bOdy pandemOnium : Art Laboratory Berlin : 25 April – 21 June 2015 Berlin

rear windOw curiOsites, 2012, 2x2m, computer-robotic assisted acrylic on canvas

rear windOw curiOsites, 2012, 2x2m, computer-robotic assisted acrylic on canvas

bOdy pandemOnium

Art Laboratory Berlin

Press preview: 24 April 2015, 6PM

Opening: 24 April 2015, 8PM

Artist Talk & Noise music concert: 25 April, 2PM

Exhibition runs: 25 April – 21 June 2015

Opening hours: Fri-Sun, 2-6PM and by appointment


Art Laboratory Berlin PRESS RELEASE

The exhibition bOdy pandemOnium, with the subtitle Immersion into Noise, will present Nechvatal’s recent work to a Berlin audience alongside his eponymous book from 2011: Immersion into Noise. In that text, Nechvatal provides visual analogies to audio noise within the powerful effects of the act of immersion. He does so by discussing visual and conceptual noise within the history of art and architecture; from Lascaux cave through Baroque art and Rococo architecture to modern and contemporary art. This publication was also the basis for the exhibition Noise at the 55th Venice Biennale (2013) which explored visual noise in contemporary art through an aesthetic of excess and immersion.

In the bOdy pandemOnium exhibition, and in Nechvatal’s work in general, the term viractualism, meaning the interface between the biological and the technological, plays an essential role: “The basis of the viractual conception is that virtual producing computer technology has become a noteworthy means for making and understanding contemporary art. This brings art to a place where one finds the merging of the computed (the virtual) with the uncomputed corporeal (the actual).”

Parallel to his theoretical research, Nechvatal has created a series of paintings and projections that show a C++ custom virus program (created with the programmer Stephane Sikora) invading, destroying and transforming his painterly art images based on intimate parts of the human body. In the exhibition at Art Laboratory Berlin, two large computer-robotic assisted paintings will be on display: frOnt windOw retinal autOmata (2012) and rear windOw curiOsites (2012).

As the artist says of his work: “My digital paintings conjure up an enigmatic world that signals the dynamic critical intricacy of a contemporary practice engaged in the fragile wedding of image production and image resistance. Through my use of intimate human body parts under pressure from software, I hope to bring a subversive reading to computational media by presenting an artistic consciousness of the body that articulates concerns regarding surveillance, encryption, safety, privacy, identity and objectivity.”

Also on view will be one of his famous viral computer software de-generative works: Viral Venture (2011). It is accompanied by a musical score for two hundred electric guitars by the composer Rhys Chatham.

In addition, for his first his solo exhibition in Berlin, we will add documentation of Nechvatal audio works: including his viral symphOny, a computer de-generating composition. An artist talk with noise music concert of his piece 3 pOstmOrtems will take place during the exhibition.

Art Laboratory Berlin Prinzenallee 34, 13359 Berlin


About josephnechvatal

Since 1986 Joseph Nechvatal has worked with ubiquitous electronic visual information, computers and computer-robotics. His computer-robotic assisted paintings and computer software animations are shown regularly in galleries and museums throughout the world. From 1991-1993 he worked as artist-in-resident at the Louis Pasteur Atelier and the Saline Royale / Ledoux Foundation’s computer lab in Arbois, France on The Computer Virus Project: an experiment with computer viruses as a creative stratagem. In 2002 he extended that artistic research into the field of viral artificial life through his collaboration with the programmer Stéphane Sikora. Dr. Nechvatal earned his Ph.D. in the philosophy of art and new technology at The Centre for Advanced Inquiry in the Interactive Arts (CAiiA) University of Wales College, Newport, UK and occasionally teaches at the School of Visual Arts in New York City (SVA). His book of essays “Towards an Immersive Intelligence: Essays on the Work of Art in the Age of Computer Technology and Virtual Reality (1993-2006)” was published by Edgewise Press in 2009. In 2011 his book “Immersion Into Noise” was published by the University of Michigan Library’s Scholarly Publishing Office in conjunction with Open Humanities Press You can follow him on Twitter at @twinkletwink Homepage here:
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