Amid an explosion of new intelligences, technology opens the doors to exhilarating experiences and functions, reorienting our perceptions of consciousness and the wiring that activates it. But smart machines can also pose an existential threat to our species and life as we know it. Will the good or evil uses of these technologies win? The Neuroverse explores both sides, as new artistic forms emerge within innovative reflections on existence — and its curious state on a planet where climate change renders life ever more fragile while technology expands it into new dimensions.
Produced in collaboration with New York Live Arts, in locations including Live Arts, New Inc’s ONX Studio for Extended Reality, and the Invisible Dog Art Center, The Neuroverse features performances, installations, and lectures employing the very technologies they consider. Stephanie Dinkins’ Secret Garden uses extended reality technology to immerse audiences in Black women’s stories from across generations. Wandering Mind, from Gershon Dublon & Xin Liu (slow immediate), takes attendees on an auditory tour of the world via thousands of online field recordings. Annie Lewandowski and Kyle McDonald’s Siren: Listening to Another Species on Earth offers an audiovisual immersion into whale songs. Philipp Schmitt’s lecture-performance How AI Lost Its Body provides a chronicle of the creation of AI and how the human imagination conjures its many dimensions. Ethan Lipton’s We Are Your Robots is an exploration of what humans want from their machines.
On November 7, the final day of the festival, MAX presents MAXforum, featuring a reading from Andy Bragen’s Johnsville Road, developed in collaboration with Daniel Fish, and discussions with artists and technologists including Stephanie Dinkins, NiNi Dongnier, Annie Dorsen, Gershon Dublon, Suzanne Kite, Kyle McDonald, Anne Murphy Paul, and more.
To learn more and reserve tickets, visit mediaartexploration.org.
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
Unless you were already familiar with Bey’s documentary work, the horror he refers to might not be recognizable to you.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.
View work by over 40 experimental artists and collectives from throughout the Americas who contributed to New York’s art scene during the 1960s and ’70s.
Several members of the 2021 cohort identify as artists and storytellers, utilizing the power that art and narrative have on changing ideas of power.
Made possible by a donation from Amazon stakeholder MacKenzie Scott, the award is the single largest in the Bedstuy-based organization’s history.
A donation of two hundred works includes Jean-Michel Basquiat, Robert Mapplethorpe, Keith Haring, and Donald Baechler.