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The first museum study dedicated to Auria Harvey, a relentlessly experimental artist who was visionary about digital media’s ability to reshape experiences of intimacy and embodiment, is overdue; It’s worth the wait. “My Veins Are the Wires, My Body Is Your Keyboard,” a chronology of nearly 40 years of artist work that utilizes emerging technologies. It includes net art, video games, and digital sculpture, presented in the context of sketchbooks and ephemera. As a media axis coinciding with phenomena like Web 2.0 and the rise of Gamergate, the lore of world-building (in games and life) and exploration of the interpenetration of the virtual and the physical constitute a compelling throughline. , suggesting a back and forth between fascination with the possibilities of technology and disillusionment with technology. Its use.
projected onto the exhibition entrance, webcam movies (2021) is an enlarged glitchy black-and-white excerpt from a live webcam broadcast of the artist sitting at a desk, typing, resting his head, and stepping away from his chair from 1998-1999. is. Centered around Harvey, who holds an identity that continues to be underrepresented in the tech industry as a Black woman, this proto-livestream also highlighted the underlying presence of socially coded bodies in digital spaces. . In 1999, Harvey met Belgian artist Mikael Samin in her online art environment hell.com (1995-2009) and created an interactive ” We have started exchanging love letters. /.They aggregated these dispatches into skinon skinon skin (1999), inspired by the electronic commerce of pornography, was released to the public on pay-per-view. Alluding to the physical separation of artists at the time, the works are displayed on monitors in cubicles facing each other.
Harvey moved to Belgium and the couple started a web platform. Entropy 8 par!hosts collaborative projects such as: wire fire (1999–2003), a weekly real-time online performance series. It is interested in early notions of “liveness” online and is built using existing materials. wire fire A video, image and sound collage of live webcam footage and text chat. The audience was represented by a mass of dust.projection of wire fireA series of associative scenes, including a picture of Holofernes colliding with a ball labeled “Touch Me,” don’t provide the full experience. Clicking “Touch Me” initially triggered a visual and sonic explosion.
The two founded the game studio Tale of Tales in 2002. This was long before game engines were regularly incorporated into artists’ toolkits, digital games, and became culturally ingrained through blockbuster exhibitions. In your first online multiplayer game, endless forest (2005/2023), the player’s avatar is a deer who wanders through the forest without a set objective and communicates only using body language.Writing in progress gamer theory (2007), Mackenzie Wark suggests that in a dark gamified society there is no “outside” to the game. Through games, we may critically reconsider the gaming space we normally live in. I grabbed a controller and wandered through the trees, exploring the logic and limits of this silent world and learning the shape of my own agency within it. (When projected large on the wall, my journey becomes an arthouse video game livestream.)
More recently, Harvey has turned his attention to transforming mythological characters for virtual reality projects. Minorinse (2017) into sculpture. Describing her materials as “sculpted mathematics,” Harvey combines her 3D scans of herself, her clay models, and Greco-Roman statues with the digital forms she constructs. She 3D prints these amalgamations on her own in composite materials such as bronze and plastic, then finishes them by hand. Like myths that often have no single source and change as they are passed down, these works confuse notions of origin and downplay completion. Fauna v1-dv1 (2018), 3D printed bust of a faun. Minorinse The avatar is on display alongside a 3D model version that can be rotated via a gesture-activated touchscreen and an AR version on my phone, which refuses to load as is characteristic of this kind of exhibition. That is, until you open your phone’s browser at the end of the day and realize that a cheeky creature has followed you home.
oria harvey’s “My veins are wires, my body is your keyboard.” On display at the New York Museum of the Moving Image until July 7th
Main image: Auria Harvey and Michael Summin sunset, 2015, Video Game Stills.Provided by: Artist
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