An online exhibition series and work in progress thematizing documentation, conservation, (false) memory, (art) object, phenomenology, and blockchain certification.
Spring 2020 collection
The exhibition series is chunked into a seasonal schedule around equinoxes and solstices.
These are 63 works submitted between January and March 2020.
Participating artists
Acoustic Mirror, Bruce Barber, Arlen Barrera Leyva, sohil bhatia, Lawrence Bird, Alessa Brossmer, Ana Buigues, Cyborg Art Collective, sajjad dadpour, desire_direct, Reynald Drouhin, Jõrn Ebner, Siegmar Fricke / Pharmakustik, Mr. G, Benna Gaean Maris, Marko Gaertner, Diana Galimzyanova, Max Herman, Max Herman & Michael Szpakowski, Jinu Hong, Brenda Hutchinson, Danielle Imara, marcela jardon, Yejin Stephany Lee, Jan Robert Leegte, Zhongkai Li, Tatjana Macic, Aaliyah Marsh, Konstantina Mavridou & Silvia Gatti, Zsolt Mesterhazy, Jeff Ostergren, Bya de Paula, Milos Peskir, Daniel Pinheiro, pitscher, Theodora Prassa, Stefanie Reling-Burns, Natallia Sakalova, SLIDERS_lab [Frédéric Curien, Jean-Marie Dallet], Alan Sondheim, Anthony Stephenson, Elle Thorkveld, Christian Tiedeman, Jordan Topiel Paul, Jurgen Trautwein, A. P. Vague, Thomas Valianatos, Emilio Vavarella, Juri Wennekes, Paul Wiegerinck, William Wolfgang Wunderbar, and [anonymous]
#190
marcela jardon
Seeds, 2014
everyday presences
This series simulates the images of scientific research on seeds and leaves, and everyday objects.
The writing and the signs are calligraphy, asemic writing.
So, I wonder, how far can we trust the truthfulness, accuracy, and even importance of documentary images?
I believe that without an extreme ethical conscience, (and even with it) the documentation is deeply destined to be partial, to exclude the blind spot of the documentary maker, and to cancel possibilities of experiences of the rest of the observers.
#signs #art #experience #consciousness #self #documentation #conservation #memory
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presencias cotidianas
Esta serie simula las imágenes de investigación científica sobre semillas, hojas, y objetos cotidianos.
La escritura y los signos, son caligrafía, escritura asémica.
Entonces, me pregunto, hasta dónde podemos fiarnos de la veracidad, exactitud, e incluso importancia de las imágenes documentales?
Creo que sin una extrema conciencia ética, (y aún con ella) la documentación está profundamente abocada a ser parcial, a excluir el punto ciego del documentador, y a anular posibilidades de experiencias del resto de los observadores
#signos #arte #experiencia #conciencia #yo #documentación #conservación #memoria
Fotografías intervenidas digitalmente, Barcelona, 2014
