After Effects: Film Screening
Zach Blas, Tyler Coburn, João Enxuto, Erica Love, Pedro Neves Marques, Wyatt Niehaus, Elizabeth Orr, Sondra Perry, Mariana Silva, Jemima Wyman

Public Program
Mar 1, 2018
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Zach Blas and Jemima Wyman, Im Here To Learn So :)))))) (still), 2017. Courtesy of the artists.
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João Enxuto and Erica Love, Institute For Southern Contemporary Art (still), 2017. Courtesy of the artists.
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Sondra Perry, It’s In The Game ‘17 (still), 2017. Courtesy of the artist.
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Elizabeth Orr, Mt Rush (still), 2016. Courtesy of the artist.
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Wyatt Niehaus, Body Assembly: White Exteriors (still), 2014. Courtesy of the artist.
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Mariana Silva, Warp, Weft and Web (still), 2014. Courtesy of the artist.
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Pedro Neves Marques, Digital Animals: Dream Consequences (still), 2017. Courtesy of the artist.
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Tyler Coburn, I’m That Angel (still), 2013. Courtesy of the artist.
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Pedro Neves Marques, The Pudic Relation Between Machine And Plant (still), 2016. Courtesy of the artist.
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Thursday, March 1, 2018
7.30pm–11.30pm

Location
Anthology Film Archives
32 Second Avenue
New York, NY 10003
MAP

Free tickets are available at Anthology’s box office on the day of the show only.
Box office opens at 7:10pm and screening begins promptly at 7:30pm.
Seating is very limited and will be available on a first come first serve basis.


Art in General presents After Effects, a cinema screening featuring video works by contemporary artists that consider the landscape of technology as an active agent in the production of our subjectivity. The program includes recent work by: Zach Blas, Tyler Coburn, João Enxuto, Erica Love, Pedro Neves Marques, Wyatt Niehaus, Elizabeth Orr, Sondra Perry, Mariana Silva, and Jemima Wyman. The videos on view interrogate a wide-range of themes, from algorithms to affect, digital labour to decolonization, environmental ruins to economic structures, hyperlinks to human obsolescence. When viewed together, they ask us to consider a dialectical tension in our current relationship to technology: while created in the name of progress to attend to our human desires, how do objects, interfaces, processes, aesthetics and norms ultimately reshape these desires, and—in turn—reshape us?

The screening is organized by Art in General at Anthology Film Archives in conjunction with the exhibition Zach Blas: Contra-Internet on view at Art in General through April 21, 2018. After Effects is supported by Humanities New York and was originally presented at Artis Cinema in Tallinn in collaboration with the Center For Contemporary Arts Estonia with support from the Trust for Mutual Understanding.

After Effects is curated by Laurel Ptak, Executive Director and Curator of Art in General with assistance from Marta Cacciavillani, Curatorial Fellow and Tomson Tee, Media Fellow. Special thanks to all the artists, designer Eric Nylund, as well as the staff and interns at Art in General and the staff at Anthology Film Archives.


ZACH BLAS & JEMIMA WYMAN: IM HERE TO LEARN SO :)))))) (2017)
[Single channel, excerpted version of a four-channel video installation]
A millennial, artificial intelligence chatbot terminated after a single day of existence is resurrected to consider the politics of pattern recognition and machine learning.

TYLER COBURN: I’M THAT ANGEL (2013)
A content farmer negotiates the demand to produce trending language, and his anxieties about life in the cloud, revealing the physical infrastructure of the Internet.

JOAO ENXUTO & ERICA LOVE: INSTITUTE FOR SOUTHERN CONTEMPORARY ART (2017)
Imagine a future where contemporary art is fueled by algorithms, intensifying the soft power of speculation.

PEDRO NEVES MARQUES: DIGITAL ANIMALS: DREAM CONSEQUENCES (2017)
What does a digital archive concerning forms of life that, in the near future, will no longer exist, mean?

PEDRO NEVES MARQUES: THE PUDIC RELATION BETWEEN MACHINE AND PLANT (2016)
A robotic hand encounters a sensitive plant.

WYATT NIEHAUS: BODY ASSEMBLY: WHITE EXTERIORS (2014)
A meditation on automated manufacturing systems and shifting roles of labor and power in post-work society.

ELIZABETH ORR: MT RUSH (2016)
The activities of a park ranger as she navigates an onslaught of fundraising emails that appear in the lead up to the 2016 American presidential election.

SONDRA PERRY: IT’S IN THE GAME ‘17 (2017)
Just as the theft of museum objects happened in tandem with colonization, it is possible to read virtual objects—as much as tangible ones—as a site of exploitation of black bodies.

MARIANA SILVA: WARP, WEFT AND WEB (2014)
A stereoscopic video questions the romanticism of post-industrial techno-utopias.


Zach Blas is an artist, writer, and professor based in London. He holds a Ph.D from Duke University in Literature and currently serves as Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. His artistic practice engages technics and minoritarian politics, most recently addressing technologies of capture, security, and control and their relationship to systems of power. Blas has exhibited his artistic work internationally, at Gasworks, London; Institute of Modern Art, Brisbane; Van Abbemuseum, Eindhoven; Institute of Contemporary Arts Singapore; Whitechapel Gallery, London; and Museo Universitario Arte Contemporáneo, Mexico City. His writing is published in books and journals including: Documentary Across Disciplines (The MIT Press and Haus der Kulturen der Welt); Queer: Documents of Contemporary Art (The MIT Press and Whitechapel Gallery); and e-flux journal. His work has been written about and featured in The Guardian, The New York Times, Artforum and many other publications. www.zachblas.info

Tyler Coburn (b. 1983, New York) is an artist and writer based in New York. His work has been presented at South London Gallery; Kunstverein Munich; Kunsthalle Wien; CCA Glasgow; Western Front, Vancouver; Grazer Kunstverein; UCCA, Beijing; and Sculpture Center, New York. Coburn participated in the 11th Gwangju Biennale and in the 10th Shanghai Biennale. His writing has appeared in e-flux journal, Frieze, Dis, Mousse, and Rhizome. www.tylercoburn.com

João Enxuto and Erica Love collaborate on projects about art institutions, labor conditions, and value systems shaped by recent technologies. Enxuto received an MFA in Photography from RISD and Love holds BAs from Brown University in Economics and Visual Arts and an MFA from UCLA. Enxuto and Love were awarded a 2017 New York Foundation for the Arts (NYFA) Artist Fellowship. Together they were fellows at the Whitney Museum Independent Study Program for 2012-2013. They have given talks, written essays, and exhibited at the Centre Pompidou, Whitney Museum of Art, the New Museum, Anthology Film Archives, Walker Art Center, Pratt Institute, Yossi Milo Gallery, Carriage Trade, Louisiana Museum in Denmark, ArtCenter/South Florida, and the Tamayo Museum in Mexico City. Enxuto and Love’s writing has appeared in Art in America, Mousse Contemporary Art Magazine, Wired Magazine, X-TRA Contemporary Art Quarterly, among others. They have taught at the Cooper Union, School of Visual Arts, New York University, City College, and as Ernest G. Welch Fellows at Georgia State University. Additionally they were visiting artists at the Institute for Curatorial Practice at Hampshire College, SOMA Summer in Mexico City, and Maumaus in Lisbon, Portugal. www.theoriginalcopy.net

Pedro Neves Marques is visual artist, filmmaker, and writer. He works with both fiction and theory to address issues in art, anthropology, and ecology. He is the editor of the anthology The Forest and the School: Where to Sit at the Dinner Table? (2015), and the author of the fiction books Morrer na América (2017) and The Integration Process (2012). His films and artwork have been shown internationally, most recently the premiere of his short-film Exterminator Seed (2017). Together with artist Mariana Silva, he runs Inhabitants, an online channel for exploratory video and documentary reporting (www.inhabitants-tv.org). He was born in Lisbon, Portugal, and lives in New York. www.pedronevesmarques.com

Wyatt Niehaus is an artist living in Amsterdam and New York. His work has been exhibited at the Whitney Museum of American Art, Kunstverein Braunschweig, LUMA Westbau, and the Musée d’Art Moderne de la Ville de Paris. www.wyattniehaus.com

Elizabeth Orr (b. 1984, Los Angeles, CA) is an artist and filmmaker. Her work has been shown internationally, including Artists Space Books and Talks, Anthology Film Archive, Stedelijk Museum, Swiss Institute Contemporary Art, Recess, ICA Philadelphia, and she has been commissioned by MOCAtv, LA and the Carpenter Center at Harvard University. She is part of the collaborative group NO TOTAL based at Artists Space Books & Talks. She holds an MFA with Honors from Bard College Milton Avery Graduate School of the Arts, and currently lives and works in Brooklyn, NY. www.elizabethorr.net

Sondra Perry is an artist currently based in NY. She holds an MFA from Columbia University and a BFA from Alfred University. In 2015, the artist’s work appeared in the fourth iteration of the Greater New York exhibition at MoMA/PS1. Other exhibitions include Disguise: Masks and Global African Art, Seattle Art Museum, Seattle; A Curious Blindness, Miriam & Ira D. Wallach Art Gallery, New York; Of Present Bodies, Arlington Arts Center, Arlington VA; and Young, Gifted, & Black: Transforming Visual Media, The Camera Club of New York. Perry has performed at the Artist’s Institute, New York and her work has been screened at venues such as Les Voutes, Paris, France; Light Industry, New York; Video Art and Experimental Film Festival, Tribeca Cinemas, New York; Lu Xun Academy of Fine Arts Museum, Shenyang China; and LOOP Barcelona Media Arts Festival. www.sondraperry.com

Mariana Silva (b. Lisbon, lives in New York) Among other venues she has exhibited or screened her work at Gwangju Biennale (South Korea, 2016), Moscow Biennale (Russia, 2016), EDP Foundation (Lisbon, 2015), Astrup Fearnley Museum (Oslo, 2015), Parkour (Lisbon, 2014), e-flux, New York (2013), Indie Film Festival (Lisbon, 2012), Whitechapel Gallery (London, 2011), Kunsthalle Lissabon, (Lisbon, 2011), and Serralves Museum for Contemporary Art (Oporto, 2010 and 2008). Solo shows include “Audience Response Systems” Parkour, Lisbon (2014); “P/p,” Mews Project Space, London, (2013), “Environments” e-flux exhibition space, New York (2013), and “The Organization of Forms,” Kunsthalle Lissabon, Lisbon (2011). She was a resident at Gasworks 2016, Zentrum Paul Klee Sommerakademie, Bern, Switzerland, 2010, and at ISCP, New York, 2009–10. Together with artist Pedro Neves Marques, she runs Inhabitants, an online channel for exploratory video and documentary reporting. www.inhabitants-tv.org

Jemima Wyman (b.1977, Sydney) lives and works Brisbane and Los Angeles. Wyman has exhibited widely in Australia and internationally. Her work was included in Conflict: Contemporary Responses to War, University of Queensland Art Museum, Brisbane (2014); Direct Democracy, Monash University Museum of Art, Melbourne (2013); The Unexpected Guest, Liverpool Biennial, UK (2012); Panorama, Casula Powerhouse, Sydney (2012); Inner Voices, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2011); The Open Day Book Exhibition, LACE, Los Angeles (2011); and The Beauty of Distance: Songs of Survival in a Precarious Age, 17th Biennale of Sydney (2010). In 2005 CamLab was founded, a collaboration between Wyman and Anna Mayer. Since then they have exhibited and performed throughout the USA and abroad. Wyman’s recent solo exhibitions include Counterpowers, Sullivan+Strumpf, Sydney (2017); Conjouring Radical Openness, Commonwealth and Council, Los Angeles (2015); Tactical Frivolity, Milani Gallery, Brisbane (2015); Effacing Power, Steve Turner Contemporary, Los Angeles (2013). www.jemimawyman.wordpress.com


General Support of Art in General is provided by the Institute of Museum and Library Services; the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature; the Toby D. Lewis Donor Advised Fund of the Jewish Federation of Cleveland; The Rockefeller Philanthropy Advisors; and by individuals. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

The New Commissions Program is made possible by the Trust for Mutual Understanding; National Endowment for the Arts; Jerome Foundation; Ruth Ivor Foundation; and the Milton and Sally Avery Foundation. Support has also been provided by: Commissioners’ Circle leaders Elaine Goldman, Richard Massey, Jeffery Larsen and Joseph Bolduc; Commissioners’ Circle supporters John and Andrea Nylund and David Solo; and Commissioners’ Circle members Nader Ansary, Rob Colangelo, Don Erenberg, Roya Khadjavi-Heidari, Mary Lapides, Eric Nylund, Leslie Ruff, Steve Shane, and Diana Wege.

Special Project Support provided by Humanities New York, Anthology Film Archives, Center For Contemporary Arts Estonia, Trust for Mutual Understanding.


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Project Descriptions:

After Effects:
Film Screening
Zach Blas: Contra-Internet