image: Algae Chorus by Yan Shao at Biobat Art Space. Photo courtesy of gallery.
The three exhibitions Digital Being: Radio Row, Water Stories, and GUI/GOOEY explore memory, technology, and sustainability across time. In Digital Being: Radio Row, Taezoo Park breathes new life into obsolete machines, reimagining New York’s Radio Row as a digital hub of the past and future. Water Stories at BioBAT Art Space celebrates water’s ecological and cultural roles through multisensory art, urging conservation for future generations. GUI/GOOEY at Plexus Projects blurs boundaries between digital and organic realms, examining how interfaces reshape our perception of the body and nature through digital media.
While considering these art and technology exhibitions, it may be interesting to think about these works from an art historical context. How should they be defined to help make connections that can strengthen understanding? What new naming conventions would work to enhance these connections? Would the term ‘Techspressionism’—more earnestly considered circa 2020 to illustrate “an artistic approach in which technology is utilized as a means to express emotional experience”—adequately define many of these works?