Rhizome and Electronic Arts Intermix (EAI) are teaming up with Canyon —a major new venue for media art opening on New York’s ...

Maja Cule, Hanging from the 8th floor of the South side of The Trump Building at 40 Wall Street, (2013) (featuring: Marlous Borm).From “Performance GIFs,” 2013, curated by Jesse Darling.Screenshot, ...

Cover image: Screenshot of BookStory’s opening title screen, featuring the interior of the Kurome Shobo bookstore. Usually, a Google Sheet is the site of bureaucratic misery and numbing digits; the ...

GIF extract form Hito Steyerl, How Not To Be Seen. A Fucking Didactic Educational .MOV File, 2013.HD video file, single screen, 14min. How Not to be Seen: A Fucking Didactic Educational .MOV File is ...

“Imagine if we could begin our little life all over again. Imagine if it was all nothing more than some electronic game. Imagine if I knew then what I know now.” —Deus Ex Machina, Automata, 1984 If ...

Most Days is a Mundane Afrofuturist sound work released on vinyl by Mixed Media Recordings, due to be released in early 2014. The audio consists of a table read of an original screenplay alongside a ...

Extract from Vertigo (1958).. As Slavoj Žižek and others have argued, the credit sequences designed by Saul Bass for Alfred Hitchcock's unofficial trilogy of late masterpieces—Vertigo (1958), North by ...

Hannah Black, Intensive Care/Hot New Track (2013). Digital video. Intensive Care/Hot New Track began with this text conflating celebrity gossip about Rihanna and Chris Brown with Abu Ghraib and then ...

In May 2014, artist Kevin McCoy sold a GIF onstage at Rhizome’s Seven on Seven conference to Anil Dash, and published the transfer of ownership of a GIF on the Namecoin blockchain. The data written to ...

This essay was adapted from a lecture given by Francis Tseng at Pioneerworks' 2019 Software for Artists Day. Summer 2018 was the “summer of scam.” In April 2019, not long after the New Inquiry held a ...

Molly Dilworth, 547 West 27th Street (2009). From the series "Paintings for Satellites." In the early 2000s, as location-aware devices first became commonplace, there was a lot of hype surrounding ...

These artists (...) counter the database, understood as a structure of dehumanized power, with the collection, as a form of idiosyncratic, unsystematic, and human memory. They collect what interests ...