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Founded in 2001, bitforms gallery represents established, mid-career, and emerging artists critically

26/09/2024

LaJuné McMillian’s “The Portal’s Keeper— Origins” opens this evening at the Frist Art Museum in Nashville, TN. The installation will remain on view through January 5, 2025.

“The Portal’s Keeper—Origins” features the three-part installation “Spirit and Child,” a series of prayers of healing and gratitude between avatars called the Child and the Spirit Guide, created using motion-capture and 3D-modeling software. As the two avatars share philosophies and prayers seeking to help “Black children trying to find their way home,” they confirm that home lies within themselves—the children are already there.

The exhibition also includes a 3D-printed cast of ’s face, surrounded by yaki hair and a video of their mother working on their hair. The artist considers this self-portrait to be part of a process of healing from the traumas that they experienced as a child. “Growing up,” they said, “I associated my relationship with my hair to pain and sacrifice. Sitting long hours in uncomfortable positions, I was told and reminded that beauty was pain, and that my ability to sit in stillness even when suffering would be rewarded. . . . I often wonder how we teach young Black children about pain. How we associate pain with obedience.”

19/09/2024

LaJuné McMillian’s “The Portal’s Keeper - Self Portrait” is currently offered in a benefit auction for The Drawing Center, linked in bio. Lots close Mon., Sept. 30 at 8:30 P.M.

LaJuné is a Multidisciplinary Artist, and Educator creating art that integrates performance, extended reality, and physical computing to question our contemporary forms of communication. They are passionate about discovering, learning, manifesting, and stewarding spaces for liberated Black Realities and the Black Imagination. LaJuné has had the opportunity to show and speak about their work at National Sawdust, Tribeca Film Festival, Times Square, and Brooklyn Public Library. LaJuné was previously the Director of Skating at Figure Skating in Harlem, where they integrated STEAM and Figure Skating to teach girls of color about movement and technology. They have continued their research on Blackness, movement, and technology during residencies and fellowships at Onassis ONX, The Jerome Hill Artist Fellowship, Eyebeam, Pioneer Works, NYU ITP, Barbarian Group, and Barnard College.

“The Portal’s Keeper - Self Portrait (detail),” 2024
Archival print on Tesuki Tesuki Washi Echizen
18 x 12 in (22.9 x 30.5 cm)

08/09/2024

Thank you to everyone who came to see Rafael Lozano-Hemmer’s tandem presentations in the gallery and at The Armory Show. We appreciate the thoughtful responses to the interactive and conceptual artworks on view. ’s exhibit “Caressing the Circle” is on view through Oct 26 in the gallery.

13/08/2024

“LaJuné McMillian: The Portal’s Keeper” is a new site-specific commission for the exterior video façade of the Mandeville Art Gallery, on view through Sept 26 .mandevilleartgallery.

Building on the artist’s interest in stewarding spaces for liberated Black realities and the Black imagination, conducted a movement and meditation workshop with UC San Diego students using extended reality and physical computing to translate participants’ movement data into visuals for this new artwork.

“The Portal’s Keeper is a reminder that movement not only represents our individual experiences, but it also represents our collective memory, transcending space, time and oppressive social structures,”McMillian said. “It allows us to connect to each other, our ancestors, our deepest selves, and gives us space to communicate to our future. Movement is a technology, holding the stories of our existence globally.”

08/08/2024

Since the gallery is closed for August, we’re revisiting the ’s Spring exhibit “Networked Nature.” Shown here, Refik Anadol’s “Machine Hallucinations: Satellite Simulations - C” has been added to the museum’s permanent collection. While some of Anadol’s work generates realistic images, his series “Machine Hallucinations” explores fantasy, hallucination, and irrationality - creating an alternate understanding of artmaking.

Refik Anadol (b. 1985), “Machine Hallucinations: Satellite Simulations - C,” 2021, video (color and sound), ed. of 5, 2 AP.

04/07/2024

Happy Fourth of July! Yesterday, the gallery made a studio visit to and where we celebrated the holiday with a cookout. Afterwards, we talked through Hentschlager’s well-balanced totemic sculptures, and Hart’s painted images that both reference the history of painting and evolve its techniques.

27/06/2024

Daniel Rozin’s tenth exhibition with the gallery, “Contours,” is on view through Aug 3 in NYC.

For over three decades, has been exploring the mechanisms of reflection. The artist utilizes custom software and mechanical engineering to examine a range of materials that reflect the viewer’s image in real-time, inviting true-to-image reflection. Exhibited works in Contours shift away from rich appearance and towards the tension of delineated borders. Modern masters such as Pablo Picasso and Keith Haring celebrated the tension between line and area, inside and out, by implementing silhouettes and abstraction. Rozin presents four new pieces that approach the minimal side of reflection through the diverse materials of lenses, straps, carbon fiber tubing, and light.

20/06/2024

Congratulations to on his Midnight Moment!Tuesday Evening, the artist celebrated “Approximations of Utopia” with , , , and friends before a viewing in Times Square. Brambilla’s work appears across 95 screens each night in June from 11:57-Midnight.

“Approximations of Utopia” re-imagines a future World exposition made from archival imagery of past world expos using Al technology. This section features the centerpiece of Expo ‘58 Brussels, the Atomium.

14/06/2024

“Six Figures,” Claudia Hart’s newly created work for ARTour, is an intervention in the Tinguely Fountain, a work of art created by Jean Tinguely in 1977. Hart’s intervention adds six virtual caryatids (a female embodiment of the column in Greek architecture) to the merry goings-on of the machine sculptures. Emerging from the fountain’s watery pool, the virtual figures and objects are overlaid with a moving, animated pattern – a recurring element in Hart’s practice that the artist likens to a digital tapestry capable of transforming bodies into media screens.

These dancing figures carry vases of various bouquets of flowers above their heads: roses, tulips, daisies, dahlias, irises and daffodils. The flowers are in a continuous process of withering and regenerating – all at their own pace. Wilting flowers are a recurring motif in the artist’s work, referencing the historical memento mori genre as well as the (still) precarious position of women in art. The shapes of the vases are inspired by urns and well-known vases from classical modernism, which Hart interprets in virtual 3D models.

The work is complemented by a sound design by Edmund Campion. His composition “Processing History,” which has been adapted to fit the app, refers to the seven-year growth cycle of cells. This biological method of telling time can also be experienced in the continuous cycle of the growth and decay of flowers.

Organized by for

Claudia Hart
“Six Figures,” 2024
Custom software (color, sound), ARTour AR app
Site-specific intervention, dimensions variable

22/05/2024

For Vivatech 2024, bitforms gallery partners with CultTech, a Vienna-based non-profit that believes technology is key to making culture central to human growth in a post-material world, presents a selection of works unified through various uses of AI. The exhibition collects a range of world-class works from pioneers to present day artists working with AI : , , , , , , and .

21/05/2024

Last chance! .harvey.studio’s “The Unanswered Question” closes this weekend, May 25.

Harvey’s practice exists in and between the real and virtual. “The Unanswered Question” situates both realms of existence on the same plane where 3D sculpture, monumental plinths, metallic prints, and layered wall frescoes overlap not as simulacrum, but as a suspension of disbelief. Scale plays an important role within the collapse of these spaces, as physical sculptures are exalted to human height or hover in mid air while digital compositions are printed larger-than-life. Behind each sculpture, their printed likeness is echoed on the wall by swaths of collaged polygonal models. These models are the root of 3D scans and as such are also the origin of all works on display.

15/05/2024

LAST TWO WEEKS: .harvey.studio’s “The Unanswered Question” closes May 25.

“Minomirror” presents a physical instantiation of Minoriea, a character whom Harvey considers her avatar. Self-portraiture is an inherent feature of the artist’s practice, as data captured by the artist of herself is incorporated into lyrical arrangements where her sculptures commingle with and confront the history of art.

All sculptures are born digitally, a state she references as the living version of the work, and are then manifested into the physical world. In this way, the work occupies two realms—both real and virtual space. This doubling is echoed in “Minomirror” as Minoriea, part Minotaur and part Auriea, supports a large, reflective surface. Within this work, viewers may see their own reflection enmeshed in Harvey’s fantastic bust while examining the work’s mirrored edges.

Auriea Harvey
“Minomirror,” 2023
Bronze
9.5 x 2.5 x 19.8 in / 24 x 6.5 x 50 cm
Edition of 3, 1 AP

23/01/2024

Danny Rozin will be speaking Thursday, Jan 25 for the closing of “Glow” at Exploratorium in San Francisco. Check the bio link for tickets.

“I think interactive art flips over the paradigm of art viewing. When you look at traditional noninteractive art—say a masterpiece in a museum, the “Mona Lisa” in the Louvre—you see hundreds of people crowding to see a small protected artifact, and the overall feeling is that this artifact is very important and they are not. In a well-designed interactive art piece, the artifact is not that important—it is the viewer and this fleeting moment of interaction that are important. I find this healthier and more rewarding. My pieces are static and somewhat boring until a viewer stands in front of them—and then they fill up with motion, beauty and meaning.” -

All works by Danny Rozin.
Photos 1-4: One Candle Mirror, 2023.
Photos 5, 6: CMYK Shadows Mirror, 2021
Photos 7, 8: RGB Lights Mirror, 2023
Photos courtesy of .

04/01/2024

LAST WEEKS: Casey Reas’ “It Doesn’t Exist (In Any Other Form)” is on view through Jan 20 in NYC.

The artist’s “RGB-3” series of six drawings was rendered with a plotter using Koh-I-Noor Rapidoplot red, blue, and green archival ink on white 250 gsm Stonehenge paper. The numbers in the titles are the angles of the lines for each color. For instance, the drawing “RGB-3-71°-13°-68°” orients the red lines at 71°, the green lines at 13°, and the blue at 68°. The lines run to the edges of the torn paper. Unlike the RGB-2 series of drawings, the system used to generate this series has a small probability of skipping a set of lines.

Casey
“RGB-3-170°-166°-130°,” 2020
and
“RGB-3-6°-52°-7°,” 2020
each: Plotter drawing, ink on paper. 18 x 18 in / 45.7 x 45.7 cm

27/12/2023

bitforms gallery celebrates the end of 2023 with Auriea Harvey’s “Ox” and “Ox v1-dv2”, which were acquired by The Whitney Museum of American Art earlier this year.

Together, these works represent an “origin story” of the artist’s online identity. It consists of “Ox,” a physical sculpture, and “Ox v1-dv2 (apotheosis),” a 3D model in an HTML environment with an augmented reality (AR) component that is also shown here on a tablet. Harvey has worked online from the inception of Internet art and has combined her experience in video game and software development with a sculptural practice in mixed reality. She sees the digital models as the core of the work and the physical sculptures as their extension.

The sculpture depicts a trio of characters: its “crown” is Fauna, which is based on a scan of Harvey’s head and functions as the ancestor character from which the other two forms originate; Ox, the central body of the work, in turn derives from a scan of Fauna; and Ox embraces Minoriea, a figure that has been the artist’s avatar in virtual worlds since 2017. The sculpture embodies both the history of the artist’s virtual self representation and her work process, which combines scans from physical objects and people with 3D models based on her own clay sculptures or digitally sculpted works of imagination, resulting in characters with distinct narratives.
harvey
Ox, 2020
3D sculpture: printed resin and composite polymer with wax, pigment, bronze, aluminum powder pigment, and acrylic modeling paste
harvey.studio
Ox v1-dv2 (apotheosis), 2021
GLB model in HTML environment with augmented reality (AR), sound
Edition 1 of 1, 1 AP

As pictured in “Refigured” , NYC March 3- July 3, 2023. Exhibition organized by .

22/12/2023

On view in NYC through Jan. 20 with “It Doesn’t Exist (In Any Other Form)”: Casey Reas, “HSB-119-006-090-1366-618/HSB-135-006-090-1232-687” (2015). This diptych serves as the origin point for Reas’ “Still Life,” a series of software works that each depict a Platonic solid.

Platonic solids bear polygonal faces that are the very same in form, height, angles, and edges,. They are termed: tetrahedron, cube, octahedron, dodecahedron, icosahedron. In the print, dimensional space is flattened so that multiple planes of the same solid occupy the visual field simultaneously. There is no reference to the natural world within this work, as the subject matter derives from pure geometry. The series continues the artist’s practice of creating a system that performs the work. It specifically engages Reas’ interest in the space between the subjective experience of being in the world versus the objective, analytical way the world is measured, divided, and defined.

Casey
“HSB-119-006-090-1366-618 / HSB-135-006-090-1232-687,” 2015
Relief print on paper
25.5 x 33 x 1.8 in / 64.8 x 83.8 x 4.6 cm, each, framed
Edition of 6, 1AP, 1 PP

previously on view in Miami

16/12/2023

Congrats to collectors of Casey Reas’ “There’s No Distance,” which sold out yesterday on fxhash. The generative artwork will remain on view through Jan 20 in NYC as part of the artist’s solo exhibition “It Doesn’t Exist (In Any Other Form)”.

Presented in collaboration with fxhash as a series of generative NFTs for the platform’s 2.0 launch, the project takes its title from Reas’ 2016 exhibition that debuted his “Still Life” series. “There’s No Distance” engages Reas’ interest in the space between the subjective experience of being in the world versus the objective, analytical way the world is measured, divided, and defined. On view in the gallery as two channels, visitors can view the progression of the work through its unending iterations.

Casey
“There’s No Distance,” 2023
Custom software (black and white, silent), NFT registration
Dimensions variable, portrait or landscape orientation

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This weekend, @bjoern_schuelke and @marionannasimon opened their residence and studios to German public broadcast station @swrkultur. In this excerpt, Schülke discusses “Space One” (2022), the artist’s first olfactory sculpture. This scent machine is motion activated to inflate and, at sudden moments, emit a scent specifically engineered by Scent Communication for NASA that smells of space. The scent is modeled after the experience of astronauts and an analysis of space molecules from NASA. Watch the full video tour at our bio link.

The gallery will host a reception for Rafael @lozanohemmer’s “Caressing the Circle” Friday, Sept 6 from 6:30 - 8:30pm. RSVP at the link in bio. On view in the show will be a single-belt version of “Standards and Double Standards” (Subsculpture 3). As an interactive installation, the work consists of 10 to 100 fastened belts that are suspended at waist height from stepper motors on the ceiling of the exhibition room. Controlled by a computerized tracking system, the belts rotate automatically to follow the public, turning their buckles slowly to face passers-by. When several people are in the room their presence affects the entire group of belts, creating chaotic patterns of interference. Non-linear behaviours emerge such as turbulence, eddies and relatively quiet regions. One of the aims of this piece is to visualize complex dynamics, turning a condition of pure surveillance into an unpredictable connective system. The piece creates an “absent crowd” using a fetish of paternal authority: the belt. Rafael Lozano-Hemmer @lozanohemmer “Standards and Double Standards” (Subsculpture 3), 2004 10 Suspended belts, motors, computer, custom software, screen dimensions variable Edition of 3, 1 AP

Jonathan Monaghan will debut “Eternal Glow” in “Incandescence: The Chandelier in Contemporary Art” at The Shirley Fiterman Art Center, BMCC/CUNY. An opening reception will be held on Thursday, Sept 5, 6-8 PM. “Eternal Glow” is a looping video installation that re-imagines a baroque chandelier through a contemporary lens. A slowly-spinning virtual chandelier features elements from modern consumer culture and video games, satirically integrated into its ornate design. Set against a painted wall, the HD display creates the illusion of a real chandelier suspended in space, forming a surreal juxtaposition between luxury and modern technology. @jonmonaghan “Eternal Glow,” 2024 Video (color, silent) Dimensions variable, portrait orientation

LAST CHANCE: Daniel Rozin “Contours” closes this weekend! “Straps Mirror” continues @dannyrozin’s investigation of constructing images by means of straight line objects. His exploration began in 2010 using wooden slats in the artwork “X by Y” and “Twisted Strips” (2012). This latest piece approaches straight lines through ribbons consisting of half white and half black straps that roll using custom mechanics. The work creates a high contrast image that investigates the contrast between monochromatic two dimensional areas and one dimensional lines. Daniel Rozin “Straps Mirror,” 2024 64 black and white webbing straps, motors, control electronics, computer, camera, custom software 47 x 47 in / 119.4 x 119.4 cm Edition of 6, 1 AP

Watch Daniel Rozin in CONFLUENCE Tonight on PBS. “Confluence” is a three-hour limited series on public TV about art and science, featuring Rozin in the second hour of the series. @dannyrozin’s show “Contours” will be on view in NYC through August 3. Hours 2 and 3 are free for the next two months following launch online via PBS Passport (The first hour will always be free!). Find @confluence_tv online at www.confluence.tv and in Europe via europe.confluence.tv Clips will also be on YouTube (link in bio).

@dannyrozin’s “Contours” is on view through Aug 3! “RGB Lights Mirror” is Rozin’s third Mechanical Mirror to employ full color reflection and the 25th piece in the series of Mechanical Mirrors that began with “Wooden Mirror” (1999). “RGB Lights Mirror” is a return to the original idea of the Wooden Mirror where tiles turn to face a bright light to become pixels in a physical image. In “RGB Lights Mirror” the aluminum knobs rotate to face red, green, or blue lights and become full color pixels in a physical image. The vivid lights, coupled with the glow of the aluminum knobs, result in a strangely saturated display that looks deceptively like an LED screen or a projected image. Further examination by the viewer reveals the mechanical kinetic nature of the piece. The rotating knobs create a 3D, depth illusion that is almost holographic. Viewers standing in front of the piece see themselves in vivid color and full motion. Daniel Rozin “RGB Lights Mirror,” 2023 818 aluminum knobs, motors, camera, computer, custom electronics, firmware and software, red, green and blue lights 52 x 59 x 7 in / 132.1 x 149.9 x 17.8 cm

Daniel Rozin’s “Contours” is on view through Aug 3 in NYC! “One Candle Mirror” is a monumental installation situated in total darkness. The sculpture’s single light is diffused by 276 lenses positioned in front of the single candle. Each lens is articulated by a motor that rotates its focal direction “bending” the light to depict the viewer’s likeness while they move around the space. Rozin references the effect to that of a solar eclipse, citing the 1919 eclipse as a notable event that historically verified Albert Einstein’s theory of gravity bending light. Einstein’s theory was proven to be true by measures taken by Arthur Stanley Eddington during a total solar eclipse. In front of Rozin’s sculpture the viewer’s reflection is expressed as a silhouette made by the absence of light. In a nod to Keith Haring’s famously defined figures, Rozin plays with art historical archetypes through physical means. @dannyrozin “One Candle Mirror,” 2023 276 3D printed lenses, motors, control electronics, computer, camera custom software, candle 96 x 72 x 48 in / 243.8 x 182.9 x 121.9 cm #danielrozin #dannyrozin #nyuitp #mirror #kineticsculpture

“Six Figures,” Claudia Hart’s newly created work for ARTour, is an intervention in the Tinguely Fountain, a work of art created by Basel artist Jean Tinguely in 1977. Hart’s intervention adds six virtual caryatids (a female embodiment of the column in Greek architecture) to the merry goings-on of the machine sculptures. Emerging from the fountain’s watery pool, the virtual figures and objects are overlaid with a moving, animated pattern – a recurring element in Hart’s practice that the artist likens to a digital tapestry that transforms bodies into media screens. The work is complemented by a sound design by Edmund Campion. His composition “Processing History,” which has been adapted to fit the app, refers to the seven-year growth cycle of cells. This biological method of telling time can also be experienced in the continuous cycle of the growth and decay of flowers. “Processing History” subverts a typical, linear history, replacing it with something irregular as an expression of time’s elasticity. Grounded by the suspended temporal reality of the caryatids, whose non-fleshly bodies cease to regenerate, the video measures time with wilting flowers. Organized by @sabinehimmelsbach22 for @hek_basel Claudia Hart “Six Figures,” 2024 Custom software (color, sound), ARTour AR app Site-specific intervention, dimensions variable #artbasel #ar #xrart #tinguelyfountain #claudiahart #sixfigures

Marco Brambilla’s “Approximations of Utopia” is now on view in Times Square through the end of June. @tsqarts @marcobrambillastudio harnesses AI to help produce “Approximations of Utopia,” which is based on archival imagery from six World’s Fairs, starting with the 1958 edition in Brussels through the 2010 edition in Shanghai. Brambilla’s interest coincides with the 60th anniversary of the most recent New York World’s Fair, which produced legendary innovations like the Unisphere—once the largest sphere in the world. It still sits proudly in Queens, has a smaller twin in Columbus Circle, and appears at the start of his latest animation. “The journey through these dynamic collages of the past leads the viewer to a yet unrealized Expo in the works, unbound from geography or time,” a press release explains. [...] “I felt decidedly optimistic in bringing [Approximations of Utopia] to life. It depicts a future of progress and harmony... I lived in New York City most of my life, so I have been [to Times Square] more times than I can remember,” Brambilla said. “It reflects the energy of the city itself, dynamic and always in flux.” Text compiled from vittoriabenzine in Maxim. Article linked in story.

@dannyrozin “Contours” opens tomorrow on the LES 6-8pm. Details in story. The FIRST of his “Mirrors,” Rozin’s “Wooden Mirror” (1999!!) explores the inner workings of image creation and human visual perception through non-reflective square wooden pixels. The piece reflects any object or person in front of it, moving fast enough to create live animation. Mechanical mirrors are a platform in which Rozin investigates the borderline and contrasts between digital and analog worlds, virtual and physical experience, or order versus chaos. Danny Rozin “Wooden Mirror,” 1999 830 wood pieces, motors, video camera, control electronics, custom software, microcontroller 61 x 70 x 8” / 155 x 178 x 20 cm Edition of 6 Installation view at ARCO Madrid @feriaarco

Consider this your notification: @rothbergrothberg opens SUPERPROMPT @rip__space today in LA.

POV: Summer in NYC. @rothbergrothberg opens SUPERPROMPT at @rip__space June 1 in LA.

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