Inherit, Yield, Regenerate
June 5, 2024
I curated Inherit, Yield, Regenerate for NEW INC's DEMO Festival, which opened on June 5, 2024 at WSA in New York. This exhibition brings together the work of seven artists and collectives who have been in community with one another for the past nine months as members in NEW INC’s Creative Science track.
Chando Ao, Craftwork, MORAKANA, OUTOFSEAM, Martha Poggioli, Tao Leigh Goffe, and Iz Nettere utilize natural and synthetic fibers, fungi, plant matter, malleable surgical grade plastics, electromagnetic waves, and various states of material transformation. The experimental works on view actualize and propose a surpassing of scientific boundaries through vibrant, evolutionary forms of mutation, superpowers, and magical knowledge passed between ancestral generations.
Ao’s foot becomes a vessel for flowering life, while our hands become ultrahydrophobic, like lotus leaves, with the application of his engineered particles, suggesting a medium that might make us amphibious again. OUTOFSEAM’s plant-dyed fabrics carry their origins in family and colonial histories. Goffe’s fermentation and pickling processes join global diasporic traditions and anti-imperialist struggles at a singular banquet. Nettere bridges biological, chemical, photochemical, and digital processes to fix the latent nature of non-fruiting mycelium.
MORAKANA imagines an organism’s future phylogenetic adaptation to the electromagnetic spectrum to find nourishment in persistent and ever-present 5G wifi waves, which may exist long after human life on earth. Poggioli transfigures surgical grade plastics into messy, organic compositions inspired by biomorphic shapes encountered during medical procedures. Craftwork absorbs and illuminates the viewer’s voice within a tapestry of encoded histories inspired by Incan Quipu and Underground Railroad quilt ciphers.
The qualities and concerns shared and divergent between the Creative Science track members, who are assembled as ever by chance, speak to transformational and chemical reactions of making and regeneration.
Photos by Dario Lasagni
Rhizome Presents: CyberPowWow
December 10, 2022
With scholar Mikhel Proulx, I co-organized Rhizome Presents: CyberPowWow, the first major U.S. museum exhibition of CyberPowWow which opened on December 10, 2022 at the New Museum.
Rhizome Presents: CyberPowWow is a restaging of one of the first major online exhibitions, a project that was first launched in 1997 by Nation to Nation, a First Nations artist collective co-founded by Skawennati, Ryan Rice, and Eric Robertson. Described as "an Aboriginally determined territory in cyberspace," CyberPowWow presented works by Indigenous artists—sometimes in dialogue with settler artists. This presentation took place at the New Museum in New York City, which sits on unceded Indigenous land, specifically the homeland of the Lenape peoples.
CyberPowWow took place from 1997-2004 in a graphical chat software called The Palace, on the web, and in more than twenty cultural centers internationally. At these "Gathering Sites," community members convened together to eat, talk, and to have some of their first experiences of the internet.
To experience CyberPowWow, a viewer would dress their digital avatar according to their whim to traverse and interact within vibrant and multifaceted, artist-made virtual rooms. These environments, representing an expansive range of artist styles, collectively express, from a distinctly Indigenous perspective, a familiar excitement for possibilities of connection on the early internet. Recurring themes include self-portraiture, archival photography, geographical maps, and natural landscapes. These leitmotifs transpired through technological, artistic, and semantic identities of the exhibition curators and participating artists. The uniqueness of the overall aesthetic and collection of innovative, intimate artworks mark CyberPowWow as a landmark exhibition in the history of net art.
Rhizome Presents: CyberPowWow utilizes legacy computer environments to display restored versions of the four roughly biennial exhibitions as well as ephemera from the Indigenous Art Archive, video documentation of the works, and a remake of the CyberPowWow logo illustration. In the spirit of CyberPowWow's in-person community gatherings of that time, the freshly restored versions were shown alongside potted plants, with food and drink to share as viewers experienced CyberPowWow together again. Today, CyberPowWow is ripe for reconsideration as an early example of Skawennati and her collaborators' vision for an Indigenous future.
Photos by Cameron Kelly McCleod
The Longest Whistlegraph Ever (so far)
May 14, 2022
I commissioned The Longest Whistlegraph Ever (so far), a composition by the artist collective Whistlegraph, which debuted in New York as a live performance at the New Museum on May 14, 2022.
Whistlegraphs are audio-visual digital artworks performed manually by drawing and singing. Every whistlegraph results in a poetic image through the performance of a reproducible score.
Video of a subsequent performance, recorded in Ashland, Oregon, was published online alongside materials from the composition process, including manuscripts, recordings, and a full graphic score. In addition, I worked with Whistlegraph to develop and administer online workshops for children, where participants learned about computer software and art history while creating their own artistic compositions. Reflections and documentation from these workshops are viewable on Rhizome.
Alex Freundlich, Camille Klein, and Jeffrey Scudder draw, sing, and make videos together as Whistlegraph. Since forming the group in 2020, they regularly share their work on their TikTok account, @whistlegraph, where they have over two million followers. Over the past few years, they have honed a distinctive style and practice that speaks to embodied cognition, art education, and experimental composition for live performance.
