Curators Julie Solovyeva and Katya Valevich offer a dynamic setting to discuss Watching You, a group exhibition exploring the unsettling relationship between the unannounced, invisible observer and the subject.
The exhibition addresses themes of desire and control over oneself and others.
Featuring work by Kohei Yoshiyuki, Thomson & Craighead, Cynthia Daignault, Vanessa Hodgkinson, Ai Weiwei, Cindy Sherman, Enxuto & Love, Ernesto Caivano, and James Bridle, five of the nine exhibited artists will share their individual practice and work within the context of the exhibition's theme for an intimate programme.
Watching You is a splinter of a new form of creative and intellectual production, recognized by Jacques Rancière as an "aesthetic regime...of the sensible, which is extricated from its ordinary connections and is inhabited by a heterogeneous power, the power of a form of thought that has become foreign to itself..."
Between selfies and CCTV, smartphones and Google, we are gridlocked in algorithmic visualizations of data. We instigate power, desire, and pleasure, drawing out a trajectory for the impact of technologies upon our consciousness.
The works currently on view at 10011 reflect the aesthetic regime of our cultural climate. You are invited to take part and reflect on technology, surveillance and its growing influence on creative production.
About the artist
** James Bridle** presents work as a writer, publisher, artist and technology theorist. His long-standing investigative interest in network interactions, both virtual and material, positions him at the intersection of innovative shifts in culture and science. Bridle exhibits online and off, often obviating his research and production process through episodes of long and short-form discourse and presentations.
** Ernesto Caivano** is gifted with the art of storytelling, which he relates in fantastical, meticulously romantic ink-drawings. Erupting from myth, folklore, poetry, natural cues and science fiction. Caivano's work has been the subject of a number of solo shows: at White Cube in London and at MoMA PS1, where his site-specific mural In the Woods(2004) is permanently installed in one of the building's stairwells. He has also been included in notable group exhibitions such as No New Thing Under the Sun (2010) at the Royal Academy in London, The Compulsive Line: Etching 1900 to Now at the Museum of Modern Art (2006), Greater New York 2005 at MoMA PS1, and the 2004 Whitney Biennial.
** Cynthia Daignault*** *was born in Baltimore, Maryland, and currently lives in New York. She attended Stanford University, and was a MacDowell Colony Fellow in 2010. She edited the monograph on Sean Landers, Improbable History, which was published by JRP Ringier in 2011. Her work was featured in a solo show at White Columns in 2011. Daignault is a recipient of the 2011 Rema Hort Mann Foundation Grant.
** João Enxuto & Erica Love** have been collaborating since 2009 on work that examines the effects of new technology on traditional aesthetic categories, institutions, and artistic labor. The collaboration has resulted in a set of art objects, performances, and interventions. Enxuto & Love have performed and exhibited at the Pratt Institute, Vox Populi, Yossi Milo Gallery, carriage trade, Visions of the Now Festival in Stockholm and the Tamayo Museum in Mexico City. They were Studio Art fellows at the Whitney Museum Independent Study Program for 2012-2013 and will be participants in the Art & Law Program in 2014.
** Vanessa Hodgkinson ** has a long-standing interest in conceptual and structural frameworks that reinforce her process of communicating ideas through painting. Evolving out of a practical training in the crafts of traditional Islamic art, and an art historical background influenced by Said’s critique of Orientalism, Hodgkinson couples the Aniconic with an ongoing inquiry into the figurative ‘Other’ as a digital presence on the Internet. Recently Hodgkinson has made a move away from a culturally specific geometrical vernacular of Islamic pattern towards a more universal framework of the grid as a tool for producing images. Her grids are investigations into the potential for image-making inherent in network technologies, new media distribution and CGI.