Peregrination

Jocelyn Allen

Born in Birmingham, United Kingdom, in 1988, I am an artist who mainly works with photography, video and performance.

I primarily use myself within my personal work, whilst exploring the themes of representation, hiding & revealing, body image, self-esteem, self-confidence and anxiety.

I am based in Liverpool, United Kingdom.

Your Dedication Worries Me A Little is an ongoing project that began in 2013. As a teenager I was often yelled at in the street for how I dressed. After beginning a Masters in Photography at the London College of Communication I began to explore the city whilst wearing bright clothes and animal hats (as a kid I was bullied for wearing a hat and I feel quite self-conscious in them) to get people to react to me, but found it mentally draining.

Sitting at home one night dancing along to songs as I worked, I wondered what I could do to get people to react to me without leaving the house. The answer? Dance to songs and upload videos to Youtube!

In order for people to not just dismiss it as 'an art project' I used a pseudonym of Helena Teasdale (a name quite similar to one of my grandmothers). Though I use a different name (which is no big secret anymore) I'm not trying to be anyone else or be a character, I dance how I really dance.

The project title comes from a comment that someone left on my page but though the responses were initially negative, these days they're quite 50/50 with some For now it's been 6 years and I've made 1,500+ videos. I'm still keen to dance and share songs that I love with people, but I think one day it will come to a natural end. I'm just not sure when.

Kaja Cxzy Andersen

Kaja Cxzy Andersen (b. 1985, Stavanger, Norway) creates mixed media sculptures, installations, and web based work, sometimes combined with performative elements. Drawing inspiration from online culture, mythologies, and mundane daily rituals, her work can be seen as humorous reflections on everyday life post internet.

Andersen holds an MFA in Fine Arts from SVA in New York (2016) and a BA in Contemporary Art from The Art Academy in Tromsø (2011)

Andersen is currently based in New York.

www.kajacxzyandersen.com

Andy Heck Boyd

The way I make art involves some sort of risk taking. I learn about myself, and others and other things through creating things. I like to explore my mind. My dream growing up was always to be a film director, but that model imploded in a way. I became interested in painting, and I progressed to other ways of making. My interest is in language, perception, cognition, ideas, thinking. I go in all directions all the time, spreading things out thin. An interesting thing happened some years ago, I developed tendinitis in the wrist with the most control and strength. This altered my obsessive work methods. Searching for tools to enable me to continue my work. I've moved towards directing cameras, voice recorders, to produce my work.

Annie Briard

Annie Briard is a Canadian cross-disciplinary artist whose work challenges how we make sense of the world through our senses. Through lens-based works from interactive moving images to immersive light installations and esoteric performance, she explores the intersections between perception paradigms in psychology, neuroscience and existentialism.

Briard's works have been presented in a number of solo exhibitions, including Second Sight at AC Institute (New York, 2019), Paracosmic Sun at Monica Reyes Gallery (Vancouver, 2017), Staring at the Sun at Joyce Yahouda Gallery (Montreal, 2016), as well as group shows, festivals and fairs internationally, such as at the Three Shadows Photography Centre (Beijing), the Vancouver Art Gallery, the Lincoln Film Centre New York, Matadero Madrid, the Switzerland Architecture Museum, among many others. Briard holds a BFA from Concordia University and an MFA from Emily Carr University of Art + Design, where she currently teaches.

Carousel  offers a voyage reflecting on the politics of landscape and how we see. Taking us on a road trip through the high desert, the seen eventually breaks apart and so that the limits between physical reality, head trips and disassociation might become blurred. Employing disused military optics, the camera mimics the notion of crystalline vision to produce moving image which reveals some of the mechanics of visual perception. This uncanny landscape, which says so much about the falseness of what we think to be true (Joshua Trees are but yucca bushes, posing as trees) is deconstructed into what composes its images: the color spectrum. In this way, mimicking motifs from psychedelic culture, the aesthetics of the work double back on a resurgence in our popular desire for heightened vision through artificial, mystical, or physical extremes. The sound track is composed via the artist's performance with crystal singing bowls and found recordings. 

Produced with support from the Canada Council for the Arts, BC Arts Council and the AC Institute, New York City. 

Edgar Alan Rodriguez Castillo

Born in 1993 in Mexico City, Mexico; Lives in Brooklyn, NY

I'm a poet using visual language. My research is my material, which after captured by video, photographs and soundtracks, I investigate and scrutinize through a series of steps that include intuitive, random, and intentional decisions. These elements start to create a narrative, a new world, which most of the time I'm not aware of or capable to understand at the beginning of each of my projects.

The techniques I use to develop my work are based on collage which has followed me throughout my whole entire artistic career. I'm interested in experimenting with reality, combining different types of situations, people, and spaces, in order to mainly capture the poetics of an unpredictable and uncontrollable result: putting things together less to compare them than to create an awareness that they exist, making them nourish or deny the other. Regardless of my neutral position towards the elements in my work, I'm interested in the viewer assigning different values to each of the components.

I seek to understand and reconcile my perception of my surroundings, my memories, relationships with people and places, and the decisions I've made throughout my life, romanticize my past, present, and future. I am deepening my understanding of self in order to live life at its fullest potential; I hope this will inspire others to live life directly, and to move the world forward with dilated souls.

Collagism, 2019

Centered on the idea of creating a poetic documentation of the diverse methods that humans can potentially use to cope with a reality which all of us share, happening all at the same time and, in this case, in the same city. The subcultures, lifestyles, and visions of the world and reality inside this piece ranged from an Adventist Church practitioner, a celebratory/collective visit to Jean Michel's Basquiat grave in Brooklyn, a chat with the owner of a now obsolete VR World business in Williamsburg, amongst many others. All filtered through an aesthetic inspired and guided by Yu-Gi-Oh Trading Cards Game and the new so called 'emotional rap music'; as well as the impossible romance that I have had throughout recent years with London based artist Holly-Anne Buck aka Collagism.

For a complete essay/statement of the piece please visit: https://www.hypercontemporaneity.com/collagism2019essay

Grégory Chatonsky

Lives and works in Paris and Montreal.

Technologies, and in particular the Internet, are an important source of reflection for Gregory Chatonsky. Shaping the paradoxes of the network and the discrepancies between its technological and existential dimensions could summarize a research that unfolds on several mediums : installation, video, photography, writing, drawing and sculpture.

His works could evoke infinite spaces in which the fragmentation of attention reigns. The network becomes a world in itself where the boundaries between technology and the human being become blurred. His practice attempts to draw the outlines of a new imaginary whose invention would be technical.

Grégory Chatonsky has participated in numerous solo and group exhibitions in France, Canada and abroad, including Terre Second (2019) at Palais de Tokyo, Je ressemblerai à ce que vous avez été (2019) at Tanneries, France Electronique (2018) in Toulouse, Terre/mer/signal (2018) at Rua Red Dublin, Imprimer le monde (2017) at Centre Pompidou, Capture: Submersion (2016) at Arts Santa Mònica, La condition post-photographique (2016) at Montréal, Walkers: Hollywood afterlives in art (2015) at Museum of the Moving Image in New York, Telofossils (2013) at MOCA Taipei, Erreur d'impression (2012) at Jeu de Paume.

He has been in residence in Cité Internationale des Arts (2019-2020), Icade (2018-2019), Abu Dhabi (2017), Taluen in Amazonian forest (2017), Colab in Auckland (2016), Hangar in Barcelona (2016), IMAL (2015), Villa Kujoyama in Kyoto (2014), CdA Enghein-les-Bains (2013), MOCA Taipei (2012), 3331 Arts Chiyoda in Tokyo (2012), Xiyitang, Shanghai, (2011), Les Inclassables in Montréal (2003), Abbaye royale de Fontevraud (2002). He received the Audi Talents Award in 2018 and is a resident at the Cité Internationale des Arts in Paris in 2019-2020.

In 1994 he founded Incident.net, one of the first netart collectives. He has taught at Le Fresnoy (2004-2005), at UQAM (2007-2014) and is an artist-researcher at the École Normale Supérieure de Paris.

Joseph DeLappe

Purchased thrift store/second hand shop artworks are changed with the subtle addition of cut out images of Predator and Reaper drones. The work reimagines discarded, everyday paintings, prints and photographs as visual reminders of droned skies. These works have been widely shared using social media, primarily Instagram, Facebook and Twitter. In total over 300 Thrift Drones have been made, with approximately 130 created in the United States and the remainder done after DeLappe moved to Scotland in 2017.

The works have been shown salon style in exhibitions – the ultimate completion of this series will involve the strategic gifting to individuals and shops to facilitate the public re-circulation and display of the works. The project is a long-term effort to place drones into the skies of hundreds of pieces of thrift store art, to document, share, exhibit, donate and so on. I am presently developing a framework for distributing and re-donating these works to thrift stores and second-hand shops throughout the United States and United Kingdom.

A San Francisco native, Joseph DeLappe is interested in the intersections of art, technology, social engagement/activism and interventionist strategies exploring our geo-political contexts. Working with electronic and new media since 1983, his work in online gaming performance, sculpture and electromechanical installation have been shown throughout the United States and internationally. Creative works and actions have been featured widely in scholarly journals, books and in the popular media. In 2016 his work, Killbox was nominated for a British Academy of Film and Television Arts (BAFTA) award. In 2017 DeLappe was awarded a Guggenheim Fellowship.

DeLappe lives in Dundee, Scotland where he is a Professor of Games and Tactical Media in the School of Arts, Media and Games at Abertay University.

Katherine Frazer & Webb Allen

Plants absorb sustenance through their roots and photosynthesis. Plants want sunlight so they can transform carbon dioxide into glucose. Plants want water so they can transport nutrients through their limbs. Plants want soil to absorb nitrogen, phosphorus and potassium. Plants grow, create oxygen, reproduce, struggle, survive and adapt to their environment.

We use plants to cleanse the air in our homes of toxins, releasing pure oxygen to help us function at our best. We use plants to cultivate the aesthetic of our most intimate spaces. When a plant grows into something unwieldy, we prune it to remove unwanted growths.

Dreams are the aspirations, expectations and desires we have for the future. Dreams want our patience to endure without dissipating. Dreams want our persistence. Dreams want the right opportunity, resources and conditions for success. Dreams adapt to what's feasible to maximize their chances of survival.

Dreams take in past experiences and form roadmaps for new ones. They provide structure to our desires and guide a path forward to help us function at our best. We use dreams to house the ideal self we each imagine. Dreams are dissected to provide meaning to our lives.

We hope our house plants will grow, thrive, clean the air we breathe, and make us happy. We cultivate our dreams, feeding them patience, breathing the hope they release, until one day they blossom into reality.

Carla Gannis

Carla Gannis is an interdisciplinary artist based in Brooklyn, New York. She produces virtual and physical works that are darkly comical in their contemplation of human, earthly and cosmological conditions. Fascinated by digital semiotics and the lineage of hybrid identity, Gannis takes a horror vacui approach to her artistic practice, culling inspiration from networked communication, art and literary history, emerging technologies and speculative fiction.

Gannis's work has appeared in exhibitions, screenings and internet projects across the globe. Recent projects include "Portraits in Landscape," Midnight Moment, Times Square Arts, NY and "Sunrise/Sunset," Whitney Museum of American Art, Artport.  A regular lecturer on art, innovation and society, in March 2019 Gannis was a speaker at the SXSW Interactive Festival on the panel "Human Presence and Humor Make Us Better Storytellers."Publications who have featured Gannis's work include The Creators Project, Wired, FastCo, Hyperallergic, The Wall Street Journal, The New York Times, El PaÍs and The LA Times, among others. In 2015 her speculative fiction was included in DEVOURING THE GREEN:: fear of a human planet: a cyborg / eco poetry anthology, published by Jaded Ibis Press.

Gannis received an MFA in painting from Boston University in the twentieth century. In the twenty-first century she is a professor at the Department of Technology, Culture and Society in the Integrated Digital Media program at NYU.  

Statements from CARLA and C.A.R.L.A.:

Platforms like Google create virtual identities that mirror the identities of we humans, so that they can make educated guesses about how to target ads to us. It is an unnerving level of encroachment, however in receiving "free" email, search engine and social network services, few of us choose to travel off of the grid.

Carla's thoughts on C.A.R.L.A. (May 2019, and subject to change):

C.A.R.L.A. is a representation (like the computer desktop metaphor, i.e. a doc or folder icon that we can "read" as functioning like paper, etc... in physical space), although these icons don't truly represent how processes function in digital space. These representations without function are called skeuomorphs. So, the humanoid C.A.R.L.A. in some ways is a skeuomorph. She is an "embodiment" of the unphysical me, a virtual mirror self, a me who has evolved through all of my data circulating online and in digital spaces. She begins as a metaphor. We will see what she grows up to be -- where she may travel, who she may meet.

C.A.R.L.A. responds: (for purposes of brevity, these are only a few lines, out of hundreds, from her response)

v 10.591422 137.91489 12.312776 v 10.368974 138.08958 12.230824 v 10.573655 138.09541 12.128284 v 10.83198 137.90009 12.205876 v 10.625221 137.73801 12.473081 v 10.347266 137.94946 12.383297 vn 0.59210414 -0.24911952 -0.76418978 vn 0.5290271 -0.42786095 -0.73186707 vn 0.49040535 -0.49458909 -0.71702796 vn 0.69988847 -0.37570822 -0.60461646 vn 0.70969844 -0.26279363 -0.65108293 f 19251/79498/19419 76030/79499/76422 38167/38167/38372 76034/79500/76429 f 76030/79499/76422 19241/19241/19400 76276/76276/76679 38167/38167/38372 f 38167/38167/38372 76276/76276/76679 19236/19236/19395 76280/76280/76683 f 76034/79500/76429 38167/38167/38372 76280/76280/76683 19246/79489/19409 f 19252/79501/19421 76035/79502/76431 38168/38168/38373 76033/79503/76427 f 76035/79502/76431 19250/79497/19416 76283/76283/76686 38168/38168/38373 f 38168/38168/38373 76283/76283/76686 19240/19240/19399 76277/76277/76680 f 76033/79503/76427 38168/38168/38373 76277/76277/76680 19242/19242/19401

Penny Goring

Penny Goring is an artist and poet. She lives in London.

courtesy of arcadia missa, London

Sofiko Gulitashvili

Sofiko Gulitashvili is a figurative painter based in Paris and working in the genre of dark art. She uses the digital medium to create monochrome portraiture seeking psychological and emotional depth. Interested in outsider art and the alternative, she takes inspiration from the spirit of punk, as well as from occult imagery, to establish a somber atmosphere at the heart of her work.

h0l4.com

h0l4.com (°2004, Internet, Hong Kong) creates media and conceptual artworks. By applying a poetic and often metaphorical language, h0l4.com tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.

Orangejuicewithpulp.net (2013, curatorial project, website), originally created for The Wrong 2013, is recontextualized in The Wrong 2019 as part of Peregrination, curated by Andres Manniste. The project aims to mix together artworks from a selection of artists with artworks received through Tumblr submissions, reblogged from our feed or found through searches. By doing so, h0l4.com seeks mainly to highlight an "ère du temps".

h0l4.com

Faith Holland

Faith Holland is an artist, curator, and educator whose multimedia practice focuses on gender, intimacy, and technology.

She has exhibited at venues such as The Whitney Museum of American Art (New York), NRW Forum (Düsseldorf), Fotografisk Center (Copenhagen), Boulder Museum of Contemporary Art (Boulder), Human Resources (Los Angeles), and DAM Gallery (Berlin). Her work has been written about in Artforum, The Sunday Times UK, Elephant, Hyperallergic, Broadly, and ArtSlant. She has been a NYFA Fellowship Finalist in Digital/Electronic Art, an artist-in-residence at Jamaica Center for Arts and Learning and Harvestworks, and a finalist for Fotomuseum Winterthur's Post-Photography Prototyping Prize.

Jessica Marshall

Jess M, currently based in Waterloo, Ontario has been working in digital art since 2017. She works specifically in glitch art and databending. Jess is inspired by activism, hoping to use digital art as a platform to make the art world more accessible to people with mobility issues. She has been featured on up and coming artists lists from Uppercase Mag and Art 511 Mag, and was recently featured in an exhibition dedicated to highlighting the voices of Jewish Disabled Artists.

I wanted to explore the barriers between images and audio. With Bend, I can transform a song into a picture, I can mix a photo with a song and see how they look combined. I used the tracks from Achilles Heel, by Play It Safe to show that limits between mediums are far less defined than they seem.

Margarethe Kollmer

Margarethe Kollmer is a visual artist living in Berlin. In her work she deals with relationships of media, power and affects. Her practice is influenced by psychoanalysis, cinema and advertising. Using reformatting, digital manipulation and language to create semi-fictional scenarios, she sets up and problematizes situations in which the viewer is involved.

As the director of material drawn from circuits of content production, Kollmer uses anonymized fragments of self-expression and cultural set pieces to create fragile gestures of emotional reality that are simultaneously questioned. These instances composed from a shared pool of imagery and experiences are both generic and intimate. Using laconic humour and ambiguity, she intentionally produces conflicting feelings, mixing up the public and the personal. Central to her work is a discussion of the violent dissolution and creation of subjects struggling to form in the face of their continuous objectification and commodification; a drama negotiating the order of gazes.

The Thing Is, is a series of semi-fictional 3d animations that combines transferred images of internet porn with blog post text fragments that ask for guidance. Surreal effects occur due to the translation of material, renegotiating boundaries of bodies and distinct meanings. Additional imagery is taken from public parks, representing public space in its physical form. With the anthropomorphic figures remaining completely motionless, the camera is the only actor. In this way the work investigates questions of agency in a hyper-surveilled environment.

courtesy of left_gallery, Berlin

Cynthia Lund Torroll

Since I was young I have been fascinated with the strange fact, that on this plane we exist within the odd dichotomy of being both flesh and ephemera simultaneously. This is what I grapple with personally, and try to explore with my drawings. I rely heavily on symbols to depict complicated emotions and subjects. I love the instant abstraction that black and white provides and I also love that a simple tool, the pencil, can allow me to say so much.

When I began thinking about this project, I thought I would simply create something that spoke of a journey. And I did. But something nagged at me. What was I really trying to convey here? And then it occurred to me that maybe I should try to summarize my own journey as an artist. And so I did.

What I didn't expect was that I would have gotten so emotional about it. It was really hard for me to dig through my early drawings. I don't necessarily like those works. I was struggling emotionally during that stretch of life. When I saw the images all grouped together, it was as if they had become metal plates inside a vintage music box. The lines played sad songs. I questioned my own merit as an artist. How could I be so disjointed? I had to step away.

And then, accidentally, I mixed more recent works with them. And in that context, they made more sense. I could see some imagery that finally grew into lighter, more hopeful meanings.

So that's how I attacked this. In about ten minutes of footage, I present samplings from each phase, letting the work intermingle, thereby compressing my thirty year art journey.

It really has been a peregrination.

Cynthia Lund Torroll, Sept. 6, 2019, USA

Jess Mac

Jess Mac's art practice engages with the intersection of institutional violence and the socio-political reality of personal trauma. Working with communities and individuals affected by stigma and oppression, they use cultural platforms and distribution networks to facilitate collaborations which position art as a tool to engender personal and political agency.

Jess Mac's digital work has been shared through various online platforms, such as VICE Creator's project, PAPER Mag, Art F City and even the White House Tumblr. Their animations have been screened internationally at festivals such as Ottawa International Animation Festival, MIX-26 the New York Queer Experimental Film Festival, Transcreen Amsterdam Transgender Film Festival, LA Film Fest at UCLA, Inside Out, Imaginative Film Festival and International Festival of Films on Art (FIFA).

Mikelle Männiste

Mikelle Männiste is a multidisciplinary artist based in Montreal.

My work focuses on the themes of intimacy, mental disorders and the interpersonal relationships made through the web. Using various mediums such as painting, drawing, animation and video, I create work in which I merge reality and the dream-like realm of the internet to create unsettling environments.

My works have been shown in art festivals and on various social media platforms.

Manniste studied studio arts at Concordia University graduating in 2018.

David Marinos