Tuesday, November 01, 2011

Luminary Center for the Arts: Friday, 4 November 2011

Main Gallery: Recently Possible: Objects of the Future
Installation Space: Brett Williams, FeedBack
Opening reception: Friday, November 4th from 6-9pm
On view November 4, 2011- December 2, 2011
Wednesday-Saturday from 12-6pm

Recently Possible: Objects of the Future, The Luminary’s final exhibition of the 2011 season, explores the concept of ‘new media’ from a literal perspective of technological development, innovative concepts and radical consumer products primarily drawn from the past year. New media has been shorthand for all art that engages technology since at least the video experiments of the 60 s and has been omnipresent since the emergence of interactive technologies of the 90 s. Recently Possible explores the concept from a step outside of the fine art discipline in order to expand and challenge our concept of new media practice, placing products and experimental research alongside the work of new media artists.

The exhibition focuses on projects and products that would not have been possible to create beyond the past several years, from 3D printers and visual synthesizers to robotic lifeguards and electronic cigarettes. By placing restrictions on the exhibition’s timeline to the immediate past, we are questioning the relevance of the language of new media and the contemporary, which encompasses fifty years of artistic practice as it mentions Nam June Paik and Bruce Naumann together with artists pushing today’s technological boundaries.

Artists and projects include Art404, Teenage Engineering, Yamaha Tenori-on, Wacom, Ryan Hendrickson + Arch Reactor Hackerspace, E.M.I.L.Y./Hydronalix, Sugru, Russell Davies, and more.

Brett Williams will also open FeedBack, a new site-specific sound installation in the Installation Space that utilizes vocal microphones and an oscillating fan to create undulating feedback and percussive effects in the reverberant arched room. FeedBack is a self-replicating system that shifts over time as it filters the sound of the microphones through effects processors and guitar amplifiers, which in turn is picked up again by the microphones. The installation continues the artist’s fascination with technology’s ability to stand in for individual shortcomings. In this case, the fan and microphones create a performance that the artist himself is incapable of, substituting its own strums, stutters and tempos to fill the space.


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