Performing The Statisticon Neon

Performing The Statisticon Neon

2020

In this blindfolded performance Warren Neidich explains his Statisticon Neon for the German-French TV show Arte. The STATISTICON is the central node at the heart of a complex network composed of multiple streams, including algorithmically derived smart and sustainable architecture and urban design; the internet of things, the Internet of Everything (IoE); neural capitalism and neural technology; processes of valorization—which include branding and public relations—neural consumerism and neural economics, and the technologies of affect integrated into various—primarily virtual—media.


ARTISTS ARE ESSENTIAL WORKERS, ART IS AN ESSENTIAL SERVICE

ARTISTS ARE ESSENTIAL WORKERS, ART IS AN ESSENTIAL SERVICE

09.08.2020 – 29.09.2020
Guild Hall Museum
158 Main Street
East Hampton, NY 11937

Gallery Page

30.08.2020
The Garden of Friends
Leiber Collection
East Hampton, NY

Gallery Page

25.09.2020 – 27.09.2020
3day Weekend
The Fireplace Project
East Hampton, NY

Gallery Page

Warren Neidich’s new text based sculptural installation recently installed at Guild Hall Museum in East Hampton, New York, entitled, Artists Are Essential Workers / Art Is An Essential Service is a poetic enunciation and reaction to and resulting from the imminent catastrophe of the spirit in our moment of the Covid epidemic. Neidich’s first act was that of transporting a 76 inch by 126 inch solar powered electronic highway bulletin board, used by municipalities for messaging passerby’s, from the highway to the Guild Hall Parking Lot where its size and context produces an uncanny presence. As such the source of Neidich’s announcement is obscure. Is this message something ordained by the powers in control or the result of another voice outside its dominion? By installing his work in the museum parking lot Neidich continues a trend he inaugurated in in his now famous Drive-By-Art exhibition of annexing formerly unused spaces for cultural provocation. His provocative message Artists Are Essential Workers, Art Is An Essential Service is a shout out to the artist community and museum culture at large, whose importance is always precarious but whose very existence has been put in jeopardy during the pandemic. Neidich is reaffirming the importance of cultural production in  this moment of nihilism. Neidich’s piece is about asking a question: Can we imagine the healed human body without the healed human Spirit? Is it enough?  

Christina Strassfield, Museum Director/Chief Curator noted “Guild Hall was delighted to be the first stop on the tour of this important piece which brings attention to the important role Art and Artists play in our society. The sculpture helped inaugurate our John Drew Backyard Theater’s opening weekend. It will next be viewed at the Leiber Museum and we hope that it can travel to several other locations on the East End and perhaps return to Guild Hall for a final viewing.”

COLLECT X Warren Neidich: Artists Are Essential Workers (Mask)

Warren Neidich and Collect Interior have joined forces to support creatives during the COVID-19 crisis by launching a limited edition of wearable cotton masks inspired by Neidich’s art installation “Artists Are Essential Workers / Art is An Essential Service” (2020). The masks will be available to purchase exclusively through Guild Hall and Warren Neidich Studio. 50% of the proceeds from this collaboration will benefit Guild Hall in East Hampton. 

Press

Warren Neidich on ‘the Emancipatory Capacity of Art’ in The East Hampton Star by Mark Segal

Bring on the Night in Whitehot Magazine by James Salomon

Artists Are Essential Workers in Sag Harbor Express

Artists Are Essential Workers in The Southampton Press

Artists Are Essential Workers/Art Is An Essential Service for the occasion of a special reading at The Fireplace Project by Warren Neidich

My first act was to transport a 76 x 126 inch solar powered electronic highway bulletin board (used by municipalities for messaging passerbys) from its normal resting place alongside freeways and roads to the Guild Hall Museum parking lot where its size and context produced an uncanny presence. Situating an artwork in a parking space reestablished a trend I had already initiated in my now infamous Drive-By-Art exhibition in which formerly unused quasi-public spaces were annexed for cultural provocation. The artwork then circulated throughout South Fork travelling to the Leiber Museum as part of the exhibition, Garden of Friends, to finally rest at The Fireplace Project. At each site, the work reacted to a specific set of contingencies embodied by the sense of place it occupied. At Guild Hall, as I mentioned, it colonized an alternative space beyond the hermetically sealed white cube normally used to display artworks. At the Leiber Collection, it joined a group of friends already exhibiting there, many of whom I had met through the Drive-By-Art project. In its final presentation at The Fireplace Project situated alongside Spring Fireplace Road directed towards oncoming traffic, it finally made it to a situation where it’s dual identity as both artwork and highway apparatus was allowed to express itself. Here it fulfills its historic purpose by engaging the simulated history and nostalgia of the Springs, most notably the Pollock-Krasner House just down the road, as the birthplace of Abstract Expression. However, Andy Warhol lived in Montauk, as did Peter Beard. Dennis Oppenheim raised hell here and, of course, we can’t forget the late, great Keith Sonnier, or the contemporary artists who call this their home; Eric Fischl, April Gornik, Mary Heilmann, and all the artists in this show.

In this rarefied cultural context the message board becomes a readymade platform with which to enunciate messages both troubling and significant. Can one say that “artists are essential workers” and “art is an essential service” especially during this global pandemic? Essential worker and essential service are terms usually reserved for the brave medical personnel on the front lines of the therapeutic panopticon established to battle disease at the medical frontier. At odds with this role, the artist’s position in society is as an outlier, bad boy/girl, anarchist, and recently entrepreneur. This pathos haunts deep pockets and makes the spectator uneasy. No doubt this also has something to with the recent denigration of the artist and artwork as a place of power and importance at the hands of the neoliberal art market, where cultural meaning and value have been subsumed by market value.

I am a romantic and this very romantic notion of an artist reaches back to the beginning of Modernism (and Romanticism before that). Artworks maintained an aura and provoked in the spectator a sense of wonder, soothed the aching soul and challenged crystallized dogma through its radical and enigmatic presentation. That is the rub from which this work establishes its pithy phraseology and creates a platform for the resuscitation of a bygone artistic purpose. I want to find new breaths and rhythms in the respirations of new forms of enunciation that my poetic verse launches in this moment of nihilism. For me, art is life and without it life is not worth living; a fortress against the agony of this interminable bungling of the Covid pandemic at the hands of an unruly narcissism and neoliberal fanatic federalism.

My piece is about asking a question. Can we imagine the healed human body without the healed human spirit? Is it enough? What will the post-pandemic art world and art system look like? Maybe it’s time to renegotiate the status of art as a commodity fetish, its primary raison d’etre, and rather understand the role of the artist and his or her production as a means with which to heal and generate social justice. With half of museums on the edge of bankruptcy and an equal number of galleries on the edge of collapse, the artist as a producer of alternative states of consciousness and solidarity is more crucial than ever.


Specters of the Acephalous (2020)

Specters of the Acephalous (2020)

Something Between Us at KAI10 | Arthena Foundation
Exhibition: March 6 to August 2, 2020
Curators: Ludwig Seyfarth and Harriet Zilch


Noise and the Possibility of a Future

Conservatorio di Musica Benedetto Marcello (Venice Conservatory of Music)

Noise and the Possibility of a Future

NOVEMBER 21, 2019
AplusA Gallery

NOVEMBER 22, 2019
Venice Conservatory of Music

NOVEMBER 23, 2019
Zuecca Project Space

Gallery Page

A three-day event of performances, lectures and screenings

Zuecca Projects is happy to announce “Noise and the Possibility of a Future”, a four-day happening consisting of lectures, sound works, workshops and performances taking place at different locations in Venice, and focused on the cultural and political potentialities of noise.

Initiated in collaboration with Conservatorio di Musica Benedetto MarcelloAplusA Gallery and bruno, “Noise and the Possibility of a Future” celebrates and accompanies Warren Neidich´s solo exhibition “Rumor to Delusion” which is currently on view at the Zuecca Project Space as part of the La Biennale di Venezia.

Noise is prevalent in our postindustrial society, whether it be the cacophony of the factory, the war machine that inspired such Futurists as Luigi Russolo, the dissonance of the public space, or the loud music blaring over a loudspeaker in a mall. Noise gets a bad rap as something considered offensive and that needs to be controlled or mitigated. However, noise has another side more positive and emancipatory. These events stake a claim for noise as a liberating mode of production.

Noise and the Possibility of a Future

November 21-23, 2019
Venice Conservatory of Music
Venice, Italy

Untuning Three Black Steinway Pianos at Three Times During the Day

Video, 22:24
In “Untuning,” three piano tuners were asked to untune the same Steinway piano at the three times during the day to what they considered maximum entropy.

Cruise

Video, 10:20
“Cruise” follows the journey of the cruise boat Rhapsody of the Seas through the Canal della Giudecca in Venice Italy accompanied by the speech that Greta Thunberg gave at the UN set to death metal.

Pizzagate: From Rumor to Delusion

Video, 19:19
"Pizzagate: From Rumor to Delusion" is an experimental documentary that describes our post-truth society through the Pizzagate fake news story.


Untuning Three Black Steinway Pianos at Three Times During the Day

Untuning Three Black Steinway Pianos at Three Times During the Day (2019)

Video, 22:24

In “Untuning,” three piano tuners were asked to untune the same Steinway piano at the three times during the day to what they considered maximum entropy. The soundtracks of the three videos were then mashed.

password: hello

Noise and the Possibility of a Future

November 21-23, 2019
Venice Conservatory of Music
Venice, Italy

Untuning Three Black Steinway Pianos at Three Times During the Day

Video, 22:24
In “Untuning,” three piano tuners were asked to untune the same Steinway piano at the three times during the day to what they considered maximum entropy.

Cruise

Video, 10:20
“Cruise” follows the journey of the cruise boat Rhapsody of the Seas through the Canal della Giudecca in Venice Italy accompanied by the speech that Greta Thunberg gave at the UN set to death metal.

Pizzagate: From Rumor to Delusion

Video, 19:19
"Pizzagate: From Rumor to Delusion" is an experimental documentary that describes our post-truth society through the Pizzagate fake news story.


Cruise

Cruise (2019)

Video, 10:20

“Cruise” follows the journey of the cruise boat Rhapsody of the Seas through the Canal della Giudecca in Venice Italy accompanied by the speech that Greta Thunberg gave at the UN set to death metal music. The video finishes with a rolling list of environmental offenses caused by these ships.

password: hello

Noise and the Possibility of a Future

November 21-23, 2019
Venice Conservatory of Music
Venice, Italy

Untuning Three Black Steinway Pianos at Three Times During the Day

Video, 22:24
In “Untuning,” three piano tuners were asked to untune the same Steinway piano at the three times during the day to what they considered maximum entropy.

Cruise

Video, 10:20
“Cruise” follows the journey of the cruise boat Rhapsody of the Seas through the Canal della Giudecca in Venice Italy accompanied by the speech that Greta Thunberg gave at the UN set to death metal.

Pizzagate: From Rumor to Delusion

Video, 19:19
"Pizzagate: From Rumor to Delusion" is an experimental documentary that describes our post-truth society through the Pizzagate fake news story.


Rumor to Delusion

Rumor to Delusion

10.05.2019 – 24.11.2019
Zuecca Project Space, Giudecca 33, 30133 Venice
58th International Art Exhibition – La Biennale di Venezia, Italy

Curatorial and Production Team: Lauri Firstenberg, Antonia Alampi, Sanaz Alesafar
Design Coordinator: Chiara Figone

Press Kit

Gallery Page

American artist and theorist Warren Neidich will present his solo exhibition “Rumor to Delusion” at the Zuecca Project Space, to coincide with the opening of the 58th International Art Exhibition – La Biennale di Venezia, in Venice, Italy. In a series of works on view, Neidich captures the entangled and psychedelic tale of the Pizzagate mythology in our post-truth moment.

Pizzagate was the fake news story that was circulated at the end of the 2016 presidential campaign which accused Hillary Clinton and her staff of running a child sex slave ring out of the basement of the Comet Ping Pong pizza parlor in Washington D.C.

Many political scientists refer to our times as the post-truth moment because of the difficulty in discerning whether news stories reflect the truth or not. Neidich asks the question as to whether and to what degree sensationalized fictive news stories command our attention and collective behavior. Do they do so more intensely than factual ones? What role does art play in finding the answers?

These constitute the core issues at play in this exhibition dominated by the Pizzagate Neon, 2017, a monumental multicolored text-based neon sculpture suspended from the ceiling of the front chamber of the exhibition space. Its composition evokes both the iCloud and the connectome, a network-based model of the brain’s dynamic connection pattern.

The artist suggests that with the advent of artificial intelligence, big data and the attention economy, we have entered a later stage of the knowledge economy, in which the brain and mind represent the new sites of the administration of sovereign power. Neidich’s work is reminiscent of the text-based neon sculptures of Bruce Nauman and Mario Merz and pays homage to the politically inflected mind maps of Joseph Beuys and Mark Lombardi.

The sculpture will be accompanied by other works such as the experimental video entitled, Pizzagate: From Rumor to Delusion, 2019, recently premiered at Transmediale Berlin, and a performative sculpture, Scoring the Tweets, 2018, first exhibited at the Priska Pasquer Gallery, Cologne, Germany. Using Internet news streams and raw footage filmed at the Comet Ping Pong, the video acts as a soundtrack in dialogue with the sculpture. It collages the tale of Edgar Welch, who incensed by the fake news story, drove up from North Carolina, automatic rifle in hand, to free the children he thought were incarcerated there, with that of the exaggerated reaction on right-wing news feeds to the discovery of Marina Abramovic’s work Spirit Cooking, 1997, in the WikiLeaks emails of John Podesta, Hillary Clinton’s campaign manager. Scoring the Tweets, 2018, is a delicate sculpture consisting of four sets of graphic scores generated from one-hundred and ninety-four tweets made by Donald Trump commenting on fake news which were cut up and assembled upon scotch tape and then strung across microphone stands. During the opening days, as well as throughout the exhibition, musicians well versed in the techniques of improvisation will perform the scores.

Assembled together, these works begin to unravel the complex cultural, political and economic dynamics that define the mediated mass hysteria of American life today. During the opening of the exhibition, Neidich will also launch his book “Glossary of Cognitive Activism”, published by Archive Books. It will form the basis of soon to be announced series of performative lectures and talks taking place in the gallery as well as a multidisciplinary symposium on fake news.

With the kind support of Priska Pasquer Gallery, Cologne; Barbara Seiler Gallery, Zurich; Innovation Foundation, Los Angeles.
Sponsored by Kienbaum.

The Glossary of Cognitive Activism (for a not so distant future)

2019 Anagram/Archive Books

This glossary is meant to accompany the three-volume publication The Psychopathologies of Cognitive Capitalism Part 1, 2 and 3. It reflects the concerns contained in those volumes. It marks the beginning of a long-term process of creating a dictionary of terms with which to understand and eventually destabilize the complex ways through which a future Neural Capitalism will work in creating contemporary forms of neural subsumption.

On Cognitive Capitalism

Interview by Hans Ulrich Obrist

Rumor to Delusion

May 5 – November 24, 2019
Zuecca Project Space
La Biennale di Venezia, Italy

Scoring the Tweets

Rumor to Delusion
9.05.2019 – Opening performance
Zuecca Project Space
La Biennale di Venezia, Italy

Pizzagate: From Rumor to Delusion

Video, 19:19
"Pizzagate: From Rumor to Delusion" is an experimental documentary that describes our post-truth society through the Pizzagate fake news story.


Scoring the Tweets

Scoring the Tweets (2018)

Rumor to Delusion
9.05.2019 – Opening performance
Zuecca Project Space, Giudecca 33, 30133 Venice
58th International Art Exhibition – La Biennale di Venezia, Italy

First exhibited at PRISKA PASQUER (Köln, DE).

Gallery Page

On Cognitive Capitalism

Interview by Hans Ulrich Obrist

Rumor to Delusion

May 5 – November 24, 2019
Zuecca Project Space
La Biennale di Venezia, Italy

Scoring the Tweets

Rumor to Delusion
9.05.2019 – Opening performance
Zuecca Project Space
La Biennale di Venezia, Italy

Pizzagate: From Rumor to Delusion

Video, 19:19
"Pizzagate: From Rumor to Delusion" is an experimental documentary that describes our post-truth society through the Pizzagate fake news story.

Scoring the Tweets

Rumor to Delusion
9.05.2019 – Opening performance
Zuecca Project Space
La Biennale di Venezia, Italy

Scoring the Tweets

12.05.2018
PRISKA PASQUER Gallery
Köln, DE


Pizzagate: From Rumor to Delusion

Pizzagate: From Rumor to Delusion (2019)

Video, 19:19

“Pizzagate: From Rumor to Delusion” is an experimental documentary that describes our post-truth society through the Pizzagate fake news story. The Pizzagate scandal was a conspiracy theory that went viral in which Hillary Clinton and her associates at her campaign offices were accused of running a child sex ring out of the Comet Ping Pong pizza parlor in Washington D.C. It also uncovers the reasons for the madness that motivated Edgar Welch to drive up from North Carolina to free these girls.

password: hello

On Cognitive Capitalism

Interview by Hans Ulrich Obrist

Rumor to Delusion

May 5 – November 24, 2019
Zuecca Project Space
La Biennale di Venezia, Italy

Scoring the Tweets

Rumor to Delusion
9.05.2019 – Opening performance
Zuecca Project Space
La Biennale di Venezia, Italy

Pizzagate: From Rumor to Delusion

Video, 19:19
"Pizzagate: From Rumor to Delusion" is an experimental documentary that describes our post-truth society through the Pizzagate fake news story.


Conversation with Noise, 2018

[su_vimeo url="https://vimeo.com/287072895" width="1600"]
[su_spacer size="40"]

 

[su_vimeo url="https://vimeo.com/297594486" width="1600"]
[su_spacer size="40"]

 

PRISKA PASQUER
Cologne, Germany
www.priskapasquer.art


NEUROMACHT [NEUROPOWER]

NEUROMACHT [NEUROPOWER]

Apr 14 – Sep 1, 2018
PRISKA PASQUER

Gallery Page

Press

How noise and neons give birth to new worldviews
in Stadtrevue by Nelly Gawellek

Böser Blick in unser Hirn (A dirty look into our brains)
in Kölnische Rundschau by Thomas Linden

Status: In Bewegung in Monopol by Alexandra Wach

ENGLISH:

Artistic interventions create new connections in the world as well as in the neural plastic brain. This is the power of Art. (Warren Neidich)

Digital connectivity has combined with social media to shape our everyday lives; they have also led to fundamental changes in the creative fields of art, aesthetics, and perception.

In his artistic practice, Warren Neidich (*1958, New York), author, art theoretician, and interdisciplinary post-conceptual artist, concerns himself with the ways in which these conditions have altered our habits of perception and conception. His exhibition Neuromacht: Noise and the Possibility of a Future at PRISKA PASQUER in Cologne, Germany, presents installations, sculptures and performance including various media like neon, photography, video, noise, and painting. He combines his studies in art, neuroscience, medicine, and architecture to question technology’s role in “sculpting the brain” as a force with the potential for repression as well as emancipation.

Pizzagate (2017)

Pizzagate (2017)is a large-scale neon sculpture shaped like the iCloud logo and diagrammatically configured as a network. Pizzagatehas been created to address the events relating to the conspiracy theory of the same name and its consequences during the 2016 American presidential election campaign. The “fake news” that was deliberately spread about an alleged child pornography ring located in a Washington D.C. pizzeria apparently frequented by Hillary Clinton and members of her inner circle not only shows the manipulability of online audiences and the potential for distorted information being taken for facts, but, also, how false perceptions and memories (pseudo-threats) can form in the human brain despite no threat existing in reality, as fake news is engineered to be more phatic and attention-engaging than “real news”. Neidich’s works pose the following question, “Might the added interest such conspiracy theories manifested as fake news produces, for instance, in the rate of clicks (click-bait), have material consequences for the physical brain?”

The Infinite Replay of One’s Own Self Destruction, #1 and #2” (2014)

The Infinite Replay of One’s Own Self Destruction, #1 and #2” (2014)consist of broken speakers that emit a cacophony of noise. The two noise installations reconfigure institutional designed space according to a new compositional platform built from the process of destruction and displays the effects of the disruption of normally organized sensibility. Neidich creates a dialectical tension between the conditions of an algorithmically-induced technological subsumption in which future chance and risk have been decreased, and a cultural environment of disordered and estranged noisy sensations where the possibility of renewed perceptions are revealed. This work reaches back on one hand to the ideas of chaos and disharmony of the German romantic philosophers like Novalis and Schlegel and on the other to the auto-destructive art of Gustav Metzger.

Scoring the Tweet(s)(2018)

In his improvisational performative work Scoring the Tweet(s)(2018), he uses a cut and paste method first devised in Surrealism and later in the works of William Burroughs, to alter and rearrange the one hundred and ninety-six tweets of Donald Trump that mention fake news to create a graphic score. This score was installed for its performance at PRISKA PASQUER in the evening of May 12, 2018.

Scoring the Tweet(s), 2018, is an installation composed of 16 graphic scores that are displayed and stretched across four pairs of microphone stands and a video projection created during its performance. The graphic scores were created by cutting up 196 tweets of Donald Trump which concern Fake News and assembling them as poems upon music composition paper which is photocopied on translucent velum and then cut into strips before being assembled. The musicians are instructed to visit each score at designated times and perform it. The work expresses the power of poetry and improvisation as forms of political resistance.

Double Vision – Louse Point (1997-2000)

In Double Vision – Louse Point(1997-2000), a series of photographs were made with apparatuses of neuro-ophthalmology that are used in the assessment of squint, which are then superimposed over the photographic camera lens producing what Neidich calls a “hybrid dialectic” in which two parallel historical, material trajectories are intertwined on the surface of the resulting colour photographs. Optical flares bounce off their shared space creating a kind of visual noise. Taking scientific findings about the sense of sight into account, Neidich establishes links to artistic topics by emphasizing the line of the horizon, or locating the shots at a famous meeting point for abstract expressionist artists in East Hampton.

Wrong Rainbow Paintings(2012-14)

Works of art history also become reference points in the Wrong Rainbow Paintings(2012-14), which are based on historic landscape paintings such as those in which the artist purposefully misrepresents the colours of the rainbow. Optical phenomena like light and colour provide a starting point, but are subordinated to the artist’s vision, which produces an alternative system of relations than does the scientific method.

Double Sausage Tango(2018)

Double Sausage Tango(2018) is based on an artificial neural network that causes a switch from a blue flaccid sausage to an erect red one. The two sausages are connected by hidden intermediate links, which are formed from found neon. Hidden links in artificial neural networks is where the hidden processing occurs. These pieces of found neon were not designed for this purpose. Rather they become a solution first through the process of trial and error as the artist assembles the sculpture and later when the viewer attempts to make sense of it through metaphor and narrative. In its presentation the artwork is built out of found objects and chance encounters and concerns the construction of an artificial intelligence based on the concept of a Homo poeticus rather than a Homo symbolicus.

Warren Neidich’s investigations are largely “neuroaesthetic”, a term he coined in 1995, for his early lectures at the School of Visual Arts, New York, and which he used often in his Journal of Neuroaesthetics(still alive on www.artbrain.org). Neuroaesthetics is a field of artistic research, in which sensation, perception, and cognition are explored using the techniques, critiques, apparatuses, methods, and histories of artistic production. Neuroaesthetics deterritorialises cognitive neuroscience, unmasking its uncertainties as a means for opening it up to new truths, as well as presenting the brain as a “becoming brain” open to change. It assumes that the architecture of the brain is subject to adjustments and changes, with some first occurring in the environment and surroundings that art practices create, and which then restructure the brain. This, then, is the power of art. Neuroaesthetics celebrates the brain’s plasticity, and the power of culture to modify it. His latest publication, Neuromacht(published by Merve, Berlin, 2017), provides the title and the basis for this exhibition as he negotiates this concept suggesting that art has neuromodulatory power, and the emancipatory capacity to present a counter-model to global capitalism. We have become acutely aware, through the recent news about artificial intelligence (AI), artificial neural networks, machine-to-machine learning, and brain-computer interfaces, that capitalism is becoming more and more entangled with cognitive neuroscience.

Extending Jacques Rancières’ concept of “the distribution of the sensible”,in which sovereignty polices the senses, and counter-artistic and cultural responses seek to “redistribute the sensible”, Neidich posits that, in contemporary society, these newly distributed networked sensations of the real and virtual world “also” produce analogous traces in the neural architecture of the brain.The brain is not something that is merely static, contained inside the skull; it lies in the world and body as well. Artistic works are the result of the tender relationship between the conditions of brains – what they can think and produce – and cultural evolution and memory. According to Neidich, the models of Post-colonialism, Feminism, Gender and Queer studies operate as cultural-linguistic transformers as well as neuromodulators. Their importance cannot be overestimated. For true emancipation, conventional structures must be destabilized or destroyed.

Warren Neidich lives and works in Los Angeles and Berlin. He has taught at Berlin’s Weissensee School of Art since 2016. In 2014, he established the Saas-Fee Summer Institute of Art (SFSIA) in Switzerland, a summer academy that has been based in Berlin since 2016. His awards and fellowships include studio fellowships at Künstlerhaus Bethanien, Berlin, the Villém Flusser Theory Award, Transmediale Berlin, the AHRB/ACE Arts and Science Research Fellowship, Bristol, the British Academy Fellowship in London, the International Artist Studio Program in Sweden (IASPIS) and the Fulbright Scholar Program, American University, Cairo.

Neidich’s extensive national and international exhibition activity includes individual and group exhibitions including shows at MoMA, PS1 and The Whitney Museum of American Art in New York, Museum Ludwig in Cologne, ZKM in Karlsruhe, Haus der Kulturen der Welt in Berlin, Walker Art Center in Minneapolis, the Los Angeles County Museum of Art, LAXART and LACE in Los Angeles, as well as the Institute of Contemporary Art, Philadelphia, the California Museum of Photography, Riverside, Manifesta 10 Parallel Program St. Petersburg, the Astrup Fearnley Museum of Modern Art, Oslo, Kunstverein Rosa-Luxemburg-Platz, Berlin, Kunsthaus Graz, and MAK, Vienna.

DEUTSCH:

Künstlerische Interventionen schaffen neue Beziehungen in der Welt wie auch in der neuronalen Plastizität des Gehirns. Das ist die Macht der Kunst. (Warren Neidich)

Digitale Technologien und Kommunikationsmedien bestimmen unser tägliches Leben – sie haben darüber hinaus grundsätzliche Veränderungen in den Bereichen Kunst, Ästhetik und Wahrnehmung herbeigeführt.

Als Autor, Kunsttheoretiker und interdisziplinärer, postkonzeptueller Künstler beschäftigt sich Warren Neidich (*1958, New York) in seiner künstlerischen Praxis damit, wie die digitalen Möglichkeiten unsere Gewohnheiten, Wahrnehmungen und Vorstellungen verändern. Seine Ausstellung Neuromacht: Noise and the Possibility of a Futurebei PRISKA PASQUER in Köln umfasst installative, skulpturale und performative Arbeiten in unterschiedlichen Medien wie Neon, Fotografie, Video, Klang und Malerei. Hier verbindet er seine Studien zu Kunst, Neurowissenschaft, Medizin und Architektur, um die Rolle von Technologien in der Formung des Gehirns, sowohl im repressiven wie auch im emanzipatorischen Sinne zu untersuchen.

Pizzagate (2017)

Pizzagate (2017) ist eine große, dreidimensionale Neon-Skulptur in der Form einer iCloud, die diagrammatisch als Netzwerk aufgebaut ist. Sie greift eine Verschwörungstheorie gleichen Namens und ihre drastischen Konsequenzen während der letzten amerikanischen Präsidentschaftswahlkampagnen auf. Damals wurden absichtlich Fake News über einen angeblichen kinderpornographischen Ring im Keller einer häufig von Hillary Clinton und ihrem Team frequentierten Pizzeria lanciert. Dies zeigte nicht nur die Manipulierbarkeit von Nachrichten, sondern auch, wie leicht falsche Wahrnehmungen in unseren Gehirnen Pseudobedrohungen entstehen lassen können, obwohl keine wirkliche Bedrohung existiert. Fake News sind phatischer und generieren mehr Aufmerksamkeit als wirkliche Nachrichten. Neidich fragt daher: “Könnte es sein, dass das von ihnen produzierte Interesse, welches sich in hohen Klickraten und click baits(Klickködern) zeigt, materielle Folgen für die Struktur des Gehirns hat?”

The Infinite Replay of One’s Own Self Destruction #1 und#2 (2014)

Die beiden Klanginstallationen The Infinite Replay of One’s Own Self Destruction #1 und#2 (2014)bestehen aus kaputten Lautsprechern, die eine Kakophonie von Geräuschen wiedergeben. Der Künstler hat die Lautsprecher zerstört, die dabei entstandenen Geräusche aufgenommen und die Bruchstücke zu Skulpturen zusammengefügt. Durch den disruptiven Prozess kann der vorgeformte Raum als kompositionelle Plattform neu entstehen. Die Arbeiten verdeutlichen, wie unsere konditionierte sinnliche Aufnahmefähigkeit und Erwartung gestört und dadurch befreit werden kann. Neidich schafft hier eine dialektische Spannung. Auf der einen Seite des Spannungsbogens liegen die Bedingungen einer algorithmisch erzeugten technologischen Subsumtion mit ihren begrenzten Zukunftschancen und -risiken. Auf der anderen Seite befindet sich ein kulturelles Umfeld von ungeordneten und verfremdeten Geräuscheindrücken, in denen sich neue Wahrnehmungsmöglichkeiten auftun. Diese Arbeit knüpft sowohl an die Idee des Chaos und der Disharmonie der deutschen Philosophen der Romantik wie Novalis und Schlegel an, als auch an die auto-destruktive Kunst von Gustav Metzger.

Scoring the Tweet(s) (2018)

In seiner performativen Arbeit Scoring the Tweet(s) (2018) verändert und re-arrangiert Neidich 196 Tweets von Donald Trump, die Fake News thematisieren. Mit Hilfe einer Cut-and-Paste-Methode gestaltet er eine musikalische Notation. Diese Methode illustriert die Unbestimmtheit der Sprache wie auch ihre tieferliegende Pluripotentialität. Sie wurde ursprünglich im Surrealismus entwickelt und später auch in den Arbeiten von William Burroughs eingesetzt. “Scoring the Tweet(s)” wurde für seine musikalische Premiere bei PRISKA PASQUER erstmalig aufgebaut und am Abend des 12. Mai 2018 aufgeführt.

Scoring the Tweet(s), 2018, ist eine Installation, die aus 16 grafischen Partituren besteht, welche über vier Paare von Mikrophonständern gespannt sind. Dazu gehört eine Videoprojektion, die während der Aufführung entstand. Für die Partituren wurden 196 Twitter Nachrichten von Donald Trump, die den Begriff Fake News enthalten, in Fragmente zerschnitten und als Gedichte auf transparentes Papier collagiert, auf das auch Notenlinien kopiert wurden, bevor es, in Streifen geschnitten, aufgehängt wurde.Die Musiker wurden instruiert, nach einem vereinbarten Ablaufplan zu jeder Partitur zu gehen und sie auszuführen. Diese Arbeit vermittelt die Macht von Poesie und Improvisation als Form von politischem Widerstand aus.

Double Vision – Louse Point (1997-2000)

Die fotografische Serie Double Vision – Louse Point(1997-2000) wurde mithilfe von neuro-ophthalmologischen Geräten zur Beurteilung des Schielens erstellt, die der Kameralinse aufgesetzt wurden und so eine, wie Warren Neidich es nennt, hybride Dialektik erzeugen. Zwei parallele historische Materialbahnen verschmelzen auf der Oberfläche des neu entstandenen Bildes miteinander. Optische Signale prallen von ihrem gemeinsamen Raum ab und erzeugen eine Art visuelles Rauschen. Die wissenschaftlichen Erkenntnisse über den Sehsinn berücksichtigend stellt Neidich Verbindungen zu künstlerischen Themen her, indem er die Horizontlinie betont oder auf den berühmten Treffpunkt abstrakter Expressionisten in East Hampton verweist.

Wrong Rainbow Paintings (2012-14)

Auch in den Wrong Rainbow Paintings (2012-14) sind Werke der Kunstgeschichte Referenzpunkte, nämlich historische Landschaftsgemälde, in denen die jeweiligen Künstler die Farben des Regenbogens absichtlich falsch wiedergegeben haben. Optische Phänomene wie Licht und Farbe spielen eine Rolle, sind aber der künstlerischen Vision untergeordnet, deren Beziehungssystem sich von der   wissenschaftliche Methode unterscheidet.

Double Sausage Tango (2018)

Die Neonarbeit Double Sausage Tango (2018)basiert auf der Idee eines künstlichen neuronalen Netzes, das den Switch von einer schlaffen blauen Wurst zu einer erigierten roten Wurst auslöst. Die beiden Würste sind über versteckte Zwischenglieder verbunden, die aus Neonfundstücken gebildet werden. Versteckte Verbindungen in artifiziellen neuronalen Netzwerken sind jene Orte, an denen verborgene Prozesse stattfinden. Die verwendeten Neonelemente wurden nicht zu diesem Zweck produziert, jedoch funktionieren sie an zwei Stellen als Hilfsmittel für neue Lösungen: einmal wenn der Künstler die Skulptur mit der Trial-and-Error-Methode schafft und zum zweiten Mal wenn der Betrachter die metaphorischen und narrativen Ebenen des Werks entschlüsselt. Die Entstehung des Kunstwerks integriert gefundene Objekte und den Zufall und verweist auf die Entwicklung künstlicher Intelligenz in Anlehnung an das Konzept des Homo poeticus, nicht aber des Homo symbolicus.

Warren Neidichs Untersuchungen sind größtenteils neuroästhetisch. Diesen Begriff prägte er 1995 für seine frühen Vorlesungen an der School of Visual Arts in New York und später für sein Journal of Neuroaestheticsauf www.artbrain.org. Neuroästhetik ist ein künstlerisches Forschungsfeld, in dem Sinneseindrücke, Wahrnehmung und Bewusstsein mithilfe von Techniken, Methoden, Geräten, Kritiken und der Geschichte von künstlerischer Produktion erforscht werden. Die Neuroästhetik entlarvt die Ungewissheiten der kognitiven Neurowissenschaft, um sie für neue Wahrheiten zu öffnen und die Formbarkeit des Gehirns zu verdeutlichen. Die Neuroästhetik geht davon aus, dass die Architektur des Gehirns Anpassungen und Veränderungen durchläuft, die zunächst im Umfeld künstlerischer Praxis auftreten und dann das Gehirn umstrukturieren. Das ist also die Macht der Kunst! Warren Neidich zufolge zelebriert sie die Plastizität des Gehirns und die Macht der Kultur, diese zu verändern. In seiner aktuellen Publikation Neuromacht(2017 hg.v. Merve Verlag), die auch titelgebend und grundlegend für diese Ausstellung ist, diskutiert er diese Ideen und legt die These dar, dass Kunst über die neuromodulare Macht und das emanzipatorische Potential verfügt, ein Gegenmodell zum globalen Kapitalismus zu sein. Durch die aktuellsten Entwicklungen im Bereich der Künstlichen Intelligenz (KI), der Künstlichen Neuralen Netzwerke, der Kommunikation zwischen Maschinen (M2M) und der Gehirn-Computer-Interfaces wird uns zunehmend bewusst, dass die Verflechtung des Kapitalismus mit kognitiven Neurowissenschaften immer intensiver wird.

Jacques Rancières Aufteilung des Sinnlichenzufolgekontrolliert die Souveränität die Sinne, während Kunst und Gegenkultur diese Aufteilung in Frage stellen und umverteilen. Warren Neidich weitet dieses Konzept dahingehend aus, dass in der gegenwärtigen Gesellschaft diese neu verteilten und vernetzten Sinneseindrücke der wirklichen und der virtuellen Welt ebenfalls analoge Spuren in der neuralen Gehirnarchitektur produzieren. Das Gehirn ist nicht einfach etwas, das im Kopf durch den Schädel geformt wird, sondern eben auch durch die Welt und den Körper. Künstlerische Arbeiten sind das Ergebnis der sensiblen Beziehung zwischen der Gehirnaktivität, der kulturellen Evolution und dem kulturellen Gedächtnis. Die Bedeutung von Post-Kolonialismus, Feminismus, Gender- und Queer Studies als kulturelle Transformatoren, wie auch als Neuromodulatoren, ist seiner Meinung nach nicht zu unterschätzen, denn die konventionellen Strukturen und Wahrnehmungsbedingungen müssen destabilisiert oder zerstört werden. In seinen Werken findet Warren Neidich die Möglichkeiten, aufzuzeigen, mit welcher Wirkungsfähigkeit die Kunst Einfluss auf die Entwicklung und Emanzipation des menschlichen Gehirns nehmen kann.


Scoring the Tweets

Scoring the Tweet(s) (2018)

In his improvisational performative work Scoring the Tweet(s)(2018), Warren Neidich uses a cut and paste method first devised in Surrealism and later in the works of William Burroughs, to alter and rearrange the one hundred and ninety-six tweets of Donald Trump that mention fake news to create a graphic score. This score was installed for its performance at PRISKA PASQUER in the evening of May 12, 2018.

Scoring the Tweet(s), 2018, is an installation composed of 16 graphic scores that are displayed and stretched across four pairs of microphone stands and a video projection created during its performance. The graphic scores were created by cutting up 196 tweets of Donald Trump which concern Fake News and assembling them as poems upon music composition paper which is photocopied on translucent velum and then cut into strips before being assembled. The musicians are instructed to visit each score at designated times and perform it. The work expresses the power of poetry and improvisation as forms of political resistance.

Gallery Page

GERMAN:
In seiner performativen Arbeit Scoring the Tweet(s) (2018) verändert und re-arrangiert Neidich 196 Tweets von Donald Trump, die Fake News thematisieren. Mit Hilfe einer Cut-and-Paste-Methode gestaltet er eine musikalische Notation. Diese Methode illustriert die Unbestimmtheit der Sprache wie auch ihre tieferliegende Pluripotentialität. Sie wurde ursprünglich im Surrealismus entwickelt und später auch in den Arbeiten von William Burroughs eingesetzt. “Scoring the Tweet(s)” wurde für seine musikalische Premiere bei PRISKA PASQUER erstmalig aufgebaut und am Abend des 12. Mai 2018 aufgeführt.

Scoring the Tweet(s), 2018, ist eine Installation, die aus 16 grafischen Partituren besteht, welche über vier Paare von Mikrophonständern gespannt sind. Dazu gehört eine Videoprojektion, die während der Aufführung entstand. Für die Partituren wurden 196 Twitter Nachrichten von Donald Trump, die den Begriff Fake News enthalten, in Fragmente zerschnitten und als Gedichte auf transparentes Papier collagiert, auf das auch Notenlinien kopiert wurden, bevor es, in Streifen geschnitten, aufgehängt wurde.Die Musiker wurden instruiert, nach einem vereinbarten Ablaufplan zu jeder Partitur zu gehen und sie auszuführen. Diese Arbeit vermittelt die Macht von Poesie und Improvisation als Form von politischem Widerstand aus.

PRISKA PASQUER (Köln, DE)

Scoring the Tweets

Rumor to Delusion
9.05.2019 – Opening performance
Zuecca Project Space
La Biennale di Venezia, Italy

Scoring the Tweets

12.05.2018
PRISKA PASQUER Gallery
Köln, DE


Infinite Spectres and the Anarchy of Time Plus 1, 2016

Barbara Seiler, Zurich, 2016

[aesop_gallery id="5619" revealfx="off" overlay_revealfx="off"]


Color of Politics / The Statisticon Neon

Color of Politics + The Statisticon Neon

Color of Politics
April 28 – June 24, 2017

The Statisticon Neon
April 28 – August 19, 2017

Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz e.V.
Linienstraße 40 – Berlin, Germany

Gallery Page

ENGLISH:

The Statisticon Neon (2017) pays homage to Joseph Beuys monumental work Das Kapital Raum 1970-1977 originally shown in the German Pavillon in Venice in 1980 and today on loan to Berlin’s Neue Nationalgalerie as part of Erich Marx’s Beuys-Block. Neidich mounts his diagrammatic work in multicolored neon upon a non-formal arrangement of black boards that echo the original Beuys’ installation much as a technicolor film would a black and white. His neon looks at the relationship between art and society some forty years later taking into account the role of the internet and its effect on labor and capital.

The 21st century has been called the century of the brain and recently we have transitioned from Post-fordism to cognitive capitalism where the mind and brain are the new factories of the 21st century. While the internet was still an experimental paradigm at the time of Beuys’ work we now labor for free on Facebook, Instagram and Google producing data that creates individual data profiles, later sold to corporations and security firms. Today, formal subsumption of the labor of the proletariat has transitioned to real subsumption, in which our entire life is consumed by work, and we have become cognitariats. The Neon Statisticon links this development with the recent neurologic turn in which the action of capitalism is directed to the brains neural plasticity something, which Neidich has called neuropower or Neuromacht.

Color of Politics

Color like money and language has become deregulated. Color is no longer tethered to form and meaning and becomes a vehicle through which emancipated feelings, political intrigues and resistance to institutional normalization processes can become realized. Warren Neidich uses color to recoup the political conditions of creating meaning – summarized in the three part neon-painting Red, White, and Blue (2007).

In the Afterimage Paintings, (2016) red neon sculptures spell the names of German emigrants Bertolt Brecht, Hanns Eisler and Lion Feuchtwanger all of which were later blacklisted in Hollywood as communists and thus never were granted a star on Hollywood Boulevard. Neidich remedies this by activating complementary colored afterimages that are then projected upon empty painted stars mimicking those found on the Hollywood Walk of Fame. In the Archive of False Accusations (2016) vitrines illuminated by lavender neon light display found press clippings reporting on what has become known as The Lavender Scare – a less known facet of Joseph McCarthy’s witch-hunt to root out communist sympathizers.

In a second room a large three-dimensional cloudlike sculpture is installed: Pizzagate – named after the infamous conspiracy tale culminating in sniper Edgar Welch wanting to rescue the supposed sexually abused children he believed to held in the basement of Comet Ping PongPizzagate exposes the apparatuses and patterns of flow and connectivity that generate False News and define click bait as well as understanding that in cognitive capitalism the new site of governmentalization in the new attention economy is the brain’s neural plasticity, especially that found in the frontal cortex where attention and working memory are located. It also shows that the still virulent rumor based entirely on Fake News by now reaches well into the art world. If you want to find out how that works without fault you should try out Neidich’s most recent sculpture the small experimental setup Trump Cup (2017).

DEUTSCH:

The Statisticon Neon (2017) ist eine Hommage an Joseph Beuys’ monumentales Werk Das Kapital Raum 1970-1977, das zuerst 1980 im Deutschen Pavillon in Venedig zu sehen war und sich heute als Leihgabe in der Neuen Nationalgalerie / Hamburger Bahnhof in Berlin befindet. Neidich montiert sein diagrammatisches, von buntem Neonlicht gepägtes Werk auf eine zwanglose Anordnung schwarzer Tafeln, die eine Art Echo auf Beuys’ Installation sind und sich zu dieser vergleichbar einem Technicolor- zu einem Schwarzweissfilm verhalten. Das Neonlicht veranschaulicht die Beziehung zwischen Kunst und Gesellschaft rund vierzig Jahre nach Beuys’ Werk, insbesondere die Bedeutung des Internets und seine Auswirkungen auf Arbeit und Kapital.

Das 21. Jahrhundert ist als Jahrhundert des Gehirns bezeichnet worden, seid wir jüngst vom Postfordismus in den Kognitiven Kapitalismus übergegangen sind. Der Geist und das Gehirn sind die neuen Fabriken des 21.Jahrhunderts. Während das Internet zur Zeit von Beuys’ Werk noch ein begrenztes Experiment war, arbeiten wir heute unbezahlt für Facebook, Instagram und Google, indem die von uns produzierten Daten individuelle Datenproflle ergeben, die später an Unternehmen und Sicherheitsfirmen verkauft werden.

Heute hat sich die formale Subsumption der Arbeit des Proletariats in eine reale Subsumption transformiert, in der unser ganzes Leben von Arbeit konsumiert wird, und wir sind Kognitarier geworden. Das Statisticon Neon verbindet diese Entwicklung mit dem in letzter Zeit erfolgten neurologischen Turn, in dem die Aktivität des Kapitalismus die Neuroplastizität des Gehirns mit etwas verbunden wird, das Neidich neuropower oder Neuromacht genannt hat – ein Begriff, der direkt in die Ausstellung im 2. Stock weiterführt.

Color of Politics

Wie das Geld und die Sprache ist auch die Farbe dereguliert worden. Farbe ist nicht mehr mit Form und Bedeutung verknüpft und wird ein Vehikel, durch das emanzipierte Gefühle erzeugt, politische Intrigen initiiert, aber auch Widerstand gegen institutionelle Normalisierungsprozesse realisiert werden kann. Warren Neidich setzt Farbe ein, um die politischen Voraussetzungen, Bedeutung zu schaffen, wiederzugewinnen – zusammengefasst in dem dreiteiligen Neonbild Red, White, and Blue (2007).

Bei den Afterimage Paintings (2016) bilden rote Neonskulpturen die Buchstaben der Namen der deutschen Emigranten Bertolt Brecht, Hanns Eisler und Lion Feuchtwanger, die alle später in Hollywood als Kommunisten auf der schwarzen Liste standen und denen deshalb nie einen Stern auf dem Hollywood Boulevard gewidmet wurde. Neidich berichtigt dies, indem er komplementär gefärbte Nachbilder erzeugt, die dann auf leere gemalte Sterne projiziert werden, Nachahmungen derjenigen auf dem Hollywood Walk of Fame. In dem Archive of False Accusations (2016) sind in Vitrinen von lavendelfarbenem Neonlicht beleuchtet. In ihnen liegen gefundene Zeitungsausschnitte, in denen von dem „Lavender Scare“ berichtet wird, einer weniger bekannten Facette in Joseph McCarthy’s Hexenjagd auf Sympathisanten des Kommunismus: Nicht-heterosexuelle Menschen (lesbisch, schwul, bisexuell oder transgender) verloren ihre Positionen im Regierungsapparat.

Der zweite Raum wird  von Neidichs neuester Skulptur Pizzagate beherrscht – eine große, dreidimensionale, wolkenartige Struktur, benannt nach der berüchtigten Verschwörungsgeschichte, die darin kulminiert, dass der Scharfschütze Edgar Welch die vermeintlich sexuell misshandelten Kinder retten will, von denen er glaubt, dass sie im Keller des Comet Ping Pong Pizza Restaurants gefangengehalten werden. Pizzagate stellt die Apparate und Muster der Ströme und der Anschlussmöglichkeiten heraus, die Fake News hervorbringen, die Köder definieren und auch das Verständnis, dass in der neuen Aufmerksamkeitsökonomie des Kognitiven Kapitalismus der neue Ort der Gouvernementalität die Neuroplastizität des Gehirns ist, vor allem derjenige im frontalen Cortex, wo die Aufmerksamkeit und das Arbeitsgedächnis angesiedelt sind. Es zeigt auch, dass die unablässigen ausschließlich auf Fake News basierenden Gerüchte mittlerweile weit in die Kunstwelt hineinreichen. Wer herausfinden möchte, wie einfach das funktioniert, sollte den kleinen experimentellen Aufbau in Neidichs jüngster Skulptur Trump Cup (2017) ausprobieren.


The Palinopsic Field

The Palinopsic Field

June 15 – August 14, 2016
LACE (Los Angeles Contemporary Exhibitions)
Los Angeles, CA (US)

Gallery Page

LACE presents Warren Neidich: The Palinopsic Field, an exhibition that revisits the Second Red Scare and the Lavender Scare, events following World War II in which Joseph McCarthy’s House Un-American Activities Committee directed a witch hunt against many artists and writers suspected of having affiliations with the Communist Party, and many homosexuals who were deemed “sexually perverse.” Using painting, neon sculpture and installation, the project resurfaces this history and gives us a fresh outlook through which to view and understand this moment.

The Afterimage Paintings consists of red neon sculptures that spell out the names of blacklisted writers Dalton Trumbo, Lester Cole, Ring Lardner Jr. and Alvah Bessie that incite an afterimage in the eyes of observers. Each sculpture is paired with an unfinished painting of empty stars that mimic those found on the Hollywood Walk of Fame. The neon instigates a palinopsia, or afterimage in the beholder, who can shift their gaze and allow the imaginary image to fall in the empty space of the painted star. Nine out of ten of the original Hollywood Ten do not have stars on Hollywood Boulevard, and through this experience viewers can actively right this historical wrong.

The second work, The Archive of False Accusations, includes an installation of vitrines that highlight The Lavender Scare. Newspaper and magazine clippings, sourced at a variety of LGBT archives in and around Los Angeles, such as the Southern California Library and One National Gay and Lesbian Archives, are displayed and lit by neon lavender light. Outlandish headlines like Perverts in Government, 1950 Inquiry By Senate on Perverts Asked, 1950 and Vice Squads Sex Files Sealed Pending “ Hill” Investigation, 1950 expose the role of McCarthyism as it intervened to cleanse the government of homosexual employees.

Together, these two works highlight the injustices perpetrated against those that were considered different. Today, as we find ourselves amidst an election cycle one cannot help but draw connections between these events and the trending right wing attacks on immigrants, people of color, and the LGBT community today.

Press

Warren Neidich: LACE 
in Artforum by Andy Campbell

Warren Neidich “The Palinopsic Field” Exhibition at LACE, Los Angeles
in purple ART by Hannah Bhuiya

Here’s Why the Lavender Scare Still Matters
in The Creator’s Project: Vice by Tanja M. Laden


Duende Diagram at Mana Contemporary (2015)

"Duende Diagram" is a cartographic map of the different flows that constitute theories of a becoming cultured brain. Installation in "THEOREM: You Simply Destroy the Image I Always Had of Myself." Curated by Octavio Zaya.

 

19 - Duende Neon Mana Full 300 dpi
Duende Diagram, multi media installation with neon, analog speakers, plexiglas, vinyl wall letters, 12 feet by 9 feet, Mana Contemporary, New Jersey, 2015

 

20 - Duende Neon Mana Top 400 dpi
Duende Diagram, Detail, Mana Contemporary, New Jersey, 2015

 

21 - Duende Neon Mana Bottom 300 dpi
Duende Diagram, Detail, Mana Contemporary, New Jersey, 2015

 

Deunde Neon Performance 1
Duende Diagram, Detail, Mana Contemporary, New Jersey, 2015

Book Exchange: The Hollywood Blacklist

Book Exchange: The Hollywood Blacklist

January 30 – February 1, 2015
Printed Matter’s LA Art Book Fair 2015

“Book Exchange: Hollywood Blacklist” is a performative sculpture project whose mode of operation and purpose changes in each venue where it is displayed. For this occasion books authored and about Hollywood authors and actors suspected of being communists who were censored by the House Committee on Un-American Activities led by Joseph McCarthy were first bought off the internet and installed on the shelves of this rotating Modernist bookcase. During the fair visitors are asked to purchase a book from any vendor presenting with which to then make an exchange for one of the books found in the bookcase. It is hoped that by the end of the event all the books will have been distributed from the bookshelves to a heterogenous group of participants who will install them in bookshelves in their homes. Their act and participation refutes the essence of censorship which is to make unavailable to the general public certain forms of information. The bookshelf itself will contain the residue of the experience of the exchange as well as expressing the vast diversity of books being sold and exhibited at the fair.

Press

Los Angeles Art Book Fair 2015
in Flash Art by Noura Wedell


The Search Drive (2014)

[su_vimeo url="https://player.vimeo.com/video/103045578" width="1600"]

 

The Search Drive (2014) is a video work in which some of the same software programs utilized by the NSA to spy on Americans and foreign nationals, residing in America and abroad, are used by an autonomous agent to search through the web for personal and classified information about myself. Google, Facebook, Wikipedia, Instagram are hacked and ransacked. As such it traces over time an autobiographical sketch of my comings and goings, activities and friendships. I am calling this a Hack-ography. In the course of that analysis a number of things are revealed. One is my relationship with my assistant Ashiq Khondker, a 3rd Culture Bengali-Singaporean-American, whose actual activities are blurry but hypothetically link him to radical causes in Berlin and the Far East. In one image he is hanging out with Pussy Riot and in another wearing Egyptian robes. That I am a radical artists with anarchistic tendencies who has worked in Egypt with many Islamic musicians, as well as Franco Berardi the political activist, and have wired Ashiq money, creates a narrative of implied guilt by association to popular fears confusing Islam and Islamic fundamentalism. A fiction based on unconfirmed facts is thus built and now substitutes for any actual portrait I might actually have or had. A uncorroborated story of a fictitious life grows into a kind of monstrosity the result of a program gone haywire. This picture is full of flaws and leads to the necessity of my eradication. The need for courts of laws and warrants is not necessary. An algorithm is set in motion which brings together face and voice profiling systems and links it to a GPS location program. After my location has been determined, I am in fact in St. Petersburg, Russia performing an improvisational sound work called "NSA:USA Sound as Prophecy" which looks into whether Edward Snowden is a villain or hero, the drone program is set in motion to search and to eradicate my physical body leaving only my avatar soul to meander aimlessly in the networks of the virtual forever.

 

http://www.aqnb.com/2016/06/28/an-interview-with-warren-neidich/


Wrong Rainbow Paintings, 2013–2014

Maurice Pendergrast, 1905 (after Rainbow), 2016
Acrylic paint on canvas with black velvet
130 × 160 cm

[su_spacer size="30"]

Frederic Edwin Church, 1866 (After Rainy Season in the Tropics), 2016
Acrylic paint on canvas with black velvet
130 × 160 cm

[su_spacer size="30"]

Caspar Friedrich 1810 (After Mountain Landscape with Rainbow), 2014
Acrylic paint on canvas with black velvet
130 × 160 cm

[su_spacer size="30"]

Joseph Anton Koch, 1815 (After Heroic Landscape With Rainbow), 2014
Acrylic paint on canvas with black velvet
130 × 160 cm

[su_spacer size="30"]

Wassily Kadinsky 1910-11 (After Cossacks), 2014
Acrylic paint on canvas with black velvet
130 × 160 cm

[su_spacer size="30"]

Peter Doik, 2014
Acrylic paint on canvas with black velvet
130 × 160 cm

[su_spacer size="30"]


NSA/USA: Sound as Prophecy - MANIFESTA 10, 2014

[su_vimeo url="https://vimeo.com/107127430" width="1600"]


How do you translate a text that is not a text? How do you perform a score that is not a score? (2013)

[su_vimeo url="https://vimeo.com/104779659" width="1600"]

Cello and Chair
Installation Detail

Burned-out Mubarak HQ

Boundary Conditions
Townhouse Gallery Plan with Noise Room
Graphic Score Detail
Graphic Score Detail
Graphic Score Detail
Graphic Score Detail
Graphic Score Detail

Part 1: Consensual Autonomies

They Can't Take This Away From We (2013)

Part 2: In the Mind's We

Stills


Data Murmur (2012)

[su_vimeo url="https://vimeo.com/48294959" width="1600"]

Video, 03:19

The notable Italian political philosopher Franco "Bifo" Berardi recites a random poem of HTML code twice. First on the left of the split screen the camera maintains its distance allowing the bard to enact the poem, his shock of silver hair melting into the backdrop of tree branches.


In The Mind's I (Nuwella) (2011)

[su_vimeo url="https://vimeo.com/51804912" width="1600"]


Blind Man's Bluff (2002)

[su_vimeo url="https://vimeo.com/146786146" width="1600"]
Single Channel Video, 01:58

A performance of a dream sequence is projected upon a head in front of a movie screen. The action takes place in Los Angeles on Beverly Boulevard that is adjacent to a building with a mirror surface. The performance is videotaped in the reflection of this building sometimes cutting to the real street scene. The constructed narrative concerns a blind man walking down the street and his uncovering of the diabolic clown under the happy clown’s costume, a truth which only the blind man can know. Crippled vision becomes thereby a metaphor for the creative self who investigates alternative paradigms outside that of the institutional notion of visible truth. The flow of the video from the screen to the skull to that of the screen again concerns the notion of the mutated observer. That in fact the brain and the mind are sculpted more effectively by artificial stimuli.


The Mutated Observer, part 1

The Mutated Observer, part 1

California Museum of Photography, Riverside, California, 2001
Photography, Sculpture (Apparatuses), Installation, Dimensions Variable
This exhibition took place at the California Museum of Photography in Riverside, as an intervention in the collection of early photographic and cinematic devices and photographs. It consisted of two parts: Postmodern Modernism and Hybrid Dialectics. Postmodern Modernism was an investigation of the early roots of modernism in photographs that concerned topics such as movement, psychic energy, the paranormal, and phrenology…

The mutated observer, part 1, installation at California Museum of Photography, Riverside, California
The mutated observer, part 1, installation at California Museum of Photography, Riverside, California

This exhibition took place at the California Museum of Photography in Riverside, as an intervention in the collection of early photographic and cinematic devices and photographs. It consisted of two parts: Postmodern Modernism and Hybrid Dialectics. Postmodern Modernism was an investigation of the early roots of modernism in photographs that concerned topics such as movement, psychic energy, the paranormal, and phrenology. The works Writing Drawing Painting, Blanquis Cosmology and Conversation Maps were installed alongside compatible historic photographs.

Hybrid Dialectics was an installation in which the devices that I have been working with in the past 6 years were exhibited in vitrines alongside with the museum’s collections of historic photographic and cinematic devices. As such they spoke to the idea that the history of photography, cinema, and new media is a history that is conjoint with the history of the development of the eye, brain, and mind, and that all together they help constitute our idea of the world with which this history is recursively related to.

The mutated observer, part 1
The mutated observer, part 1

The mutated observer, part 1

This exhibition took place at the California Museum of Photography in Riverside, as an intervention in the collection of early photographic and cinematic devices and photographs. It consisted of two parts: Postmodern Modernism and Hybrid Dialectics. Postmodern Modernism was an investigation of the early roots of modernism in photographs that concerned topics such as movement, psychic energy, the paranormal, and phrenology. The works Writing Drawing Painting, Blanquis Cosmology and Conversation Maps were installed alongside compatible historic photographs.

Hybrid Dialectics was an installation in which the devices that I have been working with in the past 6 years were exhibited in vitrines alongside with the museum’s collections of historic photographic and cinematic devices. As such they spoke to the idea that the history of photography, cinema, and new media is a history that is conjoint with the history of the development of the eye, brain, and mind, and that all together they help constitute our idea of the world with which this history is recursively related to.

The mutated observer, part 1, 2002, detail of hybrid dialectic device
The mutated observer, part 1, 2002, detail of hybrid dialectic device

This exhibition took place at the California Museum of Photography in Riverside, as an intervention in the collection of early photographic and cinematic devices and photographs. It consisted of two parts: Postmodern Modernism and Hybrid Dialectics. Postmodern Modernism was an investigation of the early roots of modernism in photographs that concerned topics such as movement, psychic energy, the paranormal, and phrenology. The works Writing Drawing Painting, Blanquis Cosmology and Conversation Maps were installed alongside compatible historic photographs.

Hybrid Dialectics was an installation in which the devices that I have been working with in the past 6 years were exhibited in vitrines alongside with the museum’s collections of historic photographic and cinematic devices. As such they spoke to the idea that the history of photography, cinema, and new media is a history that is conjoint with the history of the development of the eye, brain, and mind, and that all together they help constitute our idea of the world with which this history is recursively related to.

The mutated observer, part 1
The mutated observer, part 1

This exhibition took place at the California Museum of Photography in Riverside, as an intervention in the collection of early photographic and cinematic devices and photographs. It consisted of two parts: Postmodern Modernism and Hybrid Dialectics. Postmodern Modernism was an investigation of the early roots of modernism in photographs that concerned topics such as movement, psychic energy, the paranormal, and phrenology. The works Writing Drawing Painting, Blanquis Cosmology and Conversation Maps were installed alongside compatible historic photographs.

Hybrid Dialectics was an installation in which the devices that I have been working with in the past 6 years were exhibited in vitrines alongside with the museum’s collections of historic photographic and cinematic devices. As such they spoke to the idea that the history of photography, cinema, and new media is a history that is conjoint with the history of the development of the eye, brain, and mind, and that all together they help constitute our idea of the world with which this history is recursively related to.


Law of Loci (1998-99)

Law of Loci
Law of Loci
Law of Loci
Law of Loci
Law of Loci
Law of Loci
Law of Loci
Law of Loci
Law of Loci
Law of Loci
Law of Loci
First Love #5, B&W Print
Dock #8, B&W Print
Father, B&W Print
Shed #6, B&W Print
Shed #2, B&W Print
Back of the House #1, B&W Print
Back of the House #2, B&W Print

Wrong Rainbow Paintings (2012)

 

Rainbow Brushes, Installation
Wrong Rainbow Paintings, 2012

 

11. Neidich, Wrong Rainbow Paintings, detail of table topjpg copy
Wrong Rainbow Paintings, 2012

 

albert bierstadt 1869 16.5 inches
Wrong Rainbow Paintings, 2012

 

albert bierstadt date unknown 16.625
Wrong Rainbow Paintings, 2012

 

thomas moran, 1900, 37 inches
Wrong Rainbow Paintings, 2012

 

installation_main-room_rainbow-belgradecopy
Rainbow Brushes and performative pulls, acryl on paper, exhibition view, Belgrade Cultural Centre, 2008

Acceptable Differences

Acceptable Differences

January 2011
Belgrade Cultural Center, Belgrade
Curated by Maja Ciric

Catalog PDF

Lazar Trifunovic considered art to be a complex phenomenon wherein a lot of other complex phenomena fit in,1 but he pointed out that art, if it is to live with the times wherein it is created, must listen to its sounds, its problems and pains.2

If it is to be relevant in the 21st century, the gallery must simultaneously be an open network, a black box, a white cube, a temple, a laboratory and a situation. It must take on the form of a creative partnership between a curator and a producer, between an art object and the idea of art.3

In view of the fact that contemporary art is merely another niche within the framework of the overall intensive cultural production, especially within the surroundings of web 2.0, art criticism is addressed to a small number of insiders who, even when they really are interested in reading it, do not have too much time for doing so. If criticism has no market value and logic, its chances of finding its own space within the framework of cultural production lies in its being inscribed into curatorial practice.

If the purpose of practice is action itself,4 the kind of action that characterises curatorial practice is aimed at creating a context wherein worlds meet and where continual negotiation between various regimes of knowledge, between art and its public, is stimulated. The policy that I am advocating is not necessarily directed towards finding final solutions but rather towards stimulating dialogues and understandings inside the times wherein we act in combination with historical precedents, theoretical reflections and concrete processes.

Paul O’Neill speaks of the difference between a co-dependent and independent curator.5 According to him, it is not possible to be a curator without being dependent on institutions which one is in continual negotiation with. He stresses the dysfunctional aspect of this relationship, which is often unidirectional and emotionally destructive. Even though the majority of projects come into being through such cooperation, the independence of my being an agent is marked by my determination not to reproduce the system but to introduce a different perspective into institutional operations. An independent perspective is based on information and knowledge characteristic of transnational networks that I belong to, which specifically engage the methodology of curatorial practices. Pursuing this further, I try to ponder how the role of art is modifying the institutional socio-political paradigm.

Contemporary art, without utopian expectations, enables us to reread and reconsider the views of Lazar Trifunovic. My aim here was to stimulate the multiple ontologies of painting and conceptual art and to point out the outdatedness of an essentialist notion of art, reflected in the following view: art has never been so banal and so concrete as to make distinctions between certain political and economic systems – nor is it today.If social systems differ, do people differ as well? Are men/women different today merely because they live within the framework of different productive processes? Art has never counted on elements limited to the ‘national’, in the narrow sense of the term or upon specific socio-economic processes in the broader sense. Rather it has come into being as a product of the spirit, as a result of its conscience. Art has nothing in common with the outer, physical landscape and collective social relations. It only depends on the inner psychological landscape of the creator, on his/her personality.6

What we can conclude from these statements is that Trifunovic is arguing for essentialist things. As such his entire argument calls for the emancipation of the individual from his surroundings and strives for the production of an apolitical art. For art and curatorial practice based on poststructuralism, the discourse of the surroundings is essential. They are both the result of discursive production. Today, through reconstructing the cultural landscape, different formations are created. Post-structuralism is also important for Warren Neidich’s culturally inflected Becoming Brain model whereupon ideas like feminism, post-colonialism and queer theory play as important roles as science in generating knowledge and in sculpting neural networks and its counterpart contemplation.

The exhibition of Neidich is an intellectual horizon that complements the public sphere by revitalising and reinterpreting art history, activating experimentation and theoretical reflections, evaluating process, dialogue and participation. His works exhibited here, Education of the Eye (2010) and Rainbow Brushes (2008) understand art as an existentialist investment, a set of ideas, and redefine the relationship between form and the conceptual gesture, with a view to critically setting the system in motion.

Neidich’s gesture counts on power as the modifier of the neurobiological architecture, coupled to the machinic assemblage of the socio political economic cultural system at large set in motion by its surroundings and context, and uses memories in order to create a plan for future decisions and action.7 This approach enables him to shift away from a rigid and normative understanding of artistic practice, on the one hand, and from an essentialist one, on the other, and to review what Maurizio Lazzarato refers to as “noopolitics”,8 that the focus of power and the technology at its disposal is not the materiality of the body but its psychic life, especially its memory an attention.9 The self-portrait of the artist with a palette, created by Vasa Pomoricac and dating from 1932,10 as well as the overall context of the Lazar Trifunovic Award, have been repositioned, through form and performance, within the framework of a collective process of self-orientated individuals whose interests were joined in order to discover what painting and criticism presuppose today and how they can be relevant. Historical heritage is an integral part of contemporary experience, and the participation of ten contemporary artists and five experts in an experiment created new possibilities of critical engagement. Neidich has staged his historical dialectic dramaturgy at the Belgrade Cultural Center to illustrate a paradigm shift from previously known biopolitics to noo- power – information power: objects no longer change brains, It is information that changes them. Through this project, contemporary art makes it possible for us to create an awareness of differences that are conditioned by various forms of power acting in geopolitical, ideological, economic and scientific contexts. While science is finding similarities and consistencies, art is about creating difference and unleashing the pluripotentiality. One artist and one artwork has the potential to reset artistic parameters and change the history of art.

– Maja Ciric


Education of the Eye, 2010

 

Education Berlin 01 copy
Education of the Eye, 2010. Performative intallation, variables dimensions

 

Education Berlin 3 copy
Education of the Eye, 2010. Partial installation, 8 of 10 palettes showing the variability

 

Education berlin 04 copy
Education of the Eye, 2010. Detail from studio installation in Berlin. Left image detail of color palette of artist No. 1. Rigth image detail of color palette of artist No. 2.  Note the very different colors and methodologies represented.

 

Education Dafen 07 copy
Education of the Eye, Da Fen, 2010. Digital C Print, 20 x 24 inches

 

Education dafen 06 copy
Education of the Eye, Da Fen, 2010. Digital Print. Mr. Wu's studio: Left Image, Hogarth's self portrait being copied. Rigth image, Mr. Wu's atelier.

 

Education Dafen 08 copy
Education of the Eye, De Fen, 2010. Digital Print, 20 x 24 inches

 

Education dafen 09 copy
Education of the Eye, Da Fen, 2010. Digital Print, 20 x 24 inches. Left image detail of color palette of Chinese artist No 1. Right image detail of color palette of Chinese artist No 2. Note the very different colors and methodologies represented.

 


Body-Wall Maple Cottage (2005)

Body-Wall Maple Cottage

2005

In this work a false wall made out of plywood wound its way around an abandoned cottage first blocking the staircase, then creating a false passageway that began at the original door and continued until the front wall of the house itself. This new space created a hybrid space in-between the original house and the new wall and thereby set up a dialectic between past and future with the spectator mediating between the two. The visitors were transformed into performance artists and actors and were made aware, by a small light, of a viewing device through which they were meant to look to see an enclosed domestic space reminiscent of the places of inspection so often used by Sherlock Holmes. The optical pathway for this inspection was a hole cut out of the eye of an old portrait painting that hung on the inside of this simulated do­mestic space. This opening in the painting was lined up on one hand with a hole in the wall itself and on the other with the viewer’s eyes. Together they created a machinic assemblage that was aligned with a mirror hung directly across the room which reflected the antique painting, mentioned above, and the eye of the viewer that through his or her participation was now part of. The viewer’s eye, as it looked through the painting from behind the wall, now became part of the paint­ing itself. The hidden passageway became an uncanny space in which the fragmented viewer through a transformational process of the experience of becoming an actor in this architectural scenario became a whole body again not as himself but as a painting with all the meanings pertaining to the nature of portraiture itself.