one hundred and twenty-eight feet

Curated by Malin Barth

18.08. - 08.10.2017

With every major event, every natural disaster or societal change there are a multitude of visions, thousands of lenses documenting the experiences, the victories and the challenges. “one hundred and twenty-eight feet” recreates these visions through an interactive mosaic digital artwork which uses hundreds of images and poetic/enlightening texts captured by the students from the Japanese tsunami impacted region of Tohoku. Captured were scenes of rebuilding, of a hopeful future amidst the rubble and damage. Each of the images is a story, a forever inspiring narratives, and the artwork recombines them, forming compelling mosaic combinations with each exploration. Every time you move your mouse and click, you can explore new images and see new relationships between the stories, to infinitely zoom through a webbed mosaic of images and poetic texts.

To explore, simply mouse over / navigate to an appealing are of an image, click and click, read, contemplate connections and repeat, an interactive zooming/clicking interface.

Coming from Australia as a Fulbright Fellow at the University of Bergen, Jason Nelson is a creator of curious and wondrous digital poems and fictions of odd lives, builder of confounding art games and all manner of curious digital creatures. He professes Net Art and Electronic Literature at Australia's Griffith University in subtropical metropolis of Brisbane. Aside from coaxing his students into breaking, playing and morphing their creativity with all manner of technologies, he exhibits widely in galleries and journals, with work featured around the globe at FILE, ACM, LEA, ISEA, SIGGRAPH, ELO and dozens of other acronyms. There are awards to list (Paris Biennale Media Poetry Prize), organizational boards he frequents (Australia Council Literature Board and the Electronic Literature Organization), and numerous other accolades (Webby Award), but in the web based realm where his work resides,

Jason is most proud of the millions of visitors his artwork/digital poetry portal www.secrettechnology.com attracts each year.




Machinimenomenology (no. 1)

2017, Video, 15min.

Curated by Malin Barth

18.08. - 08.10.2017

‘Machinimenomenology (no. 1)’ is a video collage experiment by Alinta Krauth using partly-rendered context capture software as a space for a machinima of the broken. The artist traverses this other-worldly 3D digital backdrop in an often awkward and uncontrollable fashion that mimics the general everyday use of Google Maps terrain. This is used to develop an improvised audio narrative, building a digital fiction around a character who lives in a partially-rendered, shifting world, where the concepts of time and entropy differ to our own. In this piece, Krauth is interested in the concept of virtual/non-virtual geography and cartography, and how the rendering errors and imperfections in digital map simulations can be beautiful entry points for the imagination. 

Alinta Krauth is an Australian digital artist and interaction designer. Her practices include projection art, interactive art, sound art, and electronic literature, and the inherent connections between these fields. She is interested in how digital art may be applied to highlight environmental destruction, particularly with regards to climate change. Her literary, creative, and hybrid works have been exhibited and published globally. Most notably: her research and practice on interactive controllers for projection-mapped objects and faux-holographic sculptures, interactive screen-based public experiences, how climate change effects the senses, bushwalking as proprioceptive act, and the connection between gravity and proprioception in music listening. Recent exhibitions/festivals include ISEA, Nuit Blanche, Piksel, and Transmediale. Recent solo shows have been seen in Art Laboratory Berlin and within the forests of Australia and Norway.


Vaagsallmennigen 12, 5014 Bergen, Norway