Kelani Nichole
Works in Brooklyn, New York United States of America

I am a Digital Strategist and Independent Curator working at the intersection of ART + TECHNOLOGY.
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'TECHNOPHILIA' a solo exhibition from Faith Holland

Sat Jun 13, 2015 18:45 - Sat Jul 11, 2015

Brooklyn, New York
United States of America

TRANSFER is pleased to present ‘TECHNOPHILIA’ the first solo exhibition from Faith Holland.

::: OPENING ::: SATURDAY June 13, 2015 ::: from 6 – 11PM :::

Technology connects us to porn, our partners, and whatever other bodies we might desire. We lust after bodies “behind” the screen or “inside” the device but all the while we interact, always, with a thing–a machine.

Holland writes “I sleep inches away from my phone; it is the last thing I see at night and the first thing I see in the morning, regardless of who or what else is in my bed. I gently massage my laptop’s pressure points as I write this text. I caress screens throughout the day. I softly cup a mouse in my right hand as it grazes across my desk. This is the new intimacy.”

‘TECHNOPHILIA’ includes Holland’s ‘Visual Orgasms’ a series of looped moving images that playfully expose popular media’s pressured attempt to make sex visually consumable. New installation work from Holland will also be on display along with two new large-scale ‘Ookie Canvas’ abstractions composed of collaged cum shots which Holland collects from pornography and her own open call for submitted photographs.

The exhibition is accompanied by a catalog with essays by Nora O’ Murchú and Seth Watter, printed with a signed and numbered centerfold.

‘TECHNOPHILIA’ will conclude with a collection of ‘GIFs to Have Sex By’ created by invited artists, screening at TRANSFER on Saturday, July 11th.

A full inventory of work from ’TECHNOPHILIA’ is available from the gallery. Please inquire with the to request information.

About the Artist :::
FAITH HOLLAND (1985, New York) is a NYC-based artist and curator whose practice focuses on gender and sexuality’s relationship to the Internet. She received her BA in Media Studies at Vassar College and her MFA in Photography, Video, and Related Media at the School of Visual Arts. Her work has been exhibited at Elga Wimmer (New York), Axiom Gallery (Boston), the Phillips Collection (Washington, D.C.), Xpo Gallery (Paris), and File Festival (São Paulo). She was a 2014 New York Foundation of the Arts Fellowship Finalist in Digital/Electronic Art. Her work has been written about in Artforum, The Sunday Times UK, Art F City, Hyperallergic, Animal New York, Artnet, The Creator’s Project, and Dazed Digital.

For more information:


institutions of Resolution Disputes [iRD] a solo exhibition from Rosa Menkman

Sat Mar 28, 2015 15:20 - Sat Apr 18, 2015

Brooklyn, New York
United States of America

TRANSFER is pleased to present ‘INSTITUTIONS OF RESOLUTION DISPUTE [iRD]’, the first NYC solo exhibition from Dutch artist Rosa Menkman.

::: OPENING RECEPTION ::: SATURDAY March 28 ::: from 7 -11PM :::

institutions of Resolution Disputes [iRD]

“everywhere we imagined ourselves standing turned into a cliche beneath our feet”
Naomi Klein, No logo, 1999.


*Michel de Certeau, The Practice of Everyday Life, 1984.
**Jacques Ranciere, The Politics of Aesthetics, 2004.

Even the most glitchy-glitch is just the vernacular of an already present, not evenly distributed future. When we walk inside these futures we find ourselves momentarily stuck inside a pocket of ambiguous ‘freespace’, a fountain of inspiration and curiosity. Until we find resolution.

Resolutions inform both machine vision and human ways of perception. Rules, or protocols, change data in order to store, show, move and connect between technologies. Protocols, together with objects and their materialities, form the resolutions that make technology run smoothly (Alexander Galloway, Protocol, 2006). But these resolutions form not only a solution, but also a compromise between multiple underlying media properties. A resolution is not a neutral facility but carries historical, economical and political ideologies. The cost of all of these media protocols is that we have gradually become unaware of the choices and compromises they represent. We are collectively suffering from technological hyperopia where these qualities have moved beyond a fold of perspective.

Resolutions involve /* --and lost alternatives-- */

Have we become bad at constructing our own resolutions, or are we just oblivious to resolutions and their inherent compromises?

The iRD calls attention to media resolutions and does not /just/ aestheticize their formal qualities or denounce them as ‘Evil’ (Matthew Fuller, Andrew Goffey, Evil Media, 2012). iRD intends to expose methods of 'creative problem creating’ (jon.satrom, creative problem creating, 2013), to bring authorship back to the actors involved during the building of a 'resolution'.

While the gospel of resolutions sings about new standards implemented through corruption, iRD displays forms of vernacular resistance based on misleading, false, or ambiguous data and maybe a chanting jabberwocky, venturing along the bootleg trails above a Sea of Fog.

About the Artist :::

Rosa Menkman (b. 1983, Netherlands) is a Dutch artist and theorist who focuses on visual artifacts created by accidents in both analogue and digital media. The visuals she makes result from glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative, Menkman emphasizes their positive consequences: these artifacts facilitate an important insight into the otherwise obscure world of media resolutions. Since 2007 Menkman performs worldwide with her (audio)visual work. In 2011 Menkman released the ‘The Glitch Moment/um’ with the Institute of Network Cultures.



Sat Jan 24, 2015 19:00 - Sat Feb 21, 2015

Brooklyn, New York
United States of America

TRANSFER is pleased to present Jamie Zigelbaum’s ‘NO THERE THERE,’ the artist’s first solo exhibition with the gallery and his first solo presentation in the USA.

::: OPENING RECEPTION ::: SATURDAY January 24 ::: from 7 -11PM :::

'NO THERE THERE' is an exhibition of new work from Brooklyn-based artist Jamie Zigelbaum that explores the materiality of the digital image. This exhibition begins with two of the artist’s earlier works ‘Pixel’ and ‘Six-Forty by Four-Eighty’ but moves beyond Zigelbaum’s interest in the “recontextualization of the pixel” to question the role of the screen itself — moving images are programmatically constructed and displayed in unconventional formats, hardware is sliced and exposed, and interactive artworks engage the viewer in reconsidering the false dichotomy of the natural and the digital.

Upon entering 'NO THERE THERE' the viewer confronts a large-format installation on a six-foot screen. Zigelbaum’s ‘100 Hours per Minute’ is an algorithmically generated, video-based work that extends across the public space of the web and the institutional space of the gallery. Gallery patrons input search terms via public tweets with unique hashtags (accessible only from the installed piece) to programmatically generate ‘averages’ of YouTube videos that match their query. Each act of viewership is archived within the piece, and also visible online, as the videos are uploaded back to YouTube and available in the public space of the web in real time.

In the center of the exhibition sits Zigelbaum’s ‘My Television’. The artist waterjet sliced his own TV into 40 square pieces and cast them in clear resin to produce this sculptural object. Zigelbaum explains “The cutting of the television like this highlights the irreality of the images I viewed on it.” Extending this inquiry into the moving image object, on another wall flicker twenty, small LCD screens running on a network of Raspberry Pi’s. The grid of ‘Sequence in Parallel’ displays a selection of Zigelbaum’s favorite films, each one evenly divided into twenty, looping segments that play simultaneously across the screens, allowing a viewer to glimpse the entire film object as a whole.

On January 24th, visitors are invited to TRANSFER from 7–11PM for the debut of this new body of work. The exhibition runs through February 21st, 2015 – public hours are 2-6PM on Saturdays and appointments are available to view the exhibition anytime by tweeting @transfergallery or writing to the

About the Artist

Jamie Zigelbaum employs light, computation, and industrial design to create sensate, interactive sculptures in order to understand the relationship between information structures and the human organism. Informed by current work in physics, media theory, computer science, and philosophy, his digitally-imbued, physical objects explore how the contemporary experience of communication refigures the body and repositions the boundaries of identity.

In 2013, Andrew Blum wrote in the New York Times Magazine that Jamie is part of “A new generation of visionaries [who] are using next-level technologies to create products, projects and experiences that test the limits of design—and our imaginations.” Later that year, his work Pixel debuted and sold at Paddles ON!, the first digital art auction at Phillips, curated by Lindsay Howard. Additional exhibitions include Riflemaker Gallery, Design Miami/, The Corcoran Gallery, Johnson Trading Gallery, Ars Electronica, Saint-Etienne International Design Biennial, and The Creators Project. His work can be found in private collections, including the Frankel Foundation for Art, the Rothschild Collection, the MIT Media Lab, The Tech Museum of Innovation, and at Tumblr.

Jamie Zigelbaum was born in Cambridge, Massachusetts in 1978. He received a BS in Human-Computer Interaction from Tufts University in 2006, a Masters in Media Arts and Sciences from the Tangible Media Group at the MIT Media Lab in 2008, and was the recipient of the 2010 Designer of the Future Award from Design Miami/. Jamie lives and works in New York.


'Evident Material' a solo exhibition from Phillip David Stearns

Sat Nov 15, 2014 19:00 - Sat Dec 13, 2014

Brooklyn, New York
United States of America

TRANSFER is pleased to present ‘EVIDENT MATERIAL’ a new series of work from Phillip David Stearns.

::: OPENING RECEPTION ::: SATURDAY November 15 ::: from 7 -11PM :::

For this exhibition, Stearns produced film-based images without a camera by applying various household chemicals and 15,000 volts of alternating current directly to the film. In a flash, arcs spread out across the surface, burning holes and igniting the film. As in our eyes, images are conveyed in a stream of such electric impulses. Here such impulses are amplified some 300,000 times.

Statement from the Artist:
“The sentiment that the camera is an extension of the eye is taken to an extreme. When looking through the Fujifilm FP-100c instant color film datasheets, the similarities between the layering of materials in the film and the layering of cells in the retinal is striking. Perhaps it is because the development of such film technologies parallels an evolving understanding of how the eye sees.”

This work continues previous explorations challenging the ontology of post-digital photography using extended techniques—bending, cracking and breaking the medium. The works in ‘EVIDENT MATERIAL’ explore the potential for analog photographic media to operate beyond their intended capacity for reproducing a world of appearances. The process of extension is applied to every material in such a way that reveals process itself as evidently material.

PHILLIP DAVID STEARNS, (USA, 1982) Based in Brooklyn, NY, Stearns’s work is centered on the use of electronic technologies and electronic media to explore dynamic relationships between ideas and material as mobilized within complex and interconnected societies. Deconstruction, reconfiguration, and extension are key methodologies and techniques employed in the production or works that range from audio visual performances, electronic sculptures, light and sound installation, digital textiles, and other oddities both digital and material.

His work has been exhibited internationally at electronics arts festivals, museums, and galleries including: Turku Biennial 2013, WRO Biennale 2013, Transmediale 2013, Denver Art Museum (2013), The Photographer’s Gallery London (2012), The Camera Club of New York (2012), Eyebeam (2012, 2007), Harvestworks (2010, 2012); 2112; and more. Full bio at

TRANSFER is an exhibition space that explores the friction between networked practice and its physical instantiation. The gallery supports artists working with computer-based practices to realize aggressive projects in new modes of exhibition.

Open Saturdays 2 – 6PM ::: 1030 Metropolitan Avenue

::: OPENING RECEPTION ::: SATURDAY November 15 ::: from 7 -11PM :::


'The Garden of Emoji Delights' from Carla Gannis

Fri Oct 31, 2014 19:00 - Fri Oct 31, 2014

Brooklyn, New York
United States of America

Halloween Screening ::: FRIDAY October 31 ::: from 7 -11PM
949 Grand Street, Brooklyn NY 11211
(just two blocks from TRANSFER)

TRANSFER is pleased to present the NYC debut of Carla Gannis’ ‘Garden of Emoji Delights’ with a screening and Emoji Halloween Celebration.

Carla Gannis’s work examines the narrativity of 21st century representational technologies and questions the hybrid nature of identity, where virtual and real embodiments of self diverge and intersect.

In ‘The Garden of Emoji Delights’, Gannis contextualizes Emoji within the iconographic lineage of the works of Hieronymus Bosch, re-inscribing the third panel of his triptych, The Garden of Earthly Delights, by using the new secular, pop vocabulary of signs and digital symbols. These symbols are as pervasive now as religious symbology was in the 15th and 16th centuries. According to Carla Gannis, Emoji add a new flatness to the iconography of the past, emptying it of controversy and replacing it with something akin to Murakami’s Superflat aesthetic questioning the “sins” of our contemporary consumer culture.

This screening event is a collaborative presentation of Gannis’ solo show at Kasia Kay Gallery in Chicago. The exhibition on view October 17 – November 15 is an installation of a large scale triptych, which comprises digitally collaged emoji symbols and animated characters into Hieronymus Bosch’s painting The Garden of Earthly Delights, (1500-1505), along with a small 3-D printed sculpture entitled " Escape Pod", a collaboration between Gannis and Everett Kane that explores the theatrical poetries of the modern domicile.

On Halloween evening TRANSFER presents the large-scale digital animation from Gannis’ ongoing project and an Emoji Halloween reception hosted by our neighbors King’s Tavern. The mediated version of her masterpiece contains over a dozen looping narratives across all three emojified realms: Eden, Hell and Earth. A large-scale projection installed in King’s Tavern outdoor courtyard, will be accompanied by 12 screens inside the Tavern screening HD looped moving image details from the animations (available in digital editions).

Emoji costumes are encouraged!

CARLA GANNIS lives and works in Brooklyn, New York. She has exhibited in solo and group exhibitions both nationally and internationally. Gannis is the recipient of several awards and her work has been featured or reviewed in The Huffington Post, Wired, Art F City, Hyperallergic, The Wallstreet Journal, & The New York Times, among others. Most recently she collaborated with poet Justin Petropoulos on a transmedia book, installation and net art project entitled (Jaded Ibis Press and Transfer Gallery, 2013). She is faculty and Assistant Chair of the Department of Digital Arts at Pratt Institute. Carla Gannis is represented by Kasia Kay Art projects Gallery in Chicago and by Transfer Gallery in New York.

Acknowledgements: Rafia Olufemi Santana, Studio Assistant

One-night Event ::: Screening + Emoji Halloween Reception
Friday, October 31 from 7PM–Midnight
Hosted at KING’S TAVERN 949 Grand Street, Brooklyn NY 11211 :::

Schedule a private viewing or inquire for more details with