Faith Holland and Nora O' Murchú

"CLICK CLICK CLICK," designed and printed by Beth Brandon

“CLICK CLICK CLICK,” designed and printed by Beth Brandon

Click. Click. Click. Copy. Paste. Drag. Drop. These are the new gestures of digital image making. Click Click Click is a survey of contemporary digital moving image practices that span GIFs, augmented performances, green screen keying, collage, appropriation, Processing, 3D renders and more.

Featuring: Morehshin Allahyari, Claudia Bitran, Hannah Black, Gaby Cepeda and Adriana Minoliti, Jennifer Chan, Jennie Cole, Claire Evans, Dafna Ganani, Carla Gannis, Geraldine Juárez, Nicole Killian, Claudia Maté, Jillian Mayer, Raquel Meyers, Lorna Mills, Eva Papamargariti, Sabrina Ratté, Lillian F Schwartz, Tessa Siddle, Giselle Zatonyl

Nicole KillianMove It, 2013, 30 sec.
Move It is an excerpt from an ongoing investigation into getting the crowd pumped up and moving.

Lorna MillsJump Rope, 2011, GIF
Lorna Mills channels and trolls the internet through her assemblage GIFs. Searching the far reaching corners of the world wide web, Mills pulls out the most peculiar, inane, and baffling imagery and then recontextualizes it into her own carefully crafted compositions.

Claudia BitranThe Zone: Action, 2013, 3:17 min
The Zone is a series of three trailers for movies that do not exist: a Korean horror film, a Latino action film, and a French drama film. In the Latino action trailer, I perform as Macarena de las Heras, a strong and determined woman who has to go through different adventures in order to enter “The Zone.” She rides motorcycles, fights gangsters, tries to get information from the gatas, and shoots guns while running through the desert and making out with hot guys.

Gaby Cepeda and Adriana MinolitiConspirativas (series), 2013, GIF
These collaborative images capture an intersection between the artists’ loving interrogations of celebrity culture (Cepeda) and pornography (Minoliti). The result is an image that tackles female sexuality in its vicissitudes.

Claudia MatéFill Shapes, 2012, 1:54 min.
Fill Shapes uses Processing and After Effects to make squares and circles dance across the screen in this brightly colored geometric fantasy.

Lorna MillsGarden Variety (series), 2013, GIF

Lorna MillsStress Relief, 2011, GIF

Eva PapamargaritiRandomAccessData, 2014, 4:50 min.
RandomAccessData is a parallel visual and verbal narration between references; it is a stream of information that creates a tag cloud based on random thoughts about post- internet art, radical utopian groups of the ’60s, today’s virtual field, the definitive role of searching and tagging inside the cyberspace, terms like distribution and reproduction of image, constant data flow, internet immersion, real ID vs cyber ID and the notion of auto generated content.

Lillian F Schwartz, Exquisite Motions, 2013, 3:34 min.
Lillian F Schwartz was an artist-in-residence at Bell Labs where she made groundbreaking computer-generated images and films in 60’s and 70’s. Recent digital animation based on images created in the mid 80s on symbolics machine and 90s from combining diverse software,  photography, watercolors, acrylics and free hand drawing.

Dafna GananiI Dream of I Dream of Jennie, 2013, 3:42 min.
I Dream of I Dream of Jennie is a mediated performance by the artist Dafna Ganani. It references the 70′s American TV series I Dream of Jeannie and uses glitched images of copyrights licenses, biopunked Barbara Eden in her Jeannie costume, dolphins, BIOS homepage to propose a cybernetics fantasy: beings with both organic and cybernetic parts.

Gaby Cepeda and Adriana MinolitiConspirativas (series), 2013, GIFs

Hannah BlackIntensive Care/Hot New Track, 2013, 5:36 min
Remixed fragments of what’s allowed to appear on the surface of the world: Rihanna/Chris Brown, US/Iraq, blackness/whiteness, pain/pleasure, money/body. “Love and shame are the theory and the practice.”

Lorna MillsGarden Variety (series), 2013, GIF

Geraldine JuárezLove Not Money, 2009, 1:06 min
In 2009, months after the stock market meltdown, i created a personal stock market to track my assets: desires, work, routines, expectations and emotions – and how the way i valued them felt closer to death, money or love.

The video is the output of four weeks of emotional capitalism, where my assets were collected in a notebook and mapped and visualized originally in Processing.

Claire EvansDigital Decay: Meditation/Disintegration, 2011, 1:50 min
Meditation/Disintegration is an animation of individual video frames saved in incrementally lower file formats hundreds and hundreds of times. Where is the line at which compression ceases to preserve information entirely? The digital image washes away on the tide of its own preservation. The beach ball is the third eye.

Jillian Mayer, MakeUp Tutorial HOW TO HIDE FROM CAMERAS, 2013, 3:36
Mayer guides YouTuber users with a makeup tutorial that teaches viewers how to hide from cameras and facial recognizing algorithms. “We all know that cameras are watching our every step,” warns Mayer. The implementation of this makeup tutorial in your everyday life will be key to existing track free.

Lorna MillsSplode (series), 2012, GIF

Morehshin AllahyariThe Romantic Self-Exiles I, 2012, 5:06 min.
To build a land; an imaginary home. To push the limits of real and unreal, memory and imagination, locality and universality. To put together my most vivid memories on flat planes or 3D cubes. Inside and outside the empty rooms, rooms without bodies, rooms left behind. A reflection and presentation of emotional attachments. Collective and personal.

Jennie Colea device of a special type, 2012, 3:32 min.
a device of special type investigates encounters with text in electronic media, in response to Donna Haraway’s assertion that writing is ‘pre-eminently the technology of cyborgs’. Exploring ideas of transhumanist possibility alongside the manipulations of identity suggested by the internet’s corporate ‘like’, the language in this video is at once page-based, screen-based, illuminated and infiltrated by symbols and logos.

Carla Gannis, Non-Facial Recognition Project, 2014, 2:13 min.
Carla Gannis’s Non-Facial Recognition Project challenges surveillance softwares through a playful digital manipulation of social media profile images. Remixing photos sent to her by friends and followers, Gannis transforms photographic portraits into digital assemblages that are no longer merely visual data for military-industrial algorithms.

Lorna MillsGarden Variety (series), 2013, GIFs

Tessa SiddleHexenhaus, 2010, 2:47 min.
Hexenhaus is a video fragment from a series of work about domestic ritual and relations between humans, houseplants, and animals. Following the collapse of a relationship a failed banishing ritual is performed with my pet houseplants/familiars. An attempt to convert loneliness into solitude results in only more loneliness.

Nicole KillianAttention, 2013, 2:53 min.
Attention is a video exploring mall madness and meditation.

Gaby Cepeda and Adriana MinolitiConspirativas (series), 2013, GIFs

Giselle ZatonylThe Harm of Coming into Existence, 2014, 1:57 min.
Zatonyl’s 3D rendered video juxtaposes glittery, soft colors with hard lines forming an imaginative factoy-like space that produces unknown, but assuredly delightful things.

Jennifer ChanBoyfriend 男友 [Nanyou], 2014, 6:27 min.
BOYFRIEND combines YouTube-captured webcam videos with images of dominant East Asian masculinity. Headlined by a Mandarin cover of Justin Bieber’s pop hit Boyfriend, K-pop stars, J-pop stars, Taiwanese diaspora, and Canto-pop icons, are recut against confessional Asian American “dudes” to deliberate the superficial aspects of performing the archetypal romantic straight male partner in Asian culture.

Lorna MillsLinguine Primavera, 2013, GIF

Lorna MillsKitty Fire, 2011, GIF

Raquel Meyers2SLEEP1 ❚❚❚❚❚❚❚ 002. MATSAMÖT, 2013, 3:23 min.
Matsamöt is part of 2SLEEP1, a playlist of audiovisual performances in text mode, designed to make you fall asleep. The music interface and the graphics are built up from text symbols (PETSCII). Made by Raquel Meyers and Goto80 using c-64.

Sabrina RattéThe Land Behind, 2013, 4:56 min.
Traveling on an undefined territory where the illusion of a continuous tracking shot emphasizes an unreachable destination. Through the syncopated editing and multiple transitions, images of the area themselves become traveling entities, creating confusion on the level of the depicted space as much as with the level of its temporality.