here.
Lara Monro of Teeth Magazine has interviewed Signe Pierce about her new solo show Metamirrorism on view at AKG. Discussing technocracy and the value of the term ‘cyberfeminism,’ Pierce had this to say: “I personally like [the term] because it is creating a new avenue, one that uses technology to give those who have been previously marginalised a voice. Cyberfeminism was very much predicting what will happen in the future whereas right now we are living very much in a digital age with platforms such as Facebook and Instagram. The internet has amplified all our voices and evened the playing field. We are in a sweet era – pre-net neutrality. Let’s enjoy it, because who knows what will happen with it all in the future.” To read the full interview, click here.
Signe Pierce’s new solo show, Metamirrorism, has been listed in Dream Idea Machine’s round up of March shows. To check out the full piece, click here.
In a new article examining the current generation of women net artists, Elle Italia reviews Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste, Leipzig, specifically citing the the work of Signe Pierce and Molly Soda. You can find the full article here.
TimeOut has reviewed Metamirrorism, Signe Pierce’s second solo show at AKG. They write: “Ever thought you look so good you belong in an art gallery? Well, here’s your chance.” You can find the full review here.
Drool Creatives has featured Signe Pierce’s upcoming solo show Metamirrorism. “Through the use of instantaneous recording and projection within a space mediated by light sources, mirrors, lenses and dichroic film, Pierce takes the gallery’s visitors as her raw material to create an immersive, reflected, refracted and abstracted universe of the ephemeral.” You can find the full listing here.
Welt author Rahel Zingg has written an article about young artists’ use of social media to combat societies standards of acceptability. Referencing Virtual Normality – Women Net Artists 2.0 at MdbK Leipzig, Zingg mentions the work of Molly Soda, Signe Pierce and Arvida Byström as exemplary of this trend. You can read the full article here.
Signe Pierce’s upcoming exhibition Metamirrorism has been listed in Art Rabbit’s “The Best of Spring in London: Our Top Contemporary Art Picks.” The show will present an interactive installation of ephemeral projection painting. You can find the full article here.
Vogue Arabia’s Philippa Morgan reports on the new collaboration between Signe Pierce and Eli Rezkallah for Kuwaiti fashion brand Marzook. Combining Pierce’s signature hyper saturated aesthetic and use of screen mediation with Marzook’s sleek designs, the Marzook Fall 2018 “future-proof collection is directly influenced by the digital era where we live betwixt and between digital and physical realities.” To read the full article, click here.
Signe Pierce has been interviewed by Food Republic about her role in the design of Rose Gold, a new bar in Brooklyn, New York. Pierce says, “I wanted the space to look different from some of the other spaces in New York City and also wanted to challenge myself to think outside of my own box.” To read the full article, click here.
Hamburg-based news magazine Stern has reviewed Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste Leipzig. Curated by Anika Meier, the show includes work by Molly Soda, Signe Pierce and Arvida Byström. To read the full review, click here.
In order to gauge public opinion of Virtual Normality – Women Net Artists 2.0, a group show at MdbK Leipzig curated by Anika Meier, Indie Mag has gathered responses from visitors to the museum about the current state of feminism today in this unique review of the exhibition. Molly Soda, Signe Pierce, and Arvida Byström are just three of the women net artists in the exhibition whose work seeks to carve out a space for femininity online. To read the full article, click here.
In a new column, Spiegel writer Sibylle Berg uses Signe Pierce’s American Reflexxx as a starting point for a wider conversation about the relationship between immediacy, tolerance, self-control and bigotry in the modern world. According to her, the hate that Pierce receives while wearing the mirrored mask comes from an inherent human fear of the unknown. Click here to read Berg’s full opinion piece.
In a new article about female artists in the time of social media, writer and curator Anika Meier discusses the work of Signe Pierce, Molly Soda, and Arvida Byström. Analyzing the changing nature of female identity and artistic practice as mediated by digital technology, Meier asks tough questions about the future of the art world and whether or not art will be successful if it does not receive a lot of attention on social media. To read the full article, click here.
Marlene Halser has written a review of Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste Leipzig. Curated by Anika Meier and Sabrina Steinek, the show prominently features the works of Molly Soda, Signe Pierce and Arvida Byström. To read Halser’s full review, click here .
Marianne Abbott has interviewed Signe Pierce for DRØME Magazine. In the wake of her recent Virtual Normality performances around the United States and Europe, Pierce ponders the contrast between harsh aggression and soft femininity in her work. She says: “There is definitely an aggression in the work that I do. I refer to the hyper-feminine facade that I put on as a venus fly trap because I like that metaphor of shaping myself into something that can easily ensnare the gaze of somebody who might not look at art otherwise. Except often these hyper-feminine characters then devolve into the grotesque. I like to create these beautiful, monolithic characters and then tear them down, but a lot of times they get back up. I like watching the rise and fall and then the rise again.” To read the full interview, click here.
John Martin Tilley has interviewed Signe Pierce for Office Magazine about her presentation of American Reflexxx at New Release Gallery in New York City. Describing her choice to wear a mirrored mask in the performance, Pierce said: “It became a mantra/mission statement of mine around this time: ‘Objectifying you objectifying me.’ Aka, I’m going to flip this derogatory gaze back unto you. I will turn you, the objectifier, into the object. I’ll use my hyper-feminized body as a Venus Fly Trap to ensnare your objectified gaze.” To read the full interview, click here.
i-D Deutschland has reviewed Virtual Normality – Women Net Artists 2.0, an exhibition at Museum der bildenden Künste Leipzig featuring the works of Molly Soda, Signe Pierce and Arvida Bystöm. Click here to read the full article.
Michael Meyns has written a review of Virtual Normality – Women Net Artist’s 2.0, a new group show at Museum der bildenden Künste Leipzig that includes the work of Molly Soda, Signe Pierce and Arvida Byström. The exhibition will run through 8 April. For more information and to read Meyns’s full review in Die Zukunft, click here.
Les Inrockuptibles has reviewed Virtual Normality: Women Net Artists 2.0 at Museum de bildenden Künste Leipzig. The show, curated by Anika Meier and including works by Molly Soda, Signe Pierce and Arvida Byström, will be on view through 8 April 2018. To read the full review, click here.
Signe Pierce has been listed by Hunger TV as one of “five female visual artists to follow right now.” Pierce is listed alongside peers Juno Calypso, Maisie Cousins, Alice Joiner and Alice Skinner. You can check out the full listing here.
The Eye of Photography reviews the work of Leah Schrager, one of the artists included alongside Molly Soda and Signe Pierce in Virtual Normality: Women Net Artists 2.0 at MdbK Leipzig. Exploring themes of representation, the author notes that the exhibition “questions the female beauty ideals and gender stereotypes that have become standard in the attention economy of social media.” To read the full write-up, click here.
The Art Gorgeous has reviewed One Year of Resistance, a group show at Untitled Space in New York City featuring artworks that were created in reaction to the current American political climate under Donald Trump’s presidency. The author Nadya Sayej describes the show as “the world’s hottest anti-Trump show art.” Included in the show is Signe Pierce’s piece “Control” (2017), a work commenting on gun control in the United States. To read the full review, click here.
Swiss art magazine Widewalls has reviewed One Year of Resistance, a group show at Untitled Space in New York City that includes photographic work by Signe Pierce. Curated by the gallery’s director Indira Cesarine, the show serves as a reaction to President Donald Trump’s political regime. The author, Angie Kordic, writes: “Commenting on the state of America during the past year, Indira Cesarine emphasizes the importance of a continuing fight for basic human rights which crumble before our eyes.” To read the full review, click here.
Signe Pierce has been profiled by French outlet Libération for her involvement in Virtual Normality – Women Net Artist’s 2.0 at Museum der bildenden Künste Leipzig. Pierce is shown alongside contemporaries Molly Soda and Arvida Byström, among others. Describing Pierce’s contribution, the author, Jérémy Piette, writes: “This interactive installation in an intimate room equipped with connected devices gives the visitor the opportunity to meditate on the personal spaces affected by the omnipresence of tools capable of recording our least gestures, plasma lovers who make us ask ourselves: are we really alone?” To read the full article, please click 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.
Jan Soldin of Kunstmarkt reviews Virtual Normality – Web Artists 2.0, a new group show at MdbK Leipzig featuring the works of Molly Soda, Arvida Byström and Signe Pierce. Describing the aesthetic tools that the artists employ to achieve their goals, the author writes: “By an exaggerated feminine aesthetic with colors such as pink and purple or by girlishly cute self-portrayals, the Netzkünstlerinnen draw attention to stereotypes. Humor, irony and exaggeration are part of their style repertoire.” To read the full article, click here.
Interview reviews Virtual Normality – Web Artists 2.0: a new group show at MdbK Leipzig featuring works by Signe Pierce and Molly Soda. Describing the emotional impact of the show, the author writes that the works “show how it feels when you stand by yourself.” To read the full review, click here.
Detektor FM has reviewed Virtual Normality – Web Artists 2.0, an exhibition of women net artists curated by Anika Meier at MdbK Leipzig. Included in the exhibition are both Molly Soda and Signe Pierce. The author, Juliane Neubauer, describes a sense of discomfort at being confronted by the deeply personal and somewhat unsettling nature of the work in the show, specifically citing Soda’s Instagram Live performance lip-syncing to a Selena Gomez song. To read the full review, click here.
Mittledeutscher Rundfunk (MDR) features the work of Molly Soda and Signe Pierce in a short review of Virtuality Normality – Web Artists 2.0, a group show at MdbK Leipzig. Curated by Anika Meier, the show explores the contemporary generation of women artists who use new media to explore gender, sexuality and identity in the digital age. Check out MDR’s full feature here.
Leipziger Volkszeitung (LVZ) previews the upcoming exhibition at Museum der bildenden Künste Leipzig, Virtual Normality. Featuring the work of net artists including Signe Pierce, Molly Soda, and Arvida Byström, the show will explore femininity in the digital age. The author writes, “Through the Internet and social media, the debate about sexuality and identity has been rekindled; web artists answer with a hyperfeminine aesthetic.” Click here to read the complete article.
Spiegel author Angela Gruber writes on Virtual Normality, the upcoming group exhibition at Museum der bildenden Künste Leipzig featuring the work of artists Signe Pierce, Molly Soda, and Arvida Byström. Opening 12 January, the show will run until the 8 of April. To read the full feature, click here.
Deutsche Welle reviews Virtual Normality – Women Net Artist’s 2.0, the upcoming group show at Museum der bildenden Künste, Leipzig featuring works by Signe Pierce, Molly Soda, and Arvida Byström among others. Typifying the “Instagram generation,” the artist’s included in the exhibition “use the Internet and social media to reflect on the ideals of female beauty.” The show, opening 12 January, will run until 08 April. Check out the full article here.
Signe Pierce was interviewed by Hunger TV about her contribution to the upcoming group exhibition ONE YEAR OF RESISTANCE, on view 17 at Untitled Gallery in New York. “The women of the United States are not going to allow ourselves, our bodies, or our rights to be held hostage any longer,” Pierce said. The show, which explores the political climate of a post-Trump America, opens 17 January and will run until 4 February. To read the full interview, click here.
Girl Talk HQ previews Untitled Gallery’s upcoming exhibition, ONE YEAR OF RESISTANCE, which will include photographic work by Signe Pierce. The show, which will survey more than 80 artists responding to the American political climate in the post-Trump era, will open 17 January and run through 04 February. To read the full article, click here.
ONE YEAR OF RESISTANCE, the upcoming group show at Untitled Gallery in New York, is the subject of an article by AM NY. The show, which includes works from more than 80 artists, serves as a response to the American political era ushered in by the election of Donald Trump. Signe Pierce’s “Control,” 2017, will be one of the piece’s on display. Curated by Indira Cesarine, the show will open on 17 January and runs through 4 February. To read the full article, click here.
Art Fuse previews the upcoming group exhibition ONE YEAR OF RESISTANCE, forthcoming at Untitled Gallery in New York City. Author Alison Martin includes Signe Pierce’s photographic work “Control,” 2017, as one of the highlights of the exhibition. Coming from a powerful milieu of activist artists, each piece in the show was created in response to the political climate ushered by the election of Donald Trump to the office of President of the United States. To read the full article, click here.
Signe Pierce’s portrait of Aubrey Plaza, included in the 21 August issue of Time Magazine for the story “Aubrey Plaza’s Status Update,” has been selected as one of the best portrait’s of 2017. To see the full selection of portraits, click here.
Audrey Wachs reports on the opening of Galeria Melissa, an upscale boutique in New York City designed by Muti Randolph, for Architects Newspaper. The store, which alongside selling shoes will hold four exhibitions per year, has included an immersive video installation by Signe Pierce in its inaugural exhibition. To read the full story, click here.
Bushwick Daily writer Darragh Dandurand reports on the opening of Rose Gold, a new cocktail bar in New York built under the creative direction of Signe Pierce and Safwat Riad. Original works by “multimedia magician” Pierce can be found throughout the basement space, alongside an original neon sign by Kate Hush. Rose Gold will open on 11 January 2018. To read the full story, click here.
Signe Pierce unveiled a new installation, Metamedia Sculpture (2017), at the Adidas Prophere launch party. The work, a commission by Adidas Originals, is a media theory manifesto in the form of a hyper-mediated sculpture. Referencing Marshall McLuhan, Pierce says: “Media is the Medium is the Message.” To read Office’s recap of the launch party, click here.
Anika Meier mentions both Molly Soda and Signe Pierce in her latest article “Es darf sich geärgert werden” for Monopol. Describing the current state of net art and digital feminism, she uses both of the artists as examples of women whose explorations in digital identity blur the boundaries between art and life. Read the full article here.
Signe Pierce is included in Nylon Magazine’s collection of Thanksgiving thoughts from the Queer community. Upon being asked what she is thankful for, Pierce said: “I’m thankful that 2017, as difficult as it has been, is the year that we’re finally seeking to hold people accountable for their actions. Things like institutionalized racism and workplace sexual harassment have had a stronghold on American society forever, but it’s taken a petty, tyrannical president with no veil for his racist, sexist behavior to get us to start saying, ‘Enough is enough.’” To read Pierce’s full statement, and the complete list of quotes, click here.
Signe Pierce took part in Paper Mag’s “Friendsgiving” dinner with “underground dining sensation” Wolvesmouth. In her signature fashion, Pierce was reported to have photographed every dish on the table. To read the article and see the full visual recap, click here.
Christian Petersen has included Signe Pierce and Alli Coates’ work, American Reflexxxx, in his Web Wednesday review of the Wrong Biennale. Read Petersen’s full round-up of Wrong Biennale highlights here.
Signe Pierce is interviewed by Alice Bucknell in her latest editorial for Artsy. Entitled “A Brief History of the Color Pink,” the piece traces the history of the rosy shade. Known for her employment of pink and purple light in both her photography and her performances, Pierce rejects historically gendered notions of the color. She says: “The insistence upon socializing women to identify with a color that doesn’t exist in the ‘real world’ is, to me, a testament towards the patriarchal hierarchies that work to keep women submissive in everyday life.” Read Bucknell’s full editorial here.
WWD announces that Signe Pierce will be included in a line up of artists participating in a fundraiser for victims of Hurricane Maria in Puerto Rico. Organized by Dana Boyer and Erin Green, the fundraiser will take place on 2 November at Think!Chinatown x ChaShaMa space in New York City. For more information, click here.
VICELAND program SLIDESHOW interviews Signe Pierce about her series Faux Realities (2017), which recently showed at Annka Kultys Gallery. Pierce explains: “Theres something almost therapeutic about color, beauty and light; but there is an element of tragedy that hovers over these pictures.” Watch the full interview here.
Signe Pierce is included in an article about the practice of Instagram artists published by Der Standard. Describing the role of mass distribution via social media as an outlet for artistic expression, the author quotes Pierce: “‘Art must be seen by the people who are not looking for it.’” Read the entire piece here.
Signe Pierce’s exhibition Faux Realites was reviewed by Art Maze International art critic Christina Nafziger. Nafziger writes, first solo show “Annka Kultys Gallery has brought thought-provoking exhibitions to East London that have generated a dialogue surrounding new, digital techniques being utilized by contemporary artists. Its Summer exhibition Faux Realities, showcasing the photography of artist Signe Pierce , proved to be of no exception.” Read the complete article here.
Signe Pierce’s work is on show at ‘The Future of Her’ by Galeria Melissa in New York. ‘The Future of Her’ is an interactive art project presented at the new concept store, Galeria Melissa, featuring art and video installations curated by Kelsey and Rémy Bennett, and featuring Sam Cannon and Signe Pierce, as well as multimedia architecture from Brazilian visual artist Muti Randolph. A review by Creators can be found here.
In concurrence with her first solo show at Annka Kultys Gallery, Monopol profiles ‘reality artist’ Signe Pierce. Describing Faux Realities and the instafamous quality of Pierce’s work, the author writes, “She has shown her photographs there, a best of @signepierce to a certain extent; the viral hits from the social media.” Read the full profile here.
Aesthetica Magazine reviews Signe Pierce’s first solo show at Annka Kultys Gallery, Faux Realities. The author writes that in Pierce’s photography “the role of the artist becomes one of surreal authority; one that can edit, compose and create new landscapes and identities through an excessive spectrum of possibility.” Read the full write-up here.
FAD has named Signe Pierce one of the “Top 8 Art Exhibitions to see this week in London.” Tabish Khan writes “Beauty is found in consumerism and its byproducts.” Read the full article here
Signe Pierce exhibition Faux Realities, was included in Londonist Things To Do Today in London: Friday 23 June, 2017. “Fluorescent lights, escalators in Vegas, a flower in a puddle. All glow in bright neon colours in a photography exhibition designed for the Instagram generation. .” says writer Tabish Khan, “Beauty is found in consumerism and its byproducts.” Read the complete article here.
Signe Pierce exhibition at AKG is reviewed by Alice Bucknell for This is Tomorrow. “‘Faux Realities’ is a touchstone for this series of simulacra: it is the first time that Pierce’s photographs have been exhibited off the screen, and to a scale larger than a desktop monitor (or more commonly, one’s iPhone: a nice synchrony with their mode of capture). Blown up to size A0 prints and edited accordingly, the photographs appear like a HDR vision cloaked in low-res fuzzy ambience.”, writes Bucknell. Read the full review here.
Signe Pierce’s solo exhibition at AKG ‘Faux Realities’ is reported in Wall Street International. More info can be found here.
‘Faux Realities’, Signe Pierce’s exhibition at AKG was reviewed by Eric Iannitti for Unrated. “For Pierce, the series is a meditation on the increasingly murky notion of what we consider “real” in both life and art today, in the age of fake news, digital art and sophisticated editing tools”, writes Iannitti. Read the full article here.
Signe Pierce was interviewed by Ione Gamble for Dazed Magazine about her current show at AKG ‘Faux Realities’. “By straddling reality and illusion, the New York based artist exposes the absurdities of femininity while also proving its a force to be reckoned with”, writes Gamble. Read the full interview here.
Hunger TV reviews Signe Pierce’s solo show, Faux Realities, at Annka Kultys Gallery. You can read the full piece here .
Signe Pierce is interviewed by Amar Priganica and Marie-Claire Gagnon for PW-Magazine. “Even when you’re all by yourself, you’re technically never really alone because there’s always somebody else on the other side of the screen,” Pierce says, “And now that we have this live streaming technology, we can all be the star of our own Truman Show. I’m interested in what that can do to a persona and our perception of reality.” To read the full interview, click here.
Signe Pierce features in the exhibition Cybercy at the UCCS Galleries of Contemporary Art, Colorado. Her video work American Reflexxx is part of the exhibition’s exploration around “how the Internet affects perceptions of public and private spaces, as well as how people navigate the real, the digital, and the hyper-real”. Read the full article here.
Signe Pierce was interviewed by Samantha Saiyavongsa for Playboy. Pierce is quoted saying, “I’m not afraid to be an artist who embraces new media and uses social media as a platform…The people who need to see art the most are the people who aren’t in the art world.” Read the full article here.
Signe Pierce is reviewed in Purple Art in relation to her debut solo exhibition Virtual Normality in Vienna. Philip Draxler writes : “For her show, Pierce elevated the intimate architecture of the gallery (a former apartment), into a techno-esque living space”, adding that “the artist explores how our hyper-mediated perception tends to alter our conception of “actual reality” within an increasingly virtual world.” Read the full article here.
Signe Pierce was interviewed by Ralph Arida for Plastik Magazine. Pierce is quoted saying: “I use my world, my mind, and my body as a medium … When you take the mediums/medias associated with art and combine it with the everyday performativity of reality stars, you get “Reality Art”. Art is no longer trapped within the confines of gallery walls… it’s anywhere with a wifi connection.” Read the full article here.
Signe Pierce was interviewed by Nylon magazine in relation to her upcoming exhibitions with AKG and Nathalie Halgand Galerie in Vienna, and her recent collaboration with rapper Big Sean. Pierce is quoted saying: ““Overall, I want to spend this year pushing myself, my work, and my mediums to hit on some new peripheries and hopefully reach some new audiences.” Read the full article here.
In a round-up of Satellite Art Show in Miami, writer Sarah Cascone mentions Signe Pierce’s installation Entropical Getaway in collaboration with Castor Gallery. To read the full article, click here.
Signe Pierce has been interviewed by So Frisch So Gut writer Annekathrin Kohout. Pierce is quoted saying, “I think that social media is a medium. And I’m increasingly interested in the body as a canvas. Or, the body can be the ‘medium’ as well. The body can be the art and the social media can be the gallery. It’s a new institution that we can go to look at art.” You can read the full piece here.
Romily Alice reviews Annka Kultys Gallery’s exhibition Zero Zero for Berlin Art Link. “Zero Zero Proposes a New Post-Internet Landscape” examines the way in which 12 different artists investigate the conjunction between digital and physical spaces, reflecting on the post-internet, post-materiality reality of the present day. Romily Alice says that the show ‘serves to remind us that the positioning of the “virtual” and the “real” in binary opposition to each other no longer reflects the modern experience.’ Read the full review here.
The gallery group exhibition Zero Zero on view at AKG is featured in Mousse Magazine. Find more information here.
Nowness’ feature Zero Zero Takeover reports AKG’s summer group show Zero Zero. Read the full article here.
Zero Zero, at AKG, was reviewed by Robert Barry for The Quietus. Read the full article here .
Madelaine D’Angelo has interviewed Reality Artist Signe Pierce for the Huffington Post. You can read the full article here.
Signe Pierce was interviewed by Kristen Cochrane for Slutever, a website that deals predominantly with sexuality and relationships. They speak about American Reflexxx, cyberfeminism and Jean Baudrillard. To read the interview, click here.