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.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.