Monthly Archives: March 2013

CONSUME: Artists’ Talks and Exhibition Reception

consume flyer


April 11th, 2013
Talks: 5pm
Reception: Reception


Calit2 Auditorium and gallery@calit2, Atkinson Hall, UC San Diego
Hosted by: gallery@calit2
Event details: California Institute for Telecommunications and Information Technology – calit2



I moderated artist presentations by: Brandon Ballengée, Justine Cooper, and Jamie O’Shea, with Oron Catts via teleconference at 5pm followed by an opening reception for the exhibition. Organized by gallery@calIT2

Video documentation of the talks:

CONSUME, is a group exhibition which has been informed by my current research at the intersection of art, technology and food systems. Projects in the gallery document interdisciplinary ideas pertaining to current discussions of health, eco-systems, and the environment. Works by: Brandon Ballengée, Oron Catts & Ionat Zurr, Justine Cooper, Beatriz da Costa, and Jamie O’Shea.

The public is welcome to attend the Artist Talk Thursday, April 11, 2013, which will be held in the Calit2 Auditorium at 5pm, and followed by a reception at 6pm. All gallery@calit2 events are FREE and open to the public.





View further details of the CONSUME exhibition and artworks.


Trish Stone,

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consume flyer
CONSUME, is a group exhibition informed by my research at the intersection of art, technology, food systems, and wellness. It opens at gallery@calit2 on Thursday, April 11, 2013. Projects in the gallery document interdisciplinary ideas pertaining to current discussions in the fields of health, energy, technology, and the environment, and include works by: Brandon Ballengée, Oron Catts & Ionat Zurr, Justine Cooper, Beatriz da Costa, and Jamie O’Shea. Brandon Ballengée’s pieces Committed, Dedicated, and Tears of Ochún respond to the global crisis of fisheries worldwide and the current threat of an unraveling of the food chain in the Gulf of Mexico following the 2010 BP Deep Horizon oil spill. The installation The Remains of Disembodied Cuisine, by Oron Catts & Ionat Zurr, documents a performance ‘feast’ of tiny, semi-living frog steaks that were grown for almost three months in bioreactors, with video made in collaboration with Jens Hauser. Justine Cooper’s project Havidol is a fictional marketing campaign to launch a magic bullet lifestyle pharmaceutical, HAVIDOL®. The video triptych, Dying for the Other, by Beatriz da Costa, documents the lives of mice used in breast cancer research, as well as that of the artist, who suffered from the same disease [until her death in late December 2012 at the age of 38]. Placebo Brand Placebo, by Jamie O’Shea, is a kit to produce your own inert medication, in an experiment to discover if the placebo effect can be intentionally, consciously harnessed.

Artist Talks took place on Thursday, April 11, 2013, moderated by the curator, Amanda McDonald Crowley. Held in the Calit2 Auditorium at 5pm, the presentations are now also available online.


Brandon Ballengée creates trans-disciplinary artworks inspired from his ecological field and laboratory research. Since 1996, a central investigation focus has been the occurrence of developmental deformities and population declines among amphibians. Since 2009 he has continued his amphibian research as a visiting scientist at McGill University (Canada). In 2011 he was awarded a conservation leadership fellowship from the National Audubon Society TogetherGreen Program. The art of Ballengée has been exhibited internationally with recent solo exhibitions held at Ronald Feldman Fine Arts (2012, New York); Longue Vue House and Gardens (2011, New Orleans); Parco Arte Vivente, Centro d’Arte Contemporanea (2010, Turin); Nowhere Gallery (2009, Milan); Williams Center for the Arts, Lafayette College (2009, USA); Shrewsbury Museum (2009, former Shropshire home of Charles Darwin); Yorkshire Sculpture Park (2008, Wakefield); the Arsenal Gallery in Central Park (2007, NYC); Peabody Museum of Natural History (2007, Yale University); and others. He currently is finalizing his Ph.D. through a collaborative program between the University of Plymouth (UK) and Hochschule für Gestaltung Zürich (Switzerland). In the summer of 2013 a major survey of his work will debut at the Château de Charamarande in Essonne, France.

Oron Catts is the Co-Founder and Director of SymbioticA: the Centre of Excellence in Biological Arts at the University of Western Australia. Ionat Zurr, who received her PhD from the Faculty of Architecture, Landscape and Visual Arts, UWA, is a researcher and academic coordinator for SymbioticA. Catts and Zurr are currently also Visiting Professors at Biofilia – Base for Biological Arts in the School of Art, Design and Architecture, Aalto University Finland. They are artists, researchers, and curators who formed the internationally renowned Tissue Culture and Art Project. They have been artists in residence in the School of Anatomy, Physiology and Human Biology at the University of Western Australia since 1996, and they were central to the establishment of SymbioticA in 2000. They are considered pioneers in the field of biological arts and are invited as keynote speakers and exhibition curators. Zurr and Catts publish widely, exhibit internationally, and their work has been collected by MoMA New York. They have recently had a retrospective show in Poland.

Justine Cooper uses a variety of imaging methods, including MRIs, large format photography, video, animation, and online media to explore the frictions found in the public and private ways science and medicine are a part of us, as individuals and as a culture. Exhibitions and screenings include The International Center of Photography, New York; The New Museum of Contemporary Art, New York; The NTT InterCommunication Center, Tokyo; The Singapore Museum of Art; The Netherlands Institute for Media Art; the Centre Georges Pompidou, Paris; Kwang Ju Biennale, Korea, among others.

Beatriz da Costa (1974 – 2012) was a co-founder of Preemptive Media, an arts, activism and technology group, and a former collaborator of Critical Art Ensemble (2000-2005). She exhibited and lectured at the Andy Warhol Museum, the Centro Andaluz de Arte Contemporáneo, Sevilla (Spain), Zentrum fuer Kunst und Medien (Germany), Museum of Contemporary Art (Serbia), Exit Art Gallery, Eyebeam art + technology center, Cornerhouse (UK), Saidye Bronfman Centre for the Arts (Montreal), and the Natural History Museum in London. She was a Creative Capital grantee, received support from the Durfee Foundation, the Inter-Society for Electronic Arts, and the University of California Institute for Research in the Arts. Together with Preemptive Media, she received the Social Sculpture Commission from Eyebeam and the Lower Manhattan Cultural Council, as well as funding from Franklin Furnace, Turbulence, Experimental Television Center and the Beall Center for Art and Technology at UC Irvine, where she was a tenured professor in Studio Art and Electrical Engineering and Computer Science (and affiliated with the UC Irvine division of Calit2).

Jamie O’Shea is an inventor living in New York City. His machines and experiments are mostly prototypes – gestures of outlandish possibility about time, light, memory and mind. He is interested in what machines mean as much as what they do. These works mostly live in the arts, and have been shown in non-profit spaces across the U.S., as well as Russia, Switzerland, England, Norway, and Mexico, appearing in print and on television around the world. Currently he is working on his first commercial product, trying to change the world with popcorn. He is partnering with BjornQorn to utilize a new, inexpensive type of solar mirror to power their production line. He is also a staff member at Eyebeam.

More Information:

Installation Shots:

Installation photos: Justine Cooper

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Internet Art

Internet Art: 1992 – 2014

For the last while, I’ve been thinking about the fact that the Mosaic Browser was released 20 years ago this year. It would have been 21 next year. Netscape was released 19 years ago. Notwithstanding Tim Burners-Lee’s seminal work essentially inventing the web at CERN in 1989, the Mosaic browser, to me, marks the beginning of an open and publicly accessible web.

So all of this makes 2014 a significant year for the World Wide Web. It will be 25 years old, if we count from Berners-Lee’s initial release of the idea at CERN, and a “publicly accessible” web (if one considers the Mosaic browser the first truly public manifestation of the World Wide Web) will have been around for 21 years.

    Introduction to (1994-1999) - Installation: text: Natalie Bookchin and Alexei Shulgin; Stones: Blank & Jeron (1999)

Introduction to (1994-1999) – Installation:
text: Natalie Bookchin and Alexei Shulgin; Stones: Blank & Jeron (1999)

Last night, in New York I was super excited to attend the Rhizome hosted discussion with The Thing, “The Internet Before the Web: Preserving Early Networked Cultures“, at the New Museum as part of their New Silent series.

In the 1990s I watched the work of The Thing from afar. I was peripherally involved in the Australian artists collective System X, who ran a dial up BBS which launched in 1990, and who still maintain the web presence of a few of the artists and projects that they hosted back then so have a particular interest in pre-web internet art. In fact as Australia gears up to host ISEA2013, it is worth looking back to TISEA in 1992, when as far as I am aware it was the first international (media) art festival to include internet art projects, including System X projects, represented founders by Jason Gee and Scot Art.

I’ve started to compile a bit of a bibliography about internet art. Of course there are dozens of articles about the topic, so this is really just a starting point. Back in the mid 1990s when I was doing my Masters in Art Administration at the College of Fine Arts in Sydney, Australia, I did my interships online with System X (in fact I have to own that authored the Soundsite pages as an intern in 1994 or 1995 using simpletext and Netscape Gold!), and ArtsWire. It was an extremely novel idea to do an online internship at the time, but a lot of what I was working for my (never completed) Masters didn’t quite fit the traditional model of arts administration at the time. I was going to write about art on the internet back then, but didn’t quite get around to it. Many brilliant colleagues have done much better work since. So I’ve started to collect a few of these resources. I’d be thrilled if others would contribute more.

In light of Rhizome’s pre-web discussion last night, panelist Jason Scott, Director of BBS Documentary provides a fantastic (if a little US-centric) overview of BBS culture. Staying with the US, I thought it would also be fun to review Judy Malloy’s great summary about Arts Wire: The Arts Online Beginning in 1992: Memories of Arts Wire.

Wolfgang Staehle, founder of The Thing gave a brilliant and inspired overview of the foundations of this seminal online artist collective. I was especially moved by his remembrance of Hakim Bey’s Temporary Autonomous Zone which came out just one year prior and truly spoke to collective independent space for artists to own this new “virtual space”, if only for a moment.

Rhizome’s Digital Conservator, Ben Fino-Radin should be commended for hosting a lively discussion, but especially for being instrumental in initiating the conservation of such important early internet art material.

So, to some resources that follow on from this work. This is by no means comprehensive work. I’d love feedback and additions.


Internet Art resources – links and collections:

Gallery 9, Steve Dietz, curator, Walker Art Center. Between 1997 and 2003, under the direction of Steve Dietz, Gallery 9 was a key venue for the exhibition and contextualization of Internet-based art.

Screenarts was an Australian resource for online screen-based project 1998 – 2003. No longer online.

Rhizome Artbase, founded in 1999, the Rhizome ArtBase is an online archive of new media art containing some 2155 art works, and growing.

Natalie Bookchin, a story of net art (open source) begun 9/99 (dates to 1993). last update 5/5/01

Robbin Murphy et al. artnetweb New York network of people and projects investigating new media in the practice of art.

Whitney Museum ArtportChristiane Paul, curator, internet art gallery and online commissioning program, since 2002

Books/ writing on internet art:

Tilman Baumgärtel, 2.0. Neue Materialien zur Netzkunst. New Material on art on the internet (bi-lingual: deutsch/englisch), Nürnberg 2001

Julian Stallabrass, Internet Art. The Online Clash of Culture and Commerce. Tate Publishing. London 2003

Rachel Greene, Internet Art, Thames and Hudson, 2004

Tom Corby (ed) Network Art: Practices And Positions, Routledge, 2006

Josephine Bosma, Nettitudes – Let’s Talk Net Art, 2011

Joanne McNeil, Domenico Quaranta, Art and the Internet, Edited by Phoebe Stubb.  2013

Online art exhibitions

resistant-media, an exhibition for Perspecta99: Living Here Now, a city wide exhibition in Sydney, Australia

Whitney Biennial exhibitions.

Rhizome exhibitions

Aram Bartholl et al Speedshow internet art exhibition format developed by Bartholl. 39+ shows since 2010

STATE an online exhibition platform [on tumblr] that featured new projects by artists who use the internet as a primary element in their work. June 2010 – July 2011.

Collect the WWWorld. The Artist as Archivist in the Internet Age

Internet Histories:

Katie Hafner and Matthew Lyon, Where Wizards Stay Up Late: The Origins of the Internet (New York, New York: Simon and Schuster, 1996)

Tim Berners-Lee, Weaving the Web (London: Orion Business Books, 1999)

John Naughton, A Brief History of the Future. The Origins of the Internet, (London: Phoenix, 1999)

Online critical discussion lists and conversations:

whole earth catalogue

Jordan Crandall et al. BLAST


faces – gender, technology, and art

the thing






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