Bloomington: Mall Of America, North Side Food Court, Across From Burger King & The Bank Of Payphones That Don’t Take Incoming Calls
02 - 23 May 2014
BLOOMINGTON: MALL OF AMERICA, NORTH SIDE FOOD COURT, ACROSS FROM BURGER KING & THE BANK OF PAYPHONES THAT DON’T TAKE INCOMING CALLS
Elaine Cameron-Weir, Lena Henke, Jason Matthew Lee, Jared Madere, Marlie Mul, Carlos Reyes, Ben Schumacher, Hugh Scott-Douglas, Dena Yago
2 – 23 May 2014
Bortolami is pleased to present BLOOMINGTON: MALL OF AMERICA, NORTH SIDE OF FOOD COURT, ACROSS FROM BURGER KING & THE BANK OF PAYPHONES THAT DON’T TAKE INCOMING CALLS, an exhibition in Bortolami’s temporary space, located at 547 West 20th Street, on the corner of 11th Avenue. This exhibition will include works by Elaine Cameron-Weir, Lena Henke, Jason Matthew Lee, Jared Madere, Marlie Mul, Carlos Reyes, Ben Schumacher, Hugh Scott Douglas, and Dena Yago.
A sudden offer afforded the gallery an opportunity to mount an exhibition in this raw, uncharacteristic space, and the show takes its name from the meeting place of a group of hackers in Minnesota, organized via the website 2600.com. Started as a zine in the mid-1980s, 2600.com is now an online interface for an international community of hackers and programmers, in which code is shared. The artworks in this show – produced by a loose group of peers invited by Schumacher – involve a continuous interchange of ideas and forms, between digital information and an obdurate, insistent physicality.
Elaine Cameron-Weir, Lena Henke, Jason Matthew Lee, Jared Madere, Marlie Mul, Carlos Reyes, Ben Schumacher, Hugh Scott-Douglas, Dena Yago
2 – 23 May 2014
Bortolami is pleased to present BLOOMINGTON: MALL OF AMERICA, NORTH SIDE OF FOOD COURT, ACROSS FROM BURGER KING & THE BANK OF PAYPHONES THAT DON’T TAKE INCOMING CALLS, an exhibition in Bortolami’s temporary space, located at 547 West 20th Street, on the corner of 11th Avenue. This exhibition will include works by Elaine Cameron-Weir, Lena Henke, Jason Matthew Lee, Jared Madere, Marlie Mul, Carlos Reyes, Ben Schumacher, Hugh Scott Douglas, and Dena Yago.
A sudden offer afforded the gallery an opportunity to mount an exhibition in this raw, uncharacteristic space, and the show takes its name from the meeting place of a group of hackers in Minnesota, organized via the website 2600.com. Started as a zine in the mid-1980s, 2600.com is now an online interface for an international community of hackers and programmers, in which code is shared. The artworks in this show – produced by a loose group of peers invited by Schumacher – involve a continuous interchange of ideas and forms, between digital information and an obdurate, insistent physicality.