12.11.2016 — 11.03.2017
Location: Galeria Millennium
Rua Augusta, 96,
The exhibition Unspoken Dialogues is part of the programme of the 2nd Post Screen Festival and includes works by guest artists Clare Strand, Gary Hill and Rafael Lozano-Hemmer. These names are joined by selected artists Abelardo Gil-Fournier, Abraham Avnisan, Atif Akin and the TeYosh duo, who have responded to the challenge by presenting their proposed art projects. These have been evaluated and carefully selected by an international curatorial committee. The exhibition will be open from 12 November 2016 to 11 March 2017, at the Millennium Gallery, in Lisbon.
Unspoken Dialogues brings together a series of works that demonstrate the extraordinary impact that screens are having on contemporary thought, and speculates about the kind of communication that arises as a result of the confrontation between the viewer and technological devices. Faced with each screen, the viewer participates in a kind of dialogue that follows, in a subliminal and sometimes implied way, from the process of receiving, questioning and constructing meaning around that confrontation.
The works presented in this exhibition involve direct or indirect interaction which will establish the level of dialogue that comes from experience and reflection on the part of the visitor. We are talking, therefore, about screens that mediate dialogues involving, on the one hand, greater insight by the visitor and, on the other, require their participation to activate the work.
Through themes such as language, communication, digital poetics, narrativity, social networks and surveillance systems, different media are presented by the artists: video, photography, software applications, internet-based art, and media objects. The exhibition deals with the ambiguity of images, of meanings and the information conveyed by television, by video and photographic language, by the virtual nature of the web or by the ubiquitous accessibility that portable screens provide.
The Exhibition will take place at the Galeria Millennium (Lisbon, Portugal), and opens on November 11, 2016.
Clare Strand (1973) works with photography. She describes her working method as being like ‘rolling in the fresh-cut grass and seeing what you pick up on your jumper.’ Strand’s constantly evolving practice brings together intensive research, deadpan humour and insights into popular culture, shifting from the mysterious and the absurd to understanding public obsessions, often via trickery and manipulation Recent exhibited work includes machines to encourage entropy, web programs, looped films and intricate photographic constructions focusing on subverting, reimagining and manipulating photography’s functional and utilitarian origins.
Gary Hill (b. 1951, Santa Monica, CA) has worked with a broad range of media – including sculpture, sound, video, installation and performance since the early 1970’s. His longtime work with intermedia continues to explore an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity.
Exhibitions of his work have been presented at museums and institutions worldwide, including solo exhibitions at the Fondation Cartier pour l’art contemporain, Paris; San Francisco Museum of Modern Art; Centre Georges Pompidou, Paris; Guggenheim Museum SoHo, New York; The Henry Art Gallery, Seattle, Washington; Museum für Gegenwartskunst, Basel; Museu d’Art Contemporani, Barcelona; and Kunstmuseum Wolfsburg; Museum of Contemporary Art (MOCA), Los Angeles; MIS – Museu da Imagem e do Som, São Paulo, Brazil; Musée d’Art Contemporain de Montréal, Montreal, Quebec, Canada; Center for Contemporary Art, Tel Aviv, Israel, among others. Commissioned projects include works for the Science Museum in London and the Seattle Central Public Library in Seattle, Washington, and an installation and performance work for the Coliseum and Temple of Venus and Rome in Italy. Hill has received multiple fellowships from the National Endowment for the Arts and the Rockefeller and Guggenheim Foundations, and has been the recipient of numerous awards and honors, most notably the Leone d’Oro Prize for Sculpture at the Venice Biennale (1995), a John D. and Catherine T. MacArthur Foundation Fellowship Award (1998), the Kurt-Schwitters-Preis (2000), and honorary degrees from The Academy of Fine Arts Poznan, Poland (2005) and Cornish College of the Arts, Seattle (2011). He was recently awarded the Genius Award in Film by The Stranger, Seattle 2011.
Recent projects include directing Beethoven’s opera Fidelio which premiered at the Lyon Opera House and Feedback Path, a monumental multi projection installation in the Grotte du Mas D’Azil, France.
Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989 he received a B.Sc. in Physical Chemistry from Concordia University in Montréal, Canada. He is a faculty associate of the Graduate School of Design at Harvard University. Electronic artist, develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks. Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are “antimonuments for alien agency”. His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico City (2008), the 50th Anniversary of the Guggenheim Museum in New York (2009) and the Winter Olympics in Vancouver (2010).
Recently the subject of solo exhibitions at the San Francisco Museum of Modern Art, the Fundación Telefónica in Buenos Aires and the Museum of Contemporary Art in Sydney, he was the first artist to officially represent Mexico at the Venice Biennale with a solo exhibition at Palazzo Soranzo Van Axel in 2007. He has also shown at Art Biennials and Triennials in Havana, Istanbul, Kochi, Liverpool, Montréal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney. Collections holding his work include the MoMA in New York, Tate in London, AGO in Toronto, CIFO in Miami, Jumex in Mexico City, DAROS in Zurich, Borusan Contemporary in Istanbul, MUAC in Mexico City, 21st Century Museum of Art in Kanazawa, MAG in Manchester, MUSAC in Leon, MONA in Hobart, ZKM in Karlsruhe, MAC in Montréal and SAM in Singapore, among others.
Abelardo G. Fournier is an artist and researcher. His practice speculates with the notion of a digital colonization of the visual, both by machine vision systems and the industrial coating of visible surfaces. His practice is based on the elaboration of platforms — installations, devices and workshops — conceived as laboratories, where art, knowledge and politics intersect.
Some of his work has been developed in artist residencies in El Ranchito/Matadero (Madrid), LABoral Center of Art (Gijón) and the Spanish broadcast television Canal+, or as commissions from institutions such as CROMAFest in Mexico DF or the open hardware company Ultra-lab.
His projects have been shown in international exhibitions and festivals and reviewed in mainstream publications on art and digital culture. He is currently a PhD student at the Winchester School of Art, University of Southampton, part of the AMT Archaeologies of Media and Technology Research Group.
Abraham Avnisan is an artist, writer, technologist and educator whose work is situated at the intersection of image, text, and code. He holds an M.F.A. in Art and Technology Studies from the School of the Art Institute of Chicago and an M.F.A in Poetry from Brooklyn College. Abraham has presented and exhibited his work at the Libraries of the Niels Bohr Institute in Copenhagen, Denmark, the Vild med ORD literary festival in Aarhus, Denmark, the &NOW Conference of Innovative Writing, the International Symposium on Electronic Arts (ISEA), the Electronic Literature Organization conference, and the Museum of Contemporary Art Chicago’s Word Weekend event. His work has been published in the ISEA Symposium Proceedings, Stonecutter, the Poetry Project Newsletter, Drunken Boat, New Delta Review, and others. He is the recipient of the Rosen and Edes Foundation Semi-Finalist Fellowship for Emerging Artists and the School of the Art Institute’s New Artists Society Merit Scholarship.
Atif Akin (Turkey, 1979) is an artist and designer living in New York. His work examines science, nature, mobility, and politics through an (a)historical and contemporary lens. Through a series of activities made up of research, documentation and design, Akin’s work considers transdisciplinary issues, through a techno-scientific lens, in aesthetic and political contexts. Akin studied at Middle East Technical University in Ankara, Turkey. Over the past ten years, he has been teaching in Istanbul, Europe, and the US. Akin joined the Mason Gross School of the Arts faculty at Rutgers University in 2011, the same year he moved to New York. Akin has a private studio in New York, and works and exhibits actively in the US, as well as Europe and the Middle East. Currently, he is working on a long term research-driven art project on nuclear mobility and archaeology to be presented at the Design Biennial.
TeYosh is a multidisciplinary design duo, working mostly on art direction and animation, making cutting-edge contemporary digital art. It is a collaboration between Sofija Stankovic (26) and Teodora Stojkovic (27), both graduates of Sandberg Institute (Gerrit Rietveld Academy) holding a Master’s degree in Design. Originally from Serbia, currently they live and work in Amsterdam. TeYosh is interested in defining and analyzing social phenomena from their own perspective, in the hope that it acts as a thought provoker on newly emerged modern day problems. Their design is visually stimulating, fresh and experimental while their narratives are based on clear, often provocative and humorous statements that aim to start a dialogue with the public. Their work often focuses on their main interests, psychology and technology, more precisely on the influence of technological advancements on the (future of) communication and human psyche.