EN FR

On the Air

Curated by Carlos Cardenas

Currently showing twenty-seven videos by eighteen artists, On The Air is a permanent channel with rotating artworks curated by DAD co-founder and director of programming Carlos Cardenas.

Short Sequence 2 (Underside), 2011

Caroline Bénech was born in 1980 in Paris. She obtained a Masters in Graphic Arts from the ESAG Penninghen (Paris) in 2003, following studies at Académie Julian. While expanding her personal practice as a visual artist, she spent several years between France and China (Shanghai and Hong-Kong), developing projects with luxury brand companies interested in her plural creative expression. Her ability to flourish artistically in very diverse environments and cultures allows her to collaborate with architects and decorators, whether on commissions or site specific projects. As she began to experiment with new media, Caroline has proven sensitive to the energy of urban universes and she travels widely to collect her own samples, through SLR photography, smartphone, videos and sound takes in such environments. Her work focuses on recordings of reality transformed with filters and superimposed colored graphics. Often initially figurative, her work evolves into an uncluttered stream of expression symbolized by harmony between planes, colors and textures. Through this approach she shows a constant interest for the sensory perception of light and space.

Raw Data NYC, 2015

Caroline Bénech was born in 1980 in Paris. She obtained a Masters in Graphic Arts from the ESAG Penninghen (Paris) in 2003, following studies at Académie Julian. While expanding her personal practice as a visual artist, she spent several years between France and China (Shanghai and Hong-Kong), developing projects with luxury brand companies interested in her plural creative expression. Her ability to flourish artistically in very diverse environments and cultures allows her to collaborate with architects and decorators, whether on commissions or site specific projects. As she began to experiment with new media, Caroline has proven sensitive to the energy of urban universes and she travels widely to collect her own samples, through SLR photography, smartphone, videos and sound takes in such environments. Her work focuses on recordings of reality transformed with filters and superimposed colored graphics. Often initially figurative, her work evolves into an uncluttered stream of expression symbolized by harmony between planes, colors and textures. Through this approach she shows a constant interest for the sensory perception of light and space.

Lighthouse, 2013

Light House (2013) is a video made by Dominique Blais during a residency at Nida Art Colony in Lithuania. The subject is a lighthouse which was close to the studio of the artist. In this looped movie, the vertical architecture becomes a decontextualized and dematerialized object by the saturated red color of the image. As the regular rate of the lamp light beam works as a perpetual sand timer, it takes an hypnotic dimension.

Maison Voiture Chien, 2013

Runtime 3:00 Music by Lafayette Elvire Bonduelle attended the Ecole des Beaux-arts of Paris in 2000 where she mainly works in Richard Deacon's studio and receives her diploma (Diplôme national supérieur d'arts plastiques) in 2005. Since 2004, she has been making "sort of" functional sculptures, through which, questions relative to conformity, norm, and the freedom of uses, as well as attitudes towards domestic space and comfort are being interrogated. Her work can be partially affiliated to relational aesthetics and has gained support from Tom Eccles, Liam Gillick, Hans Ulrich Obrist, Philippe Parreno, and Beatrix Ruf, who curated To the Moon via the Beach, Arènes d’Arles, 2012 in which she participated. Elvire Bonduelle has exhibited in France and abroad: The Rotating Painting Show, galerie laurent mueller, Paris and Galerie Van Gelder, Amsterdam, 2015; Pour Faire Joli, Sabrina Amrani Gallery, Madrid, 2012; L’art, le joli et le fonctionnel, Onestar Press, Paris, 2012. Among her group shows are Waiting Room #4, Sperling, Munich, 2015, New Archive at LACA, Los Angeles Contemporary Archive, Los Angeles, California, 2014 and Book Machine, Un Nouveau Festival, Centre Georges Pompidou, Paris, 2013.

A trip to costa rica, 2015

Runtime 3:04 A long time nerd and gamer, Emiliano Bossi has always been exposed to and fascinated with errors and malfunctions in digital media. He discovered he could trigger and recreate those errors in a controlled way, and began experimenting with different software and techniques. The main technique used in the works is sonification, where the artist edits pictures and videos as sound in an audio editor. The artist approaches this medium from a rather technical point of view, and is much more interested in seeing how the data gets modified by his actions than to make a nice picture - all works are the raw output of the databending process, there's no post processing applied. He can be found on Facebook as Hyperspeed Hallucinations.

A trip in the woods

HD Video - 2015 - 02:11 min A long time nerd and gamer, Emiliano Bossi has always been exposed to and fascinated with errors and malfunctions in digital media. He discovered he could trigger and recreate those errors in a controlled way, and began experimenting with different software and techniques. The main technique used in the works is sonification, where the artist edits pictures and videos as sound in an audio editor. The artist approaches this medium from a rather technical point of view, and is much more interested in seeing how the data gets modified by his actions than to make a nice picture - all works are the raw output of the databending process, there's no post processing applied. He can be found on Facebook as Hyperspeed Hallucinations.

The Invention of Prosecco, 2014

Runtime 2:53 Nicole cohen works with video and collage. Her work is positioned at the crossroads of contemporary reality, personal fantasy, and culturally constructed space. Although trained in painting and drawing, Cohen most frequently uses video as her medium, playing upon its intrinsic capacities to manipulate time, distort scale and environment, and overlay imagery. Consistently interested in engaging her audience and challenging notions of lifestyle, domesticity, celebrity, and social behavior, Cohen also uses the surveillance camera to involve her viewers in their own voyeurism. Surveillance cameras first appeared in video art installations in the late 1960s. At a time when television dominated American culture, artists sought to change audiences from passive to active participants. In the last four decades, video art has evolved to encompass new technologies that allow for a more seamless inclusion of and reliance on the viewer for the outcome of the work, and Cohens projects serve as some of the most paradigmatic and successful examples. She received her BA from Hampshire College and her MFA from the University of Southern California in Los Angeles. She has exhibited at the Brooklyn Museum of Art, Los Angeles County of Art, Williams College Museum of Art, Shoshana Wayne Gallery, La B.A.N.K Galerie in Paris, France, at the J. Paul Getty Museum in Los Angeles, the Autostadt (Volkswagen) Wolfsburg, Schloss Britz in Berlin, Germany, American University Museum at Katzen Art Center in Washington D.C., Wave Hill A Public Garden and Cultural Center and in Asia.  She has lived in Los Angeles and in Berlin, Germany, and in New York City, where she currently lives and works. 

Spirits, 2015

Runtime 3:00 Nicole cohen works with video and collage. Her work is positioned at the crossroads of contemporary reality, personal fantasy, and culturally constructed space. Although trained in painting and drawing, Cohen most frequently uses video as her medium, playing upon its intrinsic capacities to manipulate time, distort scale and environment, and overlay imagery. Consistently interested in engaging her audience and challenging notions of lifestyle, domesticity, celebrity, and social behavior, Cohen also uses the surveillance camera to involve her viewers in their own voyeurism. Surveillance cameras first appeared in video art installations in the late 1960s. At a time when television dominated American culture, artists sought to change audiences from passive to active participants. In the last four decades, video art has evolved to encompass new technologies that allow for a more seamless inclusion of and reliance on the viewer for the outcome of the work, and Cohens projects serve as some of the most paradigmatic and successful examples. She received her BA from Hampshire College and her MFA from the University of Southern California in Los Angeles. She has exhibited at the Brooklyn Museum of Art, Los Angeles County of Art, Williams College Museum of Art, Shoshana Wayne Gallery, La B.A.N.K Galerie in Paris, France, at the J. Paul Getty Museum in Los Angeles, the Autostadt (Volkswagen) Wolfsburg, Schloss Britz in Berlin, Germany, American University Museum at Katzen Art Center in Washington D.C., Wave Hill A Public Garden and Cultural Center and in Asia.  She has lived in Los Angeles and in Berlin, Germany, and in New York City, where she currently lives and works. 

The Poisson’s Equation, 2014

In a desolate, nocturnal landscape a barren tree slowly rotates around its axe above a small pond, its roots touching the water surface. The Poisson’s Equation is an equation used in electrostatics, theoretical physics and the calculation of gravitational forces. In this case, the latter applies. Throughout the years, the works of Alexandra Crouwers (NL, º1974) have evolved from monumental drawings into the digital realm of (3D) animation and video installations. She studied painting at the Academy for Arts & Design (AKV St. Joost) in Den Bosch (NL), and graduated as a Master of Fine Arts at the Sandberg Institute in Amsterdam. Her works were screened at many international festivals (Transmediale, Berlin, Microwave Festival, Hong Kong, 700IS, Reykjavik, Impakt, Utrecht), and exhibitions (Le Fresnoy Studio National des Art Contemporaines (Tourcoing, FR), SMAK museum (Ghent, B). 

Biowhite

HD Video - 2011 - 06:56 min Shot at the Salk Institute in California, where biological-scientific research is conducted. The video’s focus is on the research Salk has conducted on skin-whitening cream products and connect this to architect Louis Kahn’s obsession with concrete’s raw surface as an essential “truth”. The video compares this discourse on concrete with the desire for lighter skin – in both cases, the surfaces allegedly reflect an ‘authentic’ inner self.

Are you working, 2010

Runtime 28:07 Various colored forms are caressed, rubbed and pushed together by hands with red nail polish. Born to a Nigerian father and an English mother in Alabama, U.S.A., and brought up in a suburb of London in the U.K., Danielle’s work draws from this multi-national background in her interdisciplinary practice. Her work explores the colonialism of mind and body—the interpellation of thoughts, feelings and social relations by power structures working through news, advertising, political speech, and digital media. She focuses on the processes of construction of race, gender, age and class that are generated through target-marketing practices, commodifying subjectivities. She is interested in subverting such processes, to both understand and shift them toward a non-essentialized space of being, blurring fiction and reality. Danielle studied Fine Art at Central St Martins in London and received her MFA from California Institute of the Arts. She has been a Whitney Independent Study Program Fellow in New York City and a participant at the Skowhegan School of Painting and Sculpture in Maine. Solo exhibitions include Hexafluorosilicic and PTL (Part Time Lover) at Commonwealth and Council, Los Angeles; and Confessions on a Dance Floor, The Bindery Projects, Minnesota. Group shows include Made in L.A. 2014, The Hammer Museum; Demolition Woman, Guggenheim Gallery at Chapman University, Orange County; and Auto Italia South East, London. She has received grants from the Foundation for Contemporary Arts, Rema Hort Foundation, and most recently a Visual Art Award from Creative Capital, 2015. Dean is currently working on a multi-channel video that takes Nike’s True Red, the Vampire Sneaker, as the protagonist of a vampire film shot in Alief, South West Houston. She is currently an artist in residence on The Core program at The Museum of Fine Arts, Houston.

Schwarm III (Blue), 2014

The software Schwarm is a constantly changing abstract composition running in real time. A collection of particles moves over a surface leaving behind overlapping traces. This results in a sequence of unique Images, whose development is unpredictable. The software analyzes a sequence of images using their color values at their origin, which it then spreads like a brush would spread paint. The paths taken by the individual lines are influenced by deterministic randomness. After a predefined amount of time a new image becomes the source of the composition and all values definining shape and direction of the movement are being reset. The transition between the images happens seamlessly and is barely perceptible watching the software in realtime. The photographs only serve as a source for color and composition. The main focus is the ephemeral nature of the ever-changing composition. Andreas Nicolas Fischer (b. 1982, Munich) concerns himself with the physical manifestation of digital processes and data through generative systems. Through his practice he investigates the effects of technology and automation on society and contemporary art. He is a graduate from the class of professor Joachim Sauter at the Berlin University of the Arts. His work has been shown at museums, galleries and festivals in Europe, Asia and the U.S. Selected exhibitions include “Stadt am Rande” at the Today Art Museum in Beijing (2010), “Locate Me” at Kunstraum Kreuzberg in Berlin, “Seeing / Knowing” at the Graham Gund Gallery in Gambier, Ohio as well as his most recent solo show “NOISE” at Dixit Algorizmi Gallery Berlin (all in 2011). The double show with Charlotte Becket “Coded Landscapes” was shown at the LEAP Berlin in 2012. Recent solo & group shows include 22,48m Paris, the SECCA in North Carolina, the Rua Red Dublin and DAM [Digital Art Museum] Berlin. The artist lives and works in Berlin.

Schwarm I (Orange), 2014

The software Schwarm is a constantly changing abstract composition running in real time. A collection of particles moves over a surface leaving behind overlapping traces. This results in a sequence of unique Images, whose development is unpredictable. The software analyzes a sequence of images using their color values at their origin, which it then spreads like a brush would spread paint. The paths taken by the individual lines are influenced by deterministic randomness. After a predefined amount of time a new image becomes the source of the composition and all values definining shape and direction of the movement are being reset. The transition between the images happens seamlessly and is barely perceptible watching the software in realtime. The photographs only serve as a source for color and composition. The main focus is the ephemeral nature of the ever-changing composition.

KenKen GS, 2014

KenKen GS is a videowork that explores a tightly-coupled yet non-linear and generative relationship between image and sound. The work's compositional basis includes the structure and expanded numerical content of KenKen puzzles published in the New York Times, historical color scales proposing different correspondences of color to musical pitch, and sixteen resonant acoustic frequencies recorded in and around the stairwell of the Museum of Arts and Design where the work was exhibited as an installation in 2014 for NYC Makers: The MAD Biennial. KenKen GS is generated in real-time by Galbraith’s custom software, and features abstract graphics formatted with reference to the stairwell location and high definition display used for the NYC Makers exhibition. The piece has a linear temporal structure and loops after the animation sequence completes. KenKen GS was first shown in 2011 and is adapted specifically for each new installation location.

Ljósið, 2009

Esteban Diacono is a multidisciplinary motion graphics designer from Buenos Aires, Argentina. Self thoght, he aquired knowledge and expertise working in almost every aspect of the visual communication world. Graphic Design, Editing, Color Grading, Post Production, Compositing and 2D and 3D animation. During his early career years in Córdoba City (where he was born), Esteban was involved in the making of more than one hundred commercials, many of them winners of various prizes in the region, Like Lapiz de Plata, Lapiz de Platino, FIAP, etc. After some years, he relocated to Buenos Aires, pursuing a career more focused on branding and animation. He started Working for Steinbranding, the legendary branding studio that used to reinvent the way television was presented in Argentina. He had the opportunity to work and learn from the best and most talented visual communicators around. He was deeply involved in branding campaings for Fox, FX, Cosmopolitan, Travel & Living,Discovery Channel, Hallmark, and many international brands, having been part of many Promax Award pieces and campaigns. After 3 great years at Steinbranding, he took a new job as a Senior Animation Director at Studio Freak, a small but highly talended group of people focused on Ids, commercials and more elaborated VFX work. Working there he had the chance to greatly expand his knowledge of 3D rendering, lightning and texturing, as well as Fluids and particle simulations, learning to use a variety of tools such as Real Flow, Softimage ICE, etc. In August 2009 he created a self-initiated music video for the young Icelandic composer Ólafur Arnalds, that later become one of the most praised works of the year. The video for “Ljósið” (“The Light”) has been viewed more than 9 million times over countless sites, and was featured in publications such as idN, Stash, Computer Arts Magazine and was presented in festivals all around the world like OneDotZero, Flux, Art Futura, Mexicali, Citrus, Cut Out Fest and many more. After the success of that video, he started a solo carrer, focused on motion design and direction. He has gathered clients from all over the world, working on numerous projects for Australia, Japan, UK, India, Turkey, Spain, the United States, Iceland, etc. He has collaborated on site and off site with many companies on the US, UK, Europe and Asia. In 2011 he produced a commercial for TBWA Singapore in Singapore and also spent 2 months in New York working for Charlex Inc. During that year he collaborated in many projects for UK based studios, like The Found Collective, Studio Output, Marshmallow Laser Fest, Immersive among others and is often recognized as a great team player and leader. He is being represented as a director by a few companies all over the world, like PaintBox in Mumbai, India; Golova in Moscow; Dreambox in Turkey and is being featured in the demo reels of a USA companies like D'avant Garde media, The Signal Factory and other as a motion designer. During the past years he has also started giving some lectures and training courses, like in 2010-2011 in the University Iberoamericana from México. In July 2013 he gave a talk at the OFFF Festival in Barcelona, one of the most important festivals in the world and was named as a key speaker by Computer Arts Magazine (UK) among more than 40+ speakers. Also in 2013 he spent 3 months in New York collaboration on site with Sagmeister & Walsh, one of the most famous design studios in the world. He produced a piece called "Be More Flexible" for the studio's 6 Things Exhinition at the Jewish Museum in New York City. The piece has been cited as one of show's best, and it's also currently being presented in The Happy Show, a new S&W exhibit in Boston. His body of work is incredibly diverse, having worked on music video clips, game design, brand films, educational campaigns, live visuals, mapping projects, tv branding and advertising, vfx, show openers for the BBC, experimental projects, etc. During 2012 he worked closely with the Buenos Aires Government on educational projects, aimed to deliver information to the people in a much more modern and pleasant way, more in tone with the current times. He is a strong believer in not-underestimating people, and most of that work was higly praised for addressing key issues like education and new techologies in a fun, interesting way. He also has contributed pro-bono to personal causes and requests, usually based around his Ljosio project. The video and the original project files have been given for free to numerous persons; from teachers working with deaf kids to neurologists working and studiyng sinesthesia. He currently spends half a year in Buenos Aires, and the other half travelling and working abroad.

Tidal Empire (Animist), 2011

Artist Perry Hall approaches painting as a time-based medium similar to choreography or improvising music, creating traditional line-form-color-surface as well as painting behavior-- ways in which paint transforms over time. He paints by using natural dynamic forces such as turbulence, thermodynamics, magnetism, gravity, chemical reactions instead of digital processes or "static" painting techniques. He captures these real-time explorations onto film which he presents without editing or digital processing. Perry Hall has exhibited his artworks internationally in venues including the Smithsonian National Design Museum in New York, Artists Space in New York, The Neue National Gallery, Berlin, The New World Symphony in Miami, The Tokyo Art Fair in Tokyo, Japan, Pekin Fine Arts in Beijing, China, The Adelaide Festival in Australia and are part of the permanent collection of the Centre FRAC in Orleans, France. He has spoken on his work at a diverse variety of cultural institutions including Columbia University in New York, The Berlin School of Fine Art, The Southern California Institute of Architecture in Los Angeles, Parsons School of Design in New York and at film studio Industrial Light and Magic.

Beneath A Violet Skin

HD Video - 2014 - 07:44 min Oil, acrylic and various paints filmed live. Score written and performed on solo electric bass by Perry Hall Artist Perry Hall approaches painting as a time-based medium similar to choreography or improvising music, creating traditional line-form-color-surface as well as painting behavior-- ways in which paint transforms over time. He paints by using natural dynamic forces such as turbulence, thermodynamics, magnetism, gravity, chemical reactions instead of digital processes or "static" painting techniques. He captures these real-time explorations onto film which he presents without editing or digital processing. Perry Hall has exhibited his artworks internationally in venues including the Smithsonian National Design Museum in New York, Artists Space in New York, The Neue National Gallery, Berlin, The New World Symphony in Miami, The Tokyo Art Fair in Tokyo, Japan, Pekin Fine Arts in Beijing, China, The Adelaide Festival in Australia and are part of the permanent collection of the Centre FRAC in Orleans, France. He has spoken on his work at a diverse variety of cultural institutions including Columbia University in New York, The Berlin School of Fine Art, The Southern California Institute of Architecture in Los Angeles, Parsons School of Design in New York and at film studio Industrial Light and Magic.

Regular Division

Video loop - 2014 - 01:55 min Regular Division is a looping spiral of meticulously layered scenes built from video shot in a number of indoor gardens in Europe and Asia. The geographically disconnected locations merge to form an interwoven paradise of foliage under a canopy of gridded glass. The piece directly references histories of landscape painting via expressive paintmarks lifted from famous paintings by artist such as Vincent van Gogh and Arthur Streeton and layered over the high-resolution filmic landscape Regular Division is part of a series of works that were shot and digitally composed on location in Europe, Asia and the Middle East. This series, titled ‘Indirect Flights’, is a response to the impact of digital technologies on the representation of landscape.

If We Come Back, 2015

"If We Come Back" is an attempt to connect mimesis with narrative. The meta aesthetic is filmed with a flip camera off of a monitor screen as I fast forward through footage of Cai Guo-Qiang blowing up the front of the Philadelphia Museum of Art accompanied by a field recording of Phil Kline's Unsilent Night that I took part in with Max, walking around with all the other revelers playing a cassette tape of chimes and recording the moving symphony with a radio shack cassette deck.  The cheap tech and ramshackle productions are important to this piece, it about imitating and taking part and creating your own stories and growing with whatever means you have available. Tyler Kline is an artist & curator who received his BA in Anthropology and Sculpture from Portland State University and a MFA in Installation and Sculpture from The Pennsylvania Academy of The Fine Arts. He has curated shows at: Atlanta’s Moving Spirits Gallery, Portland’s Martial Arts Gallery, Zeitgeist and Disjecta, as well as Philadelphia’s Pennsylvania Academy of the Fine Arts, Little Berlin, Crux Space, and The University of the Arts. A Strong believer in the power of Art to revitalize communities and bring about social change; he is fascinated by playing with the porous boundaries between painting, video, sculpture, performance, and printmaking. Kline’s curatorial work braids Visual Anthropology with cross disciplinary aesthetics, with an interest in emerging media and scientific cross pollination. Furthermore, Kline is a visual artist who has created installations in Portland, Atlanta, New York and Philadelphia, and exhibited at the Rebeka Templeton Cont., Little Berlin, MASS MoCA, Vox Populi, The Delaware Art Museum, Dumbo Art Center, The Armory, NYC, The Institute of Contemporary Art, Philadelphia., Washington County Museum of Fine Art, The University of The Arts, The Pennsylvania Academy of Fine Art, Portland State Univeristy, The Savannah College of Art and Design, New Bedford Art Museum, The Goethe Institute of San Francisco, and Disjecta. He currently lives in Philadelphia with his wife and children.

Radical Geometry, 2015

 "Radical Geometry" is about border crossing, the legacy of the civil war, post-colonialism and my own deeply personal sense of disjunction. Growing up moving around a lot because my Father was in the Navy, then growing up in Stone Mountain, Georgia, a die hard confederate stronghold, with a massive and bizarre monument to the Loser Generals of a Lost Cause, and now starting and maintaining a family in Philadelphia the story is complicated. My children are at an age where I speak indirectly, this post Sept 11th culture has taught Americans to censor themselves, we have not been free in our minds for over a decade at least. This is why I become obsessed with the language of geometry, and when I found a book, "Radical Geometry", of artists in Latin America signing similar coded songs it felt so comforting to hear my brethren in the darkness. Tyler Kline is an artist & curator who received his BA in Anthropology and Sculpture from Portland State University and a MFA in Installation and Sculpture from The Pennsylvania Academy of The Fine Arts. He has curated shows at: Atlanta’s Moving Spirits Gallery, Portland’s Martial Arts Gallery, Zeitgeist and Disjecta, as well as Philadelphia’s Pennsylvania Academy of the Fine Arts, Little Berlin, Crux Space, and The University of the Arts. A Strong believer in the power of Art to revitalize communities and bring about social change; he is fascinated by playing with the porous boundaries between painting, video, sculpture, performance, and printmaking. Kline’s curatorial work braids Visual Anthropology with cross disciplinary aesthetics, with an interest in emerging media and scientific cross pollination. Furthermore, Kline is a visual artist who has created installations in Portland, Atlanta, New York and Philadelphia, and exhibited at the Rebeka Templeton Cont., Little Berlin, MASS MoCA, Vox Populi, The Delaware Art Museum, Dumbo Art Center, The Armory, NYC, The Institute of Contemporary Art, Philadelphia., Washington County Museum of Fine Art, The University of The Arts, The Pennsylvania Academy of Fine Art, Portland State Univeristy, The Savannah College of Art and Design, New Bedford Art Museum, The Goethe Institute of San Francisco, and Disjecta. He currently lives in Philadelphia with his wife and children.

California Stop, 2008

Seen as animated paintings these works are concerned with reconciling notions of abstraction with cinematic space.  Barely perceivable shifts in movement, scale and color ask the viewer to recalibrate their relationship to the screen and consider the works as a specter of both the entertainment business and art itself.  Born in 1968.  Currently resides Los Angeles, CA.  His work examines the psychological imprinting of consumer and electronic culture on contemporary society.  He explores this relationship in abstract painting, digital animation, drawing, and quite recently, video.  His work is part of numerous private collections in both the United States and Europe.  His work has been exhibited in the United States, Europe and Japan.

Playback

Animation loop - 2008 - 03:30 min Seen as animated paintings these works are concerned with reconciling notions of abstraction with cinematic space. Barely perceivable shifts in movement, scale and color ask the viewer to recalibrate their relationship to the screen and consider the works as a specter of both the entertainment business and art itself. Mark Robert Lewis. Born in 1968. Currently resides Los Angeles, CA. His work examines the psychological imprinting of consumer and electronic culture on contemporary society. He explores this relationship in abstract painting, digital animation, drawing, and quite recently, video. His work is part of numerous private collections in both the United States and Europe. His work has been exhibited in the United States, Europe and Japan.

Tourism, 2012

My dreams are run-of-the-mill. Like all the inhabitants of the Western Europe, I want to travel. Michel Houellebecq, in Platform Tourism chronicles an individual’s journey around the island of Cuba. The camera focuses on the road where the tourist is cruising, moving along on roller skates. The tourist follows its track, turning its back to the land- scape and crossing paths with locals, cars, trucks, buses and carriages. The smooth skating movement is constantly disrupted by the montage, condensing time and space. The result is a visual impromptu. Tourism explores the intensity of being in a space of otherness. Tourism has been exhibited in New York (Spring Fever), and in Paris (Videodrome)

Made You Come Here, 2016

This online healing experience offers unconditional care while creating relaxing tingling sensations through its ASMR nature. ASMR with its generosity and intimacy is in contrast with how we live in our culture, as disconnected strangers. Made You Come Here is a charismatic contemporary insta-treatment for our common anxiety caused by our shared global challenges. “Made You Come Here reflects on our emotional connection with the screen.“ - Pinar Demirdag “This work reveals our weaknesses and deep desires for connection.” - Viola Renate Pinar Demirdag and Viola Renate are a visual artist duo from Amsterdam and Istanbul, now working in Paris for the last 2 years. We are image makers, passionate about mastering visual codes. In our pieces, we use the power, the beauty and the charm of the image to make people overcome certain prejudices. In our works, we alter reality by generating aestheticized rebellious messages. These visuals translate into custom-tailored, highly aesthetic images, fashion prints, digital paintings, catwalk decor and videos which embody fine craftsmanship and masterful design.  We have previously worked with : IKEA, MTV, Koché / Paris Fashion Week, Nicola Formichetti, Nike, Adidas, Diplo, Bols Genever, Bloomberg Businessweek, New Museum NYC, Dazed and Confused, the City of Paris and the Stedelijk Museum 

Faire retour aux choses mêmes, 2010

Runtime 2:13 Emilie Pitoiset (b. 1980, based in Paris) produces artworks that activate a series of characters and fictions through an on-going narrative that deals with the exhibition as a format, including elements such as film and performance. Her work is infused by figures such as Woolf, Ackerman, Chris Kraus, Robbe-Grillet, Flaubert, Huysmans and Fassbinder that she mirrors and leads astray into a subtle “eroticisation” of everyday life. She plays with uncanny scenarios which unfolds a surrealistic visual grammar which is both enigmatic, noir and decadent. Recent solo projects include a presentation in the context of ‘Double Feature’ Shirn Museum, Frankfurt am Main - ‘It's all the gold that i have’, Klemm's Gallery, Berlin - ‘The silent actions’, Frac Champagne Ardenne, Reims and ‘You are late. Ceremony’ in Les Eglises, Chelles. Pitoiset's has also participated in numerous group exhibitions in such museums as Witte de With, Pompidou Center, Palais de Tokyo, Badischer Kunstverein, Nassauischer Kunstverein Wiesbaden, Bielefeld Kunstverein, Museum Ostwall, Kadist Art Foundation.

La répétition, 2012

Runtime 1:29 16mm film Emilie Pitoiset (b. 1980, based in Paris) produces artworks that activate a series of characters and fictions through an on-going narrative that deals with the exhibition as a format, including elements such as film and performance. Her work is infused by figures such as Woolf, Ackerman, Chris Kraus, Robbe-Grillet, Flaubert, Huysmans and Fassbinder that she mirrors and leads astray into a subtle “eroticisation” of everyday life. She plays with uncanny scenarios which unfolds a surrealistic visual grammar which is both enigmatic, noir and decadent. Recent solo projects include a presentation in the context of ‘Double Feature’ Shirn Museum, Frankfurt am Main - ‘It's all the gold that i have’, Klemm's Gallery, Berlin - ‘The silent actions’, Frac Champagne Ardenne, Reims and ‘You are late. Ceremony’ in Les Eglises, Chelles. Pitoiset's has also participated in numerous group exhibitions in such museums as Witte de With, Pompidou Center, Palais de Tokyo, Badischer Kunstverein, Nassauischer Kunstverein Wiesbaden, Bielefeld Kunstverein, Museum Ostwall, Kadist Art Foundation.

Escales

HD Video - 2015 - 06:38 min Soundtrack: Roger Tellier Craig Canada Council for the Arts Courtesy Laffy Maffei Gallery "Escales" is the result of the manipulation of electronic signals using digital means. Electricity, as raw material, is being sculpted, transformed and altered to be reborn as architecture. The video depicts an immersive environment where hallucinated spaces unfurl like automated mirages, and invite the viewers to project themselves inside this ever evolving space, continuously transforming and morphing into new environments. By its minimal aspect, “Escales” is a neutral space, without any specific identity. Once a number of layers and visual distortions are added, the architecture comes alive. “Escales” manifests the hallucinations and the interferences between what’s considered as “objective reality” and the subjective interpretation of it. Sabrina Ratté (b. Canada, 1982) is a Montreal based visual artist, mainly working in the field of video. Her work explores architectural environments and virtual landscapes generated by electronic signals and manipulated digitally. Her practice is also inspired by the relationship between electronic music and the video image, and she often collaborates with musicians for single-channel pieces as well as in live settings.  Her work have been shown internationally in various forms and contexts, including live performances, installations, and screenings such as Paddles On! 1st Digital Art Auction at Phillips, EMPAC, Museum of the Moving Image, the International Film Festival Rotterdam, Ann Arbor Film Festival, Lampo, Sonic Acts Festival, Elektra Festival, MUTEK, in Montreal, Mexico City and Barcelona. Her videos have been released on DVD by the San Francisco Label Root Strata and on the video label Undervolt & Co. She is part of the online collective Computers Club and she is represented by the Laffy Maffei Gallery in Paris.