This NFT Article celebrates Andrew’s “hijacking on-line serps and changing the highest outcomes for subjects equivalent.” The piece enthuses over the works dominance of the gallery’s new space and the powerful atmosphere they conduct. To read the full article please click here
Gretchen Andrew first show is described by FAD magazine as “a playful testament to the power of art in the digital age.” Jasper Spires in his article explores the works duality of digital notions and artistic expression concluding them to be a “truly innovative change in how people can enact their desires and is charged with excitement for the burgeoning technology.” To read the full article please click here.
The Artnewspaper labelled Gretchen Andrew’s gallery debut to be in the top three shows to visit during the first week of galleries reopening. Kabir Jhala and Louisa Buck outline Andrew’s London premier show and explores the artist’s practice that “venerates and undermines” the world in which it exists. “Bedazzled in costume gems and crowded with fake flowers and butterfly stickers, their formal elements challenge conventions of taste while also—being figurative, loudly branded and on canvas.” The article celebrates the playfulness of these daring works whilst considering the poignant issue and questions they raise. To read the full article click here
Anna Meinecke inquires into Andrew’s manipulation of search engines in her most recent solo show Other Forms of Travel. To read the full article please click here.
Maryam Arshad writes about some of Andrew’s daring projects and how she’s managed to hijack search engines. The article describes the works to be “able to encapsulate ideas and prospects of connection, both human and technological, fluidly.” To read the full article please click here.
Leila Antakly talks to Andrew’s about her forthcoming debut show in London and how she left her former dream job at google to pursue a carrier in art. To read the full article please click here.
Gretchen Andrew’s discusses her work in an online talk and ‘screen walk’ with The Photographers’ Gallery. The video is an enlightening window into Andrew’s practice, to watch the full video please click here.
In Flash Art, Alex Estorick writes about Gretchen Andrew’s work and her innovative artistic approach. He notes that the artist is both ‘preoccupied with infiltrating the art market and critiquing the deeply sexist organisational structure of Silicon Valley’. Read the full article here.
The German curator and writer Annika Meier notes the online exhibitions of [The arts happens here] from Annka Kultys Gallery as ‘the best online shows to see’. To read the full article click here.
Rachel de Joode, Berlin-based multimedia artist talks about her new works on show at London’s Annka Kultys Gallery, interviewed by Olivia Gavoyannis. De Joode says that when she views art in person, she sometimes moves closer out of reflex. “Phones are almost a prosthetic for the way we look at art… we now have to move around [artwork] in order to activate the kinds of zooming in and out we could easily accomplish on a screen,” she says. Read now
Artnet discuss Andrew’s search engine interventions, focussing on her most recent work The Next American President timely released prior to the presidential election. Brian Boucher gets to know the “search engine artist and internet imperialist” in a series of questions. To read the full article please click here.
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.
“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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Contemporary Art Society, London’s first and most popular gallery bus tour, which takes place throughout the year, will tour Annka Kultys Gallery on the afternoon of 4 November as part of its East London program. 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.
Stine Deja spoke on Tank Magazine about her second solo exhibition There’s Life Outside at Annka Kultys Gallery. Deja talks about “how the show is intended to expose the ways in which our lives are increasingly artificial.” Read the full interview here.
Stine Deja There’s Life Outside, is featured in Wall Street International Art. More information can be found here.
DROOL Creatives features Stine Deja’s upcoming exhibition There’s Life Outside. Read the full listing 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.
Tabitha Steinberg interviews Anne Vieux on FAD and asks her about her work and recent exhibition at Annka Kultys Gallery. Elaborating on the show’s title Mesh, Vieux states, “I was thinking about the barrier between screens and the body as one layer of mesh, as well as the architecture of the gallery as a mesh. The more I thought about mesh, I was able to structure ideas around mediation, the body, femininity.” Read the full interview here.
Fluxo promotes ‘Hybrid Layers’, a group show exhibited at ZKM in Karlsruhe in which the artist Rachel de Joode presents her work. To see more images of the exhibition, see the full article here.
Fluxo reviews Rachel de Joode’s work from her group show ‘Touch-tone’ at Martos Gallery. De Joode questions the limits of photography as an artistic medium. Read the complete article here.
In Art in America, Brian Droitcourt discusses ‘Post-Internet art’, referring to art being made in the context of digital technology. He mentioned Rachel de Joode as an artist exploring photographic digital documentation and ‘walking around the flimsy plinths, which were arranged in rows to suggest a sense of depth that each lacked alone, I felt like I was an intruder on a stage’. Read the complete article here.