bitforms gallery SF is pleased to announce a presentation of Daniel Canogar, Addie Wagenknecht, and Siebren Versteeg for the gallery’s second exhibition at Minnesota Street Project (MSP) in San Fransisco.
Opening Reception: Friday, January 17, 6 – 8 PM
Gallery Hours: Wednesday – Saturday, 11 AM – 6 PM & Sunday 12 – 6 PM
bitforms gallery SF is pleased to announce a presentation of Daniel Canogar, Addie Wagenknecht, and Siebren Versteeg for the gallery’s second exhibition at Minnesota Street Project (MSP) in San Fransisco.
Surge by Daniel Canogar explores how the world of data negotiates its relationship with the physical world. The data-sphere is a driving force of society and the economy, despite its intangible and invisible nature. This lack of visibility makes it difficult to comprehend how big data is impacting daily life. Canogar seeks to materialize the world of data through this series.
Addie Wagenknecht examines visibility with tools of culturally defined “feminine” gestures. In her latest series of paintings, a Roomba is reconfigured to spread a lush mixture of cosmetic pigments, pharmaceuticals, perfumes, and skincare across a canvas by way of programmed algorithm. The resulting composition is seductively abstract, usurping the intrinsic role of the materials. Through this act, the artist reclaims visibility with devices typically used to conceal.
Siebren Versteeg’s exhibited works are continuously generating compositions. In Light; of Everything, No. 7 employs touch-screen navigation so users can explore the work in real-time. On-screen imagery never repeats and is informed by random Google images as well as algorithmic painting gestures programmed by the artist. At the same time each day, the composition selects a new dominant color scheme out of 7 options: red, orange, yellow, green, blue, violet and black. Clock culls Google image searches for the most recent images posted in association with the current time (ex. “4:58 PM”, “4:59”, etc.). Each hour the virtual canvas starts anew, building in perpetuity.
Siebren Versteeg in Outland: “The Best Digital Art of 2023”Siebren Versteeg’s For a Limited Time, released on Arsnl Art, incorporates the mechanics of blockchain editioning into the artwork itself—and the outputs are both aesthetically compelling and conceptually potent… – Sarah Zucker
Lumiere 2023: Stunning images as festival returns to DurhamLumiere features 40 installations, with Bishop Auckland lit up for the first time. Spanish artist Daniel Canogar created a projection for The Spanish Gallery in Bishop Auckland.
Addie Wagenknecht’s “opsec for the impending coup and LARPing lip fillers” featured in NYUAD exhibitionIn Addie Wagenknecht’s series of Youtube “Beauty Hacks” she teaches methods of cybersecurity, in the guise of hair and makeup lessons. Through humor, she subverts the make-up tutorial, repurposing it to dismantle the patriarchal and alienating status quo in information security. This work was commissioned by The Art Gallery at NYU Abu Dhabi, for the exhibition “not in, of, along, or relating to a line.”
Public_Public_Address: A Nationwide Virtual ProtestPublic_Public_Address is an ongoing, 24/7, national virtual protest in support of and in solidarity with Black Lives Matter. The ongoing protest stream features video submissions of both supporters who are unable to place themselves at physical risk and those who can protest in person.
“Public Public Address” featured on CNN: This website helps people with illnesses and disabilities participate in Black Lives Matter protestsHigh-profile killings of several Black people by police sparked nationwide protests this summer, with marchers demanding police reform and racial justice. Jason Lazarus, Siebren Versteeg and Stephanie Syjuco founded Public Public Address on September 1 to help people with illnesses and disabilities participate in these Black Lives Matter protests without putting their lives at risk.
‘Email Exhibit! Yours Sincerely, Siebren Versteeg and bitforms’ by Charlotte Kent for CLOTSiebren Versteeg’s In%20Memory is an email; a checklist of speculative objects, a series of links, and a PDF; together creating a daisy-chain as exhibition… bitforms’s webpage for the exhibit provides a space to leave your email address, after which you will receive the email that is the show. It is a charmingly irreverent approach to exhibition possibilities while also quite seriously invigorating our musings on how we might exhibit work digitally.
Daniel Canogar, Loom: Streaming September 10–October 25, 2020bitforms gallery is proud to present a first of its kind, cloud-based, 24/7 stream of generative software-based art, presented in collaboration with Small Data Industries.
Daniel Canogar’s Data Abstractions, Art in AmericaAfter three months with the internet as my primary portal to the outside world, I was intrigued by the premise of Daniel Canogar’s latest work: “to expose the hidden threads of data networks.” Inside bitforms gallery, six large, wavelike metal structures covered with modular flexible LED screens hang on the walls or sit on the floor, all part of the artist’s “Billow” series (2020).
Daniel Canogar, “Billow”, Artforum Critic’s PickDaniel Canogar’s sinuous, ripple-like sculptures emanate colorful LED light in “Billow,” his solo exhibition here. It’s no accident that his bending architectural forms mimic hills, valleys, and mountains: Their slumbering shapes make the works’ cascading waves all the more hypnotic.
⌘F Interview Series: Addie Wagenknecht⌘F is a conversation series focused on the presentation of time-and web-based artwork. These interviews start with a set of fixed questions that trace the effects of worldwide quarantine on artistic practice and later expand upon a single work in detail.
This week’s ⌘F invites conversation with Addie Wagenknecht. Wagenknecht is an American artist based in Austria whose work explores the tension between expression and technology. Blending conceptually-driven painting, sculpture, and installation with the ethos of hacker culture, Wagenknecht constructs spaces between art object and lived experience. Here, the darker side of systems that constitute lived reality emerge, revealing alternative yet parallel realities. In the context of post-Snowden information culture, Wagenknecht’s work contemplates power, networked consciousness, and the incessant beauty of everyday life despite the anxiety of being surveilled.
This interview was conducted via email back and forth throughout April and May. The work we are discussing is titled “Believe Me,” a 2017 commission from the Whitney’s portal for internet art, ARTPORT.
⌘F: Addie Wagenknecht⌘F is a conversation series focused on the presentation of time-and web-based artwork. These interviews start with a set of fixed questions that trace the effects of worldwide quarantine on artistic practice and later expand upon a single work in detail. This week’s ⌘F invites conversation with Addie Wagenknecht.
Virtual Opening of Billow by Daniel Canogarbitforms gallery is pleased to present our fourth solo exhibition with Daniel Canogar. The data-sphere is a driving force of society and the economy, despite its invisible nature. This lack of visibility can make it difficult to comprehend how information affects daily life. Billow attempts to expose the hidden threads of data networks.
Addie Wagenknecht: My opsec haul from Sephora, politics within makeup videosThe space for politics has shrunk, either ’deported’ to social media and online spaces in general, self-ghettoized in homogeneous circles or lost in the crowd of leaders’ profiles, not to mention the pollution of human and bot paid troll armies. “my opsec haul from Sephora” is a series that Addie Wagenknecht performed on a barebone YouTube channel.
Nine amazing artworks made for the internet, featuring Addie WagenknechtWagenknecht makes razor-sharp, critical, satirical art that takes aim at abuses of power and technology in society. She’s painted with Roombas and pigments made from makeup, she’s made art with drones, and she’s created a robot arm to rock your baby to sleep. You know what she’s up to? Taking the piss and undermining contemporary society’s bullshit with pizzazz and aesthetics.
Siebren Versteeg, In%20Memory, now liveIn In%20Memory, playful references to painting, ready-mades, and installation inquire toward the experience of isolation within our technological present. In effort to participate yet emancipate from the expectation of an artist to create “things,” In%20Memory advances viewing room culture with deep zoom technology while challenging visitors to engage in a meaningful temporal experience. The exhibition is accompanied by an essay by Katie Geha.