Tag Archives: Tyler Coburn

| ART | Tyler Coburn April 11

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Book Launch and Reading | Tyler Coburn: Richard Roe

Thursday, April 11
7PM

Richard Roe is the fictional memoir of a legal person, published by Sternberg Press and designed by Luke Gould. The name is one of the oldest used in English law when the real name of someone is withheld, or when a corpse can’t be identified. Richard Roe is a known unknown, a one-size-fits-all, a potentially everyone and actually no one.

Divided into seven fragmentary sections, this memoir gives voice to the legal fictions that influence terms of selfhood, politics and economics. On the occasion of this launch, Coburn will read excerpts from the book exploring concepts of personhood from legal, psychological, and metaphysical realms.

Please RSVP to rsvp@swissinstitute.net. Please note: events at Swiss Institute are limited capacity, and entry is on a first-come, first-served basis.

Richard Roe is a multi-part project commissioned by Thyssen-Bornemisza Art Contemporary and curated by Cory Scozzari. As part of this project, Coburn has legally named an orchid hybrid Aranda Richard Roe. Click here for more information.

| ART | Tyler Coburn brings the voice of Siri, live to New York March 29

 

 

 

USER AGENT
Curated by Rachel Valinsky

Sunday, March 29th, 4–6:30 PM
Judson Memorial Church
55 Washington Square South, New York

 Tyler Coburn
Ian Hatcher
Lanny Jordan Jackson
Research Service
NYPAC is pleased to announce User Agent, a program of performances at Judson Memorial Church onMarch 29th, 2015.

Curated by Rachel Valinsky, User Agent presents four works that interrogate our relationship to devices, software, and technological apparatuses, often complicating our perception of these systems’ cognitive faculties and capacity for agency. Derived from computing, the term “user agent” refers to software that acts on behalf of a user. In other words, the software is a performer, enacting a functional, operational task. Through a sustained engagement with the language and codes of these technologies, the pieces inUser Agent blur the boundaries of user and agent, subject and object, agency and automation, and propose new ways we might consider the technologies that shape communication, movement, and speech.
PERFORMANCES

Tyler Coburn, NaturallySpeaking, 2013/2014: NaturallySpeaking is an experimental essay performed live for the first time by Susan Bennett, the original voice of Siri, Apple’s speech recognition software. The essay retells famous stories of the births and afterlives of the voice: from Edison’s attempt to make his phonograph a device through which every sound in the history of the world again might be heard, to the robotic dogs and chatbots of early AI, and the scene in Rabelais’s Gargantua and Pantagruel, when the warming air thaws the frozen sounds of a past battle. As Bennett reads, a projected screensaver tracks the melting of an ice sculpture of Pantagruel’s ship. NaturallySpeaking was commissioned for the publication You Are Here: Art After the Internet (Cornerhouse Books, 2014) and presented in 2014 as an installation in the exhibition “La Voix Humaine” at Kunstverein Munich. It has screened as a single-channel video with voiceover by Susan Bennett in “Art Post-Internet” at the Ullens Center for Contemporary Art, Beijing.

Ian Hatcher, Drone Pilot v0.2, 2015: In Ian Hatcher’s DronePilot v0.2, a seemingly endless flow of software-driven text flickers and streams rapidly across a screen, expanding and contracting from the smallest word particle to a multi-word column. Hatcher performs at astonishing speed a reading of this text, even as it is occasionally interrupted — silenced — when the screen goes dark.

Lanny Jordan Jackson, Young Blood, 2014/2015: Lanny Jordan Jackson will present a new work titledYoung Blood (2015): an elliptical and provisional monologue via microphone and projector, helmet and shield, assessing the remains of a failed film project.

Research Service, Systems Say What Words Cannot, 2015: In this performance-lecture, the three members of Research Service (Avi Alpert, Mashinka Firunts, and Danny Snelson) each deliver a brief statement on the relationship between automation and embodiment. Three virtual avatars choreograph their movements as they speak. Their instructions lead to variations on each lecture. This event commemorates the passing of Eugene Goostman.

Artist biographies are available at nypac.org. Image: Tyler Coburn, NaturallySpeaking, 2013/14. Text, screensaver, monitors, furniture. Detail: screensaver. Dimensions variable. Courtesy of the artist.
For further information, please contact Samuel Draxler at samuel@nypac.org.

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| ART | “Robots Building Robots” by Tyler Coburn at Gavin Brown

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Gavin Brown’s enterprise

Friday April 25th, 7:30pm
Enter from the back of the gallery – 601 Washington Street @ Leroy StRobots Building Robots meditates on the “lights out” factory, so-named for the lack of need for regular, human supervision. The book takes form as a travelogue of improvised performances, which Tyler Coburn conducted at a science park in Southern Taiwan; rumor has it that a robotics company is presently building one such facility on site. During a long walk through the park’s grounds, the artist considers literary and philosophical speculations on labor, machinic intelligence and the “automatic factory”: an enduring fiction gradually creeping into reality.

| SSWTR & Friends | Koenig Clinton Gallery reopening

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Miljohn Ruperto & Ulrik Heltoft, Voynich Botanical Studies, Specimen 90v Jaro, 2013
Opens September 12, 6:00 PM – 8:00 PM
459 West 19th Street
September 12 – October 12, 2013

Spectators, Rendered and Regulated: Tyler Coburn, Tim Davis, Nicole Eisenman, Anoka Faruqee, Cameron Keith Gainer, Arnold Joseph Kemp, Josh Kline, Brandon Lattu, Hayal Pozanti, Miljohn Ruperto & Ulrik Heltoft (list in formation)…

On September 12, Leo Koenig Inc. will reopen as Koenig & Clinton in its new gallery space on 19th Street with the inaugural exhibition, Spectators, Rendered and Regulated.

 

Over the past few years, gallery goers have witnessed an increasing fixation on abstraction in New York and beyond. While one might attribute this attention to a post-2008 (readcommercial) demand for unique artworks, a strictly economic narrative would be incomplete. Prioritizing market value fails to account for a wide range of aesthetic approaches. It also hinders a broader examination of the circumstances that have whet the appetite.

 

This current wave of formal abstraction, particularly in painting, is largely ahistorical and curiously amnesiac. Running parallel to abstraction’s recent ascendancy is the rapid outcropping of depictive screen images: on televisions, on computers, on mobile phones. In addition to the manipulations afforded by digital post-production over the past two decades, the realm of photography has recently undergone radical ‘democratization’ via handheld devices ­- so much so that one might be persuaded to agree with the (often misinterpreted) statement by Joseph Beuys: “Everyone is an artist.” Perhaps we are. Hot on the trail of technical obsolescence, a newfangled mass culture rises. Are the non-depictive canvases of high art compensating for the depictive saturation of popular images?

 

Trading her track pad for wood panels, Hayal Ponzanti’s textured paintings lure somatic and visual responses equally. Meanwhile, Anoka Faruqee’s hand-combed, acrylic moiré paintings retaliate against a depthless glare. Tallying his credit card debt in green paint on a green screen, Josh Kline adapts the style of abstract painting in hopes of making deficits disappear.

 

Nicole Eisenman’s plaster busts silently acknowledge the contradiction between immaterial connectivity and phantom bodies. Against corporeal and symbolic disappearance, Brandon Lattu memorializes an over painted figurative mural through photography. Arnold Joseph Kemp handcrafts a pair of shoes to accompany a forfeited exoskeleton in a related act of remembrance. Bringing together champion choreography and an original score by Alex Waterman, Cameron Keith Gainer conjures the human silhouette by staging a bioluminescent frenzy.

 

In print, Tim Davis uses one ruin to document another and then humanizes the motionless spectator in motion picture. Also shuttling between digital and analog technologies, Miljohn Ruperto employs computer generated imagery to model apocryphal biological mutants that Ulrik Heltoft then chemically fixes onto paper in the darkroom. On an adjacent plinth, the printed component of Tyler Coburn’s excursus on cloud technologies awaits another type of spectral transmission – the act of reading.

 

In lieu of isolating formal, financial, or social abstraction, the works in this exhibition address various underlying conditions that impact our contemporary ways of seeing.

 

Gallery hours of operation are Tuesday – Saturday, 11am – 6pm and by appointment. For further information contact info@koenigandclinton.com or call (212) 334-9255.

| Art | Tyler Coburn at Google 111 8th Avenue

 

I’m that angel

Performance dates: February 11 – 13 & 18 – 19, 8 – 10pm

Location: The Google Building, 111 8th Avenue, New York

 

I’m that angel is a cycle of writings and performances, in data centers, that explores the contemporary conditions of how we work on and against the computer, narrated from the cognitive cell of one highly neurotic user.  

 

The project addresses the master narratives of technological and socioeconomic progress that have naturalized Web 2.0’s user platforms, as well as the constituents of the digital public that figure into ongoing discussions about the relationship between sincerity and authenticity; realism and reality; the diaristic and the literary; and the author and the individual who takes on, and produces under, that title.

 

The book component of I’m that angel was designed by Eric Nylund and printed this past fall.  Copies are currently stocked in a handful of institutions and stores internationally.  More information can be foundhere.  

 

The performance component involves readings of the entire book, by actor Justin Sayre, at data centers worldwide. If the book sustains a material limit that belies the diffuse shape of the cloud, then these readings attempt similar concretions by having author, actor and audience occupy a securitized field rarely made available to the public – to occupy, in short, the site where the cloud is kept.  

The forthcoming readings will occur this February in The Google Building at 111 8th Avenue, New York.  Seating is limited, so please RSVP by February 4th to tyler.coburn@gmail.com.

Hosting is generously provided by zColo.