Search
The search found 117 results in 0.012 seconds.
Search results
-
Her Body #arthack at #FriezeLondon 2019
Part of the #GlitchedGoddess and #arthack series of the artist. Comment on gendered representation and body shapes.
"Stemming from an #ArtHack Instagram project which the artist initiated in 2016 to disrupt and democratize the exhibition space, her glitch aesthetic permeates the oscillating female forms depicted in her Glitched Goddesses series." (ANTE Mag: https://antemag.com/2019/03/16/augmented-humanism-the-artwork-of-marjan-...)
Maud Ceuterick - 08.07.2020 - 12:24
-
Kavanaugh Haunted my Frieze London 2018 #Arthack
Critical comment on the nomination of Brett Kavanaugh at the U.S. Supreme Court by Donald Trump, in the wake of the #metoo movement. Part of the artist's #arthacks and #GlitchGoddess series
Maud Ceuterick - 08.07.2020 - 13:19
-
Hacking Sarah Lucas with Hilma af Klint and @matieresfecales foot from Instagram
Hacking Sarah Lucas with Hilma af Klint and @matieresfecales foot from Instagram
Maud Ceuterick - 08.07.2020 - 13:32
-
Glitched Goddesses With Portrait of Picasso @ArtBasel Miami 2018
Reflections on gender inequality within the cultural world. Glitch Goddess.
Maud Ceuterick - 08.07.2020 - 16:29
-
Present Views of Past Streets (Series)
This series includes video works that deal with subjective experience of going through an urban space in which one has never been physically.
Before I first traveled to each location, I took a walk in Google Street View. I added a recording of my voice, in which I commented on feelings, observations and the sounds that I would imagine going through the actual place. During a short stay in the cities, I walked exactly the same routes as I had virtually and recorded sound with binaural microphones to capture the spatial atmosphere. In the last step, the recording was added to the video, merging different layers of time and space as well.
(Adapted from: Project Description, Author's Website)
Maud Ceuterick - 09.07.2020 - 15:18
-
Polly Returns
Digital contemporary retake of Shelley Lake's eerie video 'Polly gone' (1988). 'Polly Gone' was a critique of the gendered role of the housewife. Although the music is 1980s techno, the eeriness and themes somewhat recalls Chantal Akerman's video 'Saute ma ville' (1968). In 'Polly Returns', the robot has taken a more humane physiognomy, and the relation to the screen has changed. Polly has become an integral part of the screen, and her gendered role has acquired complexity that goes beyond domestic chores. Rolling text instructs her in a very neoliberal way how to be simultaneously a perfect housewife, a politically conscious citizen, a productive worker and a caring mum, among others.
Artist's statement:
Maud Ceuterick - 10.07.2020 - 11:06
-
Technologies of Care
Video art installation critical of the precarious, racialised, and gendered labour going on through the internet, or born-digital.
Maud Ceuterick - 10.07.2020 - 11:18
-
Cosmonet Games
Cosmonet Games are a set of digital games that are designed around the idea of an indirect branching narrative. That is, instead of a player making direct choices on the game story (choosing to take the path to the left, saying no to the king, etc.) the player makes the inconsequential choices of everyday life that define the player character’s personality. The story then evolves based on the small choices, having them influence the big, uncontrollable events of the main story.
Eirik Herfindal - 02.09.2020 - 20:59
-
Spring 2020 Editors’ Note
In some ways, the COVID-19 pandemic brought us closer to the mission of The New River, even as it pushed our meetings apart. Since the beginning, The New River has dedicated a platform to emerging and established artists working at the intersection of digital art and literature. Excellent execution has always been one of our top priorities, along with innovative ideas and user-friendly engagement. We aim to challenge passive readership—a symptom of overindulgent screen time and existential Googling. The artists we have selected for the Spring 2020 issue of The New River compliment this vision and complicate the questions “what is art?” and “who is it for?”
Lucila Mayol Pohl - 08.10.2020 - 11:03
-
Memorias Construidas (Constructed Memories)
My work explores translation, transformation, personal memories, and the creation of fragmentary states of being through the reverence for colors and shapes found in Mola textiles made by the Kuna women native to Guna Yala, Panama.
The mola is a product of acculturation, the balancing of two cultures while assimilating to the prevailing culture of the society, and continues to exist because of tribal tradition. These textiles could have never developed without the cotton cloth, needles, thread, and scissors acquired by trade from ships that came to barter for coconuts during the 19th century.
The materials I am attracted to using in my work have vibrant, vivid colors and bold, graphic prints reminiscent of the Mola textiles that also consist of acquired commercial fabrics. The coming together of many different materials is an integral part of my work. Not only because the materials I work with are in limited quantities but also because this process is reflective of my upbringing in Miami, where I was surrounded by a variety of cultures and people living together.
Lucila Mayol Pohl - 08.10.2020 - 12:26
