The exhibition Three Junctures of Remix features the art of Mark Amerika & Chad Mossholder, Arcangel Constantini, Giselle Beiguelman, and Elisa Kreisinger, a group of international artists who have explored and reflect on the implications of the creative act of remixing since the concept became popular beginning in the nineties.
The art works crossover and explore three junctures (moments of production) of remix: the pre-digital/analog; the digital; and the post-digital which developed in chronological order, but after their initial manifestation, became intertwined and currently are often reintroduced in conjunction to inform the aesthetics of remix as a creative act in art practice. The exhibition is curated to reflect on how computing has enabled people to recombine pre-existing material with unprecedented efficiency that is relatively affordable just about everywhere information-based technology is widely used. This has affected how local and global communities view their cultural production, from politics to the arts.
Eduardo Navas researches the crossover of art and media in culture. His production includes art & media projects, critical texts, and curatorial projects. He has presented and lectured about his work internationally. Navas researches and teaches in the School of Visual Arts at The Pennsylvania State University, PA. He also lectures in the program of Culture and Media at Eugene Lang College, and MA Media Studies at The New School for Public Engagement, NY. Navas is a 2010-12 Post Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, where he remains an affiliated researcher. He received his Ph.D. from the Program of Art History, Theory, and Criticism in The Department of Visual Arts at the University of California, San Diego. He is the author of Remix Theory: The Aesthetics of Sampling.
Mark Amerika is an internationally renowned “remix artist” who not only reconfigures existing cultural content into new forms of art, but also mashes up the mainstream media forms and genres that most commercial artists work in. His artwork includes published cult novels, pioneering works of Internet art, digital video, surround sound museum installations, large scale video projections in public spaces, live audio-visual/VJ performance, and most recently, a series of feature-length “foreign films” shot with different image capturing devices in various locations throughout the world. He is currently a Professor of Art and Art History at the University of Colorado at Boulder and Principal Research Fellow in the Faculty of Humanities and Social Science at La Trobe University. His Internet art can found at his website, markamerika.com
Chad Mossholder is a sound artist working in art installations, film, music and video games. His critically acclaimed and experimental electronic music project “Twine” has performed all over the world and has released six full-length albums as well as numerous mini-albums, and EP’s on such labels as Hefty Records (Chicago), Bip-Hop Records (Marseille France) and Ghostly Records (Ann Arbor). His live audio/visual performances have attracted audiences in Europe, Japan and North America. Chad’s sound collaborations with artist Mark Amerika, including Filmtext, Codework and Immobilite, have been exhibited in international museums, galleries and festivals.
Giselle Beiguelman is a new media artist, curator and researcher. She was Artistic Director of Sergio Motta Institute (2008-2011), and was also Professor of the Graduate Program in Communication and Semiotics of PUC-SP (São Paulo, 2001-2011). Beiguelman teaches Art History and Design at the Architecture and Urbanism Faculty of the University of São Paulo. She was Editor of seLecT magazine and curator of Tecnofagias (3rd 3M Digital Art Show, Instituto Tomie Othake, 2012). Her art work has been presented in international venues such as Net_Condition (ZKM, Karlsruhe), el final del eclipse (Fundación Telefonica, Madrid), The 25th São Paulo Biennial, Transitio_MX (Mexico), YOU_ser (ZKM), among many others. She was Curator of Nokia Trends (2007 and 2008), and the Brazilian participation in ISEA Ruhr (2009) among many others.
Arcángel Constantini produces work of a marked ludic-experimental nature, strongly influenced by the fortuitous and chaotic processes of the city as reflected in the systematic use of glitch aesthetics. His work and artistic practice explore the dynamics of visual and sound works, low-tech installations, propaganda action, visual/sound performance, hardware hacking, physical computing, installation, sound art and net art. As an independent curator, he has been developing the program of Cyberlounge, Museo Rufino Tamayo since 2001, and was part of the curatorial team for Transitio Mx electronic art festival. He is a member of dorkbot Mexico D.F. council. He has received several awards, among them the Prize for Best Multimedia Work at Vidarte, Video and Electronic Arts Festival, CENART (Mexico City, 1999), and received first prize for Atari-noise at Interference Festival France 2000. In 2002 Constantini received the Rockefeller/ MacArthur grant for new media.
Elisa Kreisinger is a video artist based in New York City. Her latest work includes remixing Mad Men, Sex & the City, and the Real Housewives into feminists and lesbians. Her work has been featured in galleries and festivals throughout the US and Europe including Museum of Film and TV (Berlin), MIP Cube (France) and SxSW. A prominent voice in the remix and online video community since 2006, Elisa speaks on university campuses, including USC, MIT and Harvard, and at industry events throughout the world. Her success engaging female audiences online has led to collaborations with NBC, Paramount Pictures, Art 21, Eileen Fisher, Women Make Movies and the Women’s Media Center. An advocate and activist, Elisa works with Harvard’s Berkman Center for Internet and Society, American University’s Center for Social Media and the Electronic Frontier Foundation to continue to pave the way for a remix-friendly web that acknowledges creators’ rights under US Copyright Law’s Fair Use provision.