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 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.
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.
Swedish news outlet Kurinen has just written an article about Pics or It Didn’t Happen – Molly Soda and Arvida Byström’s collaborative publication of pictures deleted by Instagram. The article explores the phenomenon of censorship of the arts online. You can read the full piece here.
On March 25, Molly Soda will be taking part in a presentation and workshop as part of the ICP Library’s event Queering the Collection, which is ongoing series Critical Jamming, hosted by artist Christopher Clary and organised by Claudine Boeglin. To learn more about this event, click here.
Tonight, a new group show curated by IsThisIt? director Bob Bicknell-Knight will open at Arebyte Gallery in London. Included in the show are works by !Mediengruppe Bitnik, Stine Deja, Marie Munk and Olga Mikh Fedorova. Entitled I’m sorry, I didn’t quite catch that, the show will explore themes of automated empathy, new age philosophy, digital death and the rise of artificial intelligence in contemporary society. For more information, click here.
!Mediengruppe Bitnik will give an artist’s talk today as part of the Vis_com Lecture Series: ALT-OUTPUT at the Institut Visuelle Kommunikation at FHNW University of Applied Sciences and Arts Northwestern Switzerland. For more information, visit the university’s website here.
Stine Deja and Marie Munk have been interviewed by Hold Residency, a digital exhibition and editorial platform. Describing the feelings of sadness and isolation that the show explores, Deja says: “I think overall I see the idea of simulated intimacy as tragic for everyone/everything involved. Human intimacy with non-humans is unrequited and misunderstood, while intimacy between non-humans is flat and cliche, a replica of something that existed somewhere far removed. I also believe though that people connect with the videos because they project something into it, and that in itself is a layer of intimacy that is generated through the show.” You can find the full piece here.
Tank Magazine’s Jan-Peter Westad has interviewed Stine Deja and and Marie Munk about their collaboration in Synthetic Seduction, on view at Annka Kultys Gallery through 24 March. Munk says: “We were both interested in how technology alters social behaviour, especially the way we are intimate or present with one another. And we were also feeling a similar frustration working with themes situated in the crossover between reality and virtual reality. In combining our practices we felt we’d open up more possibilities to work across reality and VR divide, and uncover the tensions between the two.” You can read the full article 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.
Molly Soda has been interviewed by Office Magazine writer Conor Hudnut. Soda details the re-staging of a work at NADA that was originally shown at 315 Gallery during her solo show I’m just happy to be here last summer. The work is a laptop containing a selection of Soda’s files that invited the viewer to directly interact with it. But, for NADA, Soda added a new twist: “I created a chat-box that talks to you. The bot lives on the computer with the files, and it’s kind of customer service-y. Maybe it’s just a bot, maybe it’s me, the artist, or maybe it’s whatever you want it to be. It’s there to interact with you, if you’re interested in doing so.” You can read the full interview here.
Tonight, a new group featuring the works of Stine Deja entitled Lend Me a Hand will open at Elmer in London. Curated by Ben Lunt, the show centres around a loss of artist’s agency in a post-internet contemporary art context. Reality loses meaning as installation shots replace the actual artwork in a process of converting art into “hyper matter.” For more information, click here.
Keen On Magazine’s Aude Launay has interviewed !Mediengruppe Bitnik about their algorithmic work, Random Darknet Shopper. Describing the autonomy of the bot, Bitnik says: “You can’t say this website’s content is illegal because the content is hosted within the network, it’s distributed. In the beginning, we spent the production budget on it, by literally giving it to the bot, but with the tools it bought, it could run itself. It can rent itself out as a base to execute.” You can read the full article here.
Art critic Tabish Khan has listed Synthetic Seduction, the dual-show and immersive environment created by Stine Deja and Marie Munk, as one of the top 7 shows to see in London this week. To read Khan’s full review, click 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.
Swedish publication Svenska Dagbladet has profiled the work of Molly Soda and Arvida Bystöm, whose joint publication Pics or It Didn’t Happen showcases images that were banned from Instagram. You can read the full article here.
Signe Pierce was interviewed by Sarah Ulrich for German publication Spex for her involvement in the group show Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste Leipzig. You can read the full interview here.
Artland has interviewed Stine Deja and Marie Munk about their collaboration for Synthetic Seduction, an interactive exhibition at Annka Kultys Gallery. Describing the core human needs addressed in the exhibition, “We wished to investigate our need for simple physical contact in a world where the virtual arena often seems to have so much more to offer,” the pair explain. You can read the full interview here.
In a recap of the Armory week shows in New York, Droste Effect includes Molly Soda’s installation for 315’s booth as a highlight of the NADA fair. You can find the full article here.
Art News’ Andy Battaglia and Alex Greenberger review Molly Soda’s installation for 315 Gallery’s booth at the NADA fair. The authors write: “Some work at NADA stares down the digital sphere. Brooklyn’s 315 Gallery is showing Molly Soda, who became an internet celebrity a few years back for posting her feminist selfies on Instagram, which censored them. Such notoriety is in the past, however, and Soda has turned her attention to the difficulties of intimacy with strangers online.” You can read the full fair re-cap here.
Starting today and running through 11 March, Molly Soda will be showing work as part of 315 Gallery’s booth at NADA Art Fair. For more information, visit 315 Gallery’s website.
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.
Stine Deja and Marie Munk’s interactive exhibition Synthetic Seduction has been featured on Mousse’s website. Toying with the audience’s sense of repulsion but also attraction, the objects and videos in the exhibition can be seen as surrogates for intimacy in an age of digital dissociation. You can view the listing and find more information about the exhibition here.
Molly Soda’s involvement in the 2018 NADA Art Fair is reported by The Art Newspaper. Soda will be showing a range of works at 315 Gallery’s booth from 8 March – 11 March. To read the full round-up of artists to see at the fair, click here.
Plastik Studios provides a behind-the-scenes look at the photographic collaboration between Signe Pierce and Eli Rezkallah for Marzook’s Fall 2018 collection. To take a look at the full photo-series and story, click 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.
Yannis Kostarias has interviewed Anne Vieux for Art Verge. Describing her works as “narcotic visualisations,” Kostarias writes: “With frisky wit, [Vieux] produces innovative art pieces of luminescence, presenting computer-based paintings formed by alluring and creative rigour, full of an optical opulence and multicoloured depth.” To read the full interview, click here.
Kuba Paris has featured the new show Synthetic Seduction at Annka Kultys Gallery. Featuring the duel efforts of Stine Deja and Marie Munk, the exhibition is an immersive environment that seeks to tackle issues of digitally-mediated intimacy. To learn more about the show and read the full listing, click here .
Molly Soda has been interviewed by Sasha Geffen in a new piece for The Creative Independent. Talking about the tension between what happens on the screen and behind the screen, Soda says: “The internet is funny because we think everyone’s being vulnerable. We’re supposed to be intimate online, but obviously we’re curating ourselves, whether we’re conscious of it or not. We’re creating these mood boards of our lives. I think what’s interesting is not what we’re presenting, but what we’re doing behind the screen, what our actions are. A screen recording of what someone does on their computer or on their phone in a day is like a diary entry at this point. We don’t consider it.” To read the full interview, click here.
Lisa Moravec has written a review of Virtual Normality – Women Net Artists 2.0, a group show Museum der bildenden Künste in Leipzig that includes the works of Molly Soda and Signe Pierce. Describing Soda’s contribution to the exhibition, Moravec writes: “Molly Soda’s sound-video installations show her in her private spaces, acting in a casual manner in front of her virtual audience. In That’s Me in the Corner (2017), she sings along with pop music numbers for about 30 minutes. We can see that the live audience on Instagram is watching her, but whether shewatches the audience, is not clear as she continues to look straight ahead, smiling from time to time.” To read the full review, click here.
Events app Dojo has reviewed Stine Deja and Marie Munk’s Synthetic Seduction exhibition at AKG and listed it as a top show to see on its Arts Radar. Dojo writes: “The show is about how the human emotions of love, attraction, repulsion and empathy exist against a modern digital backdrop, A.K.A. where talking electronic products predict what music we want to listen to on Sundays and do our weekly Tesco shop for us.” click here.
Galleries Now, arts events listing site, has featured AKG’s current show Synthetic Seduction online. The show, a combined effort of Danish artists Stine Deja and Marie Munk, explores themes of intimacy in a digitally dissociated milieu. To check out the full listing, 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.
The opening of SYNTHETIC SEDUCTION, a new dual-show at AKG featuring an immersive collaboration between Stine Deja and Marie Munk, has been listed one of Drool’s event picks of the week. To check out the full listing, click here.
Signe Pierce will perform at Duesseldorf Photo in Germany as part of a performance series titled “On the Internet Nobody Knows You’re a Performance Artist” alongside Andy Kassier. In this performance, which is a continuation of her “Virtual Normality” performance series, Pierce will present her theories on the mediation of culture and experience. The performance, curated by Anika Meier, will take place tonight, 17 February, at 22:30 at NRW Forum Dusseldorf.
White Hot Magazine of Contemporary Art writer Karen Moe has written a full round-up of Mexican art fairs Zona Maco and Material. Specifically, she mentions AKG’s booth at Material: “In a correspondingly aesthetic frolic, Dominic Dispirito of London’s Annka Kultys Gallery used a new fangled 3-D pen to build a flower garden that is reminiscent of one of Matisse’s charming bouquets. An electric blue blob that is maybe a melting Popsicle then overtakes the whole pretty thing.” To read the full review, click here.
AQNB has listed the opening of SYNTHETIC SEDUCTION, a new dual show featuring the work of Stine Deja and Marie Munk, as one of their top event picks for the week. The show, which will include immersive video installation and interactive sculpture, seeks to critically examine how technology affects emotion and intimacy in contemporary society. To check out AQNB’s full listing, click here.
Artland has included Stine Deja and Marie Munk’s exhibition Synthetic Seduction on its February walking art guide. The show, opening later this month, will serve as an intimacy clinic—filling the void of digital disconnection with artificially-created intimacy surrogates. The full guide can be found 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.
Work by Ivana Basic will be included in the upcoming group show Crash Test: The Molecular Turn at La Panacée in Montpellier, France. Exploring the relations between culture and nature, rather than emphasizing its differences, Crash Test presents the works of 25 contemporary artists that deal with the notion of reality and blur traditional opposite concepts, such as artificial and natural. Opening tomorrow, 10 February, Crash Test will run through 6 May. For more information, click here.
Artist and writer John Bingham has featured Cacotopia 02 on his blog! The group show features five recent graduates from around Europe, giving these young artists a chance to show off their work. Rather than showing all five artists at once, in this show, each artist is shown once at a time as the show unfolds over five weeks. For more information and to read Bingham’s full post, click here.
Annka Kultys Gallery is pleased to announce that we will be participating for the first time in Material Art Fair in Mexico City, Thursday 8 February through Sunday 11 February! Come visit our Latin-American debut at booth C17, where paintings by London-based artist Sherman Sam will be on view. For more information on the fair, click here.
Stine Deja has been interviewed and profiled by Daphne Milner for It’s Nice That. Focusing on her work 4K Zen, the author explores Deja’s relationship to the commodification of mindfulness. Describing her impetus in creating the project, Deja says: “4K Zen is a stress diet that promises an escape from the complexity of modern life by combining meditation and infomercials. I created it at a time when I felt haunted by bad news politically, societally and environmentally.” Deja’s dual-show, Synthetic Seduction, with Marie Munk, will open at Annka Kultys Gallery on 21 February. To read Deja’s full profile, click here.
Cristin Leach has written a short but poignant review of Digital_self, a current group show in the Project Spaces at the Irish Museum of Modern Art featuring the work of Molly Soda. Leach writes: “Everyone’s a self-portrait maker now, broadcasting to a global audience via social media. Aptly, the most compelling work comes from artists using digital platforms.” Digital_selfclick here will be on view through 25 February. To read the complete review, .
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.
FAD Magazine has listed Cacotopia 02, the current group show at Annka Kultys Gallery, as one of the top 7 art exhibitions to see in London right now. The author, Tabish Khan, writes: “This impressive and labour intensive exhibition returns with a new artist every week during the six week run. My visit coincided with Hugo Servanin’s classical sculptures that allow water to seep into them and this distorts their shape over time. But the beauty of the show is visitors will have a different experience to mine.” Also on view as part of the show are Yarli Allison, Michal Plata, Bob Bicknell-Knight and Dominic Dispirito. To check out the complete list of rankings, 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.
Artzealous has listed Command Field, Anne Vieux’s solo show at The Hole in New York City, as one of the top five art events to see this weekend. The author writes: “Vieux works in the great tradition of artists who use tools wrong.” To read the full review, click here.
Molly Soda’s collaborative augmented reality work with Nicole Ruggiero and Refrakt Slide to Expose (2017) will be include in the 11th annual Cyfest. The project, entitled WEATHER FORECAST: DIGITAL CLOUDINESS, will open 2 February and run through 12 February at Museum of Applied Arts of St. Petersburg Stieglitz State Academy of Art and Design. For more information about Cyfest, click here.
Dreamideamachine ART VIEW has included SYNTHETIC SEDUCTION, the upcoming dual-show of work by Stine Deja and Marie Munk, in its most recent art news round up. To check out the full feature and see the other exhibitions that made the list, 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.
Blouin ArtInfo has written a review of Future Love. Desire and Kinship in Hypernature, a group show at Haus der electronischen Künste Basel featuring works by Olga Fedorova and !Mediengruppe Bitnik. To take a look at the full review, click here.
Molly Soda has been invited to give an artist’s talk this Friday (2 February) at the Photography Department of the Pennsylvania College of Art & Design. For more information, click here.
Anne Vieux’s solo show Command Field opens tonight at The Hole in lower Manhattan in New York City, and will run through 4 March. More more information, 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.
Wall Street International has featured Cacotopia 02, the current group show at Annka Kultys Gallery. Featuring the work of five emerging artists—Yarli Allison, Michal Plata, Hugo Servanin, Bob Bicknell-Knight and Dominic Dispirito—the show aims to give these young creatives a first platform to display their talent. Rather than showing all five artists at once, Cacotopia 02 shows one artist at a time, unfolding over the course of five weeks. Cacotopia 02 will be on view through 10 February. For more information, click here.
Things-to-do app DOJO has reviewed Cacotopia 02, the current group show at Annka Kultys Gallery. Unlike traditional group shows in which all of the artists are shown together, in Cacotopia, each artist is shown one at a time over the course of five weeks. For the second edition of this annual exhibition program, the artists selected are Yarli Allison, Michal Plata, Hugo Servanin, Bob Bicknell-Knight and Dominic Dispirito. Click here to read the full review.
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.
Tom Hägler of RTS has reviewed Future Love. Desire and Kinship in Hypernature, an exhibition of artworks that explore technologically mediated intimacy in the modern world at HeK Basel. Included in the show are the works of both !Mediengruppe Bitnik and Olga Fedorova. To read the full review, click 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.
Signe Pierce’s short reality film, American Reflexxx (2013, dir. Alli Coates), will be exhibited at New Release Gallery from 20 January – 11 February 2018. Located in a renovated video rental store in New York City’s Chinatown, the exhibition will also include an original lighting design concept from Pierce. For more information about the show, please 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.
Works by Olga Fedorova and !Mediengruppe Bitnik will be included in the upcoming group show “Future Love. Desire and Kinship in Hypernature” at Haus der Elektronischen Künste in Basel. Departing from the concept of hypernature—an enhanced version of the global ecosystem that includes artificial bodies and their correlations—the show will examine how the new interdependence between engineering, technology, and environment affect human relationships and sexuality. Opening tonight, 18 January 2018, the show will run until 15 February. Click here for more information.
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.
Photographic work by Signe Pierce is included in the upcoming group show, ONE YEAR OF RESISTANCE, at Untitled Gallery in New York City. Curated by Indira Cesarine, the show includes work by more than 80 artists responding to the political climate in the United States following the election of Donald Trump. “ONE YEAR OF RESISTANCE features artwork across all mediums addressing the issues our society has been confronted with since the election,” the exhibition description reads, “such as immigration rights, health care, reproductive rights, climate change, transgender rights, white supremacy, gender equality, gun control, sexual harassment, as well as countless other issues which have given rise to mass protest throughout the United States and abroad over the past year.” The show will run from 17 January to 04 February 2018. For more information, click here.
Sherman Sam’s first solo show in Luxembourg opens today at Ceysson & Benetiere. Entitled Nightclubbing after the eponymous 1981 Grace Jones album, the exhibition includes a selection of Sam’s abstract, ‘assembled’ paintings. “Abstraction can be speculative; it can be uncertain, as life is; it is open to possibility (of interpretations), as life can be,” Sam explains. “It is not a closed form, as some conclude it is. It is not symbolic, least not the kind I am thinking of. That is it can pose or embody flux – open questions in ways that representation cannot.” Nightclubbing will remain on view through 03 March. For more information, 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.
Museum der bildenden Künste Leipzig will include Signe Pierce and Molly Soda in the group show, Netzkünstlerinnen 2.0. “Network artists 2.0 work with the possibilities and limitations of the social media. They question beauty ideals and feminine roll-clichés, which have become the benchmark for the attention economy of social media.” The show will run from 12 January – 08 April 2018. More information can be found 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.
Drool Creatives has listed Cacotopia 02 on their exhibitions page. To see the full posting, click here.
Annka Kultys Gallery is pleased to announce that Dominic Dispirito has been shortlisted for the Spring/Summer 2018 Dentons Art Prize. The Dentons Art Prize is a biannual award of £5,000 given to a single artist by an independent panel of judges. Additionally, all shortlisted artists are given access to expert pro bono legal advice and their artwork is offered for sale. Curator Niamh White and artist Tim A. Shaw launched the prize in January 2016. For more information and to see the complete shortlist of artists, please 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.
Molly Soda is interviewed by Happening Media for her involvement in Kickstarter’s new crowdfunding subscription service for emerging artists, Drip. One of the first artists invited to participate in Drip’s launch, Soda says that the new platform “allows people to connect to you and your “process” or whatever it is you want to put out there in a more intimate way.” Read the full article 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.
“Selfie”, 2017, a work created by Olga Fedorova for her solo show Generic Jungle at AKG, is included in the online group exhibition Why don’t we get a kickstarter going for an ISP? hosted by isthisit? Gallery and curated by Bob Bicknell-Knight. The show, staged in the wake of the ‘death’ of net neutrality in the United States, explores the limits of information control and the power associated with corporate grips on digital information pathways. Opening 22 December, the exhibition will run through 22 January 2018 and include artists such as Andy Holden, Ann Hirsch, Constant Dullaart, Eva Papamargariti, and Jacob Kudsk Steensen, among others. For more information and to see the show, 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.
Annka Kultys Gallery received a mention in Paul Carey-Kent’s list of top exhibitions in 2017, which nods to the gallery’s program of future-looking exhibitions. To see the full list, take a look at the complete article here.
Generic Jungle, Olga Fedorova’s first solo exhibition at Annka Kultys Gallery, has been reviewed by Rodrigo Carlon for Dateagle Art. Carlon writes that by using a lenticular printing method, “Fedorova creates a screen-like effect on a non-electric, non-digital surface. This blurs the boundaries between the digital and physical realms. The digital and the ‘real’ or empirical become one and the same.” To read the full review, click here.
Art Verge features the work of Dominic Dispirito, which mimics the colors and textures of digital artwork. The author, Yannis Kostaria, writes that Dispirito’s practice “is a kind of new painting genre that enthusiastically takes advantage of the modern technology and brings the digital experience to the art world, while evidently inducing more artists to interact with art mediums beyond the traditional.” Read the full article here.