array(22) { [“event_type”]=> array(1) { [0]=> object(WP_Term)#2643 (10) { [“term_id”]=> int(148) [“name”]=> string(10) “Exhibition” [“slug”]=> string(10) “exhibition” [“term_group”]=> int(0) [“term_taxonomy_id”]=> int(148) [“taxonomy”]=> string(10) “event-type” [“description”]=> string(0) “” [“parent”]=> int(0) [“count”]=> int(61) [“filter”]=> string(3) “raw” } } [“location”]=> string(17) “Governor’s Island” [“other_location_name”]=> string(0) “” [“address”]=> string(0) “” [“location_notes”]=> string(0) “” [“date”]=> string(8) “20220827” [“end_date”]=> string(8) “20221030” [“time”]=> string(0) “” [“end_time”]=> string(0) “” [“time_notes”]=> string(0) “” [“artists”]=> string(27) “Kristin Lucas, Eva Davidova” [“secondary_artists”]=> string(53) “Featuring Viv Corringham, Su Hyun Nam, Allison Berkoy” [“listed_artists”]=> array(5) { [0]=> object(WP_Post)#2731 (24) { [“ID”]=> int(5788615) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(1293) “Artist Kristin Lucas plumbs the storytelling capacity of emerging technologies and innovates playful new modes of experimentation that create pathways to agency. The Dance with flARmingo series is made in part through collaboration with artists, scientists, and technologists; and in partnership with a conservation initiative through which Lucas sponsors wild flamingos. Lucas has presented her work nationally and internationally and is the recent recipient of a BAU Summer Arts Residency at the Camargo Foundation, Engadget Alternate Realities Grant, Eyebeam/Oregon Story Board/Upfor AR/VR Artist Research Residency, Harvestworks New Works Residency, NYSCA Media Arts Assistance Fund, Pioneer Works Tech Residency, and Print Screen Festival and Yafo Creative Digital Art Residency. Her work has been presented nationally and internationally, and is represented by And/Or Gallery in Los Angeles, and Postmasters and Electronic Arts Intermix in New York. She holds degrees from The Cooper Union and Stanford University, and teaches in the University of Texas at Austin art department.” [“post_title”]=> string(13) “Kristin Lucas” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(13) “kristin-lucas” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 19:00:46” [“post_modified_gmt”]=> string(19) “2025-03-14 19:00:46” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5788615” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [1]=> object(WP_Post)#2736 (24) { [“ID”]=> int(5502800) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(4246) “Like Eva Davidova’s previous works, Garden for Drowning Descendant, an interactive mixed reality work, uses the subconscious to workshop ideas. There is an ongoing exchange between dream and art in Davidova’s work; she processes the ideas for her art while sleeping, allowing new narratives to emerge. The resulting works have much in common with the somatic photoplays we generate at night: spaces that are warped and illogical, figures that are slippery and change form, symbols that are sometimes clear and otherwise elude us. Many of these elements also make the work so specifically digital, such as the way Davidova creates her stages. Existing simultaneously as a 360 VR environment and an immersive projection installation, the surroundings for us as viewers and the subjects within the work are aggressively cubic. The same landscape or architecture is recombined in different orientations to create hard-edge seams. Top and bottom are not distinct from left and right, nor are they continuous, but rather they repeat in a dizzying prism that clearly demonstrates the unreal construction of the environment. Within these chaotic scenes that performers – humans, avatars, digital objects, and audience alike – dance. In search of new movements, Davidova collaborates with performers who are given open-ended prompts which are later augmented with digital objects. For example, in one of the four scenes of Garden for Drowning Descendants subtitled Surveillance Garden, the dancers are asked to tear themselves away from something. Once inserted into the digital scenes, their bodies are placed at the edges of the digital space, and the mirroring of their actions creates a sense of the bodies pulling apart and recombining. This is juxtaposed with floating crocodiles and an avatar from whose belly a crocodile emerges. Davidova uses the VR space to invent multiple possibilities for the future, at once threatening and beautiful. In another scene, we see an aerial silks performer both upside down and rightside up as she herself flips and contorts above water rising in the interior space. At our eye level, an avatar bobs above and below the water, gasping to catch her breath. Within the VR environment, the viewer too can dip below the water and struggle, standing on tiptoes, to get above it. Like the way that smartphones have trained us to add new gestures to our movement vocabularies like swiping and pinching, Davidova asks the same of viewers. Whereas the person within the VR console controls the camera for the piece, which is then projected to the larger audience, members of the audience can interact with the elements within the projection, which is then seen by and affects the experience of the person in VR. But the rules of engagement are left intentionally unsaid; participants need to experiment in order to understand the possibilities for interaction. How can we shoo away this ferocious crocodile falling from the sky? Can we intervene amidst a field of dying sheep? Here, the audience must invent and collaborate, but, ultimately the piece poses a paradox of ecological disaster. We may desire to make change, but inevitably we end up drowned. Still, we try. Within the pandemonium of the scenes created by Davidova, of paradoxical landscapes and absurd floating animals and technology, it is the human actors who stand out: both the performers and us, the viewers. As there is a violent collapse of animals, landscape, technology, and humans, we are the ones left as actors to engender change. But we can only do so much.” [“post_title”]=> string(12) “Eva Davidova” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(12) “eva-davidova” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 18:35:41” [“post_modified_gmt”]=> string(19) “2025-03-14 18:35:41” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5502800” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [2]=> object(WP_Post)#2701 (24) { [“ID”]=> int(5264406) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(2316) “Viv Corringham is a New York based British vocalist, composer and sound artist, active since the late 1970s. Her work includes concerts, soundwalks, workshops and installations, exploring people’s sense of place and the link with personal history and memory. She has received international recognition and her work has been presented in twenty six countries on five continents. Educational background includes an MA Sonic Art with Distinction from Middlesex University, London, England and a BA Theatre Design from Nottingham Trent University, England. She is a certified teacher of Deep Listening, having studied and worked with composer Pauline Oliveros. Awards: She is a 2012 and 2006 McKnight Composer Fellow. Other grants and awards have come from the English and Irish Arts Councils, Jerome Foundation, Harvestworks NY, Jazz Services UK, Millennium Funding UK, London Arts Board, Chisenhale Awards, Creative Partnerships, Awards for All and Meet the Composer. Work has been presented in venues including Hong Kong Arts Centre, Fonoteca Nacional de Mexico, Issue Project Room New York, Onassis Centre Athens, Institute of Contemporary Art London, Serralves Museum Portugal, Taipei University Taiwan, Ohrenhoch Sound Gallery Berlin, Shantou University China, Bangalore, Calcutta and Delhi universities, Ftarri Tokyo and Tempo Reale Florence. Invited Artist Residencies include soundpocket Hong Kong; Harvestworks NYC; Srishti Bangalore, Emily Harvey Foundation Venice; Montalvo Art Center CA; Guild Hall East Hampton NY, Memorial University Newfoundland; Cal State University; Sound Meetings Greece; Cobh Art Centre Ireland; Radio Papesse Florence; Serralves Museum of Contemporary Art Portugal; NAISA Toronto; Soundworks Cork Ireland; Deep Listening Institute NY and Binaural Media Portugal. Articles about her work have appeared in many publications, including In the Field (UK), Leonardo Music Journal (US), Walking from Scores (Belgium), Art of Immersive Soundscapes (Canada), Organised Sound (UK), Musicworks (Canada), Catskill Made (US), Playing With Words (UK) and For Those Who Have Ears (Ireland). Recordings are available on Innova, Flaming Pines, Zeromoon, Farpoint, Linear Obsessional, FMR, Slowfoot, NoMansLand, ARC Music, MASH, Slam, Rhiannon, Jungle Records, Emanem, Move, Artship and Third Force.” [“post_title”]=> string(14) “Viv Corringham” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(14) “viv-corringham” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-11 19:55:09” [“post_modified_gmt”]=> string(19) “2025-03-11 19:55:09” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5264406” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [3]=> object(WP_Post)#2704 (24) { [“ID”]=> int(5386243) [“post_author”]=> string(1) “2” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(1004) “Su Hyun Nam, based in New York and Seoul, works as an interdisciplinary media artist and researcher at the intersection of art, technology, science, and philosophy to investigate relationships with diverse nonhumans. She is an artist-in-residence at the Harvestworks Media Art Center and the Lower Manhattan Cultural Council Art Center. Her work, including experimental video, interactive media, 3D game art, and media performance, has been exhibited nationally and internationally at venues from Spain, UAE, Greece, and Singapore to South Korea. Su Hyun Nam earned an MFA in Art and Technology Studies from the School of the Art Institute of Chicago and a Ph.D. in Media Study from the State University of New York at Buffalo. She is currently an Assistant Professor in the Department of Contemporary Arts at Konkuk University in Seoul, Korea.” [“post_title”]=> string(11) “Su Hyun Nam” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(11) “su-hyun-nam” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-01-21 18:47:00” [“post_modified_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5386243” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [4]=> object(WP_Post)#2614 (24) { [“ID”]=> int(5119259) [“post_author”]=> string(1) “2” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(923) “Allison Berkoy is an interdisciplinary artist based in Brooklyn. Mixing physical and electronic media, she creates video sculptures, interactive installations, and performances between humans and machines. With participatory and often absurd narratives, Berkoy’s installations become stages for performance that test the boundaries and etiquette of human-machine interaction as well as human-human relationships. Berkoy holds an MFA in Electronic Arts from Rensselaer Polytechnic Institute, an MA in Performance Studies from NYU’s Tisch School of the Arts, and a BS in Theatre from Northwestern University. 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