Addie Wagenknecht
Coping Mechanisms

preview
Addie Wagenknecht, Perfect Lovers, 2018, 120 x 130 cm, Foundation, Pigment, Hair Dye, Coloring Extracts, Nail Polish, Mens Cologne and Prozac on Canvas. Courtesy bitforms gallery, New York

AUSSTELLUNG: 25. Oktober - 24. November 2018
ERÖFFNUNG: 25. Oktober 2018, 18 - 20h

EINFÜHRUNG durch Sabine Himmelsbach, Direktorin Haus der elektronischen Künste HeK, Basel. Mit anschliessendem Apéro: Freitag, 9. November 2018, 17:30 - 18:30h

FINISSAGE: Samstag, 24. November 2018, 12 - 16h

Die amerikanische Künstlerin Addie Wagenknecht (*1981, Portland/USA) gehört zu einer neuen Generation von Künstler_innen, die sowohl als Hacker_innen und Aktivist_innen tätig sind und deren technologische Fähigkeiten und Interesse an Technologie auch ihr künstlerisches Schaffen inspirieren. Ihre Werke, von Skulptur bis hin zu Netzprojekten, sind sinnlich und poetisch und thematisieren gleichzeitig drängende sozialkritische Fragen und Probleme unserer Zeit. Trotz ihrer oft vorder- gründigen Schönheit und des Humors vieler Werke, erzeugen sie auch eine Art von Unbehagen, welches uns nachdenken lässt über den Einfuss von Medientechnologien auf die Gesellschaft.

Mit ihren neusten Werken (sowohl Malerei als auch Skulpturen) untersucht Addie Wagenknecht die Begriffe der Kosmetik, Psychopharmaka und Körper als Performance (z.B. militärische Verwendung von Farbstoffen und wie sich diese auf die Kleidung/das Make-up der Verbraucher auswirkte).

Diese Produkte (Kosmetika, Medikamente usw.) werden häufig als Überwachungs- und Kontrollmethode sowie als Mittel zur Selbstdarstellung eingesetzt. Bei den Gemälden verwendet sie kosmetische Pigmente, Nagellacke, Lippenstifte, Akne-Medikamente, Parfüms, verschreibungspflichtige Medikamente usw. als eine Art Pigment und trägt sie mit Haushaltsgegenständen auf, die in Reinigungs- und Desinfektionsräumen üblich sind (Saugroboter, Mopps,…). Sie betrachtet den Begriff «Schönheit» nicht nur als Form weiblichen Konsums oder gar der «Gender Performance», sondern als Form von Genuss und in Erinnerung an unsere Sehnsucht nach Führung durch uns selbst und Steuerung von aussen.

*

The American artist Addie Wagenknecht (*1981, Portland/USA) belongs to a new generation of artists who are both hackers and activists and whose technological abilities and interest in technology inspire their artistic work. Her works, from sculpture to net projects, are sensual and poetic, while at the same time addressing pressing socio-critical issues and problems of our time. Despite their often superficial beauty and humor of many works, they also create a kind of discomfort that makes us think about the impact of media technologies on society.

With her latest works (both paintings and sculptures), Addie Wagenknecht explores the notions of cosmetics, psychotropic drugs, and bodies as performance (e.g., military use of dyes and how they affected consumer clothes/makeup).
These products (cosmetics, medicines, etc.) are often used as monitoring and control methods and as a means of self-expression.In her paintings, she uses cosmetic pigments, nail polish, lipsticks, acne medicines, perfumes, prescription drugs, etc. as a kind of pigment and applies them with household objects that are common in cleaning and disinfection rooms (suction robots, mops,...). She regards the term "beauty" not only as a form of female consumption or even "gender performance", but also as a form of enjoyment and in memory of our longing for guidance by ourselves and external control.

AUSBILDUNG / EDUCATION

2008 M.P.S., New York University, Tisch School of Arts, Interactive Telecommunications Program 2001 B.S., University of Oregon, Multimedia and Computer Science



EINZELAUSSTELLUNGEN / SOLO EXHIBITIONS

2018
Alone Together, bitforms gallery, New York, NY

2016
Liminal Laws, Haus der elektronischen Künste, HeK, Basel, Switzerland; MU, Eindhoven, The Netherlands
BHP, Betwixt Festival, Singapore Art Museum, Singapore

2014

Shellshock, bitforms gallery, New York, NY
Blue Screen, NewHive, online
The Connection is Untrusted, Link Art Center, online
Cash Rules Everything Around, Rua Red, Dublin, Ireland



GRUPPENAUSSTELLUNGEN / GROUP EXHIBITIONS

2017

Unquestionable Optimism, Johannes Vogt, East Hampton, NY
HUMAN+: The Future of Our Species, ArtScience+, Museum of Contemporary Arts, Singapore
The World Without Us, Vžigalica Gallery, Ljubljana, Slovenia; Rijeka, Croatia
How Will We Work, Vienna Biennial, Vienna Austria
Networking the Unseen, Villa Merkel, Esslingen, Germany
Casco/Fotodok, Utrecht, The Netherlands
bitforms ten year retrospective, minnesota street project, San Fransisco California
extracting abstracting, Steve Turner Contemporary, Los Angeles, California
Privacytopia Binary, Privacy Salon, Belguim Brussels
Real Time, Lo Pati Centre d'Art, Tarragona, Spain
Hacking/Modding/Remoxing as Feminist Protest, Miller Gallery, Carnegie Mellon University
Alien Matters, hause der kulturen der welt, Berlin, Germany
Science and Fiction, Sommercasino, Basel, Switzerland

2016

Fifteen-Year Anniversary Exhibition, Minnesota Street Project, San Francisco, CA
Invisible Threads: Technology and its Discontents, NYU Gallery, Abu Dhabi, Saaduyat Isand, UAE
bitforms gallery at Untitled Miami, Miami, FL
AJNHAJTCLUB, MuseumQuartier Wien, Wien, Austria
Traffic, Vögele Kultur Zentrum, Pfäffikon, Switzerland
Moscow Biennale for Young Art, Trekhgornaya Manufactory, Russia, Moscow
Monochrome, Lab [au] architecture & urbanism, Brussels, Belgium
Temporary Highs, bitforms gallery, New York, NY, curated by Lindsay Howard
Magic and Power – Of flying carpets and drones, Marta Herford, Herford, Germany
Real Time, Arts Santa Monica, Barcelona, Spain
Electronic Superhighway, Whitechapel Gallery, London, England

2015

No Place To Hide, Frances Young Tang Teaching Museum, Skidmore College, Saratoga Springs, NY
Data Rush, Noorderlicht Photography Festival, Groningen, The Netherlands
bitforms gallery at Untitled Miami, Miami, FL
Drone Paintings, The New Museum, New York City, NY
Eyebeam in Objects, Upfor Gallery, Portland, OR
PowerPoint Polemics, The Photographers’ Gallery and the Goethe-Institut, London, England
Infosphere, ZKM, Center for Art and Media, Karlsruhe, Germany
The International, MAMA, Rotterdam NL
Earth Machines, Yuerba Buena Center for the Arts, San Francisco, CA
From Heaven to Hell. Flying Carpets and Drones, The Boghossian Foundation, Villa Empain, Brussels, Belgium
Panopticon, Utah Museum of Contemporary Art, Salt Lake City, UT
Subversiv: Raum für Alternativen, Graz Offene Stadt, Kunsthaus Graz, Graz, Austria
SEVEN, The Boiler, Pierogi, Brooklyn, NY
Dallas Medianale, The McKinney Avenue Contemporary, Dallas, TX
Eyebeam In Objects, Upfor, Portland, OR
Hamster and Hipster, Museum fur Angewandte Kunst, Frankfurt, Germany
Human+, The Future of our Species, Center for Contemporary Culture, Barcelona, Spain
Being Post-Digital, ENDO One Design Week, Plovdiv, Bulgaria
F.A.T. EXIT: Five Years of Free Art and Technology, Grey Area Foundation for the Arts, San Francisco, CA
The Dematerialized Auction: A Fluxus Fundraiser for George, The Emily Harvey Foundation, New York, NY
Captive Portal, Center for Contemporary Art, Tel Aviv, Israel

2014

Obsessive Sensing, LEAP, Berlin, Germany
Perspectives on Imaginary Futures, Haus der elektronischen Künste (HeK), Basel, Switzerland
Occupy Beit Ha’ir, Beit Ha’ir Museum, Tel Aviv, Israel
//the_ART_of_DATA, Boulder Museum of Contemporary Art, Boulder, CO
Miss World, Parmer, Brooklyn, NY
Notre Itinéraire, Galerie Georges Verney-Carron, Lyon, France
Fullscreen, XPO Gallery, Paris, France
Critical Perspectives on Pornography, Carroll/Fletcher, London, UK
All My Little Words, PARMER, New York, New York
FACELESS, Mediamatic Fabriek, Amsterdam, The Netherlands
Annual Showcase, Eyebeam Art + Technology Center, New York, NY
bitforms gallery at Untitled Miami, Miami, FL
UNPAINTED, Munich, Germany

2013

Paddles On!, Phillips, New York, NY
FACELESS, MuseumsQuartier, Vienna, Austria
Run Computer Run, Rua Red Gallery, Dublin, Ireland
Copie Copains Club, Gaîté Lyrique, Paris, France
Out of the Box, Museum of Applied Arts / Contemporary Art (MAK), Vienna, Austria
F.A.T. GOLD: Five Years of Free Art and Technology, MU, Eindhoven, The Netherlands; Eyebeam Art + Technology Center, New York, NY
HARD x WARE x SOFT x CORE, Team Titanic, Berlin, Germany
Click Festival, Kulturvaeftet, Copenhagen, Denmark
Digital Now, Tower's Art Gallery, Art Brussels, Belgium
_MON3Y AS AN 3RRROR, online
Adhocracy, Istanbul Design Biennial, Turkey
emoji, Eyebeam Art + Technology Center, New York, NY
Open(art), Eyebeam Art + Technology Center, New York, NY
PRISM Break Up, Eyebeam Art + Technology Center, New York, NY



AUSZEICHNUNGEN, FELLOWSHIPS & RESIDENCIES / AWARDS, FELLOWSHIPS & RESIDENCIES

2015

NEW INC at the New Museum, Residency (Deep Lab)

2014

Andy Warhol Foundation, Grant

2013

Massachusetts Institute of Technology; Open Hardware Summit, Chair (Rome, 2014)
University of Applied Arts, Vienna, Austria; Artistic Bokeh Research Fellowship
Mozilla Open(art), Fellowship

2012

Free Art and Technology (F.A.T.) Lab, New York, Member and Resident
STUDIO for Creative Inquiry, Carnegie Mellon University, Residency (Deep Lab)

2011

Hyperwerk Institute for Post-Industrial Design, Switzerland, Residency
CultureLab, Newcastle University, England, Fellow

2009

World Technology Summit, IT Hardware, Finalist

2008

Eyebeam Art and Technology Center, New York, Research Fellowship

2007

New York University Wasserman Fellowship



AUSGEWÄHLTE PUBLIKATIONEN / SELECTED PUBLICATIONS

2017

Wagenknecht, Addie. Liminal Laws, MU & HeK

2014

Burrington, Ingrid; Burtch, Allison; Caruso, Denise; Crawford, Kate; Lorrie Faith Cranor & CUPS, Evans,Claire L.; Holmes, Harlo; Howard, Lindsay; Lowe, Jen; Pourkazemi, Maral; Sandvik, Runa A; Varner, Maddy; Wagenknecht, Addie; and York, Jillian C. Deep Lab, self-published; 240 pages. ISBN: 978-1-312-77551-0
Wagenknecht, Addie. The Technological Selection of Fate, 112. Europe: Link Editions

2013

Wagenknecht, Addie. “A Love Letter to the Silk Road,” OMNI Reboot, November
(Republished Aug 5, 2014 as “The Deep Web Is A Real Concept. The Silk Road Site Was Proof)

2008

Borrough, Xtine, Michael Mandiberg, Digital Foundations, edited by Addie Wageknecht, 344. California: New Riders, Peachpit Publishing



AUSGEWÄHLTE SAMMLUNGEN / SELECTED COLLECTIONS

Whitney Museum of American Art
Google, Inc.
Reinhard Storz
Thierry Tilquin
Tokyo Metropolitan Museum of Photography