OUT of TOUCH
Wed 27 May - Thu 20 Aug 2020
HERVISIONS presents OUT of TOUCH, an evolving curatorial proposition of online commissions, events and performances reflecting on the idea of touch and its digital analogues in the post-touch world.
OUT OF TOUCH seeks to understand new vocabularies of touch when all we have is the digital space. Considering how isolation has accelerated our digital vocabulary, what a meaningful language of touch might be beyond the physical.
Over the next couple of months HERVISIONS will introduce a diverse programme of artistic practices that perform and unfold across the numerous digital platforms. LUX Website will host access to ephemeral and performative works that are untethered to conventional sites of the exhibition. Through a constellation of femme-focused dialogues, OUT of TOUCH probes ways in which screen-based dialogues remediate the lack of touching in the absence of physical connection.
Denise Yap: Second Hand Smoke
27 May – 2 June
Second Hand Smoke is a performance through an exchange of “love letters” between two queer adolescent characters, Zion and Cae, taking place on Twitter for a week. Connecting through the auditory arousal of desire translated in tweeted GIFs and texts their unrecognised affections develop intimacy employing “shout outs” as a means to touch in an immaterial world.
LaTurbo Avedon: Permanent Sunset
Created from and within video games LaTurbo Avedon’s Permanent Sunset comprises serene moments of pause. Staying in touch through simulated vistas they turn a site of action into a sanctuary for contemplation. A series of segments from the video will be released on LUX and HERVISIONS IGTV, followed by an online screening on the LUX website.
17 & 19 June
Libby Heaney presents a site-specific interactive animation which will be activated by the participant’s touch. The animation is a result of a fragmented image generated by quantum computing, dismantling biases constructed by digital technologies. The performance uses persistent vision, a psychological phenomenon called Phi, reconfiguring and assembling through the action of touch.
OUT of TOUCH Part 2 is now available to view from 1 to 31 July here.
Dagmar Schürrer: GALAXY
The narrator in the moving image work GALAXY (2020) is technology itself. The story is generated by an algorithm and offers an interpretation of an encounter of love and disappointment. Small deviations in the language and the narrative logic reveal our social imprint of how stories are expected to be told and how technology is programmed to follow these perceptions. The mise en scéne is a computer-generated galaxy of objects and images reminiscent of the organic, but dismembered and fragmented, reflecting on the possibility of creating new worlds and stories in digital space by following a subjective system of ordering.
Taina Cruz: Only in Sanctuary Can Transformation Be Envisioned
Scenes of sanctuary and territories of healing are important in physical and digital space. Using CGI animation, Only in Sanctuary Can Transformation Be Envisioned (2019) plays with body and space as they are figured through colonial structures of power and oppression. The web inherently reinforces western ideals, and continues the erasure of Black and Indigenous knowledge on a terrain that performs neutrality. Only in Sanctuary Can Transformation Be Envisioned (2019) is an exploration of the potential that virtual space has to be a place of decolonisation and healing.
Vajinatajutsu (2020) is a ritual, an invitation to swallow every particle, smell, sense of your own being, identity without filtering it.’ A multilayered audiovisual piece interweaving sound, 3D scans and 2D layers to create a hauntingly tender and deeply visceral digital landscape. Fundamentally rooted in the body, it combines reworked recordings of muscle tension, blood flow, breath and sounds captured from a microphone inside Bora’s throat and 3D scans of externalised “inner postures” that physically present internal dispositions. These render us intimate witnesses to her internal world. She makes her body, its organs and textures, rhythms and tensions palpable. Finding beauty in distortion, Vajinatajutsu (2020) presents a “Digital Humanism”.
Danielle Brathwaite-Shirley: Speaking Through Plastic (Preview)
Speaking Through Plastic (2020) is a game that follows the quarantining of Black Trans bodies after all Black Trans people in history have been resurrected. It is seen as a pandemic, and whilst they are interrogated behind closed doors protest rage outside in defence of their freedom. There are those that are willing to risk their own lives for the future of others.
29 July, 7pm on Twitch
MassHysteria invites you to an online performance Wo/anderland which reimagines what it means to perform in a ‘post-touch’ world. The performance synthesizes animated world and reality, exploring the idea of freedom, autonomy, agency, solitary empowerment and communication through gamification of performance. Wo/anderland is directed by Lydia Walker and Jennie Boultbee of MassHysteria. Participating performers are Katie Serridge, Nina Richard, Rebecca Piersanti, Julia Kayser, Monika Blaszczak and Dominique Baker.
LaTurbo Avedon: WASD With Me: Taking Your Time in the Metaverse + Permanent Sunset
RESCHEDULED 27 August on LUX Website
LaTurbo Avedon’s project for OUT of TOUCH will culminate in a presentation of a virtual walking tour Taking Your Time in the Metaverse followed by a screening of their latest video Permanent Sunset comprising various sunsets documented in video games. The work will be hosted on the LUX website on 27 August.
Claudia Hart: Nue Morte
4 August on LUX Website
Claudia Hart’s Nue Morte is a porcelain dish on which an enigmatic naked sleeping odalisque is viewed through augmented-reality software. Echoing the current unimaginable reality Hart overlays virtual erotica with imaginary cockroaches engendering a fantastical beauty. The animation is accessed via a free app BlippAr on mobile devices using the trackable image on the LUX Website.
Tabitha Swanson and Léa Porré: Divine Touch + I told you he was never really gone
6 August on LUX Instagram and Website
In her video I told you he was never really gone (2019) Léa Porré addresses the ritual of divine touch from an investigation of online forums and conspiracies. Tabitha Swanson has developed a face filter, Divine Touch, that brings Porré’s film into the threshold of virtual and reality, inviting the viewers to experience the unreachable shrine. The screening of I told you he was never really gone accompanies the launch of a face filter on LUX Instagram.
Danielle Braithewaite-Shirley: Speaking Through Plastic
In an interactive game Speaking Through Plastic (2020) all Black Trans people in history has been resurrected and the story of Black Trans bodies in isolation unfolds. Artist Danielle Braithwaite-Shirley presents a live walkthrough of their game on 20 August.
HERVISIONS was founded by award-winning director Zaiba Jabbar in 2015 as a multidisciplinary femme focussed digital curatorial agency and studio. Working across new and emergent technologies and platforms HERVISIONS proudly showcases work created by underrepresented creatives from non-binary, POC, LGBTQ+ and female points of view. With over a decade of experience, her curatorial practice is an investigation into how people in the margins are using technology to create art outside of traditional contexts and making space for themselves in the new digital environment. Jabbar was curator in residence at LUX in 2018 is part of the Artquest and Camden Arts Centre Peer Forum 2020 and is currently a board member of Abandon Normal Devices.
In the past HERVISIONS exhibited at and collaborated with various arts institutions including Art Night, Tate Modern and Britain, i-D x Chanel, Google Arts and Culture, BFI, Gossamer Fog, The London College of Fashion, isthisit?, Mira Festival and The Mosaic Room.
Denise Yap (b.1998) is a re-packager, an inbetween of pre-writer and post-reader; They draws from different sources of information to build a plausible world. Their artworks explore the potentiality of sincere investments such as alternative kinships and entanglements (and all the embarrassments!) of the human condition.
Yap’s recent group exhibitions include The Open Workshop for Singapore Art Week at Supernormal (2020), Eaten: A Capsule Museum for Future Possible Past Beings for Art After Dark at Gillman Barracks, Repel Revel at Grey Projects and A Very Objective Video at Telok Ayer Arts Club (all 2019).
Libby Heaney‘s moving image works, performances and participatory & interactive experiences span quantum computing, virtual reality, AI and installation. Heaney’s practice seeks to subvert the capitalist appropriation of technology, the endless categorizations and control of humans and non-humans alike in pursuit of never-ending profits. Instead, Heaney uses tools like machine learning and quantum computing against their ‘proper’ use, to undo biases and to forge new expressions of collective identity and belonging with each other and the world.
Heaney’s works are played out by bots & people alike & draw on a wide range of source material spanning pop culture, politics, literature & beyond. Her projects therefore speak to the entanglement of personal & machine agency where the power of the participatory & the collective presents a possible alternative to the hostility of state surveillance, corporate data mining, & the quantum arms race.
Libby has exhibited her artwork widely in galleries and institutions in the UK and internationally including a solo exhibition as part of the 2017 EU capital of culture in Aarhus and shows at Tate Modern (London 2016, 2019), ICA (London 2019), V&A (London 2018), Barbican (London 2019), Somerset House (London 2019), Sheffield Documentary Festival (2018), Science Gallery Dublin (2017, 2018, 2019), Sonar+D (with the British Council, Barcelona 2017), Ars Electronica (Linz 2017), CogX (London 2018), Telefonica Fundacion (with the British Council, Lima 2017).
Libby has a background researching quantum physics/quantum computing and retrained as an artist at Central St. Martins 2013-2015.
Libby is currently a resident of Somerset House Studios.
Dagmar Schürrer is an artist working with the moving image. She assembles found footage, digitally generated objects and animations, text, drawing and sound to form intricate video montages, evocative of painting, collage and poetry. Her videos reflect on the surface of digital imagery and their patterns and repetitions, on late capitalist paranoia and projected utopian futures and our relationship to technological development within the digital and the analog. She holds a degree in Fine Art from Central Saint Martin´s College in London, UK. Her work has been exhibited internationally, amongst others at the New Contemporaries at the ICA London, the Impakt Festival in Utrecht, NL, the Moscow Biennale for Young Art and the Transmediale Vorspiel in Berlin. Her videos have been screened at numerous festivals: SUPERNOVA in Denver, the Seattle Film Festival, the Athens Digital Arts Festival, the Horn Experimental Film Festival in Israel, Tricky Women Festival in Vienna, or the Diagonale Film Festival in Graz. In recent years she received the Goldrausch Scholarship of the Senate of Berlin and was shortlisted for the Berlin Art Prize and the Tenderpixel Award in London.
Taina Cruz (b. 1998, New York) is an interdisciplinary artist and researcher who graduated from Maryland Institute College of Art with a BFA in Interdisciplinary Sculpture and a minor in Critical Theory. Taina’s practice spans sculpture, 3D animation, and painting, and explores themes of blackness, technology, and mysticism. Her work draws from neocolonialism and critical race theory, as well as indigenous wisdom, to search for new meaning, materiality, and methodologies in order to reshape the future. Her work has been exhibited at the Rhode Island Museum of Art, Providence; The Bronx Art Space, Bronx; Re:Art Show, Brooklyn; Current Space, Baltimore, and was awarded the GO-A foundation award in 2019 which allowed her to travel and research in Puerto Rico.
BORA MICROCOSME is a French-born multidimensional artist whose practice spans animation, performance, music, sculpture and painting. The worlds she creates are an expansion of her inner space – they shape and figure her emotions when words sometimes cannot. Her universe is an immersion into an organic process, where you can hear a human being and its inner bodily and mental ﬂuctuations. Through her audiovisual universe she explores layers of identity, captures ﬂesh, its core and unconscious mechanisms. Her quest is to create and unravel a safe space for digital intimacy, and digital humanism. BORA is a ritual, an attempt on existence.
Danielle Brathwaite-Shirley is an artist working predominantly in animation, sound, performance and Video Games to communicate the experiences of being a Black Trans person. Their practice focuses on recording the lives of Black Trans people, intertwining lived experience with fiction to imaginatively retell Trans stories. Spurred on by a desire to record “History of Trans people both living and past” their work can often be seen as a Trans archive where Black Trans people are stored for the future. Throughout history, Black queer and Trans people have been erased from the archives. Because of this it is necessary not only to archive our existence, but also the many creative narratives we have used and continue to use to share our experiences.
Danielle’s work has been shown in Science Gallery, the Barbican, Tate, Les Urbains as well as being part of the BBZ Alternative Graduate Show at the Copeland Gallery. An online component of their work can often be found at daniellebrathwaiteshirley.com
Formed in 2017, at Trinity Laban, Mass Hysteria is an all-female collective of dance artists located around the world. With shared backgrounds in visual arts, science, music, literature and philosophy, each member’s uniqueness is the basis for our shared collectivity. Curiously questioning and exploring digital and physical spaces, we have been developing a practice where we build a malleable, multidisciplinary environment where we react to the infinite, surrounding possibilities.
LaTurbo Avedon is an avatar and artist originating in virtual space. Their work emphasizes the practice of nonphysical identity and authorship. Many of the works can be described as research into dimensions, deconstructions exploring topics of virtual authorship and the physicality of the Internet. They curate and design Panther Modern – a file-based exhibition space that encourages artists to create site-specific installations for the internet. LaTurbo’s process of character creation continues through gaming, performance and installations. Their work has appeared internationally including TRANSFER Gallery (New York), transmediale (Berlin), Haus der elektronischen Künste (Basel), The Whitney Museum (New York), HMVK (Dortmund), Barbican Center (London), and Galeries Lafayette (Paris).
Claudia Hart emerged as part of a generation of 90s intermedia artists in the identity-art context. She still examines issues of identity, now focusing on how technology affects cultural constructions of gender identities and issues of the body, perception, and nature collapsing into technology and then back again. Hart was an early adopter of virtual imaging, using 3D animation to make media installations and projections, then later as they were invented, other forms of VR, AR, and objects using computer-driven production machines, all based on the same computer models. At the School of the Art Institute of Chicago, she developed a pedagogic program based on this concept – Experimental 3D – the first program dedicated solely to teaching simulations technologies in an art-world context. Hart is also an occasional curator and art historian, focusing on simulations. She lives in New York, works with bitforms gallery there, and is married to the Austrian media artist Kurt Hentschlager.
Tabitha Swanson (b.1991, Winnipeg) appears as a specimen of an online race. A designer and creative technologist using 3D rendering, AR face filters and sometimes synthetic makeup on her own body, she offers the vision of a migrant from a virtual world.
Léa Porré is a French and Belgian artist, currently studying at the Royal College of Art, London. Her practice is a critical re-reading of French History through a lens of mythology, deeply rooted in a cyclical vision of History. She composes alternative narratives and a new mysticism in opposition to the dominant frame of duality, by disrupting iconic imagery, rituals and events. Recently, her speculative fictions pose the question of the return of French Monarchy. This ‘Other King’ could either be a desperate pretender to the throne, an immortal esoteric leader, a failed wellness guru, a sacrificial vessel or an alchemical master.