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Claudia Hart
A Pioneer of early virtual imaging, Hart skilfully employs skills across 3d animation, VR, AR, and computer-driven production. Interested in cyborg-ian identities, nature collapsing into technology, bodies and perception, fluidity and liminal spaces, Hart creates spaces of contemplation and transformation.
Claudia Hart emerged as part of that generation of 90s intermedia artists in the “identity art” niche, but now updated through the scrim of technology. Her work is about issues of the body, perception, nature collapsing into technology and then back again. Everything is fluid in it including gender. She considers it Cyborg-ish, creating liminal spaces, and is in love with the interface between real and unreal because it is space of contemplation and transformation.
Hart was very early into virtual imaging, using 3D animation to make media installations and projections, then later as they were invented, other forms of VR, AR, and objects using computer-driven production machines, all adapted from the same computer models. She is considered a pioneer in this, taking a feminist position in a world without women when she started 20 years ago, inspired by the French media artists of the 60s.
She lives in both New York and Chicago, and shows with Transfer, bitforms, and Sky Fine Foods galleries.
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Irene P. Tello
a multi-disciplinary creative who works between the boundaries of Art & Design
Irene P Tello @ip.tello is a multi-disciplinary creative who works between the boundaries of Art & Design: Digital Media Art, Visual Design, Photography and Video (Still Image or Moving Image/Video)
Her work is mainly focused on digital escapism through organic — sensorial aesthetics as H20 and superfluid ecosystems.
"The use of natural elements and their displacement in these immersive digital environments that have such a realistic organic appearance and vivid textures that invokes a new colourful paradigm"
- Creation through eye-experimentation.
🔹 📹
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Chris Dorland
The mechanism of vision, both human and machine, becomes the subject of Dorland’s work as the viewer vacillates between cognition and confusion, contributing to fraught questions of perception, reality and control.
Chris Dorland is a Canadian/American artist working with a wide range of mediums to analyse the contemporary conditions of human perception and the intellection of reality. Dorland uses a variety of screens, scanners, drones and other optical devices to compose distorted, glitching images that conjure up the increasingly tenuous boundaries between physical and digital environments. Dorland’s work addresses our evolving relationship to technology, Capitalism and the body. Neither fully abstract nor functionally representational, Dorland’s work allows us to apprehend the force of intrusive technologies as they merge into our bodies and psyches.
Chris Dorland (b. Montreal) lives and works in New York, US. His work has been exhibited in FRONT INTERNATIONAL: The Cleveland Triennial for Contemporary Art, Cleveland, US; Nicoletti Contemporary, London, UK; Super Dakota, BE; Lyles & King, New York, US; The PIT, Glendale, US. He has exhibited in galleries such as Marc Selwyn Fine Art, Los Angeles, US; Sikkema Jenkins, New York, US; Rhona Hoffman Gallery, Chicago, US. His work is in the permanent collections of the Whitney Museum of American Art, New York, US; Bronx Museum of Art, New York, US; and Neuberger Museum of Art, New York, US among others.
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Active User Installation, Nicoletti Contemporary 2020
Patricia Domínguez
(b. 1984, Santiago Chile)
Bringing together an experimental research on ethnobotany, healing practices and the corporatization of wellbeing, her work focuses on the transference from colonial times to neoliberal practices of extraction and overworking.
Recent solo exhibitions include Madre Drone CentroCentro, Madrid and Cosmic Tears Yeh Art Gallery, New York (both 2020), Green Irises Gasworks, London (2019), Llanto Cósmico Twin Gallery, Madrid (2018), soñé@cerámicas Sala CCU, Santiago (2017); Eres un Princeso Pizzuti Collection Museum, Ohio; Los ojos serán lo último en pixelarse Galería Patricia Ready, Santiago; and Focus Latinoamérica, ARCO Madrid (all 2016).
Recent group exhibitions include Momenta Biennale de l´imagen, Montreal, Canada, The trouble is staying, Meet Factory, Prague (both 2019), What is going to happen is not ‘the future’, but what we are going to do’, ARCO Madrid; Working for the Future Past, SEMA, Seoul (both 2018). She earned her MFA from Hunter College New York and a Botanical Illustration Certificate from the New York Botanical Garden. She runs the experimental ethnobotanical platform Studio Vegetalista. Her next projects will be exhibited at TBA21 Thyssen-Bornemisza Museum (Madrid) 2020, Gwangju Biennale (Korea) and Casa Encendida (Madrid) both 2021, The Wellcome Collection (London) 2022.
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Martina Menegon
"I rely on my art, on using the Virtual as an artistic medium to not only establish possible physical-virtual connections through perceivable avatars, but also to understand the current state of technologies; their potential and power, and also limitations."
Since the existence of cyberspace, the physical body has been declared obsolete, dead, replaced and replaceable by technology and machines. Collectively, there is an obsession with the redefinition of the self as well as an anxiety about body boundaries, consciousness, subjectivity and identity. We are facing a new experience of corporeality and subjectivity, a new artificial flesh and materiality. We are scared of losing our physicality yet we are craving unification and identification with our digital selves.
It seems to me that technology and machines did not yet cause a complete loss of physicality, instead we keep our physical bodies as the key and primary interface for all virtual experiences. Our body has become a communication interface between both realities, allowing us to incorporate the Virtual and create a dialogue with it. So rather than our physical body disappearing, in cyberspace the contemporary self-body incorporates the virtual and transforms it into another kind of body that exists simultaneously in multiple realities. Identity is polyphonic and the computer becomes what Sherry Turkle defines as “intimate machines.”
I rely on my art, on using the Virtual as an artistic medium to not only establish possible physical-virtual connections through perceivable avatars, but also to understand the current state of technologies; their potential and power, and also limitations. I investigate the contemporary self and its synthetic corporeality, and what it is to be able to have control over technologies’ effects on myself. Through explorations involving uncanny and grotesque bodies, I create disturbing and disorienting situations. I embrace digital artefacts and imperfections to create virtual, perceivable self-representations that can be sensed and felt despite their digital nature I believe that it is exactly through these deformations that an awareness of the self as well as of the body is activated, renegotiating the gap between the physical and the virtual, human and machines.
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Martina Menegon (Italy, 1988) is an artist working with Interactive and Extended Reality Art. In her works, Martina creates intimate and complex assemblages of physical and virtual elements that explore the contemporary self and its synthetic corporeality. She experiments with the uncanny and the grotesque, the self and the body and the dialogue between the physical and the virtual realities, to create disorienting experiences that become perceivable despite their virtual nature. Martina is a University Assistant and Lecturer at the department of Transmedia Art at the University of Applied Arts in Vienna, where she teaches “Digital Design and Virtuality”. She is also teaching multimedia tools for interactive arts at the IUAV University in Venice (MA Digital Exhibit, BA Multimedia Arts) together with Klaus Obermaier and Stefano D’Alessio. In 2019 she co-directed :afk with Shahab Nedaei and curated a series of XR Art exhibitions in Vienna.
She is currently Head of Extended Reality and Curator at the “Area for Virtual Art” a platform for immersive experiences and get-togethers founded by sound:frame and Pausanio. She is also part of the curatorial team of the new media art festival of Vienna “CIVA Festival.
Martina Menegon currently lives and works in Vienna, Austria.
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Hanna Neckel's multimedia XXXperiences seduce you into a dreamy hyper space in which the Internet and the physical world merge. The Internet as a utopian place of longing serves as the starting point for the desire for freedom, which manifests itself in the works and is generated in an interlude of online and offline footage. The internet aesthetic sloshes into reality as if from a glass that overflows and overlaps and connects like the layers of a Photoshop file.
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