Asger Carlsen

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Asger Carlsen

Works from Drawing from the Hand at Dittrich & Schlechtriem, Berlin

Carlsen passes through the joining together and coordinated superimposing digital image templates to a brutal aesthetics, which focuses on a reassessment of the drawing process and a deformation of the subjects of the silhouette. With DRAWINGS FROM THE HAND Danish artist opens the fictional body hybrids of his earlier image series HESTER and WRONG and creates photographic, objects’ which have both archaic earthy and cosmic intangible remuneration. DITTRICH & Schlechtriem shows them simultaneously disturbing and alluring works in three different formats: 5 pigment prints of digitally synthesized photographs, 8 multi-layered, marble drawings’ on hot press watercolor paper and a shimmering, transmorphe sculpture that is based on a 3D printing.

The large-format black and white pigment prints make the front of the gallery extreme, objects’ on black mirrored glass surfaces. Carlsen, who works with electronic pens on tablet computers, collaged self-portraits with undefined material record and won the gestural vocabulary of Photoshop photo editor, z. B. from the time-consuming Blur, an old-masterly precision. The artist designs a raw, amorphous materiality, meat, metal and combined concrete like textures with partly futuristic surface structures. As a former crime scene photographer NYPD Carlsen has a sensitized access to post-mortem appearance of bodies and contrasts figurative details like eye sockets, noses and ears with coarse cracks and blood-like stains. A job is at times more than 200 photographic templates Step by step in a comprehensive, lasting up to six weeks imaging are combined. While earlier in the series are strategies of resolution and defacing of skin transitions in the foreground, then back breaking and transformation of the human body and its Utopian into Flipped materiality to the fore.

The exported in the format 40.6 x 28 cm, marble drawings’ show semi-transparent, gently towards their edges towards lightening color scenarios. By the artist with a pencil inscribes the silhouette of his face, the invisible gestures of the drawing hand on the computer realized on the concrete image carrier. For this also composed of numerous heterogeneous image layers work Carlsen photographs of the bathroom floor of his New York apartment used in Chinatown. These faded, interwoven by the time linoleum layers to remember this vein systems, maps, hematoma or about organ sections. The formative interplay between contingent soil and an unexpected intimacy by living room and facial contour of the artist also enables personalized readings.

The exhibition is the 3D photopolymer printing an immaterial shiny sculpture, scale 1: is executed to the photographic works 1 and treated with a metallic car paint. The asymmetric, ducted in a dark silver tone and supported by a golden ball relief structure shows the abstracted facial features of the artist. The amorphous, almost virtual character of the work is thereby the status of classical sculpture in question and intensified a trend that has already been created in the photographic series: Carlsen aims in his work on the design and analytical penetration of a kind Hyper-sculpture in which the viewer is clear at any time whether it is analog images of real objects or synthesized Photoshop designs.

Asger Carlsen overcomes DRAWINGS FROM THE HAND conventional boundaries of sculpture, Photoshop editing and classical drawing and cultured while a zone of referential between – objects that exist beyond the categories of the idea of ​​the design and its realization in the material. The previously hidden hand of the artist will be at different levels whether concretely visible by pencil marks or indirectly by fingerprints and modeling traces of the photographed material in his works. While the iconographic unity of the previous series of a new haptic rudeness turns, the associative spectrum increased significantly: morgues, pottery studios and comets surfaces now appear as atmospherically relevant reference points. The silent screams of the sealed body hybrids of Carlsen’s earlier works are transformed through the open medium of drawing in the echo of a new brutality of the material.



Marte Eknæs and Sean Raspet

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Marte Eknæs and Sean Raspet

Work from Calculus of Negligence

At Room East

“P   = Probability of Accident

B   = Burden of Precautions

L   = Gravity of Loss

c.  = Economically Efficient Outcome: minimum expense for precautions that carries an acceptable level of risk.

A logical calculus governs the space of accident. A variable built into the mismatching between layers––the chemical- biological, the infrastructural-architectural, the legal- financial. An algorithm set inside a set of brackets to contain spillage. Industry and injury are necessary partners. A laissez-faire accident can easily be accounted for. Perverse intentionality is more difficult and requires higher premiums. Terrorism, war and acts of God are in the same category for insurance purposes––exceptions beyond the scope of probability. Accidents beyond the accidental.

A functional mismatch, a hiccup in one layer can launch a cascade of events “downstream” like a slip n’ fall multiplied by medical malpractice and raised to the power of corporate malfeasance.

The atmosphere––the background of such events––is composed of the sum of its own quantum-thermal variations. Air in a black box.

Marte Eknæs (b.1978, Norway) lives and works in Berlin. Past solo exhibitions include “Perpendicular Picture” at Susanne Hilberry Gallery, Detroit; “Arranged for Effect” at the Trondheim Kunstmuseum, Norway; “Escalate” at Between Bridges, London. Eknæs’ work derives from the urban built environment, utilizing functional objects and appropriated strategies. Her exhibitions are often temporary site specific installations, integrating the architectural context into her work. Her book Formal Economy was released by Mousse Publishing this spring and her collaborative project Boom! with Nicolau Vergueiro is currently on view at Rise Projects, London.

Sean Raspet (b.1981, Washington, DC), lives and works in Los Angeles. Recent solo exhibitions include “Deformulation” at Societé, Berlin; a two-person exhibition at Chateau Shatto with Kelly Akashi; and “Residuals” at Jessica Silverman, San Francisco. Raspet’s practice engages the fluid materiality of industrial production and financial abstraction, often employing chemicals such as artificial flavorings and synthetic gases. His work has previously been exhibited in New York at ROOM EAST, The Artist’s Institute, and The Kitchen. He is the founder of Air-Variable, a scent fabrication company.”

Nico Krijno

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Nico Krijno

New Gestures:  Fabricated to be Photographed at WHATIFTHEWORLD

South African artist Nico Krijno’s works are a vibrating riot of colour, objects and patterns tearing through photography’s overpopulated landscape. With a unique and highly stylised vision that finds its form in prints, objects, books and other ephemera, Krijno is a trailblazer exploring the limits of photographic space.

Combatting the pristine nature of the commercial still life and its stable value system, his humourous approach to the genre embraces the myriad of transformations that the medium has endured in its recent history. Krijno is working within a chaotic artistic framework where the very identity of a photograph is in question, the material quality of the photograph has mutated from film to unfathomable digital data and where the speed of production and distribution has increased a million-fold in the past decade. It is with in this framework that the artist’s tools are for the most part intangible. In short, where photography as we once knew it has collapsed. But in its wake a space for experimentation has been born and it is the experiment that is the ‘salvation’ of photography. It is within this borderless turmoil that Krijno is constructing his distinct photographic universe.

In unstable times, the process and practice of the artist is reinvigorated. With a background in theatre and experimental video, the notion of performance is at the core of Krijno’s work. Logging his research and experiments online and in zines, photography becomes a play divided into acts. The photographic frame ceases to act as a transparent window on reality, instead becoming a means to rearrange it. More inventor than observer, he hunts through his surroundings, amassing rubbish and everyday objects to fabricate a private performance that will unfold in front of his lens. With the addition of paint and any textures he can get his hands on, Krijno ‘gets weird’, intuitively building up temporary sculptures and situations electric with possibility. Their transitory existence is then captured by the camera; magically odd and improbable encounters arrested in motion.


Everything is Collective


Deliberate Operations Issue No. 3 [Full Empty]

E.I.C Press is proud to announce the release of Deliberate Operations No. 3 [Full Empty].

In the third installment of the Deliberate Operations series, the E.I.C. continues its mission to explore the contemporary image as both record and road map with over 160 pages of new photographs, digital images, appropriations, and assemblage.

Deliberate Operations No.3 [Full Empty] begins with a cut-up essay that combines an original text by the E.I.C. with fragments of the cult classic sci-fi novel Roadside Picnic. The premise of that novel, a society faced with the presence of powerful and often misunderstood technology, sets the tone for a series of photographs, digital images, and assemblage that approach the contemporary image landscape as a Zone of unexplained phenomena and a source of dubious economies.

Thomas Albdorf

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Thomas Albdorf

works from Oh Fail, You Beauty at Fotogalerie Wien

Given the pervasive influence that photography has on our social landscape, it is no surprise that artists have taken the opportunity to fundamentally reconsider those terms by which the medium operates. One of the clearest responses has been a “sculptural” one, that is to say, an examination of material properties and the work of Thomas Albdorf fits comfortably within this rubric, though without being entirely confined to it. Indeed, to assert that this work is concerned with photography is perhaps to define it too narrowly. Although his most immediate subject is undoubtedly photographic, this does not mean that Albdorf is engaged in a debate about what photography can be in and of itself. This is merely where the work begins, not some essential definition of what photography is as a medium, but rather a set of propositions aimed at discerning how photographs act – that is to say, what they do, as photographs. It seems that the most significant concern for Albdorf is to expose the mechanisms of representation by using them in a reflexive or even contradictory manner. His diverse approach is ideally situated to untangle the mesh of possibilities that define photography as a medium – and which, in turn, determine how it is used. This work poses the question of what, if anything, we might find outside the conventional “limits” of the image.

-Words by Darren Campion


Colby Bird

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Colby Bird

works from Hope Goes with Man to the Foot of the Gallows

Colby Bird’s most recent photographs are of objects (e.g., a candle, a rose, a statuette in a garden, a knife next to a raw steak) and a woman whose identity is never fully revealed.

The images are enlargements of Polaroid negatives (the component of instant film one peels away from the positive print and typically throws away). After scanning the negative and printing it large-scale, Bird paints each print with layers of wood stain until the paper is saturated. The resulting images have a velvety texture and a rich brown-black tone. Each image is cut in two, each half is framed separately, and the two halves pinch a piece of fruit between them (usually fresh produce, unless it is a likeness Bird carved from a block of wood).

This body of work is closely tied to Bird’s recent move from Brooklyn to upstate New York. Without the distractions of a major city, Bird’s thoughts have turned inward: toward evaluating his self-worth, his personal relationships, and ultimately, his mortality.

A new labor-intensive challenge Bird tackles with this body of work is the framing of his own photographs. His woodworking skills are far from masterful, but perfection is not the goal—Bird wants to establish a measure of economic accountability. Artwork is expensive, and its valuation is abstract and subjective. An example of a more straightforward transaction is paying a craftsman to frame a photograph. By framing his own prints, Bird is aligning his efforts with a profession more widely relatable than art-making and searching for concrete value and meaning in the objects he produces.

Despite the conceptual framework through which Bird filters his imagery—excessive labor, handmade frames, bisected photographs, slowly decaying fruit—at its core, the work is about love, loss, and self-reflection. In Hope Goes with Man to the Foot of the Gallows, Bird pulls back the veil of propriety to hint at his own personal insecurities, feelings of guilt, and pursuit of pleasure.

-Lora Reynolds Gallery, 2015

Michael Mandiberg


Michael Mandiberg

From Aaaaa! To ZZZap! opening tonight at Denny Gallery.

The Wikipedia entry for “quixoticism” runs only about 255 words. But if anyone could argue for a personal mention, it might be Michael Mandiberg.

For the past three years, he has been fully engaged in a project that might make even the most intrepid digital adventurer blush: transforming the English-language Wikipedia into an old-fashioned print reference set running to 7,600 volumes.

Mr. Mandiberg, an interdisciplinary artist who teaches at the College of Staten Island and the Graduate Center of the City University of New York, describes the project as half utilitarian data visualization project, half absurdist poetic gesture.

“When I started, I wondered, ‘What if I took this new thing and made it into that old thing?’ ” he said in a recent interview in his sparse, white-walled studio in Downtown Brooklyn. “ ‘What would it look like?’ ”

On Thursday, he and the rest of the world will find out, when the exhibition “From Aaaaa! To ZZZap!,” based on his larger project “Print Wikipedia,” opens at the Denny Gallery on the Lower East Side. There, Mr. Mandiberg will hit “start” and a computer program will begin uploading the 11 gigabytes of very compressed data from a Mac Mini to the print-on-demand website

The upload page at will be projected onto one wall of the gallery, which will remain open around the clock through the weekend and then for more regular hours until the upload finishes roughly two weeks later. For the code-literate, the technical operations will be tracked on a monitor in the gallery and online at For the print-minded, the gallery’s other walls will be lined with wallpaper showing the spines of the first 1,980 volumes in the set, supplemented by 106 actual physical volumes, each of which runs to 700 pages.

Everyone knows that Wikipedia is huge, but it takes the physical book — still a “cognitively useful” unit of measure, Mr. Mandiberg said — to grasp just how huge. He will not, however, be printing all 7,600 volumes.

“We don’t need to see the whole thing in order to understand how big it is,” Mr. Mandiberg said. “Even if we just have one bookshelf, our human brains can finish the rest.”

Mr. Mandiberg, a seasoned Wikipedia contributor with nearly 2,000 edits to his name, first started batting around the idea for the project in 2009. In 2012, he pushed the project to the front burner, throwing himself into what he called “a series of unending nontrivial programming tasks” necessary to formatting the data behind Wikipedia — all of which is freely available online — for upload.

He approached last fall. “It was certainly a very interesting inquiry,” said Dan Dillon, vice president for marketing at the company, which provided technical and some financial support to the project. “It’s not every day someone comes to you and says, ‘I’d like to make a printed inventory of the largest storehouse of human knowledge in English, and would like to use your website.’ ”

There have been other efforts to measure Wikipedia in terms of the printed page. But Mr. Mandiberg seems to have taken the most concrete measure yet of its size — at least as of April 7, when he harvested the data. According to estimates provided by the Wikimedia Foundation, there have been some 7.5 million edits since.

Mr. Mandiberg’s project, like the evolving digital encyclopedia itself, is really “a gesture at knowledge,” said Katherine Maher, chief communications officer at Wikimedia, adding, “The reality is that knowledge has transcended our ability to hold it in volumes on a bookshelf.”

The installation at the Denny Gallery may be titled “From Aaaaa! to ZZZap!,” but it takes a while for Mr. Mandiberg’s encyclopedia — the articles are set three columns to a page, mainly using an open-source typeface called Cardo — to get to the letter A.

First comes the 91-volume table of contents listing the nearly 11.5 million articles. Then come more than 500 volumes containing entries beginning with typographical symbols and numbers, starting with “!” (the exclamation point), “!!” (notation for an excellent move in chess) and “!!!” (a dance-punk band from Sacramento whose name is usually pronounced “Chk Chk Chk”).

Mr. Mandiberg said he expected that Wikipedia’s millions of articles would fill 7,600 volumes, like the one above. Credit Mark Kauzlarich/The New York Times
There is also a 36-volume contributors index, listing each of the nearly 7.5 million named users who have made even a single edit since Wikipedia began in 2001 — a statistic that Mr. Mandiberg may be the first to establish.

While Wikimedia now has an analytics team, tracking the size and growth of Wikipedia “is something we’ve had to go back and do retroactively,” Ms. Maher said. Until recently, “the focus has been on making sure the servers run.”

Any volume of Mr. Mandiberg’s encyclopedia can be ordered from for $80. Select volumes will also be on sale at the gallery for $68, including those containing the entries for resonant terms like “aesthetics,” “appropriation,” “entropy” and “time.”

Those volumes carry especially poignant “spine poetry,” as Mr. Mandiberg put it. The article on “history,” for example, falls in Volume 2919, which runs from “Historicity of Jesus” to “History and use of instant run-off voting.” The article for “humanism” appears in a volume titled “Hulk (Aqua Teen Hunger Force) — Humanitarianism in Africa.”

These algorithmically generated word clusters “represent humanism’s failing as an idea, even as Wikipedia itself is an incredible act of humanism,” Mr. Mandiberg said. “It’s really all these contradictions wrapped up in one.”

As each volume finishes uploading, the title will be posted to Twitter at @PrintWikipedia. There will be a party when the entire upload is done, which Mr. Mandiberg estimated will take 11 to 14 days. That moment — and the futile grand gesture it represents — will be celebrated with toasts and a projection of the confirmation page, complete with a “Buy It Now” button offering the whole set for $500,000.

While that price is real, the button is just for show. “The order is so big it breaks the shopping cart,” Mr. Mandiberg said. “But symbolically, I wanted to able to say ‘Buy It Now.’ ” – Jennifer Schuessler for the New York Times.

Travess Smalley

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Travess Smalley

at Foxy Production

Travess Smalley’s inaugural solo exhibition at Foxy Production comprises large-scale print works, a five-volume book of images, and a short story. Blurring distinctions between process and product, and between analog and digital, Smalley confounds viewer’s certainties about optical perception. Smalley creates a web of mediated images that speak to the contemporary dilemma of digital preservation and transfer: to the aesthetics of loss and corrosion.

Each work in the exhibition is a composite image that has undergone a series of actions, including cutting, drawing, photocopying, printing, scanning, Photoshopping, collage, or stenciling. Printing and scanning are central operations to Smalley’s practice: they act as portals between his analog and digital activities. The works’ final realization combines changing perspectives and a vibrant, sensual palette that recall a range of influences, including Internet graphics, Structuralist film, and textile design.

Smalley’s large inkjet prints mounted on aluminum are vividly hued combinations of abstractions and images of flowers. Exhibited either singularly or as diptychs, their high-resolution pulsating colors and forms leave the viewer’s experience of content, texture and perspective in a state of flux. They resemble paintings, silk-screens, photographs, and misaligned scans, and bring to mind a range of art-historical associations, including still life painting, Abstract Expressionism, and Pop Art.

The artist has produced an artist’s book, comprising 1,384 drawings, that acts as a recording of programmed transformations upon images compiled over the last few years. The book, as a data archive, is a testament to the enormous breadth and depth of his creative project.

Smalley’s short story, Bloom, brings together many of the themes of the exhibition. Set in the future, it dramatizes problems with digital storage: with the plethora of images people now collect and the effects of data corruption on a subject’s identity, drawing is seen as a means of data collection.

Inflected Objects #1 Abstraction



There is no such thing as a confined virtual domain. Computational processes can be traced everywhere and are deeply interwoven into the fabric of everyday routines. This results in a hybrid reality constituted by digital and physical infrastructures alike. As a result, artistic production that deals with questions related to digital culture has increasingly focused on objects, acknowledging the hybrid status of current digital culture and its embeddedness in a world of material things.

At the same time, the digital has become interwoven with the hyper-capitalist fabric of society: vast parts of the contemporary web are presently owned by a few private mega companies, which capitalize on the content and data generated by the users of their platforms. Data exchanged at a rapid pace is gathered, profiled and put to work, so that more products can be sold. Social media profiles have become commodities whose exchange value is measured in likes, social capital and ultimately sold for hard cash. Never have the logics of late capitalism been incorporated so intimately into our daily lives.  

Linking this reality to artistic production, the digital can no longer be approached as a medium with distinct mechanisms and a specific aesthetic. “The digital” as such is hard to pin down. Still, if one wants to tackle the specificity of contemporary digital culture, it is characterized by an exceedingly complex technological and economic infrastructure that achieves high levels of abstraction. As more and more processes are digitized, the world is increasingly permeated by calculative, software-enabled infrastructures running silently in the background. As a result, we increasingly depend on these abstract processes that fly airplanes, switch on traffic lights, and determine the value of the money in bank accounts.

Digitization is based on a binary system, building up information on the basis of two symbols: zeros and ones. These fundamental bits then compose code, software, communication, images and social settings. Abstraction results in movement, dynamic, flow – a current that structures and forms what we see, buy and interact with.

The first exhibition in the series Inflected Objects, titled “Abstraction – Rising Automated Reasoning,” analyzes the relation between the increasingly abstracted technological and economic flows that structure our lives and influence the material objects produced. It investigates how abstracted, computational and economic processes leak in, mingle, underlie and structure physical materiality. 

Inflected Objects #1 Abstraction – Rising Automated Reasoning at Istituto Svizzero curated by Valerio Mannucci & Melanie Bühler and featuring the works of Philippe Decrauzat, Harm van den Dorpel, Katharina Fengler, Femke Herregraven, Lars Holdhus, and Pierre Lumineau

Tyler Los-Jones


Tyler Los-Jones

Work from We, ourselves included at Ditch Projects.

“We, ourselves included is a meditation on landscape photography, representation and inherited assumptions about environments. These works began as typical tourist images taken while visiting Glaciers in-and-around Banff, Jasper, Yoho and Kootenay parks this past summer. The Peyto, Jumbo, Daly and Saskatchewan Glaciers are depicted alongside unnamed ice and snow deposits. These images are printed as long panoramas which are curled and folded in response to the geology of the original photograph. The final folded form is re-photographed in the studio and printed flat.

This process results in an uncanny image which reflects the uncertainty of our current ecological crisis. It is becoming more widely accepted that we are living in the Anthropocene – an epoch where the effects of human activity have registered at geologic scales. Yet in spite of our growing awareness of our embeddedness, our depictions of landscape continue to portray ecosystems as exterior, objective and dramatically disconnected from human activity. The works in We, ourselves included slowly unsettle and complicate our relationship to landscape photography by quietly bringing the unnatural aspects of our conception of nature to the forefront.” – Tyler Los Jones