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Group exhibition at San Jose Institute of Contemporary Art explores dynamics of art and technology
John Baldessari, In Still Life, Computer application.
SAN JOSE, CA.- A group exhibition that explores the relationship between art and technology through the use of wall projections, interactive installations, and tablet computer apps.

Poetic Codings, a group exhibition that explores new relationships between art and technology, is on view at the San Jose Institute of Contemporary Art from May 31 through September 6, 2014. Many contemporary exhibitions have presented code-based works, however, Poetic Codings is one of the first to juxtapose wall-based works with those made for mobile devices.

Through projected video works, interactive installations, and iPad apps, the exhibition also addresses the differences between public and private viewing experiences − positing that the experience of interacting with a digital work in a public place is vastly different from the more private experience of navigating an artwork on the small screen of a mobile device. While apps are contained and fill a small screen, installations are often immersive environments that envelop the viewer. When viewing an interactive installation or projected video, the viewer experiences a body awareness and how their movement within the space can change their interaction. An artwork on a mobile device is a private, one-person experience more often than not, where the viewer can get lost in the complexity of the interaction without regard to architectural setting and placement of the work.

Projected on the walls are works by: John Carpenter, Casey Reas, Jeremy Rotsztain, and Jody Zellen. Artists with artworks as apps include: John Baldessari, Jason Lewis, Lia, Erik Loyer, Jeremy Rotsztain, Rafaël Rozendaal, Scott Snibbe, and Jody Zellen. The artists are based in Los Angeles, San Francisco, Portland (OR), New York, Montreal (Canada), and Graz (Austria).

This exhibition was originally organized by Jody Zellen for the Fellows of Contemporary Art in Los Angeles, California (January-March, 2013) and then travelled to Boston CyberArts Gallery, Massachusetts (April-Jun 2013). An essay by Art Historian Patrick Frank accompanies the exhibition.





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