TRACE: Wayfinding in Contemporary New Media Art features the artists who draw inspiration from different forms of situational awareness transforming them into complex new platforms for reflection and discourse.
The exhibition will take place in various venues over the course of two years. Through each iteration, it is redeveloped as an autonomous project with different configurations of artworks which inform each other’s content.
Participating artists (complete pool): Mimi Cabell & Jason Huff, Yin-Ju Chen & James T. Hong, R. Luke DuBois, Badfaith VR (Shaun Gladwell & Leo Faber), Dejan Grba, Jonathan Harris, Ron Hutt, Aaron Koblin, Nicolas Maigret & Brendan Howell, Kelly Mark, Seth Myers & Sarah Stolar, Julian Palacz, Alexander Schellow, Syntfarm (Vladimir Todorović & Andreas Schlegel).
TRACE is curated by Dejan Grba, Anna Novakov and Yvonne Senouf, members of [PAS].
When I trace at my pleasure the windings to and fro of the heavenly bodies, I no longer touch the earth with my feet: I stand in the presence of Zeus himself and take my fill of ambrosia.
Ptolemy, Almagest (Syntaxis Mathematica), AD 150.
Hellenistic astronomer Claudius Ptolemy looked to the skies and traced 48 constellations including Gemini (the Dioskouri twins named after Castor and Pollux), linked to Messier 35 cluster dating back 100 million years. Today, we can use mobile astronomy apps to follow the distinct colors of the stars Ptolemy described in his ancient wayfinding text. Science and technology of our time make it easier to track not only celestial mechanics, but the earthly movement of matter, animals and people in various scales and contexts: short routes from home to work, long-distance air travels or ancestral migratory routes gleaned from DNA analysis. They have created new aggregates of hybrid knowledge such as the atlases that map biodiversity and environmental changes on the planetary surface but also deep within the earth’s core. TRACE features diverse contemporary artists who draw inspiration from these and many other forms of situational awareness, and transform them into new platforms for reflection and discourse. They engage with wayfinding in unique and engaging ways, and address it on different conceptual levels.
TRACE consists of video projections and monitors, digital prints, web and interactive installations. It requires up to 8-10 large white walls (internal or external including a public location) and up to 10 High Resolution data projectors (preferably 1080p) that are either suspended on the ceiling or resting on freestanding podiums. Some portions of the space will need to be darkened for the video screenings
Addressing the general audience with an interest in contemporary art, the exhibition will tour various international venues over the course of two years. As of January 2018, the exhibition is scheduled for MoCA Salon in Belgrade, Serbia, and for Pro Arts in Oakland, California. Through every iteration, the exhibition is redeveloped as an autonomous project with different selections and configurations of the pooled artworks which inform each other’s content within the particular venue. Each iteration features an educational program with round tables, lectures and workshops, which will be documented and publically available.
TRACE in MoCA Salon will be accompanied by a catalogue published by MoCA Belgrade, and the complete project will be presented in a book published by McNally Jackson in New York.
The exhibition will take place at:
MoCA Salon in Belgrade, Serbia from 30 March to 28 May 2018.
Pro Arts in Oakland, California from 20 July to 31 August 2018.
TRACE is organized by Provisional Art Spaces [PAS], an international consortium of curators and artists who create opportunities for spatial transference through artistic affiliations, environmental action and strategic productions. As an association, [PAS] uses territorial entanglement and emerging technology as vehicles for migratory art practices. Working in the United States, Asia and Europe, [PAS] offers an innovative model for contemporary art production that goes beyond the established art market and towards a more egalitarian embrace of viewers and audiences.