(ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇Litch) art genealogies
Curated by Daniel Franke, John McKiernan and Rosa Menkman
Text and design: Rosa Menkman
| exhibition @LEAP BERLIN | 19.03.2113 - 23.03.2113__
With works by: Kim Asendorf, Nick Briz, jonCates, Kevin Carey, Anton Marini filter inspired by Bill Etra, Emilio Gomariz, Jodi, Nick Kegeyan, Alex Myers, Phil Morton, A
Bill Miller, Brenna Murphy, no_carrier, noteNdo,! Julian Oliver,! Bryan Peterson,
Sabrina Ratté, jon.satrom, Rick Silva and miYö Van Stenis.
«Over the last 10 years, glitch, a perceived break from a flow in a technological system, has become a more and more popular subject matter in the (new) media arts. Today, Glitch Art is indeed so popular that theorists often feel the need to categorize and historicize the genre. Dada, Futurism and de Stijl are just a couple of historical Avant-Garde movements that have been used to delineate ‘the history’ of Glitch Art. But this teleological principle defies and confines glitch’ procedural and fragmented nature.
The exhibition (Ġ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇litch) Art Genealogies does not focus on glitch art from a historically singular point of view, nor does it attempt to give an all encompassing historical or causal overview. Instead, (Ġ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̐litch) Art Genealogies recognizes the complexities and processes of glitch arts’ many affiliated, interconnected and (geo-)fragmented discourses: it tries to shine a light on why particular glitches develop social-political momentum in a specific point in time and how this momentum changes over time.
(G̐litch) Art Genealogies is an effort to show just five of the many threaded glitch discourses that play a role in the curators subjective understanding of glitch art at this present. In these threads, generations of different communities of (visual) glitch artists and their working methods, conceptual themes and politics are (inter)connected and/or juxtaposed.»