This exhibition borrows its name from Willliam Gibsons first published short story, Fragments of a Hologram Rose. As the story notes, when a hologram is cut into pieces, even the smallest section still contains the whole of the image. In a similar way, plant cuttings and an edition of digital works can both hold these mirroring elements of origin and multiplicity. The artists featured in the exhibition were asked to imagine and create their own sci-fi plants. Like botanists from a parallel future, these artists cultivated their fictions into existence. They sub-scattered seed pods, pruned polygon cuttings, gave their models plenty of volumetric lighting, and soaked them in fluid simulations. The 3D objects in this exhibition have secret pathways and telepathic tendrils. They bloom on neon skins and disperse nano mold spores through LCD screens. Like an ikebana of poisonous flowers in zero gravity, they hover in the expanse as a collection of fragmented flora files. Rick Silva

Feral File  Fragments of a Hologram Rose

&ldquo;Floralia II&rdquo; is part of a series inspired by the writings of Donna J. Haraway, Ursula K. Le Guin, and Greg Egan. The work plunges us into a speculative future where samples of then-extinct plant species are preserved and displayed in a virtual archive room. This archive room is sporadically transformed due to interference caused by the memory emanating from the listed plants, which reveal traces of a past that continues to haunt the place. &ldquo;Floralia II&rdquo; is a simulation of ecosystems born from the fusion of technology and organic matter, where past and future coexist in the perpetual tension of the present.

Floralia II #27

Shortcuts are fast leaps across information scaffolds; cartridges for accelerated time. Shortcuts imply lower costs, since they train us to become beings who are not used to staying still, pondering, or meandering. Shortcuts symbolise strategic success, and energy-saving efficiency. But in the year 2020a time of global uncertaintywe gained a new perspective on what we shortcut into. The lesson is that perhaps we need to rethink our priorities, and develop an alternative blueprint that does not prioritize shortcuts. The exhibition The Long Cut features works that investigate the remote, latent, and liminal space of technologies, and how this awareness can trigger alternative pathways and maps for our shared technological reality. More importantly, it investigates how artists find their own way of living with the hybridity of the physical and the digital. Iris Long

Feral File  The Long Cut

Above&Below tells elegant stories about nature with code. &ldquo;Steering Pixels&rdquo; was born through a fluid simulation interpreted from a GAN, which was trained on hundreds of images of ever-changing water surfaces&mdash;data collected and sculpted by the artists. Taking computer vision to analyse motion of pixels of a neural network outcome, a fluid system initially inherits the velocity and therefore flow of the system. Using machine vision and machine learning techniques to document changing environments, computerised systems allow to not only create 1:1 replicas of environments or copies of real worlds, but allow for multiple, unexpected, and diverse perspectives.

Above&Below1:1

Steering Pixels by Studio Above&Below #60/75, 1 AP

&ldquo;Abstract Oracle Miner 0009328437&quot; is an iteration of Guo&apos;s installation work, &ldquo;Abstract Oracle Generator.&quot; The &ldquo;miner&quot; is a virtual device producing different acronym combinations, which act like prophecies responding to questions raised by participants&mdash;or whoever is wandering in the digital world. Through rendering several complex 3D scenes, the algorithm takes the hardware performance evaluation values as random seeds to generate a &ldquo;virtual oracle.&quot; During the process, the temperature of hardware running the webpage may rise, the cooling fan may generate noises and the image rendering may slow down. In other words, the &ldquo;oracle&quot; takes the offering from the hardware&mdash;the foundational structure of the virtual world, reminding viewers that the &ldquo;virtual&quot; is by no means effortless, weightless, or light as a feather. The &ldquo;oracle&rdquo; produced by the computing power consumption is objectively &ldquo;better&quot; than other forms of human divination, and the abstraction of the conjured visions can expand participants&rsquo; imagination.

Please view in full screen.

 0009328437



Abstract Oracle Miner 0009328437 #66

Feral File  WETWARE

Cyberflesh Girlmonster (1994) is a macabre comedy of monstrous femininity. At the 1994 Adelaide Festival, 30 women donated body parts by scanning their chosen flesh and digitally recording sound. From these, conglomerate bodies were created, animated, assembled, and made interactive along with audio, biochemistry information, stories of aberrance, revenge, lust, and grief. From these original scans and monsters, Linda Dement creates Cyberflesh Girlmonster  4 Recuperated Stills, (2022) reconfigured here as a special edition.

Cyberflesh Girlmonster4 Recuperated Stills #77

Bindigrl (1999) is a seminal net art project in the cyberfeminist movement. It examines the boundaries between the sacred and profane from a postcolonial feminist perspective within a digital framework. From a Rhizome interview, included in the collectors package, Prema Murthy states, Bindi is a girl born out of the exotic and erotic. She is the embodiment of desire for and of the other  Bindi is my avatar. Not only is she my alias in the virtual world but a play on the word which in India means an incarnation of a Hindu deity, the embodiment of  the goddess/whore archetype which has historically been used to simplify the identity of women and their roles of power in society. Bindi is neither here nor there but exists in screenal space. She is somewhere between a question and an answer.

For more context, view the archived website on <a href="https://rhizome.org/art/artbase/artwork/bindigirl/" target="_blank" class="link">Rhizome Artbase 101</a> at the New Museum, NYC.

Bindigrl #70

The Bardo: Unpacking the Real is an exhibition that quantifies the ephemeral as it relates to the liminal landscape of sculptural art in the digital age. The exhibition examines the real and (un)real in digital sculpture; questions what it means to view and collect digital sculptures; and investigates the role of NFTs in the creation of the featured artists' work. Named after an afterlife concept in the The Tibetan Book of the Dead, The Bardo explores the possibilities of what sculpture can be, and how it can be viewed. The exhibition takes the idea of a sculpture to the next level by reinventing how sculpture can be seen and collected, and featuring different innovations around the notion of ownership. The Bardo: Unpacking the Real exemplifies the creativity, enthusiasm, and energy (both human and electromagnetic) that reflects this historic time in art history. Julie Walsh

Feral File  The Bardo: Unpacking the Real

When Claudia Hart was asked to join the Feral File &ldquo;sculpture show,&rdquo; she took a quantum leap, initiating a discussion with the artists and curator about NFTs, the real and (un)real, and questions of ownership and authenticity. Ultimately, her contribution to the show deconstructs that which is known by reconstructing the image of Kiki de Montparnasse, Man Ray&rsquo;s muse and a true Dada icon. Hart, always a rebel against the tech bros, takes Kiki and breaks her neck. When Kiki gazes at the viewer it is in a seductive defiance, haunting us in a visceral way. Hart&rsquo;s simulation will leave viewers stunned with its rich sensuality, the oddity of Kiki&rsquo;s gaze, and Hart&rsquo;s multi-layered use of technology-all of which combine to assure the collector that to gaze at Kiki is to catch a glimpse of the infinite possibilities of kindred spirits across the vast canon of art history.