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Residencies



ISEA2012 includes a series of residencies and special projects hosted by partnering organizations around New Mexico and the region, selected through the international ISEA2012 call for proposals. They include artist-scientist residencies, site projects, performances and presentations with schools, arts organizations, environmental organizations and the scientific and technological community. Many of the residencies and off-site projects feature a gallery component as part of the main ISEA2012 exhibition and/or a presentation at the conference.



Albuquerque Academy presents
Nina Waisman
Nina Waisman’s works highlight the roles that gesture, rhythm and mirroring play in forming our thoughts. Scientists call such “physical thinking” the pre-conscious scaffolding for human logic. How might our new tech-inflected gestures, then, be shaping our relationships with bodies and systems we connect to when we move with technology? Waisman creates an interactive sound installation in collaboration with 6th to 12th grade students at Albuquerque Academy. (Albuquerque)

City of Albuquerque Open Space Visitors Center presents
Ranjit Bhatnagar
During the Open Space Residency, sound artist Ranjit Bhatnagar uses found and salvaged materials from the Bosque to create a set of sound sculptures that are activated by the wind. These sculptures, inspired by windmills, turbines, wind chimes and so forth, are placed around the site for visitors to discover and to play by hand if they wish. (Albuquerque)

Amigos Bravos presents
Natalie Carlton, Mark Goldman, Scott Moore & Siena Sanderson:
Beautiful Midden: Reclaiming Machine Space

Beautiful Midden: Reclaiming Machine Space provides deep links between the arts and ecosystem restoration. The project location is gateway to a 400 foot canyon, a spectacular place of beauty and natural drama that has been trashed and neglected. Beautiful Midden reclaims disturbed areas (turning trash into sculptures), and re-envisions social relationships to nature through communal creative acts that honor culture, wilderness and spirit. Beautiful Midden furthers the ISEA2012 vision of redefining “Machine Wilderness.” (Taos)

Anderson-Abruzzo Albuquerque International Balloon Museum presents
Antony Nevin: BELUGA
BELUGA is an installation that invites participants to transform their experience of human interaction into another mode, one of visible light and movement. The Belugas are winged blimps floating in space, which, through the use of embedded sensors, are aware of their surroundings, people and conversations. As people talk, the Belugas react, gently illuminate and then flap towards the source of the conversation. As people gently touch the Belugas, they respond and change colors. The installation at the Anderson-Abruzzo Albuquerque International Balloon Museum encourages audiences to engage playfully with environments that are illusory, transitory, responsive and fluctuating. (Albuquerque)

Axle Contemporary presents
Michael Schippling: We Are Experiencing Some Turbulence
We Are Experiencing Some Turbulence is a site-specific installation by Santa Fe bricoleur Michael Schippling in the Axle Contemporary mobile gallery. It comprises a truck full of small objects that move in what might, or might not, be random patterns. Proximity sensors allow the viewer to exercise some control over the motion so it becomes a meditation on our ability to distinguish the random from the regular. (Santa Fe)

Earthbound Moon presents
Nova Jiang
During her residency in the desert of Los Lunas, artist Nova Jiang gathers water through an experimental solar powered atmospheric water generator invented by artist Jamie O’Shea. Passing clouds observed in Los Lunas are documented, modeled in software and 3D printed in ceramics. Participants are invited to a water-tasting party where they use the ceramic cloud vessels to sample the water gathered. After the residency, the cloud vessels are abandoned on site, where they will most likely never be seen again. (Los Lunas)

Earthbound Moon presents
Jessica Segall
Performance artist, sculptor and backyard engineer Jessica Segall screens footage she took from her recent venture to the Arctic, where she sailed up the coast of Spitzbergen, testing custom survival suits and solar cell projectors on glacial surfaces. Her work is presented as a drive-in theater, projected from an off-grid projector onto a wall of ice. (Moriarty)

Harwood Art Center/Escuela del Sol Montessori presents
Waheguru Khalsa: The Cultural Urban Mapping Project
During his residency at the Harwood Art Center, visiting artist Waheguru Khalsa forms a temporary collective with local community members to create The Cultural Urban Mapping Project. Through a series of workshops, participants examine various ways of sharing and representing oral histories. Together the stories and objects that emerge from this process create a portrait of the participants’ collective experience and memory of this place. The project culminates in the creation of a free, self-guided cell phone audio tour of Albuquerque, and an accompanying map with QR codes. (Albuquerque)

Institute of American Indian Arts Digital Dome presents
Jason Baerg: There Was No End
Cree Métis Artist Jason Baerg utilizes significant symbolic Indigenous numeric values to inform narrative, color and repetition. There Was No End is a unique interactive work that investigates global social metaphors with interest to activate collective observation and response. The 360° spherical display of abstracted symbols of the Sun the Moon and the Earth appear in sequences of 13 to reference many Indigenous communities’ 13-moon calendar. There Was No End utilizes ground-breaking research and development in the integration sensors and interactivity presented in the world’s first fully articulated digital dome. (Santa Fe)

Intel Corporation presents
Blue Wade, Kura Puke & Matahiapo: My Land My Light
This exhibition is, in part, a culmination of a three-week international project, where artists and indigenous youth will participate in a cultural exchange. My Land My Light creatively integrates science, technology and indigenous knowledge to realize a series of illuminating interactive art works. The collaboration investigates how science, technology and indigenous knowledge can be utilized to create meaningful visual culture promoting identity, agency and autonomy. The artists are collaborating with Intel’s Thomas Greenbaum, data center manager and 3D digital artist. (Rio Rancho)

LEAP presents
Paul Vanouse & Joan Linder: Peoples PCR
Site-based, low-tech, non-proprietary, free-range, Peoples PCR is an experimental project by New York-based artists Paul Vanouse and Joan Linder. Predicated on Do-It-Yourself locating, collecting and incubating of “Thermus Aquaticus” (an organism native to thermal springs and at the heart of contemporary biotechnology), the artists utilize geothermal features of Northern New Mexico to “take back” molecular biology. Peoples PCR presentations and interactive installations are featured during NeoRio, an annual, outdoor, public symposium and celebration at the Wild Rivers Recreation Area near Questa, New Mexico. This special project was facilitated by LEAP and hosted by the BLM Taos Field Office. Documentation of Peoples PCR can be found online at LEAP. (Taos)

Local Poets’ Guild presents
Andreas Maria Jacobs: N A T U R A N A T U R A N S
Andreas Maria Jacobs of the Netherlands, recipient of this e-poetry residency, is the editor of the online magazine Nictoglobe Magazine: A Journal of Transmedial Arts & Acts. He is creating an e-poetry project on ISEA2012 themes during a stay at a rural New Mexico retreat. (Moriarty)

New Mexico Wilderness Alliance presents
Marina Zurkow: Gila 2.0 Trail & Street Signage
Gila 2.0 visual signage is displayed at the Gila Wilderness trailheads or roadside, and in other graphical formats. The focus of the signage is the reintroduced Mexican Wolf, centrally positioned in the nature/culture debate that arises when interests (non-human as well as human) intersect. Seen either as the endangered poster child for native wilderness or as a competing predator, the Mexican Wolf coexists with landowners, livestock, game hunters, pets and eco-tourists. The signage leverages native “prehistoric” Mimbres/Mogollon designs – the animistic and geometric pottery that has become a graphic signature for the Southwest – and uses tracking data gathered from the radio-collared wolves, in order to visualize the complex set of relationships that comprise a contemporary ecosystem. (Silver City)

PLAND presents
Mick Lorusso: Micro-Macro Transfer Points
Artist Mick Lorusso is open to voices of the non-human world, so that he may become a better communicator of those voices in relation to humanity. In his artwork, he focuses on the development of new ways to imagine energy and see it flow from the microscopic to the galactic scale. He looks to ecological, practical issues that address human necessities – such as renewable energy – asking, “What happens when we no longer have electricity? What other kinds of energy are there – physical, mental, spiritual, social? How do we tap into and fuel such energies without over-exploiting? PLAND (Practice Liberating Art through Necessary Dislocation) is a multi-disciplinary organization that supports the development of experimental and research-based projects through a variety of on and off-site programs. Headquartered off-the-grid in Tres Piedras, New Mexico, PLAND is a hands-on, exploratory approach to Do-It-Yourself alternative living. (Tres Piedras)

Santa Fe Art Institute presents
Teri Rueb, Carmelita Topaha & Larry Phan:
No Places with Names: A Critical Acoustic Archaeology

The concept of wilderness is heavily inflected with European meanings and associations, including domination of peoples and environments, yet every culture holds aside certain places and things that are explicitly left undefined, un-named, un-seen, un-touched, un-spoken. Drawing visitors out into the landscapes surrounding the Institute for American Indian Art in Santa Fe, this GPS-based sound walk and spatialized sound composition (IAIA Dome), explores the concept of wilderness and its shifting meanings across cultural contexts. A “visitor center” and series of critical mappings is presented at the Santa Fe Art Institute and related exhibition spaces in the Santa Fe area. (Santa Fe)

Scientists/Artists Research Collaborations (SARC) presents
Todd Ingalls, Francesca Samsel, Ruth West, William Wilson 
& Adrianne Wortzel
Fundamental to SARC is the precept that science-art collaborations should be of mutual benefit to the furtherance of both the arts and the sciences, and to their positive implications for society. SARC is initiating a pilot series of professional artists’ collaborations with Los Alamos and Sandia National Laboratories research teams. Santa Fe Institute (SFI) has invited the artists and Lab collaborators for working group presentations, discussions and interactions with SFI scientists. Santa Fe Complex, the Bradbury Museum and other partners are providing public presentation and discussion opportunities. SARC has been initiated in partnership with 516 ARTS for ISEA2012, and is currently funded in part by Los Alamos National Labs/New Mexico Consortium, and Sandia National Laboratories/Lockheed Martin. SARC is co-directed by Jack Ox and Richard Lowenberg. (Albuquerque, Santa Fe, Los Alamos)

Stanlee & Gerald Rubin Center for the Visual Arts at UTEP presents
Francesca Samsel
Austin-based artist Francesca Samsel will work in tandem with UTEP scientist Craig Tweedie and College of Engineering’s Cyber-ShARE Center technical staff to interpret into digital, visual form data collected and analyzed from Dr. Tweedie’s environmental science research, which examines the cascading effects of regional climate change in extreme environments through the interconnected physical, biological and human subsystems. Samsel’s artwork is created specifically for the 45-monitor visualization wall at the Cyber-ShARE Center, unveiled at Shifting Sands, UTEP’s preconference symposium. (El Paso) 

University of New Mexico Taos presents
Evan Apodaca: Ultrasound
Ultrasound an electronic sound installation that actively involves spectators in sound manipulation and discovery. The piece is a network of stainless steel wires that hold electromagnetic memory of prerecorded voice audio that visually resembles an abstracted body lying upon an operating table. The wire construction is based upon organic and biological systems of tensional integrity which when clipped and rubbed produce various sounds. Participants discover the noise possibilities produced through the wire tension and the sound memories in each segment while wearing a recording transducer composed of reel-to-reel tape heads. (Taos)

Above Image: Marina Zurkow & Christie Leec, Cattle Armor System 1 from Gila 2.0: Warding Off the Wolf