Originally from Finland now living and working in Berlin, Aino el Solh works across the fields of hospitality, environmental art and video. As she notes “I have spent my adult life in a more or less continuous identity crisis. My attempts of dealing with it are through my artistic practice, writing and lately conscious parenting. I would define my art as a product of an inner mechanism and a product of the Self, the ongoing project that seeks to be seen and understood”
el Solh's piece, “Gradual Selfie”, “Self Dub” and “Angel” creating an interlinking visual narrative, which explores differences between formal categorisations of the self such as passport images and Facebook profiles to more spiritual and poetic acts of self exploration.
For the last fifteen years, Daniel Poláček has been working in the fields of photography and photojournalism.
“WebSADFaces” is a video presentation and series of printed faces taken with a webcam, while documenting erotic websites and chat rooms. Using the keyboards, Printscreen function and a webcam his screenshots specifically captured peoples dejected and somber faces during moments of their chat.
Gordan Savičić is fascinated by issues such as the creation of mega-cities and the effects of new media on subjectivity and its deep social implications.
Created in 2009, Savičić’s “web2.0 sucidemachine” was a web service, which allowed users to gain more control over the ‘death’ of their online selves. Designed to highlight the rising levels of discomfort with online social media and the extreme control companies have over our online profiles the machine enabled you to ‘kill’ your online self. The system worked as a login service, which went through your accounts, deleted your friends and posts and removed you from associated groups. Once you were dead a profile photo was issued which memorialised your “death” and published your friend count as well as the date of your virtual decease. Available for Facebook, Twitter, Myspace and Linkedin, “web2.0 sucidemachine” was used by hundreds of thousands of people. As a result Facebook issued ‘cease and desist’ letters and despite the artists attempts, blocked the “web2.0 sucidemachine” servers. At the time of its inception the project became an media-art-hack performance with coverage on CNN, Times Magazine and BBC.
This will be first revival of the project since its shutdown and loss of further elements while on tour. The documentation or “Internet-road-movie” captures screengrabs of friends connection being removed one-by-one with a background soundtrack fitting to saying your virtual “good-bye”. www.yugo.at
Working for over twenty years across the fields of media art, research and education, Joseph DeLappe's work spans online gaming, sculpture, performance and activism.
His “Self Portrait/A Dialogue” from his “The Mouse Series”, humorously pays tribute to Steiner’s cartoon, while simultaneously parodies the well known ‘knock-knock’ joke format. On clicking the mouse the joke plays back, bouncing from one speaker to the other: “Knock, knock”, “Who’s there?”, “Joe”, “Joe who?”, ‘Joe Mama!”.
Anita Delaney creates performative moving image and describes her work as an exploration into the ‘aesthetics of the pathetic and weak'.
“Untitled (Ready for a Fight)” is a held self-portrait, an image of a slight fighter having a fag while they wait for their confrontation to be acknowledged.
Danja Vasiliev's work examines communication systems and networks through anti-disciplinary experimentation with technologies that govern digital machines and their users.
"Dog" is an Internet objet trouvé, a ready-made object spotted on Twitter and acquired via eBay.
Created by a nameless maker this iconic image of a dog fixated upon its own online avatar portrays our narcissistic desires, socio-networked and techno-political anxieties which result in self-idolizing indulgence. Fueled by uninterrupted online presence, these forms of cybernetic fetishism become the artifacts of our so-called networked lives and which in turn are radically influencing, the ways in which we think, act and control our day to day existence.
Created a decade ago and since disappeared Vasiliev’s & Mavzalevskaya project "Interfaces" (2003) borrowed elements from a leaked Soviet police facial-database and allowed web users to come up with alternative self-identity.
Exhibited piece is an extraction from the database containing autoportraits, nicknames and IP addresses of otherwise unknown Internet users.
Each portrait received its own unique id which became a part of the exhausting online database of selfies, the average of which was used to create homogenized portraits of the "Net Man" and the "Net Woman" of the year 2003.
In 2010 Dennis De Del established the The Dilly Dally Foundry a label which focuses on design-interventions that reflect on self-referential media art and design in a humorous and playful way.
For "Destructing" De Bel reserve engineered his own clothing, creating from the fabric a common household item, a mop. In carrying out this process he reveals the people, process and interelationships, which lie behind the construction of his own image.
Pioneering net artist, Heath Bunting’s ‘Self Portrait’ is a network snapshot of the artist, composed at the age of 42.
Created from a series of interlinked facts and statements such as “Born in the United Kingdom, UK”, “Conceived naturally”, to more mundane and amusing links about the artists impressions, possessions, abilities, potentials and affiliations. What Bunting's self-made list and selfie-diagram alludes to is the wider implications of the types and forms of data, which are now gathered about our persona and personal lives online.
Stage designer and artist Jana Barthel’s deals with the intimate, domestic and everyday details of our personal relationships.
KLFDF is a series of daily images taken over a five month period. The images were constructed by choosing a famous character, downloading the first Google image of the character and inserting the artists 'mask-like' face upon it. Keeping the original portion of each found image the augment pictures were initially published on MySpace with an accompanying time stamp and caption, relating to the image. For example "31/03/2018 Ashton and Demi are fighting for their personal rights on twitter". For the exhibition a selection of images from the archive will be printed.
Jeremy Bailey is a Toronto-based 'Famous New Media Artist' whose work explores custom software in a performative context.
Within Bailey’s YouTube trilogy “The Future of Marriage” (2013), “The Future of Television” (2012) and “The Future of Creativity” (2013) the artist presents his views and commentary on creativity, his marriage, the preservation of his wife's beauty and how best to wear TV.
Kim Asendorf loves to transport things from the Internet into real life and back.
His font “Kim Asendorf’, which is available as a download from his website will be transferred and physically displayed in the gallery.
Over the last four past years teenager Lilas Tournoux has developed an unique approach to filmmaking, which borders on satire and dark comedy.
The video works “Beauty To Fail, Part 1 & 2” comment on the media saturation of “make it as a pro” style modelling, make-up, fashion tutorials and beauty tips, which abound the web.
Net pioneer, gif. model, researcher and mother, Olia Lialina’s piece “Summer 2013” is an online GIF of the artist distributed over 24 servers which are acknowledged as a scrolling list of names in the browser bar. As a result the image only exists if the servers are ‘on’.
For Lialina this acknowledgement of the other pays tribute to older web browser methods, where the user, the person on the other end of the line could in some ways be identified. As Lialina discusses in her text “Turing Complete User” in today's ubiquitous computing age, the goal through ‘seamless’ interfaces is to produce such a high level of comfort that users are lulled into a state of fluid transitions, rendering themselves as passive receivers, who know little about the underlying workings of the technology which they are consuming. In essence this selfie.gif, is a fragile and playful gesture, which can not exist without others, can freeze depending on the local network speed but at its heart acknowledges the central ‘on’ and ‘offline’, interdependence on each other for our existence.
Well known for her You-Tube and online works, RGB D-Lay features Petra Cortright using effects and filters to highlight and overplay performative memes and behaviors, which are common on across many video sharing sites.
Rollin Leonard lives and works in Maine, Portland. His work focuses on projecting the logic, meaning or pattern from one domain into another, often using the human body as a vehicle to do so.
Panty and Stocking is part of Leonard's, The Cell Bodies series of life-size portraits. The portraits are of people he finds online and who have responded to his invitation to take part in the project. For each portrait he travels to the meet the person and take their image, which is then transferred and face-mounted on to 1x1.5 inch, clear Plexiglas squares. As the portraits are modular, each installment is always unique and different.
Curator, researcher, educator and fake rapper, Teresa Dillon's work focus on the influences of techno-civic infrastructures and cybernetic attachments on our daily lives.
ADIP (Another Day in Paradise) is a collection of computer-camera selfies taken between 2008-09. For this exhibition two states were selected ‘eyes-open’ and ‘eyes-closed'. Each image is further enhanced with a series of drawn lines, while the complete archive is shredded to form a paper pyre.
Arm Ball Rollin by Leonard was initially conceived as a post for cloaque.org. Cloaque operates as a kind of garbage dump of the internet, whereby the images pile upon each other to create a geological strata and continuous unbroken chain. In Arm Ball Rollin the artists arms continually repeat to form a sphere.