Holly Crawford
Since 2005
Works in United Kingdom of Great Britain and Northern Ireland

Holly Crawford is cross media artist, behavioral scientist, economist and art historian. She received her Ph.D. from the University of Essex in Art History and Theory, B.A and M.A. in Economics and M.S. in Behavioral Science from UCLA. From 2004-2006, she was a non-clinical Fellow at NYU Medical School Psychoanalytic Center. Her art and poetry (www.art-poetry.info) give new meanings and draws categories themselves into question through transformative juxtapositions. Her projects include: Offerings (Ars Electronica, (.net Participant); Open Adoption, The Road, Hyphens, Voice Over, Found Punctuation (video) Tate Modern 2007, My I have your autograph? (unofficial, Basel Miami Art Fair 2007), Critical Conversations in a Limo, NY 2006 (VIP project, Armory), 2007 in Melbourne (MIAF) & San Francisco (The LAB & Sesnon Gallery UCSC), Sound Art Limo, NY and Melbourne 2007, Flatland Limo, NYC 2008. Many projects are ongoing, site specific and participatory. Publications: Artistic Bedfellows, ed., 2008, Attached to the Mouse, 2006 and catalogue essay, “Disney and Pop” in Once Upon a Time Walt Disney Studio; Artistic Bedfellows, edited, 2008. Some projects are created and curated through AC (Art Currents) which she created and directs, www.artcurrents.org She taught art at UCLA and SVA. She was born in California and now lives in New York City.
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Chris Stockbridge: Relative Space, Son/Husband

Thu Sep 08, 2011 18:00 - Sat Oct 08, 2011

New York, New York
United States of America

Relative Space looks at a family relationship shown in an expanded moment of time. It is made up of a series of still images extended with film editing software and looped. The still camera becomes a witness to time passing rather than the index of an event.

The time which emanates in the work relates to the ‘crystal image’ described by Deleuze where the image somehow fuses the past of its subject with the present of its viewing. Yve Lomax has it as time escaping chronology which is uniquely rich with unlimited potential.

‘When the present is thrown into question an interval opens up in time …it is when the present of a moment splits and gapes open; when the present itself becomes an interval.’ (‘Sounding the event’ P94)

Time is stretched and distorted in the repetition and resequencing of single frames. Elements of recognisable gestures trigger memory and take on disquieting echoes of the claustrophobia and frustration of family life. The viewer is held by the shifting gazes of the subjects replacing the viewpoint of the artist. It is a performance witnessed by her, played out under her gaze as wife and mother.

A space between stillness and movement, between the photographic and cinematic, is created outside of time’s normally perceived linearity, where expectations of the narrative of family relationship are subverted. It is a time where thought slows and the mind might wander allowing the unconscious to surface and the possibility of new understanding of the familiar and familial to emerge.


Graham Dunning: Loss Sheds a Light on What Remains

Thu Sep 08, 2011 18:00 - Sat Oct 08, 2011

New York, New York
United States of America

“Loss sheds a light on what remains, and in that light all that we have and all that we have had glows more brightly still.”
- Michael Bywater, Lost Worlds.

Sound is temporal and temporary; a reproduced sound recording is a physical, analogue approximation of a thing that once was. Hauntology can be defined as something which is simultaneously backwards- and forwards-looking. As Dunning's first solo show outside the UK, this exhibition collates some early, non-site-specific works establishing these as some of the main themes in his practice.

Untitled with Records and Hammer (2009)
Viewers are invited to smash a vinyl record with a hammer, on a workbench. The diminishing pile of unbroken records and the growing amount of detritus form part of the installation. The records used were each carefully considered and bought by the artist in an attempt to become a professional DJ. As such it is a personally cathartic piece and an autodestructive rebirth, acting as a meditation on ambition and failure.

Untitled (2008)
Found bottles are hung at heights determined by the numbers on their bases, in an order prescribed by chance-determination; a corresponding composition consists of the pitched-down sound of each bottle being tapped, assigned to a note according to the same numbers. The work is the culmination of a pseudo-archaeological investigation through an imagined narrative, questioning the “objectivity” of an object.

Stutter (2009)
Visitors are invited to read into a microphone from a children’s book while wearing headphones: The sound from the microphone is delayed and fed back to the readers, causing them to stutter and slur their speech. The nostalgic use of a children's story book clashes with the frustration of impeded reading.


Gary DiBenedetto: Sweat Equity

Thu Sep 08, 2011 18:00 - Sat Oct 08, 2011

New York, New York
United States of America

During his early years as a struggling musician, Gary DiBenedetto also worked as a carpenter. During this time, he began collecting antiques. Both of these pursuits cultivated an affinity for craftsmanship and history that have impacted his artistic endeavors. The past ten years have culminated with two solo electroacoustic composition CDs and numerous multimedia interactive installations.

The original purpose of the antiques incorporated within DiBenedetto’s installations was to increase the efficiency and ease of everyday life. Foot pedals on sewing machines sped the process of garment-making. Hand-operated clothing agitators eliminated the need for washboards. The artist’s neo-constructivist sculptures reconfigure these tools and bring them into an artistic forum.
Each of DiBenedetto’s sculptures has a moving component, powered manually or by electric motors. An audio processing feature brings the sound generated by these machines to life. As a result, the spectators are able to explore the operations of the many tools that comprise these sculptures.

Sweat Equity (Performance)
DiBenedetto has developed a performance to accompany his interactive installation. Sweat Equity expresses outrage over the negative impact of capitalist exploitation as a means of production. With an increasing globalized economy accompanied by ravenous consumption of natural resources, will we lose an opportunity to recognize the futility of capitalist pursuit and the need to change our direction and gain respect for the preservation of human dignity?

Sweat Equity is a non verbal staged performance where dancers operate kinetic sculptures. Each sculpture is a machine that generates sound. Each dancer’s relationship to their sculpture becomes increasingly complex. Tension is exemplified during a sequence of three acts. Each act presents changes in the actor’s physical appearance and operating procedures. An electroacoustic composition unfolds, increasing tension and directing the dancer’s actions.


Sebastian Mahaluf: Gravity, inversion of the matter

Thu Jun 30, 2011 18:00 - Sat Jul 30, 2011

New York, New York
United States of America

An AC Institute Curated Exhibition
June 30 – July 30, 2011
Opening Event: Thursday, June 30, 2011 6-8pm

Contact: info@artcurrents.org

Sebastian Mahaluf: Gravity, inversion of the matter
Sebastian Mahaluf reflects on the relationships between societies and the world, between objects and space. In this way, he finds a treatment to approach all things that surround him: geometry and its relationship to his body and objects.

Geometry is the main object of research in Mahaluf’s artistic production. This research is divided in two lines of work. The first one refers to the analysis of shapes in order to highlight specific features of the exhibition space. The second one is the study of the body understood as a performance tool. In both elements, the artist looks to focus his work on simple or pure geometry, to demonstrate in the experience the ephemeral objectivity of artistic production.

The object of the installation, Gravity, inversion of the matter, is to construct from silver elastic rubber bands hanging from the ceiling beams, triangles that in their totality constitute an inverted volumetric structure. The beams of the room of exhibition will transform into the support and foundation of the work.

Through the art installation, where the geometric construction is used to understand the concrete and the real, the concepts of reality and fiction have been significant.

This construction is understood as an inverted architectural element, like our capitalist social structure, and understood as a space of protection which is vulnerable at the thought of the possibility of its non-existence or in the complete loss of all in the vertigo that implies the inversion of the matter. In Gravity, inversion of the matter, the idea of protection is altered and subjected and put under another reality.

Sebastian Mahaluf (1976) lives and works in Santiago de Chile. He is an artist and professor in visual arts, Master of Visual Arts Degree © from University of Chile. Mahaluf’s work has been exhibited since 1998: at the Bronx Latin American Art Biennale, Bronx Museum of The Arts, New York (2010); Space Made Live, Glasgow, Scotland (2010); 798 Beijing Biennale, Beijing, China (2009); 10th International Festival of Performance Open, Beijing, China (2009); Platform China, Beijing, China (2009), Die Ecke Gallery, Santiago, Chile (2008); Museum of Contemporary Art, Santiago de Chile (2008); National Museum of Arts, Santiago de Chile (2007), among others. His work is in public and private collections and he has received awards and honors in recognition of his cultural achievements from the Chilean Ministry of Education and other organizations. Most recently, Mahaluf`s work has been selected by The World Bank Art Program “The Change”.


The AC Institute Presents Four New Exhibitions

Thu May 12, 2011 12:00 - Sat Jun 18, 2011

Works by Joseph Farbrook, Michael Georgetti, Jonathon Keats and the Kit Collaboration with Robert Suacier.
Opening Reception May 12, 2011 from 6 - 8PM

- by Jonathon Keats
five millennia of history, and a plethora of religious and civil ceremonies,
marriage is a popular means of producing families. Yet matrimony isn't the only
method of uniting people, nor even is it the most effective technique. Modern
science suggests a far more profound alternative, one that does not operate by
religious tradition or civil mandate, but rather bonds couples by a law of
nature: quantum entanglement.
to quantum mechanics, when two or more particles are entangled, they behave as
if they were one and the same. Any change to one instantaneously and
identically changes those entangled with it even if they're a universe apart.
While the phenomenon has been applied to fields such as military encryption,
Jonathon Keats has put entanglement to work for the more worthy purpose of
fostering human relations.
technology is straightforward: Exposed to solar radiation, a nonlinear crystal
entangles photons. Pairs of entangled photons are divided by prisms. The
photoelectric effect translates their entangled state to the bodies of a couple
who wish to be united, entangling them in a quantum wedding.
are no restrictions on who may be entangled to whom. The process is
unsupervised. No records are kept. Even those who get entangled will have to
take their entanglement on faith, as any attempt to measure a quantum system
disentangles it: A quantum marriage will literally be broken up by skepticism
about it.
potential of quantum marriage will be fulfilled by those who choose to engage
it. After five thousand years of manmade laws, often exclusionary or punitive,
science promises to liberate marriage through technology freely offering
entanglement to everybody.
by Joseph Farbrook
Scantly a generation ago, moving image screens were
restricted to television and cinema and the content was nearly exclusively
generated by corporations and conglomerates that dictated the form and
aesthetic of what should and should not be seen by the masses.   The content was restricted almost entirely
to news and entertainment and limited in scope to what could be sold as a
Presently, technological advances have given moving image
screens an explosion of new forms and possibilities of content.   Adding up the hours we spend staring into
screens, it could be argued that we are seeing an ever-greater part of our
lives mediated by this device.   Virtual
Reality has quietly emerged on this side of the screen and embedded itself into
our psyches.  The collective imagination
is to an ever-greater extent being co-opted and aligning itself to the
operational workings of this new prosthetic.  
It is now a critical time for artists to temper this overwhelming
involvement and offer insights into this reality, complete with new paradigms
of perception, new ways of seeing into, and through, the ubiquitous
“Strata-Caster” is an installation that explores the
topography of power, prestige, and position.  
It exists in the virtual world of Second Life, a place populated by
approximately 50,000 people at any given moment. Although virtual and infinite,
it continues to mirror the physical world, complete with representations of
prestige and exclusivity. Even without the limitations of the physical, why are
borders and separation still prized so highly? 
Entry into this installation is by wheelchair, an unfamiliar interface
to the limitless expanse of virtual space, but one that continuously calls
attention to limitation and position.

– by Michael Georgetti
Materials used: Paraffin wax, ply wood, industrial
pine, halogen light, tape, elastic cord, glitter, plastic toy soldiers,
floating devices, rope, paint strippers, hair dryers, indoor heaters,
fluorescent light and skipping rope, dimensions variable, 2011
make installations and sculptures that usually move or fall apart. Using a
combination of painting, kinetics and found objects these structures are made
with an emphasis on poetics, play and deconstruction in order to create
precarious relationships between ephemeral sculpture and the everyday world.
sculptures often collapse to imitate the way things don’t work or inevitably
fall apart. Engine parts and electric machines are dismantled and
re-coordinated to create relationships between inanimate objects and social
constructions are often dysfunctional and usually border on being precarious.
their making, tape, rope, elastic cord and cling-wrap are used as bandages and
stabilizing devices. In this sense, a relationship between repairing and
constructing occurs where these works become provisional. Often they appear
anthropomorphic because they manifest from ideas that have personalities.
broad range of commercial and industrial materials are deployed in these
structures: bathtubs, tennis balls, arrows, electric toy cars, paint, cement,
hockey sticks, pool cues, crack pipes, wax, yoga mats, garment steamers, hair
dryers, alcohol, water and portable swimming pools.
materials are chosen for the way they can mimic human behavior and expose the
materiality of the world we construct around us.
In a
gallery context I set up scenarios that have a short-durational quality in
order to create readings of the way people deal with impermanence. But often
these ideas manifest in a slapstick and humorous way to generate experiences of
absurdity and the imperfect nature of human behavior.
description of artist practice:
Through painting, sculpture, installation and film,
Georgetti explores the duality of behaviour and technology; the way thoughts
and feelings manifest within the mechanical and constructed environments we
create around us.

Virutorium – by
the Kit Collaboration and Robert Saucier
Virutorium is
the second joint project by The Kit Collaboration + Robert Saucier. Their first
project named Infrasense was a
large-scale sound installation that toured 11 galleries in Canada, UK, USA and
Belgium between 2004 to 2006 and dealt with the cultural economy of paranoia
surrounding the word ‘virus’ in its biological (sexual), computational (coding)
and capital (marketing) forms. Virutorium
is an interactive robotic sound installation, a kinetic and aural work that
advances themes originated in the Infrasense
project. This new project explores the extensive and pervasive cultural
dynamics of the ‘virus’ and seeks to highlight how far viral systems and models
are influencing bodily and computer based communication systems, modes of
capitalism and socio-sexual relations, ultimately contemplating how we
construct cultural memories about transient entities that we consider
detrimental to our livelihoods.