New Museum<\/a><\/p>\n\u201cGhosts in the Machine\u201d surveys the constantly shifting relationship between humans, machines, and art.<\/h4>\n
Occupying the Museum\u2019s three main galleries, the exhibition examines artists\u2019 embrace of and fascination with technology, as well as their prescient awareness of the ways in which technology can transform subjective experiences.<\/p>\n
International in scope, the exhibition spans more than fifty years and incorporates works by contemporary artists. The works assembled trace the complex historical passage from the mechanical to the optical to the virtual, looking at the ways in which humans have projected anthropomorphic behaviors onto machines that have become progressively more human. In place of a traditional, chronological approach, \u201cGhosts in the Machine\u201d is conceived as an encyclopedic cabinet of wonders: bringing together an array of artworks and non-art objects to create an unsystematic archive of man\u2019s attempt to reconcile the organic and the mechanical.<\/p>\n
The installation at the New Museum includes artists, writers, and visionaries whose works have explored the fears and aspirations generated by the technology of their time. From Jacob Mohr\u2019s influencing machines to Emery Blagdon\u2019s healing constructions, the exhibition brings together improvised technologies charged with magical powers. Historical works by Hans Haacke, Robert Breer, Otto Piene, and Gianni Colombo, amongst others, are displayed alongside reconstructions of lost works and realizations of dystopian mechanical devices invented by figures like Franz Kafka. \u201cGhosts in the Machine\u201d also takes its cue from a number of exhibitions designed by artists that incorporated modern technology to reimagine the role of art in contemporary societies, including Richard Hamilton\u2019s \u201cMan, Machine and Motion\u201d (1955). Exploring the integration of art and science, \u201cGhosts in the Machine\u201d also tries to identify an art historical lineage of works preoccupied with the way we imagine and experience the future, delineating an archeology of visionary dreams that have never become a reality.<\/p>\n
Many of the artists in the show take a scientific approach to investigating the realm of the invisible, dismantling the mechanics of vision in order to conceive new possibilities for seeing. Central to the exhibition is a re-examination of Op art and perceptual abstraction, with a particular focus on the work of painters Bridget Riley, Victor Vasarely, Richard Anuskiewicz, and Julian Stanczak, amongst others. Op art was unique in the way it internalized technology and captured both the ecstatic and threatening qualities it posed to the human body. Furthermore, the exhibition will include a number of kinetic and \u201cprogrammed\u201d artworks as well as expanded cinema pieces, which amplify the radical effects of technology on vision. A section of the exhibition will present a selection of experimental films and videos realized with early computer technology. One highlight of the installation will be a reconstruction of Stan VanDerBeek\u2019s Movie-Drome<\/em> (1963\u201366), an immersive cinematic environment where the viewer is bathed in a constant stream of moving images, anticipating the fusion of information and the body, typical of the digital era.<\/p>\nAs technology has accelerated and proliferated dramatically over the past twenty years, artists have continued to monitor its impact. A number of contemporary artists, including Mark Leckey, Henrik Olesen, and Christopher Williams, will be represented in the exhibition. These recent works, while reflecting technological changes, also display a fascination with earlier machines and the types of knowledge and experiences that are lost as we move from one era to the next, constantly dreaming up new futures that will never arrive.<\/p>\n
\u201cGhosts in the Machine\u201d is curated by Massimiliano Gioni, Associate Director and Director of Exhibitions, and Gary Carrion-Murayari, Curator.<\/p>\n
* “Ghost in the Machine” 2012. Exhibition View, New Museum. Photo: Benoit Pailley<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-582","post","type-post","status-publish","format-standard","hentry","category-news"],"_links":{"self":[{"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/posts\/582","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/comments?post=582"}],"version-history":[{"count":6,"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/posts\/582\/revisions"}],"predecessor-version":[{"id":14522,"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/posts\/582\/revisions\/14522"}],"wp:attachment":[{"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/media?parent=582"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/categories?post=582"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vaearts.org\/US\/wp-json\/wp\/v2\/tags?post=582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}