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Friday, June 15
until August 25
8:00am

Opening Friday, June 15, 7–9pm
Conversation with Yvette Granata and Maiko Tanaka at 7:30pm.
On view through August 25, 2018, Tue–Sat, 12–5pm
Free and open to the public.

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Squeaky Wheel’s exhibition programs, residencies and events are made possible with generous support by the County of Erie and County Executive Mark Poloncarz, the National Endowment of the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, The Andy Warhol Foundation for the Visual Arts, and individual members, businesses, and supporters. Support Squeaky by becoming a member or donating to us here.

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Exhibitions

Yvette Granata | #d8e0ea: post-cyberfeminist datum

Opening Friday, June 15, 7–9pm
Conversation with Yvette Granata and Maiko Tanaka at 7:30pm.
On view through August 25, 2018, Tue–Sat, 12–5pm
Free and open to the public

Squeaky Wheel is proud to present the first solo exhibition of media theorist/artist Yvette Granata. The exhibition poses the concept of a ‘post-cyberfeminist datum’ as a type of data that has been banned in the future. Works in the show include performance video works, immersive 360 videos, AI devices in conversation with each other, and more.

Join us on Friday, June 15th for the opening reception of the exhibition at Squeaky Wheel at 7pm. A newly commissioned essay on Granata’s work by scholar Bogna M. Konior accompanies the exhibition.

Public programs presented as part of this exhibition
June 15, 7–9pm: Opening reception, with conversation between Yvette Granata and Maiko Tanaka at 7:30pm.
June 29, 7pm: Performance: XENOYOGA((I REALLY WANT SOME)) by DJ xenoyoga
July 6, 9pm: Augmented Reality Tour with Yvette Granata at secret site.
August 18, 3pm: Curator’s Tour with Ekrem Serdar of d8e0ea


There is no freedom celebrated here. Everything is deliberate, made to function within the same constraints evoked by the materials: disease, depression, fear, fever, bondage, torture, addiction, the life of “a one-legged glowingly beautiful ex-whore. . .” It’s a far cry from the corporate dream of a cheerful interactivity which lets users choose, not lose control. . . She isn’t making pictures: these are diagrams. She isn’t an artist, but a software engineer. —Sadie Plant (Zeros and Ones)

Can we exploit the fact that our techno-social systems suck? Or is the future already prescribed by the obsessive intrusion of social media platforms, machine recognition bias, and the AI arms race to come?

Data is no longer just captured; it is used to predict a particular slice of the future, to move beyond the 180 degree limit of human linear space-time. Social intelligence is now energy intelligence. Everyone is a data farm. Machine learning systems consume vasts amount of data in order to learn the decisional arc of human-mindsteps. But are we building data walls that make intel-silos? Are we building AI assistant gender-tyrants? Are recognition systems making us into boring products for a shelf? What can we do with the empty silos of this data wasteland?

The show thinks through these questions by positing (and depositing) a cyberfeminist data form. It imagines electronic torture chambers in the future used for the policing of data-bodies and poses the concept of a post-cyberfeminist datum as a type of data that has already been banned in the future. From the age of technological reproduction to the age of data reduction, the topology of cyber-feminist data bytes are an endless VR day, confined and trapped already.

Works include: a webVR essay that explores Google’s Machine Vision API in a fictional cyberfeminist design office, a series of dead drops that contain intersectional cryptographic syn-sets for machine learning models for training future non-targets (human-bots and/or creatures-fems and/or slime-minds), a cyberfem sound sculpture of an AI named ‘Evie’ in conversation with Siri and Alexa (broadcast on the sidewalk), and a secret exploration of a possible factory.

#D8e8ea thinks through a possible fall-out shelter for social intelligence, a new information ontology that re-spins humans and data, and performs an interface of zero a user-experience. – Yvette Granata


Yvette Granata. #d8e0ea. Syn-set Machine Learning Training Model (web-based & on USB drives. 2017-2018

Yvette Granata. 0 (zero) UX. Code, 3D Scans, and Video, 2006-2018

Yvette Granata. 0 (zero) UX. Code, 3D Scans, and Video, 2006-2018

About the artist and the contributors

Yvette Granata is a media artist and Phd Candidate at SUNY Buffalo in the Department of Media Study. Her work intersects new media art-research, design, theory, and philosophy. She explores techno-philosophical and socio-political technology, non-philosophy, cyberfeminism and feminist media tech art practice. She has presented her work at the Harvard Carpenter Center for the Arts, The Eye Film Institute in Amsterdam, The Kunsthalle in Detroit, Papy Gyro Nights in Norway and Hong Kong, and Hallwalls Contemporary Arts Center and Squeaky Wheel Media Arts Center in Buffalo, among others. Her film design work has appeared on screens at the Sundance film festival, Tribeca film festival, Rotterdam, Cannes, Berlinale, the Rome International Film Fest, SXSW, and CPH:PIX. She has published in Ctrl-Z: New Media Philosophy Journal, TRACE: Journal of Writing, Media, and Ecology, NECSUS: European Journal of Media Studies, and the International Journal of Cultural Studies. She received a NYS Council of the Arts Grant in 2017 and was a visiting researcher at the Senselab at Concordia, where she developed some of the work included in the current exhibit. See more at yvettegranata.com

Bogna M. Konior is the Media and Technology editor at the Hong Kong Review of Books and the director of the Institute for Critical Animal Studies, Asia. She holds a Research Masters in Media Studies, a PhD in Cultural Analysis and was a visiting researcher in Media and Culture at the ICON Center for the Humanities at the University of Utrecht. Her recent work in media cultures and the Anthropocene is published in Transformations: Journal of Media and Culture and forthcoming in PostMemes from Punctum Press. She is the Polish translator of the Xenofeminist Manifesto. Her curatorial and collaborative work exploring theory in the Anthropocene has been exhibited internationally and can be viewed at http://www.bognamk.com.

Maiko Tanaka is the Executive Director of Squeaky Wheel. She holds a BFA from OCADU and a Masters of Visual Studies from the University of Toronto. For over ten years Maiko has curated projects with prestigious and widely recognized arts institutions in Canada and abroad, including Trinity Square Video, Nuit Blanche at OCAD University, Justina M. Barnicke Gallery (now Art Museum – University of Toronto), InterAccess, all in Toronto, as well as Casco – Office for Art, Design, and Theory in Utrecht, NL. Maiko also currently serves on programming committee of Gendai Gallery and editorial advisory of C Magazine. She is the co-editor of several catalogue publications including, The Grand Domestic Revolution Handbook published by Casco and Valiz, and Model Minority, published by Gendai Gallery and Publication Studio.

Banner image: Yvette Granata. #d8e0ea. (detail). Syn-set Machine Learning Training Model (web-based & on USB drives. 2017-2018