A collaboration with Northern Lights.mn featuring new work by 5 Minnesota-based emerging new media artists.
Artists: Katie Hargrave, Alison Hiltner, Aaron Marx, Peter Sowinski, Emily Stover
Talking Image Connection reading for AOV5: April 11th
Artist Talks: April 12th & 19th
Art(ists) On the Verge is an intensive, year-long, mentor-based fellowship program co-directed by Steve Dietz and Piotr Szyhalski with mentors Ta-Coumba Aiken, Christine Baeumler, Chris Larson, Abinadi Meza, Sarah Peters, and Diane Willow. Art(ists) On the Verge is a partnership with The Soap Factory. A publication of the exhibition with an essay by Susannah Schouweiler will accompany the exhibition.
One of the fundamental concepts defining the mission of the Art(ists) On the Verge Fellowship is the commitment to emerging artists working experimentally at the intersection of art, technology, and digital culture, whose practice often falls outside of and in between the traditional notions of media or disciplines. The Art(ists) On the Verge fellows are no exception. Their work at The Soap Factory engages with a broad spectrum of ideas: the history of slavery, intelligent flora, the unification of science and spirituality, machine acuity, and the postal service.
Katie Hargrave makes conversation and plays it back on LPs cast from sugar, which spin a record of debate from slavery to labor relations in Minnesota’s Red River Valley, tracing the ideals and unexpected consequences of an engineered nature perhaps too sweet to be good for anyone.
Alison Hiltner, an archeologist of the future, imagines nature making its own conversations, with future flora scratching a tune whose plaintive vibrations we can feel better than we understand.
Inspired by Einstein’s Builders of the Universe, Aaron Marx uses parametric design and contemporary machining to created complex spaces that model the relation of a human to the cosmos and the imponderable wonder of it all.
Peter Sowinski creates a machine of simple building blocks that encourages the viewer to construct her own tabletop universe--and listen to and see the machine’s own interpretation.
Emily Stover has a message. Yet it is one for you to make and for you to deliver. What are the parametrics of such a self-actualizing system of communication? What are the ethics of such a distributed, participatory experiment in making art?