Tritriangle media/performance space in Chicago is organizing an off-site casual art salon and show during the annual College Art Association conference on the night of February 15th (note: we are unaffiliated with the CAA).
Participating artists include:
Also, the open participation platform Stuff on Stuff on Stuff has invited artists to show work on screens placed on stuff.
More TBA? We are still accepting proposals for easily invoked or implemented performative media works per the call here.
Patrick Lichty is a media “reality” artist, curator, and theorist of over two decades who explores how media and mediation affect our perception of reality. He is best known for his work as an Artistic Director of the virtual reality performance art group Second Front, and the animator of the activist group, The Yes Men. He is a CalArts/Herb Alpert Fellow and Whitney Biennial exhibitor as part of the collective RTMark. He has presented and exhibited internationally at numerous biennials and triennials (Yokohama, Venice, Performa, Maribor, Turin, Sundance), and conferences (ISEA, SIGGRAPH, Popular Culture Association, SLSA, SxSW). He is also Editor-in-Chief of Intelligent Agent Magazine, and a writer for the RealityAugmented blog. His recent book, “Variant Analyses: Interrogations of New Media Culture” was released by the Institute for Networked Culture, and is included in the Oxford Handbook of Virtuality. He is a Lecturer of Digital Studio Practice at the Peck School of the Arts in Milwaukee, Wisconsin.
• In Subterranean Homesick Slow Scan Blues, Patrick Lichty has re-edited Bob Dylan’s “Subterranean Homesick Blues”, picking out every cue card in the video so that it might match the seven-second delay associated with the “Slow Scan” television equipment which he sent the film through. Slow Scan Television (SSTV) was a HAM radio technology created by NASA for use on the moon missions as an alternate way for transmitting video over audio transmissions. It is still used by amateur radio enthusiasts, but my ROBOT 400 units are antique devices, dating from 1976.
Andrew Blanton is a composer and media artist. He received his BM in Music Performance from The University of Denver (2008) and a Masters of Fine Arts in New Media Art at the University of North Texas (2013). He is currently a Senior Lecturer at the University of Texas at Dallas and is a Research Fellow in The ATEC ArtSciLab. His current work focuses on the emergent potential between cross-disciplinary arts and technology, building sound environments through software development, and writing music for those environments. For more information visit http://andrewblanton.com
• MODULATOR is a immersive sound environment based on software written for ios to be played on the iphone and four channel audio. The entire work is a exploration in feedback loops and the tactility of sound. Based on previous works that have been released in iTunes : standaloneV1 standaloneV2, MODULATOR is a new system designed to have multiple feedback loops interacting in real time.
Morehshin Allahyari is a new media artist and an art activist. She was born and raised in Iran and moved to the United States in 2007. Her creative and research interest encompasses experimental 3D animation, digital filmmaking, installation, performance and extensive activity as a cultural curator. Coming from a social science background, the topics of her practice include political and social art, creative writing, art activism, and collaborative art. Morehshin’s animated films and curatorial projects have received world wide acclaim. She has been part of numerous national and international exhibitions, festivals, and conferences in Europe, Asia, the Middle East, Canada, North and South America. She recently recieved the Arch and Anne Giles Kimbrough award from Dallas Museum of Art and was an artist in residence at the Film and Media program at the Banff Centre in summer of 2013. Morehshin is currently a Visiting Assistant Professor at Art and Technology department at the University of Texas in Dallas.
• “Dark Matter” is a series of combined, sculptural objects modeled in Maya and 3D printed to form humorous juxtapositions.; The objects chosen for the first series are the objects/things that are forbidden or un-welcome in Iran by the government.
Christine Kirouac is a Canadian Prairie born media artist and recently relocated her practice from North Carolina where she was teaching studio at Wake Forest University and Art History at Winston-Salem State University, to Chicago IL upon accepting a position as Director/Curator of NEW MATERIAL Miami Art Fair, VERGE Art Fair New York and MULTIPLES. Art Fair Chicago., and to continue to connect locally, and exhibit internationally. She received her BFA from the University of Manitoba in 1991 and her MFA from Concordia University in Montreal in 2002, after which she participated in the unique Mentoring Artists for Women’s Art program (MAWA) in Manitoba for the following year with mentor and international painter Eleanor Bond. Over the last thirty years, she has held several residencies at the Banff Centre for the Performing Arts, the Kunst & Complex in Rotterdam Netherlands and was short-listed for the prestigious Rijksakademie Residency Program in Amsterdam in 2006. She has received numerous and diverse grants from organizations around the world.
• Canadian Time – Alluding to the twelve-hour drive from her home in North Carolina to the Canadian border, she marries painting and tragi-comic theater in a performance of equal duration. Simultaneously abstract and visceral, Canadian Time 2 bring life to the physical and psychological anxieties of statehood as Kirouac wrestles with the tenuous status of living as an ”alien” in the U.S. under strict and at times nonsensical immigration rules. Enclosed in a white cube, Kirouac painted the real time hours and minutes of her home city (Winnipeg, Canada) in red paint across a 22’ wall. After twelve hours of relentlessly painting (and painting over), her recording’s legibility yielded to an ominously dripping red mass. Once every hour she stopped to box with an adjacent wall for an intense three-minute round, in the end senselessly fighting a twelve-round match with an unmovable opponent. Leaving an equally violent, if cryptic recording of time on the wall, Canadian Time translates intangible fears and measures from a loud, urgent presence, back to an abstraction.
• Primal Nest is an experimental 3D video game where the viewer is invited to play. A participant can zoom into the frame and navigate the virtual landscape through an inter-vaginal perspective. The interior is a female womb, humanity’s primal nest, imagined and constructed with disembodied legs, arms, hands, fingers, and toes. The virtual reality scene contains a light source, water, and sound. Shadow, reflection, and echo are rendered in real-time as the viewer explores. The work is installed in domestic environments — ordinary entertainment centers that include TV, table, and video game consoles — so as to be approachable and interacted with instinctively.
Kayla Anderson (b. San Antonio, TX) is an interdisciplinary artist and writer based in Chicago, IL. She received her BFA with emphasis in Film, Video, and New Media from The School of the Art Institute of Chicago in 2013 and her BA in Visual and Critical Studies from The School of the Art Institute of Chicago in 2014 with a dissertation on the intersections of object-oriented ontology and media-based art. She works mostly in site-specific media-based installation and animation. In addition to her art practice, she has curated two exhibitions focusing on film, video, and new media art, Freeze Frame: Artists Books and the Moving Image at the Joan Flasch Artists’ Book Collection, Chicago IL and [History] Under Construction at Gallery X, Chicago, IL (2013). Her work has been exhibited at galleries and museums throughout the United States.
• Beaming Baudrillard: A Foray into the Worlds of Furniture & Other Things is a multi-channel installation involving animation, sound, and computer-assisted fabrication. The project began in response to two texts: The System of Objects (1968) by cultural theorist Jean Baudrillard and The Catalog of Roycroft Furniture and Other Things (1906) both which have been translated in multiple ways using digital technologies. Beaming Baudrillard addresses themes of reproduction, translation, and transmission as images from an early 20th century furniture catalog are reproduced both virtually and physically, allowing for various modes of function and interactivity. Modern imitations confront their original referents with surprising results, and the distinction between original and copy becomes questionable.
Hiba Ali was born in Karachi, Pakistan and grew up in Chicago, Illinois. She is a graduate of the School of the Art Institute of Chicago with a dual degree in Fine Arts with an emphasis in Film, Video, New Media & Animation and Bachelor of Arts in Visual Critical Studies. She is interested in new media, queer politics, gender and race.
• Viridian Design Principles: Note 00003 is a digital simulation of the Viridian Principles. Viridian being a term coined by Bruce Sterling about what environmental principles society should uphold in the future, these principles involved an anticipated symbiosis of nature, technology and our humanity. We can attempt to understand and perhaps, implement some of Sterling’s concerns through the simulation of a tick board that mirrors the stock exchange, not trading capital but advocating for the environment.