Upcoming

The Supermarket Of Images

11. February – 7. June 2020
Group Show, Jeu de Paume, Paris

Link in bio

16. December 2019 – 14. March 2020
Group Show, MdbK, Leipzig

The Glass Room

16. October – 13. November 2019
Group Show, Tacitical Tec, San Francisco

To passers-by, The Glass Room looks like another slick, clean-lined store offering the latest shiny consumer products. Step inside, and you’ll discover something more unusual but nothing for sale. What goes on behind the screens and inside the black boxes of the devices we interact with everyday? If we knew, would we still sign-in or click ‘I agree’? How much trust do users invest in big tech companies, and what can be done if that trust is broken?

Asuntos De Nuestro Espacio

10. October – 11. November 2019
Group Show, Centro Cultural Ricardo Rojas, Buenos Aires

Asuntos De Nuestro Espacio (Matters of our space)

“Matters of our space” is an exhibition of art that is built around social dynamics, ways of living and technologies that are used and built collectively today.

Seduced by clicks, forms and applications, we update our data without being aware of it. Day by day we carry out actions that are integrated into a set – no longer local but global – of information. Our daily experiences are transformed into links in a process that happens on a global scale and of which we do not know its logic and functioning.

Curated by Cristian Reynaga (Argentina), Asuntos de nuestro espacio presents the works of Aram Bartholl (Germany), Varvara Guljajeva (Estonia) and Mar Canet (Spain), Rafael Lozano-Hemmer (Mexico), Martín Nadal (Spain), Nayantara Ranganathan (India) and Manuel Beltrán (Spain), that by means of techniques, devices and strategies that they themselves construct, make visible protocols and technologies that form part of our contexts both in the digital and physical environment, involving a critical perspective on these same media.

Along with a program of talks, with the participation of Margarita Martínez, Valentín Muro, Victoria Papagni and Manuel Beltrán among others, workshops and interventions in public space, this exhibition proposes the city as an environment for discussion on the place we give to technologies in our intimate space and in our public, physical and digital space.

Artists: Aram Bartholl (Germany) – Varvara Guljajeva (Estonia) and Mar Canet (Spain) – Rafael Lozano-Hemmer (Mexico) – Martín Nadal (Spain) -Nayantara Ranganathan (India) and Manuel Beltrán (Spain). Curated by Cristian Reynaga. Production and coordination of workshops: Candela del Valle. Curatorial assistance: Carolina Aliotta. Audiovisual production: María Laura Morán.

Translated with www.DeepL.com/Translator

Stadstriennale: Screen It

5. October 2019 – 5. January 2020
Group Show, Stadstriennale Hasselt Genk, Hasselt, Genk

The main exhibition SCREEN IT takes place on the Corda Campus, currently one of the fast growing tech incubators in Europe. But also the former basecamp of Philips where technologic innovations as audio and videocassettes or Laservision were invented that help spreading the western visual culture over the world. The dominance of this culture, linked to the omnipresence of screens is the starting point of the exhibition. Artist as Nam June Paik or Wolf Vostell already tackled the possibilities of screens in art and culture in the ’60. Paik’s famous quote “Television tortured the intellectuals for a long time… it is about time that the intellectuals torture television” clearly presents this generation ambiguous positions towards screens. This approach can easily be transferred towards our current society filled with buzz words as big data, social media, VR or augmented reality. The exhibition thus will tackle the current status of the arts towards the cultural impact of the screen fueled culture we live in.

Sometimes as a source of inspiration, as a canvas or as starting point for debate, the current and future generation of artists is touching the limits of technology or the impact on contemporary art esthetics, news gathering, politics, social commitment and more. The generation of digital natives, born with their fingers clued on a screen, is investigating a world with or without screens, questioning virtual worlds and augmented realities in an intriguing way.
Artists (22)
Nam June Paik
Hito Steyerl
Rodney Graham
Mounir Fatmi
Wolf Vostell
Bill Viola
Cory Arcangel
Aram Bartholl
Constant Dullaart
Jonas Lund
Tabor Robak
Tabita Rezaire
Rafaël Rozendaal
Carla Gannis
Émilie Brout & Maxime Marion
Karl Philips
Dries de Poorter
Arvida Byström
Molly Soda
Jeroen Van Loon
Olga Fedorova
Tom Galle

Coventry Biennial of Contemporary Art

4. October – 24. November 2019
Group Show, Coventry, Coventry

The highly anticipated second Coventry Biennial will unfold across the city from the 4th October to the 24th November 2019 and we invite people to learn, look, make, talk, think and walk with us.

The biennial’s title this year is The Twin and it comprises a series of exhibitions, events and activities about relationships.

We are an international city; Coventry and Volgograd, Russia, were the first modern twin cities in the world and this year marks the 75th anniversary of that historic bond of friendship.

The core programme of The Twin will unfold across the city in medieval and modernist buildings as well as in artist studios, galleries and museums. We will be exhibiting new and existing artworks by individual artists, duos and groups from Coventry, across the UK and from many of our international twin cities as well as other international locations. We are delighted to be exhibiting the artists listed below and will be announcing a small number of additional practitioners over the coming weeks and months:

Isobel Adderley & Jazz Moreton, Tully Arnot, Art & Language, Jonny Bark, Aram Bartholl, Jordan Baseman, James Birkin, Simon & Tom Bloor, James Bridle, Lorsen Camps, Paul Chan & Badlands Unlimited, David Cheeseman, James Clarkson, Anna Columbine, Maud Cotter, Paul Crook, Matthew Darbyshire, Joseph DeLappe, Lisa Denyer, Jacqueline Donachie, Caitriona Dunnett, EVOL, Anne Forgan, Dylan Fox, Darryl Georgiou & Rebekah Tolley, Zuza Golinska, Noémie Goudal, Lawrence Abu Hamdan, Mona Hatoum, Corey Hayman, Nicky Hirst, Clare Holdstock, Fred Hubble, Andrew Jackson, Juneau Projects, Navi Kaur, Smirna Kulenović, Liz Lake, Ollie Ma, Ioana Marinescu, Tony McClure, Lorna Mills, Anna Molska, MTAA, Alexandra Muller, Edie Jo Murray, Uriel Orlow, OUTLINE & Smirna Kulenović, Paper Rad, Bharti Parmar, Parmar & Piper, Partisan Social Club, Mathew Parkin, Matthew Picton, Duncan Poulton, Adele Mary Reed, Lis Rhodes, Rafaël Rozendaal, Ana Rutter, Richard Scott, Shirana Shahbazi, Larissa Shaw, Thomson & Craighead, Leonid Toprover, Chidera Ugada, Mhairi Vari, Nilupa Yasmin

Open

26. September – 8. November 2019
Solo Show, Roehrs & Boetsch, Zurich

For his first solo exhibition in Switzerland, Aram Bartholl delves in to origins, effects and legacies of our daily usage of social media through portable devices. Built on the ashes of a scaled, thin-paper model of the Facebook HQ front sign in Menlo Park, California, which burned down in a fire before the opening, the exhibition brings together in a cohesive installation a new set of printed, sculptural and video works.

A recent study reported on the New York Times by writer and journalist Benedict Carey, found that phone users switched screen activities every 20 seconds on average, and rarely spent more than 20 minutes uninterrupted doing any one of them. With the daily screen time of an adult being 8 to 10 hours today, scientists have started to look into our habits and screen-shifting patterns. Adapting the concept of genome, the genetic code that determines the characteristics of a living beings, experts feel now able to identify a “screenome”, as each individual screen-time experience appears to be sequential, disjointed and unique.

A series of floating open hands, the images of which are photos from an online stock agency, gesture towards one another in a semi-open position, as a sign of collaboration and participation as well as leading back to the way we hold our smartphones. The withstanding frame of the burned-up work remains on its ashes at the center of the room, while a video of the fire – apolitical act of protest against what is today the largest sharing platform, is playing on a screen. A number of disused phones lies on the ground on a pile of fire-retardant debris, some of which have come to cover copies of a free local newspaper on a nearby table. Inside, an article denounces swimmers’ difficulties in separating from their smartphone while in the waters of the river Aare, Switzerland.

The personal computer, the internet and, most recently, the smartphone represents a paradigm shift in the way we communicate today. The promise of openness and equality of the World Wide Web has now been superseded by gigantic sharing platforms such as Facebook which, together with our devices, collect and contain the most intimate track record of our emotional and personal history. Shading light on a society of which interactions are shaped and controlled by machines we cannot fully understand neither control, making us in fact controlled by them, Bartholl addresses electronic waste as a moment of emotional detachment from our past experiences though equally liberating from the slavery of control to which we are involuntarily subjected.

Immortality – The Ural Bienniale

12. September – 1. December 2019
Group Show, uralbiennale.ru, Ekaterinburg

The Ural Industrial Biennial is the largest regional art project with international participation among those existing on the territory of the Russian Federation. The Biennial takes place at former industrial and non-exhibition spaces in Ekaterinburg and other cities of the Ural region.

In its 5th edition, the Ural Biennial explores concepts behind the Immortality, both secular and sacred; it is seen as a powerful utopist idea, as technocratic obscurity, as a symbolic tool and as a condition which might cause evident ethical schisms.

CURATOR:
Xiaoyu Weng

ARTISTS:
Zarouhie Abdalian & Joseph Rosenzweig | Agency of Singular Investigations (Stanislav Shuripa, Anna Titova) | Carlos Amorales | Petr Antonov | Evgeny Antufiev & Lyubov Nalogina | Elena Artemenko | Aram Bartholl | Yin‑Ju Chen | Anya Cherepanova & Vitalik Cherepanov | Ali Cherri | Bruce Conner | Danilo Correale | Vladislav Efimov | Ilya Fedotov-Fedorov | Cyprien Gaillard | Claudia Martínez Garay | Felix Gonzalez-Torres | Gorod Ustinov | Ivan Gorshkov | Ilya Grishaev | He Xiangyu | Francisco Camacho Herrera | James T. Hong | Chia-Wei Hsu | Geumhyung Jeong | Tarik Kiswanson | Egor Kraft | Gabriel Lester | Liu Chuang | Liu Qingyuan | Qinmin Liu, Pan Lu & Bo Wang | Cristina Lucas | Tala Madani | Jill Magid | Ksenia Markelova | Chris Marker & Alain Resnais | Sara Modiano | Yuko Mohri | Christian Nyampeta | Adrian Piper | Pavel Pepperstein | Ivan Petrokovich | Gala Porras-Kim | Charlotte Posenenske | Diana Fonseca Quiñones | Araya Rasdjarmrearnsook | The Recycle Group | Ana Roldán | Roee Rosen | Maria Safronova | Aki Sasamoto | Kirill Savchenkov | Masha Sedyaeva | Lieko Shiga | Shimabuku | Alexander Shishkin-Hokusai | Timur Si-Qin | Nikolay Smirnov | Maria Taniguchi | Diana Thater | Anastasiya Tsayder | Franco Vaccari | Stan VanDerBeek | Anton Vidokle | Peter Watkins | Wong Ping | Ustina Yakovleva | Yan Xing | Arseny Zhilyaev

Playmode

10. September 2019 – 28. February 2020
Group Show, Maat, Museum of Art, Architecture and Technology, Lisbon

The exhibition Playmode offers a reflection on these aspects and on the era of gamification that contemporary societies are now experiencing, bringing together pieces by several artists, such as Brad Downey, Gabriel Orozco and Ana Vieira, who incorporate the theme while exploring new ways of seeing, participating and transforming the world, using gaming in a critical light. Picture: House of Cards #3. Brad Downey, 2007. Photo: Brad Downey

Blog

“Open” solo at Roehrs & Boetsch

September 22, 2019

Last spring when I was visiting San Francisco I was wondering how to work with the Facebook sign at Menlo Park. This sculptural transformation came out …. and more new works for my upcoming solo at Roehrs & Boetsch, opening on Sept. 25th!

ARAM BARTHOLL – OPEN
Roehrs & Boetsch, Zurich
26.9.­–3.11.2019, preview 25.9.

For his first solo exhibition in Switzerland, Aram Bartholl chooses to address origins, effects and legacies of our daily usage of social media through portable devices. Built on the ashes of a scaled, thin-paper model of the thumbs up sign of Facebook in Menlo Park, which burned down in a fire before the opening, the exhibition brings together in a cohesive installation a new set of printed, sculptural and video works.

 

Näh mir ein Funkloch

September 9, 2019

Näh mir ein Funkloch
Aram Bartholl zeigt mit „Strike Now!!“, wie unser Leben stetig, aber unaufhaltsam mit dem Internet verschmilzt
Anika Meier | Ausgabe 36/2019 |  der Freitag

(read)

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Strike Now!!

September 4, 2019

Strike Now is a platform for discussion and exhibition about today’s working conditions in the so called ‘gig economy’. The rise of service oriented Internet companies like Uber, Amazon and Deliveroo etc created massive amounts app based self employment under often harsh conditions. Is this the new slavery of the post digital Internet commercial revolution? In which ways can workers counteract the algorithmic chains of start-up venture capital? With lectures, a panel and an exhibition Strike Now at panke.gallery will examine these and further questions.

A project by Aram Bartholl, funded by Stiftung Kunstfonds.

11. – 15. September 2019
panke.gallery, Berlin
Opening Sept. 12. 7 pm

14 SEP, 4:00 – 7:00 pm, Panel discussion

This panel brings togther three different perspectives on how the so called gig economy impacts working conditions around the globe. The participants focus ranges from artistic analysis and applied political research in the field to active union related work on the ground.

Participants: Joanna Bronowicka, Sebastian Schmieg, Akseli Aittomäki moderated by Aram Bartholl

Sebastian Schmieg is an artist who’s work engages with the algorithmic circulation of images, texts and bodies within contexts that blur the boundaries between human and software, individual and crowd, or labor and leisure. At the centre of his practice are playful interventions into found systems that explore hidden – and often absurd – aspects behind the glossy interfaces of our networked society. Schmieg works in a wide range of media such as video, website, installation, artist book, custom software and lecture performance.

Joanna Bronowicka is a sociologist and community organiser living in Berlin. She is researching the impact of technology on society at the European University Viadrina in Frankfurt (Oder). Until recently, she was the director of the Centre for Internet and Human Rights. Joanna has been fighting for rights of women, workers and migrants for over a decade. She is a member of Polish left-wing party Razem which has an active branch in Berlin.

Akseli Aittomäki is a dance artist and experimental theater-maker. His works involve different productions, research and activism. His art practice ranges from experimental theater to contemporary dance and philosophically motivated performance works. Critics characterize his choreography productions as ‘essayistic’. Economic questions and political protest play an important role in his research. Aittomäki was a rider for Deliveroo for over two years. He was engaged in campaigns to improve the working conditions of the riders, such as protests, strikes, collaboration with media or providing help for workers after work accidents. Deliveroo pulling out of Germany is the moment for him to share his perspective.

Speed Show: FACE THE FACE

July 2, 2019

FACE THE FACE
A Speed Show on the Post-Digital Self

curated by
Anika Meier & Aram Bartholl
5.7.2019, 7:00 – 10:00pm
Internet Cafe – Midnightshop
Schönhauser Allee 188, Ecke Torstr., 10119 Berlin

Participating artists:
Lisette Appeldorn, Jeremy Bailey, Nadja Buttendorf, Petra Cortright, Constant Dullaart, Tom Galle, Lauren Huret, Johanna Jaskowska, Andy Kassier, Hanneke Klaver, Lynn Hershman Leeson, Echo Can Luo, Ines Marzat, Jillian Mayer, Andy Picci, Selam X

Social media algorithms have a preference for faces. People prefer friends to strangers and are more comfortable with the familiar in general. This preference applies to their own faces, too. Studies have shown that people like their mirror-reflected face most because that is how they are used to seeing themselves. “The selfie,” writes Nathan Jurgenson, “lets us share that mirror-view, what we see when contemplating our self, considering what we are.” Science is not yet convinced of what the critics are absolutely sure of: people who take selfies are narcissistic exhibitionists.

These days, when a person takes a photo to their plastic surgeon, it is of their own face. Smoothed and beautified by Snapchat and Instagram filters, it is the new ideal. Filters make people feel attractive. Masks and filters function as a barrier between the individual and the world, and people have always felt the need to change themselves by wearing makeup, getting plastic surgery, donning masks ,or using filters that simultaneously hide and reveal. Mask culture, thousands of years old, is currently undergoing a digital renaissance. Software-driven face-recognition apps on smartphones enable a new, shared experience of this ancient tradition. “The self one tries to express tends to be new, exciting, confessional, sexy, etc., because it plays as an advertisement. Identity is a series of ads for a product that doesn’t exist,” writes Rob Horning on digital identities.

In the early 1980s Lynn Hershman Leeson addressed the ways media changes the view of the self and promotes stereotypical norms in her series “Phantom Limbs.” Jeremy Bailey has been playing with floating, 3D objects in front of the camera since the early 2000s. The elaborate hardware and tracking programs he began with have now completely disappeared into the smartphone. Petra Cortright started using commercially-available webcam software with basic effects and folklore-inspired filters to create her series of YouTube portraits in 2009.

Now, a new generation of net artists is reflecting on the presentation of faces in the digital age. @AndyKassier, for example, explains in his video how to make the perfect selfie, while @jillianmayer gives tips on how to hide from surveillance cameras with makeup in her tutorial. @andypicci uses filters to criticise the desire for image cultivation in the era of social media and @johwska addresses the sort of beauty ideals promoted by celebrities like Kim Kardashian and Kylie Jenner every day. The @selamxstudio collective, in turn, shows what happens when a beauty AI does Kyle Jenner’s make-up.

http://speedshow.net/speed-show-face-the-face/

The SPEED SHOW exhibition series was conceived by artist Aram Bartholl in June 2010. The basic idea of this exhibition format is to create a gallery like opening situation for browser-based internet art in a public cyber cafe or internet shop for one night. The exhibition format is free and can be applied by anyone at any place.

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Modell und Ruine

May 9, 2019


‘Common Ground’, Aram Bartholl 2019

Werkleitz Festival 2019
Modell und Ruine [Model and Ruin]
May 25–June 10

modell-und-ruine.werkleitz.de
The 2019 Werkleitz Festival Modell und Ruine [Model and Ruin] curated by Daniel Herrmann and Alexander Klose presents the works of 13 international artists as part of the Bauhaus Centenary celebration. Their projects are developed for the festival and play with the tension between the phenomena of models and ruins and their relevance in modern history. The works will be shown from May 25 to June 10 2019 in Dessau, Germany.

As powerful images, models—much like ruins—serve to construct history, explain the present and generate the future. The recurring rise and fall of Dessau seems somehow to draw such connections together like a burning glass. The exhibition parcours connects the classicistic Georgengarten with the classical modern architectural ensemble of the Meisterhäuser and the historicistic Mausoleum. The intention is to present Bauhaus in the larger context of the 250-year history of the modern age.

The featured artists are:
Haseeb Ahmed (US/BE), Rosa Barba (IT/DE), Aram Bartholl (DE), Michael Beutler (DE), Haris Epaminonda (CY/DE), Holmer Feldmann feat. Piotr Baran (DE), Angela Ferreira (MZ/PT), Nikolaus Gansterer (AT), Christoph Girardet (DE), Cornelius Grau (DE), Romain Löser (FR/DE), Andrea Pichl (DE) and Magdalena Rude (DE).

0,16 – Resolution

May 9, 2019



0,16 – Resolution

RAUM SCHROTH im Museum Wilhelm Morgner
Soest, NRW  http://www.museum-wilhelm-morgner.de

11. Mai – 30. Juni 2019

Die Stiftung Konzeptuelle Kunst widmet dem Medien- und Konzeptkünstler Aram Bartholl eine Einzelausstellung im RAUM SCHROTH im Museum Wilhelm Morgner.

Aram Bartholls Werk bewegt sich an der Schnittstelle zwischen analoger, digitaler und kultureller Realität. Das Spannungsfeld von öffentlich und privat, online und offline, von Technologieverliebtheit und Alltagsleben liegt im Kern seines Schaffens. Seine von Humor und großer Sensibilität geprägten Interventionen und Installationen bringen oft eine erstaunlich physische Manifestation der digitalen Welt mit sich und stellen unsere Konzepte von Realität und Virtualität infrage.

So ist die zentrale Arbeit dieser Ausstellung, „0,16“, eine Lichtinstallation, die das Pixelprinzip von Bildschirmen in die analoge Welt überführt. Digitale visuelle Kommunikation wird nachvollziehbar und sinnlich erfahrbar, ihre Methoden mit realen Inhalten gefüllt. Das verpixelte Bild eines lebendigen, in Echtzeit vorbeilaufenden Menschen erscheint in einer Auflösung von 0,16 ppi (pixels per inch) auf einem Schirm aus Holz, Papier und Stoff.

‘Map’ at SMFMOMA

March 25, 2019

Map is being installed on the roof of SFMOMA for the upcoming ‘snap+share’ show. I made the first iteration of this piece in 2006, more than a decade ago—an epoch in Internet time. It is fascinating to see how much the context and meaning of this piece have changed over the years. Thirteen years wouldn’t usually be a huge timespan for a work of art to age, but in this particular case the speed of developments mean Map now looks very different. It has already become a historical work.

In 2004, Google bought Where 2 Technologies, a company that had worked on the digital map service that became Google Maps a year later. It was still the mid-early days of the web. The Internet was not as present in society as it is today, but tech giants like Google were already taking shape.

It was part of my practice back then to make such translations, to take an object from a computer game or an icon from a web service and to transform it into a physical sculpture. What would happen if I turned this 15-pixel computer icon into a real thing and put it in the city? Is this the center of the city? These and other projects were an attempt to understand how this new world of computers, networks, and screens would affect society and physical space. They were a sign of what was to come.

Today the situation is very different. We have the famous oligarchy of Internet tech giants who are constantly squeezing more data and money from every bit of communication, movement, and interaction everyone produces worldwide. They have expanded into all kinds of markets in a never-ending run of disruption with little objection or regulation from government. Today, data extraction markets are deeply woven into a very physical fabric of everyday life in cities, business, homes, and personal communication. The dualism of digital versus analog has been obliterated; everything is deeply interconnected.

Of course, it is an honor to show Map in such a prominent location at the SFMOMA in downtown San Francisco. But in a way, it is also an irony of history that this piece from 2006 is ‘coming home’ today to the heart of Silicon Valley in an era dominated by full-blown surveillance capitalism data markets.

Aram Bartoll

Map, 2019
dimensions: 900 x 530 x 20 cm
material: steel, aluminum mesh, steel cables

Thanks to the whole team at SFMOMA making this possible!!

SFMOMA: snap+share
transmitting photographs from mail art to social networks
March 30–August 4, 2019
https://www.sfmoma.org/exhibition/snap/

curated by Clement Cheroux
with: Thomas Bachler, Ray Johnson, Aram Bartholl, On Kawara, Joseph Beuys, Erik Kessels , Moyra Davey, William Larson, Jan Dibbets, Eva and Franco Mattes, Walker Evans, Peter Miller, Jeff Guess, Ken Ohara, Lynn Hershman Leeson, Stephen Shore, Kate Hollenbach, Endre Tót, David Horvitz, Corinne Vionnet


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NON A L’#ARTICLE13

March 23, 2019

Today there have been massive demonstrations all around EU against #article13 and other paragraphs in the coming new EU copyright reform directive. The parliament will vote about this in three days. This law will only help big publishers, labels and content dealers but not the artists. It is very annoying to be used as an excuse by lobby controlled politicians that ‘the poor artist’ needs to protected while this will break Internet culture on a large scale. Required uploadfilters will give even more power to Internet tech giants Google, FB etc. Culture is based on imitating, quoting and remixing, especially online! It is very likely that you wont be able to post your own art any more….

#openinternet #article13 #saveyourinternet

pic taken by @mathieutremblin during Strasbourg visit three weeks ago, thx!

SFMOMA: snap+share

March 23, 2019

Beautiful time-laps of the setup of ‘Map’ by Jason Wittig, thx! I arrived in SF and we are doing some the final touches on the show install. “snap+share” will open to the public Saturday, March 30. Looking fwd to meet all the artists for the preview next week!

SFMOMA: snap+share
transmitting photographs from mail art to social networks
March 30–August 4, 2019
https://www.sfmoma.org/exhibition/snap/

curated by Clement Cheroux
with: Thomas Bachler, Ray Johnson, Aram Bartholl, On Kawara, Joseph Beuys, Erik Kessels , Moyra Davey, William Larson, Jan Dibbets, Eva and Franco Mattes, Walker Evans, Peter Miller, Jeff Guess, Ken Ohara, Lynn Hershman Leeson, Stephen Shore, Kate Hollenbach, Endre Tót, David Horvitz, Corinne Vionnet

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Digital Vasari: Interview

March 15, 2019

An interview I gave during my visit at ‘Laboratoria Arte Alameda‘ in Mexico city last summer 2018.

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