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The exhibition title _One to Zero_ reverses the tech-startup concept of "zero to one," in which the entrepreneur charts a path from being financially empty-handed to monetizing the future. We all saw that big-boy bubble burst somewhere between a plague and an invasion, its soiled product narrowly missing the bin. Such a downturn is felt as a _deflation_ in the air, the word smelling like austerity, spare means, a foul order breaking down. Rather than trying to reassemble the broken money machine, this show proposes slowing down—if not outright stopping—at the brink of a theoretical high.<br><br>To take a _deflationary_ approach is to manifest the contradiction of making and sharing digital artwork today. One must have technical literacy and artistic sensitivity to the technology—all while attending to a growing pressure to find the money hidden inside the medium. At times the artist’s effort may consist entirely of fighting to fit the format of their chosen platform. _How does the market look today? Do the individual goods add up to a meaningful whole?_<br><br>The artists in _One to Zero_ share aesthetic sensibilities, conceptual interests, social histories, and ways of working. In this exhibition, their artworks are incremented and iterated 26 times. Like an alphabet, each series is a larger system from which the parts are indivisible.<br><br>Mira Dayal's _reCAPTCHA.otf_ (2024) remakes Google's public Turing test as a computer typeface that scrambles a human’s text input as it is written onto the screen. In a similar spirit, Viktor Timofeev's _Human Abecedary: Inter-Letters_ (2024) breaks down the alphabet into moving parts on a clock face, generating an unstable, permanently foreign writing system.<br><br>Damon Zucconi's _In Tongues_ (2024) renders the contents of Proust's _Swann's Way_ as an endless babbling stream of letters, suggesting a large language model regurgitating the content it was fed. For _Mon Alphabet en Signes_ (2024), Laura Brown prompted an AI to narrate unmoving wooden alphabet blocks, leaving the algorithm to write detailed descriptions that audibly strain to make meaning.<br><br>Likewise, a human viewer of Adriana Ramić's software application, _Memory Intensified by Hand of Manual World_ (2021/2024), will interpret its composite images of animal-object hybrids differently than the image-recognition systems they were originally meant to train. Ryan Kuo's _Downtime_ (2024) is an audiovisual program that mimics a business application crashing and recovering repeatedly, like an ocean wave, as the primacy of its logical system is threatened by the "workers" that stray.<br><br>Laurel Schwulst and Sydney Shen bypass quantitative systems entirely with _Perfume Area: The Alphabet_ (2024), a series of perfume reviews whose compositions shift according to the time of day. As a fragrance does not progress linearly, neither does its description, which wafts in and out of perception as though carried on a breeze.<br><br>Finally, in _PURCHASE CANCELLED_ (2024), a series of quivering and convulsing GIFs that recall his chaotic approach to JODI’s early-2000s desktop performances, Dirk Paesmans captures error loops in Feral File's blockchain-based interface, preventing all from transacting until they meet the demand: _Where's your wallet?_<br><br>Each work in _One to Zero_ employs a mechanism—crossing symbolic, computational, and natural systems—whose jumbled output one can read, even as its viability to the money machine is unclear. Together, the works spell out an unspoken rule: that digital artforms today can and must answer to multiple callers, using means that can scarcely address their full meaning.
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