2013.03.13 (ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̐litch) Art Genealogies
I’ve been inspired and excited about every01′s work in the show. It’s a wonderful group of folks!
Opening and Performance:
Saturday 16.03.2013, 20:00
19.03.-23.03., 14:00-20:00 Tue-Sat
Kim Asendorf, Nick Briz, jonCates, Kevin Carey, Bill Etra by Anton Marini, Emilio Gomariz, JODI, Nick Kegeyan, Alex Myers, Phil Morton, Rosa Menkman, A Bill Miller, Brenna Murphy, Bryan Peterson, no_carrier, noteNdo, Julian Oliver, Sabrina Ratté, jon.satrom, Rick Silva, Miyö Van Stenis
Genealogy is the study of lines of descent and origin; the development of families and the tracing of their lineages and history. (glitch) Art however, does not exist as a linear history or as some kind of glitch continuum. Following Foucault, the aim of a genealogy here is not to analyse a subjects history from a singular perspective or to try to form a narrative where one event impacts on the next, but to recognise the complexities and processes of its many affiliated histories.
(glitch) Art does not follow this traditional forking family tree-form. Rather there are many, parallel, interconnected non-linear, fragmented and overlapping histories which impact each other in many directions. This (glitch) genealogy does not focus on Glitch Art from as singular viewpoint, nor does it attempt to give some all encompassing overview. The exhibition instead focuses on the different threads that interconnect generations of the different communities of visual (glitch) artists and their working methods, conceptual themes and problematics.
(glitch) Genealogies fragments Glitch history into multiple (historical) categories, such as ‘NES-Aesthetics’, ‘GUI Politics’, ‘literacy’, ‘Authorship’ and ‘3D glitch Reality’.
In discussing the issue of Glitch genealogies our aim is not to create a historical review or (re)create a ‘total’ archive or inclusive overview, we look at these genealogies with the aim of understanding Glitch Art in the present.
In conversation with John McKiernan, I said:
“I agree that hystory is not as simple as a linear timeline. Time is a crutch; Time is a control mechanism. We’re all fishing in the same cosmic stream… I’m super happy to be involved in this hyperthreading and crossing of lines…”
Lab for Electronic Arts and Performance
(Berlin Carré 1. Stock)