S ALVAREZ, KÉVIN BRAY, PAOLO CIRIO, JOSHUA CITARELLA JIBADE-KHALIL HUFFMAN, KAHLIL ROBERT IRVING, EVEREST PIPKINK, HADIJAT YUSSUFF
TWENTY-FIRST CENTURY OCCUPATIONAL ADJUSTMENTS AND CONSIDERATIONS, EPISODE 6: Ok, Computer
New York: 4 March - 10 April, 2022
Basel: 19 March - 26 April, 2022
Basel: 19 March - 26 April, 2022
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OK, Computer brings together eight artists working with the digital algorithms and interfaces that are redefining the Western body politic. Each of the artists in this exhibition uniquely deals with the political and cultural atomization, fragmentation, recategorization, and belonging that can be found here at the eve of Web3.
While their works portray an array of significant developments in our post-social media relationship to digital technologies, the art on view here is perhaps best unified by the artists’ collective refusal to engage with them as-prescribed. And at the foot of another monumental shift - one proposing a digitized wallet as the essential unit of personhood and that privately-held corporations assume further responsibilities once exclusively borne by governments - ways of seeing through and around its presumptively neutral, high-tech accouterments will be essential.
As author and cultural theorist Sonya Renee Taylor (interpreting author and cultural theorist Terry Marshall) estimates, rich “white supremacist delusion capitalist patriarchy” will continue to offer its imagination for us to live inside. And anyway, "we're what makes it lit.” Meanwhile, the all-encompassing digital overlay It proposes for our collective future is entirely undergirded by the same elements driving what It calls progress for nearly a millennium: hierarchy, death, disregard, and money over everything. So, Taylor and Marshall ask, who’s simulation do we ultimately want to live in?
The methods and forms on view here demonstrate ways that the rest of us might see ourselves through to the next reality.
OK, Computer brings together eight artists working with the digital algorithms and interfaces that are redefining the Western body politic. Each of the artists in this exhibition uniquely deals with the political and cultural atomization, fragmentation, recategorization, and belonging that can be found here at the eve of Web3.
While their works portray an array of significant developments in our post-social media relationship to digital technologies, the art on view here is perhaps best unified by the artists’ collective refusal to engage with them as-prescribed. And at the foot of another monumental shift - one proposing a digitized wallet as the essential unit of personhood and that privately-held corporations assume further responsibilities once exclusively borne by governments - ways of seeing through and around its presumptively neutral, high-tech accouterments will be essential.
As author and cultural theorist Sonya Renee Taylor (interpreting author and cultural theorist Terry Marshall) estimates, rich “white supremacist delusion capitalist patriarchy” will continue to offer its imagination for us to live inside. And anyway, "we're what makes it lit.” Meanwhile, the all-encompassing digital overlay It proposes for our collective future is entirely undergirded by the same elements driving what It calls progress for nearly a millennium: hierarchy, death, disregard, and money over everything. So, Taylor and Marshall ask, who’s simulation do we ultimately want to live in?
The methods and forms on view here demonstrate ways that the rest of us might see ourselves through to the next reality.
Installation view, New York:
Installation view, Basel:JIBADE-KHALIL HUFFMAN
Untitled (Wave3), 2022
inkjet on transparencies, looping video
27 x 51 x 1 inches
68.6 x 129.5 x 2.5 centimeters
PAOLO CIRIO
Michael Hayden, 2015
acrylic on photographic paper
41¾ x 35⅞ x 1⅛ inches
PAOLO CIRIO
Capture #6, 2020
archival Inkjet print
44⅞ x 44⅞ x 2 inches
114 x 114 x 5 cm
PAOLO CIRIO
Avril Haynes, 2015
acrylic on photographic paper
41¾ x 35⅞ x 1⅛ inches
106 x 91 x 3 cm
PAOLO CIRIO
Obscurity #4, 2018
archival inkjet print
41 x 33⅛ x 1 inches
104 x 84 x 2.5 cm
PAOLO CIRIO
Caitlin Hayden, 2015
pigment ink on matte paper, electrical tape
41¾ x 35⅞ x 1⅛ inches
106 x 91 x 3 cm
PAOLO CIRIO
Capture #6, 2020
archival inkjet print
44⅞ x 44⅞ x 2 inches
114 x 114 x 5 cm
PAOLO CIRIO
Capture #6, 2020
archival inkjet print
44⅞ x 44⅞ x 2 inches
114 x 114 x 5 cm
Installation view, New York:
Left - Right:
Black Friday, 2021
handmade glass board, looping projection
8 x 8 x ¼ inches
20.3 x 20.3 x 0.5 cm
JOSHUA CITARELLA
E-deologies, 2022
dye sublimation Prints on silk (pictured on polyester); community-sourced flags representing specific memetic political cultures and groups
60 x 36 inches
152.4 x 91.4 cm
S. ALVAREZ
a new more darling condensator, 2021
found circuit board, electronic components, copper clad board, foam, plywood, paper
EVEREST PIPKIN
Roblox Dream Diary, 2020-2021
software; artist's personal dream diary for one year
Installation view, New York:
JOSHUA CITARELLA
E-deologies, 2022
dye sublimation prints on silk (pictured on polyester); community-sourced flags representing specific memetic political cultures and groups
60 x 36 inches
152.4 x 91.4 cm
Left to Right:
Queer Transhumanit Anarchism, LGBTQBIPOC Constitutional Monarchy, Islamic bertarian Socialist Transhumanism, Christian Anarchism, Post-Brexit ropean Union, Robo-Sexual, American Monarchism, Anarcho-Capitalist Individualist Transhumanism
Installation view, Basel:
Left to Right:
PAOLO CIRIO
Michael Hayden, 2015
acrylic on photographic paper
41¾ x 35⅞ x 1⅛ inches
106 x 91 x 3 cm
Kévin Bray
It is abstracting the battle, 2021
plexiglass, PLA 3D print, metal, foam
37⅜ x 53⅛ x 31½ inches
95 x 135 x 80 cm
Everest Pipkin
default filename tv, 2019
algorithm programmed to find videos uploaded to YouTube without any descriptive information, website
Installation view, Basel:Left to Right:
Kahlil Robert Irving
Screen Shot Charts: {from Ming to Ebay and google scrolls (mixedmicro Messages (DMs)*1}, 2018
digitally sourced and constructed collage, digital print
12 x 24 inches
30.5 x 61 cm
JOSHUA CITARELLA
Anti-Oedipus, 2021
adhesive pigment print; artifact of artist's experimental meme campaign responding to teen eco-extremism and anti-natalism communities online
18 x 12 inches
45.7 x 30.5 cm
Installation view, Basel:
KAHLIL ROBERT IRVING
Screen Shot Charts: {from Ming to Ebay and google scrolls (mixedmicro Messages (DMs)*1}, 2018
digitally sourced and constructed collage, digital print
27 x 18 inches
60 x 46 centimeters
Instillation View, Basel:
JOSHUA CITARELLA
Anti-Oedipus, 2021
adhesive pigment print
18 x 12 inches
45.7 x 30.5 cm
Edition of 12