Dark Content, Liquid Economy, Fairytale Disruptions

Check here for the calendar of events during the month of March, organized on the occasion of Gretchen Bender: So Much Deathless. Programs are free and open to the public with RSVP. Seating is limited.

Meet the Makers: Eva & Franco Mattes
As long as no insides are showing
Thursday, March 7, 7PM
RSVP

Eva and Franco Mattes (1976) are an artist duo originally from Italy, living in New York. They have continually made work that responds to and dissects the contemporary networked condition, always approaching the ethics and politics of life online with a darkly humorous edge.

Writer Randall Packer wrote: “Eva and Franco Mattes, enfant terribles of Net Art and now godparents of the digital natives (they set the stage for the erosion of privacy long before the emergence of social media), have been exposing all aspects of the digital life – the embarrassing, the narcissistic, the fearless, the gross, the voyeuristic, the insipid, the heartless, and the just plain stupid – revealing the underbelly of our hyper-connected lives”.

Their latest body of work, Dark Content, sheds light on the largely anonymous labour force of content moderators that has emerged with the rise of social media. In their artist talk, “As long as no insides are showing”, they will explore how what is concealed is often what matters most.

RSVP is strongly recommended, as seating is limited and on a first-come, first-serve basis. Talks and presentations will be followed by communal discussion.

This talk contains graphic content, viewer discretion is advised. Visitors under the age of 18 must be accompanied by a parent or guardian.

 


 

Exhibition Tour: Amber Denker
Friday, March 8, 4:30PM
Limited to 20
RSVP

On select weekdays throughout the exhibition, join us for a series of exhibition tours led by friends, artists, and contemporaries of Bender, in dialogue with Red Bull Arts New York curators. On Friday, March 8th at 4:30pm, Amber Denker joins Kenta Murakami for our first exhibition walk through.

An artist and computer graphics engineer working at the New York Institute of Technology in the early 80s, Amber Denker became a fast friend of Bender and collaborated with her on such works as Dumping Core (1984), Wild Dead (1984), and Total Recall (1987). Denker has been involved with media and technology for over 20 years, and currently lives and works in Los Angeles.

 


 

Virtual Histories: Andrew Norman Wilson
Ode to Seekers 2012 (by Andrew Norman Wilson, 8m 30s, 2016), followed by demonlover (dir. Olivier Assayas, 2hr 9m, 2003)
Friday, March 15, 7PM
RSVP

Using Bender’s notion of deathlessness as a framework, Virtual Histories is a special series of film and video screenings that presents short video works and feature films by artists who explore multi-dimensional memory, alternative scenarios, and imaginary time.

Andrew Norman Wilson is an artist based in Los Angeles. Solo exhibitions include the Kunstverein Braunschweig (2019), the Fotomuseum Winterthur (2019), Center for Contemporary Art Futura (2018), and the Broad Art Museum in Michigan (2017). Recent group exhibitions include Picture Industry at Luma Arles (2018), Techne and the Decency of Means at the Künstlerhaus Stuttgart (2017), Dreamlands at the Whitney Museum of American Art (2017), the Gwangju Biennial (2016), the Berlin Biennial (2016), Bread and Roses at the Museum of Modern Art Warsaw (2016), and On Sweat, Paper and Porcelain at CCS Bard in Annandale-on-Hudson, New York (2015). He has lectured at Oxford University,Cambridge University, Harvard University, Yale University, and UCLA, where he is now visiting faculty. His work has been featured in Aperture, Art in America, Artforum, ArtReview, Frieze, The New Yorker, and Wired. He has published writing in Artforum, e-flux, DIS, and a Darren Bader monograph from Koenig Books. He is
a recipient of a Dedalus Foundation Fellowship and an Akademie Schloss Solitude Fellowship.

 

With Ode to Seekers 2012 I wanted to capture our current condition of self-annihilation, oriented around a liquid economy fueled by blood, drugs, and oil that yields affects, products, and control. The idea was to conceive of a form that is infected with that condition, a style that is at once a product, a reflection, and a critique of the predicament rather than a mise en scène that merely gathers a series of arguments on the matter at hand. It is this artistic logic that allows me to align it with Olivier Assayas’ approach in demonlover. While I think there are more optimistic ways of thinking through Seekers in relation to Pasolini’s Teorema (1968) or The Lego Movie (2014), the liquid economy of demonlover, composed of 3D hentai, international flights, pale flesh, and poison administered into Evian via syringe, felt most resonant. –Andrew Norman Wilson

RSVP is strongly recommended, as seating is limited and on a first-come, first-serve basis

 


 

Meet the Makers: Dr. Pamela M. Lee
The Glen Park Library: A Fairytale of Disruption
Thursday, March 28, 7PM
RSVP

Dr. Pamela M. Lee reads excerpts and discusses her latest book, The Glen Park Library: A Fairytale of Disruption (No Place Press), which focuses on how Silicon Valley, the dark net, and digital culture have affected our relationship to knowledge, history, language, aesthetics, reading, and truth.

In October 2013, Ross William Ulbricht, 29, was arrested at the Glen Park Public Branch Library in San Francisco, accused of being the “Dread Pirate Roberts,” the mastermind of a dark net drug marketplace known as Silk Road. Art historian Pamela M. Lee reads this event as a fairy tale of disruption rather than an isolated episode in the history of the internet. Lee argues that the notion of “disruptive” technology in contemporary culture has radically affected our relationship to knowledge, history, aesthetics, reading, and truth.

Against the backdrop of her account of Ulbricht and his exploits, Lee provides original readings of five women artists—Gretchen Bender, Cecile B. Evans, Josephine Pryde, Carissa Rodriguez, and Martine Syms—who weigh in, either explicitly or inadvertently, on the nature of contemporary media and technology. Written as a work of experimental art criticism, The Glen Park Library is both an homage to the Bay Area and an excoriation of the ethos of Silicon Valley. As with all fairy tales, the book’s ultimate subjects are much greater, however, and Lee casts a critical eye on collisions between privacy and publicity, knowledge and information, and the past and future that are enabled by the technocratic worldview.

RSVP is strongly recommended, as seating is limited and on a first-come, first-serve basis. Talks and presentations will be followed by communal discussion.