Untitled Art
bitforms gallery is pleased to participate in Untitled Art's 2024 fair in Miami Beach. The gallery will exhibit works from Yorgo Alexpoulos, Marco Brambilla, Jim Campbell, Daniel Canogar, Claudia Hart, Auriea Harvey, Marshmallow Laser Feast, Rafael Lozano-Hemmer, Maya Man, Manfred Mohr, Jonathan Monaghan, Amor Muñoz, Ellie Pritts, Alexander Reben, Daniel Rozin, Clement Valla, and Marina Zurkow.
Plan your visit to visit bitforms gallery in Booth A39
Founded in 2012, Untitled Art is a leading contemporary art fair taking place annually on the sands of Miami Beach. Guided by a mission to support the wider art ecosystem, Untitled Art offers an inclusive platform for discovering contemporary art that prioritizes collaboration within each aspect of the fair.
Visitor Information
Untitled Art Miami Beach
Dec 3-8, 2024
Ocean Drive and 12th Street, Miami, Beach, Florida
bitforms gallery, Booth A39
Press/VIP Preview (by Invitation):
Tuesday, Dec 3, 10AM-7PM
Open to the Public:
Wed, Dec 4 11AM - 7PM
Thurs, Dec 5 11AM - 7PM
Fri, Dec 6 11AM - 7PM
Sat, Dec 7 11AM - 7PM
Sun, Dec 8 11AM - 7PM
Artworks
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<img src="https://www.bitforms.art/wp-content/uploads/2021/03/11_ahms_endlessforest_1_ab-400x266.jpg" data-large-src="https://www.bitforms.art/wp-content/uploads/2021/03/11_ahms_endlessforest_1_ab-1024x680.jpg" class="lazy " alt="Auriea Harvey & Michaël Samyn
The Endless Forest, 2005/2020-ongoing
Online multiplayer game" style="aspect-ratio: 1.50557 / 1;">
Auriea Harvey: My Veins Are the Wires, My Body Is Your KeyboardMy Veins Are the Wires, My Body Is Your Keyboard is the first major survey of the pioneering net-artist and sculptor Auriea Harvey. The exhibition will feature more than 40 of Harvey’s works, including her groundbreaking net-based interactives, video games, and augmented-reality sculptures from a career spanning nearly four decades.
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<img src="https://www.bitforms.art/wp-content/uploads/2021/03/ah_yearzero_install_1_w-400x267.jpg" data-large-src="https://www.bitforms.art/wp-content/uploads/2021/03/ah_yearzero_install_1_w-1024x683.jpg" class="lazy " alt="Auriea Harvey, Year Zero, bitforms gallery, New York." style="aspect-ratio: 1.49875 / 1;">
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In Conversation With Claudia Hart, International Journal for Digital Art HistoryClaudia Hart’s work range in media: architecture, painting/illustration, installation, eventually moving on to study animation – leading her to 3D animation art. Theory seems to be both the starting point and the end point of all of her artistic endeavours. Here, Hart, sits down with Tina Sauerlaender to discuss her work, career and how we are experiencing a crisis of truth.
Rafael Lozano-Hemmer featured in Art21’s “Borderlands” episdoeLozano-Hemmer highlights the intimate, personal relations in a public space that is otherwise systematically dehumanizing. The artist explains, “The most important role that art can play is that of making complexity visible. The usage of technology is inevitable; it’s up to the artist to use those technologies to create experiences that are intimate, connected, and critical.”
Rafael Lozano-Hemmer’s Art 21 segment highlighted in artnet, “We as Artists Need to Intervene”Known for his large-scale, interactive installations, Rafael Lozano-Hemmer uses contemporary technologies like computerized surveillance, heart-rate sensors, and robotics to create participatory experiences and platforms for public participation and connection.
<img src="https://www.bitforms.art/wp-content/uploads/2020/06/ahms_endlessforest_1_w-400x266.jpg" data-large-src="https://www.bitforms.art/wp-content/uploads/2020/06/ahms_endlessforest_1_w-1024x680.jpg" class="lazy " alt="Auriea Harvey & Michaël Samyn
The Endless Forest, 2005/2020-ongoing
Online multiplayer game" style="aspect-ratio: 1.50565 / 1;">
The Endless Forest by Auriea Harvey & Michaël Samyn June 23 – July 7, 2020bitforms gallery is proud to present The Endless Forest by Auriea Harvey & Michaël Samyn as the second work in a series of streaming generative artworks, presented in collaboration with Small Data Industries.
Rafael Lozano-Hemmer featured in the new season of Art21Lozano-Hemmer creates participatory artworks that utilize technology like robotics, heart-rate sensors, and computerized surveillance tools in order to facilitate human connection. Technologically sophisticated yet deceptively simple in their execution, Lozano-Hemmer’s spectacular, immersive works are often installed in public places as a means of transforming these sites into forums for civic engagement.
Claudia Hart: The Ruins reviewed in The Brooklyn RailThe front window of bitforms gallery displays Claudia Hart’s The Orange Room (2019), a bold crimson painting featuring energetic twists of lime green that slink down a wall, into and then across a table: the two dimensional wall becomes one with the three-dimensional table so that neither kind of space operates clearly. It’s a painting that allows Hart to introduce rates of time to the dimensional illusions that Matisse created in his 1908 masterpiece, The Dessert: Harmony in Red.
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.
⌘F Interview Series: Clement Valla⌘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 Clement Valla. Valla is a New York-based artist whose work considers the way computer vision systems apprehend the world, and the way in which automated image production entangles people and things in increasingly complex ways.
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.
The Tree of Life curated by Claudia Hart reviewed in The Brooklyn RailIn The Tree of Life, the esteemed digital artist Claudia Hart curated a show about how nature engages us amidst “the speed of time, history, archiving, memory, hard drives and resolution” that define our mediated lives. Her musings on how certain objects create moments and the way technology determines certain spans of time are thoughtful and thought-provoking, and they provide a context for the nine artists’ works. The website, designed by Shi Zheng, imitates the graphics of timelines—images and memory being two things at the heart of Hart’s opening essay written during the period of isolation.
Mesocosm (Northumberland, UK) by Marina Zurkow: Streaming July 8 – 21, 2020bitforms gallery is proud to present Mesocosm (Northumberland UK) by Marina Zurkow as the third piece in a series of streaming generative artworks, presented in collaboration with Small Data Industries.
⌘F: Clement Valla⌘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 Clement Valla.
Rafael Lozano-Hemmer on Seductive Participation and the Oppression of Metrics, Art in AmericaCan an artist engage with surveillance technologies without being complicit in their use for control and oppression? Audiences tend to treat interactive works as a fun spectacle, a chance to take a selfie. So how do artists clarify their position? How do they present their work as commentary, rather than mere reproduction?
Close Readings 1 – Claudia Hart: SwingImages capture us somewhere. Or we write on images that capture us. The ten-minute video work, Claudia Hart's The Swing (2006), part of the Borusan Contemporary Art Collection, captured me within the first few seconds.
The Tree of Life, curated by Claudia Hart, opens online May 15The works on my website timeline originate in the year 1995. Updating the early entries with higher resolution images was always the next thing on my to-do list. When Corona hit, it rose to number one. My update was to cover projects made between 1995 and 2014, which must have been the year I started thinking of myself seriously as an artist and the start of another story. In 1995, I published an illustrated book drawn with oil-paint, but stretched on canvas. I thought I should document it. In those days, documentation meant slides. In 1996, I bought a slide scanner.
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.
<img src="https://www.bitforms.art/wp-content/uploads/2020/02/srmz_wetlogic_install_2_w-400x267.jpg" data-large-src="https://www.bitforms.art/wp-content/uploads/2020/02/srmz_wetlogic_install_2_w-1024x684.jpg" class="lazy " alt="Sarah Rothberg and Marina Zurkow, Wet Logic, bitforms gallery, 2020." style="aspect-ratio: 1.4975 / 1;">
Wet Logic reviewed by Louis Bury for Hyperallergic From behind bitforms gallery’s glass facade, an artistic toilet bowl (“Toilet Joke I,” 2020) beckons passers-by into Wet Logic, Sarah Rothberg’s and Marina Zurkow’s digitized meditation on water’s unearthliness.
Andrew Demirjian and Claudia Hart discuss emerging media, micro to macro.The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
Claudia Hart’s A Child’s Machiavelli Book Release and Exhibition Opening at WallplayWallplay is pleased to host the newest edition of Claudia Hart’s A Child’s Machiavelli, published by Beatrice Books and edited by Patrick Reynolds. The original 1998 Penguin edition has been redesigned in collaboration with the author, and will be available for purchase on December 1st, 2019 through Amazon Books. A Child’s Machiavelli was initially written and illustrated by Hart in 1995, inspired by Niccolo Machiavelli’s Renaissance treatise, The Prince, long considered the first book of political philosophy. Hart’s version began as a series of oil paintings and small catalog, produced by the Realismus Studio, at the Neue Gesellschaft für Bildende Kunst, Berlin, 1995.
Artsy names Rafael Lozano-Hemmer’s Border Tuner among best public art of 2019“Border Tuner, a timely and ephemeral light and sound installation by Rafael Lozano-Hemmer, created a unique and powerful platform for interconnectivity and public participation at the U.S.–Mexico border. By melding performance, robotic technology, and social discourse, Lozano-Hemmer’s large-scale installation shared a lesser-told story by visibly highlighting positive counter-narratives about El Paso and Ciudad Juárez’s interdependent culture. A challenging public project to achieve, Lozano-Hemmer’s piece was able to brilliantly and poetically render intimate bridges between strangers standing in two different cities and countries that share so much.”—Nicholas Baume, Director and Chief Curator, Public Art Fund
Claudia Hart announced as apexart FellowThe ApexArt Fellowship is an alternative educational program that invites creative individuals to leave their familiar surroundings for a month-long stay in an unfamiliar city. The program provides new sources of inspiration through exposure to new cultures, interests, and experiences.
Rafael Lozano-Hemmer interviewed on BBC regarding his new work, Border TunerImagine huge searchlights which can be seen over a ten mile, 15 kilometer radius talking to one another across two countries. This is exactly what electronic media artist Rafael Lozano-Hemmer is creating this November between Ciudad Juárez in Mexico and El Paso in Texas. Called "Border Tuner," the project will see enormous bridges of light connecting the US-Mexico border for the first time.
How Media Artists Relate to Art History: The Case of Claudia HartClaudia Hart is a pioneer of media art, one of the very few that worked at the onset of merging art and simulation technologies in the 1990s. But is being technologically vanguard enough for artists to gain credibility? Is it just about mastering new tools? These questions ask to ponder the blurring of roles between a creative and an engineer or IT specialist.
<img src="https://www.bitforms.art/wp-content/uploads/2020/09/ch_theruins_install_6_w-400x267.jpg" data-large-src="https://www.bitforms.art/wp-content/uploads/2020/09/ch_theruins_install_6_w-e1600790445483.jpg" class="lazy " alt="Claudia Hart, The Ruins, bitforms gallery, 2020. Left to right: The Ruins (three-channel), 2020; The Still Life With Flowers by Henri Fantin-Latour, 2019." style="aspect-ratio: 1.49813 / 1;">
Claudia Hart, The Ruins, opens at bitforms galleryThe Ruins implements still lifes, the classical form of a memento mori, to contemplate the decay of western civilization. In this exhibition, Hart revises the canons of modernist painting and the manifestos of failed utopias. Exhibited works are meditations on the flow of history, expressed as a cycle of decay and regeneration.
Wet Logic, an exhibition by Sarah Rothberg and Marina Zurkow, opens at bitforms galleryWet Logic presents a model of the world organized according to a wet, oceanic ideology rather than a dry, land-based paradigm. This is a world that manifests the circuitous nature of time and the enmeshment of humans to the planet. Rothberg and Zurkow present a series of systems that further human connection to oceans by way of action and imagination.
Marina Zurkow’s exhibition The Thirsty Bird opening at the Contemporary Art Museum St. LouisMarina Zurkow focuses her work on the intersection of nature and culture, offering wry and pointed critiques of this perilously dysfunctional relationship. The Thirsty Bird offers parallel narratives on two essential, yet incompatible elements: oil and water.