#bitforms gallery

[fckyeahnetart]

Daniel Canogar, "Dynamo", 2021

Temporary sculptural LED screens, computers, generative custom software, real-time data, metal structures.

354.33 x 196.85 x 216.54 in 900 x 500 x 550 cm

In collaboration with the composer Francisco López

" The interactive piece by Studio Daniel Canogar is made up of three large rings that create light and sound compositions based on the interaction of the Pavilion's visitors through the railing that surrounds the atrium."

photo bitforms gallery

desc españa expo dubai 2020

[fckyeahnetart]

Addie Wagenknecht

brb afk, 2017

From the series solitaire and cheat codes

Dye-sublimation on aluminum

17 x 14 in / 43.2 x 35.6 cm

Edition of 3

bitforms gallery

[carlgunhouse]

Searching For The Light has a review up of Siebren Versteeg’s Reflection Eternal at Bitforms Gallery.

“It is so aesthetically pleasing that I find it harder to believe the production of the paintings are completely random, but then again who knows if it ever was? What I do know is the wonder of Siebren’s work hasn’t grown old, and the results seem to get more and more appealing. Which ups the ante for process-based painting, as well as what it means to make art. As with much of Siebren’s work, it raises the question does your computer dream of electric sheep?”

(via Searching for the Light: Siebren Versteeg, Reflection Eternal @ Bitforms Gallery)

[hyperallergic]

Digital data has become one of the most integral and misunderstood resources in contemporary society. In many parts of the world, people go about their daily lives completely saturated with the digital. Yet few have a firm grasp of what the nebulous technological product really is. One of the major contributions to our confusion stems from the difficulty of conceptualizing its materiality: we see the products of digital information all the time but rarely its origin or process. Where does all our data go when it’s not illuminated on a screen? How does a virtual object gain significance? These uncertainties directly relate to the ways in which we, as individual subjects, interact with digital technology. In the exhibition Subsurface Hell at bitforms gallery, Sara Ludy materializes her digital experiences. And by using aspects of the ancient Chinese philosophical system of feng shui to inform her work, she creates artworks that exist in contradictory states of artificial and natural beauty.

Turning the Digital into the Material, with Feng Shui

[tadcampbell]

Daniel Rozin, "PomPom Mirror," 2015 — by bitforms gallery Daniel Rozin "PomPom Mirror," 2015 928 faux fur pom poms, 464 motors, control electronics, xbox kinect motion sensor, mac-mini computer, custom Software, wooden armature 48 x 48 x 18 in / 121.9 x 121.9 x 45.7 cm Edition of 6 Rozin’s anthropomorphic "PomPom Mirror" features a synchronized array of 928 spherical faux fur puffs. Organized into a three-dimensional grid of beige and black, the sculpture is controlled by hundreds of motors that build silhouettes of viewers using computer-vision. Along its surface, figures appear as fluffy animal-like representations within the picture plane, which is made permeable by a ‘push-pull’ forward and backward motion of meshed ‘pixels’. Ghostly traces fade and emerge, as the motorized composition hums in unified movement, seemingly alive and breathing as a body of its own. Filmed and edited by Victoria Sendra.

[perceptuality]

Casey Reas, 'Control Room (Forward Command Post),' 2013, bitforms gallery

[perceptuality]

Manfred Mohr, 'P-480/010110,' 1992, bitforms gallery

[nycartscene]

thru Nov 1:

“Lapsus Lumen”  Rafael Lozano-Hemmer

bitforms gallery, 131 Allen St., NYC

pictured: External Interior, 2015, acrylic sphere, 1600 one-way mirrors, LED light, metal, pulleys (view video)