2022 program will be announced in December

The 2021 edition of DIVERSEartLA, curated by Marisa Caichiolo, will focus on the presence, contributions, research and documentation of women and non- binary artists at the forefront of work at the intersection of art, science and technology represented by guest Museums, Institutions and Not-for-Profit Organizations. 

“Science, art and technology are human attempts to understand and describe the world around us. The subjects and methods have different traditions and the intended audiences are different, but I think the motivations and goals are fundamentally the same. I think one of the most primal and innate needs of humans is to understand the world around us, and then share that understanding,” said Caichiolo.

In the field of digital art in the last fifteen years, many artists have been working on materializing the digital information and new media practices by audio or visual means (such as installation works, audio-visual and performances which include technology) in order to grasp the imagination of it; while other artists are aiming to present the concept of ‘signals’ from the perspective of synesthesia: they try to visualize sound signals with the aid of machinery and therefore transform the abstract geometric images into sounds through computer operations.

This wave began in the 1920s, when many artists aimed to create time-based visual works. Although some of the works seemed to embody the technology and innovation, much of it actually originated from the most tangible form of reality, the artist’s surrounding natural environments. 

DIVERSEartLA will be an examination and a compilation of material, as well as an exhibition featuring the work of women and non-binary artists who have played a central role in the development of new media practices within art institutions and throughout history. We are also diving into a new period where we’ve had to deal with the breakdown of traditional relationships between the material and the immaterial.

While the cryptographic tokens used to create NFTs, are similar to cryptocurrencies such as BitCoin, the tokens in NFTs aren’t fungible, or interchangeable. So, it’s impossible to exchange one NFT for another, as one could do with currency. It’s often equated to an autograph, but on a digital file. An NFT not only tracks the creator of the artwork, but also the ownership and market value. Because it is securely stored in the blockchain, an NFT is unique and non-interchangeable. Photographs, videos, gifs, audio, and any digital file can be represented as an NFT. 

Also check out our DIVERSEartLA Talks series, an online platform where the Museums and Institutions have a space to dialog, and share with the general public their programs in 2021.

Dignidad, National Archive of Chile performance, series of Dignidad, 2018
by María Verónica San Martín, Luis Cobelo and Yolanda Leal
Curated by Fabian Goncálves
AMA Art Museum of the Americas, Washington DC
Art Museum of the Americas (AMA) has joined with a special project curated by Fabian Goncálves, that will feature a compilation of material and the work of women artists who have played a central role in the development of new media practices throughout history, as well as by women and non binary people whose forward-thinking practices are currently reshaping the field.

Venezuelan artist Luis Cobelo (PILAR) will be part of AMA with a performance, Yolanda Leal from Mexico will present the performance Gorilla Nature and a special performance will also be presented by María Veroónica San Martin.

Dignidad is an art installation at The National Archive of Chile based on secret telephone documents about Colonia Dignidad. Found in 2012 by the ex-settler and activist, Winfried Hempel, the audios reveal for the first time to the public conversations between Paul Schäfer and other Nazi agents in 1978. Through sculpture, sound, performance, text, and a selection of historical archives, the installation reveals a complex system of codes and transcontinental actions that culminated in crimes against minors and opponents of the Chilean civic-military dictatorship (1973-1990).

DATA | ergo sum | RELOADED Installation
by Ana Marcos
Museum La Neomudejar/ Madrid, Spain
DATA | ergo sum | RELOADED is an interactive Art installation that visualizes the capability of viewing machines using Artificial Intelligence to extract data by a simple observation of visitors, created by artist Ana Marcos.

Ana Marcos is a graduate in Fine Arts from Madrid University and Industrial Engineer from the Polytechnic University of Madrid. As a multidisciplinary artist, she combines different art forms like interactive installations, video, and photography, working on new ways of experimentation in the field of arts.

She is the leader and co-founder of 3Dinteractive, a group of engineers and artists that seeks, through research, a deeper understanding of the relationship among art- science-technology and the public. All technology produces a change in our way of living and understanding reality. Today, we have at our disposal complex, innovative technological environments, works based on experimentation and studies of Universities from all over the world and all that knowledge is available on the network to be shared not only by technologists, but also by artists.

It is clear the momentum and relevance of that technology in general, and Artificial Intelligence in particular, is gaining in our society and, as an artist, she believes that artistic work has the obligation to explore and experiment in the field of AI. Art always makes its way into thought and therefore also into technology, and can provide other perspectives to the most innovative developments. Whether AI it is a tool or a discipline, it is – and will be – a topic of work for artists. Hopefully, art will also be able to influence the developments in AI.

The Symphony of Now
by Angie Bonino
San Marcos Museum of Art (MASM), Lima, Perú
The San Marcos Museum of Art (MASM) from Lima, Perú will bring a new media project of augmented reality by Peruvian artist Angie Bonino, titled “THE SYMPHONY OF NOW, which consists of a video installation, and interactive sound installation focusing on the Andean techno de-colonial shamanism.

The artist, Angie Bonino, was born in Lima (Peru), in 1974, and she has continuously travelled all over the world – she even lived and worked in Barcelona, Spain for eleven years. It should come as no surprise then that the main medium of her artistic proposals is precisely the motion pictures, specifically video and video installations. However, this does not mean that they are her only forms of expression. Angie Bonino is an artist of our time in all senses, a multimedia artist focusing on the crossover of art and technology. After all, in addition to video, her works are also expressed in animation, digital techniques, graphic prints, drawings, paintings and sculptures. Yet, through all of this plurality of media, there remains at all times the same predominant aesthetic intention: to question the image.

In Angie Bonino’s work, this questioning of the image through artworks always has a moral and political intent. Her goal is to reveal, in all the hyper-mediatic image production and transmission networks, the dissemination of the invisible, occult, power spheres and systems which determine the configuration of what she calls the image world:

“This world in which we live today, which has become an engulfing universal screen that traps and subjects our eyes, but that does not let us see. Because of their extreme, extraordinarily intense visibility – repetitive, hypnotizing, alienating – the power networks and their objectives of domination become invisible. And thus, unnoticed, their domination becomes inscrutable and fully irreversible.”

This is what Angie Bonino tries to get us to see in her works.
Immersive Distancing
by Carmen Argote and Zeynep Abes
Curated by Chon Noriega
UCLA Chicano Studies Research Center
Curated by Chon Noriega, UCLA Chicano Studies Research Center will present a special project titled Immersive Distancing by artists Carmen Argote and Zeynep Abes. This exhibition will examine recent media art produced during the Covid-19 pandemic by L.A.-based artists Carmen Argote (Mexico, b. 1981) and Zeynep Abes (Turkey, b. 1993). Zeynep Abes now lives and works in Los Angeles.

These artists address our ongoing cultural and political moment in relation to the body, memory, archival traces, and the urban landscape. Immigration – as both personal experience and socio-political reality – informs their larger body of work. These artists have previously worked in installation and sculpture, drawing heavily on family artifacts and archives as well as explorations of architectural space. Here, they approach media as a visualizing technology that brings their site-based works into an immersive narrative, while they also engage, adapt, and challenge the abstraction inherent in science – but especially digital science.

The production, formal characteristic, and content of these media works were directly impacted by Covid-19 restrictions, moving each artist to develop remote modes of working that blurred the line between production and post-production. Both artists drew upon multiple digital sources: video, photography, and audio recordings.

In Last Light, Argote uses the sights and sounds of her walks across L.A. during the pandemic as the basis for a meditation on dis-ease and destruction. She turns to the foundation for all science – measurement – proposing to measure her body in relation to the scale of the city and the world, but uses the foundation for all art – the hand – as the basis for establishing scale.

In Memory Place, Abes explores three moments in her “fraying certainty” about Istanbul as it becomes an idea more than a place, visualizing this process through point cloud data and photogrammetry that transform video and photographs into 3D environments that recede from the viewer. These environments are impressionistic and partial – with gaps here and there in the scenes depicted, and with portions of imagery coming into sharper focus as they move toward the vanishing point. In both works, the fragmentary nature of the imagery is made immersive by the sound design.

by Luciana Abait
Now Art LA and Building Bridges Art Exchange
Now Art LA and Building Bridges Art Exchange have joined together as local non profit organizations to present the work Agua by artist Luciana Abait, a video projection inspired by the flood-myth motif that occurs in many cultures in which water acts a healing and re-birth tool, often referencing ideas of creation, purification and sustaining life.

Agua offers the public a space, an oasis, for healing and understanding. The work is site specific and architecturally integrated to foster a poetic awareness of water as a sacred resource for humanity while creating a moment of reflection for those who attend. Agua is a multichannel artwork combining videos of water gathered through years from nature exploration around the globe. The shifting color hues seen throughout express various states of mind and emotion, harmonizing the interactive experience physically with an internal one.

Agua as exhibited in downtown Los Angeles supports a call to action and underlines the importance of water as a key component to our future survival. I intend for this work to participate in opening awareness and actions surrounding environmental initiatives with depth, beauty, grace and wonder.
Girls’ Voices Now
Women’s Voices Now
Women’s Voices Now (WVN) is a Los Angeles-based 501(c)3 non-profit organization that uses the power of film to drive positive social change that advances the rights of women and girls globally. We seek to challenge the mis- and under-representation of women by promoting films made by women, about women, for all.

Girls’ Voices Now has served 70 girls from under-resourced communities and overseen the production of their 12 short films, which have been selected and awarded in 48 film festivals, and watched by over 522,000+ online viewers thanks to our partnerships with Here Media, Kanopy, UN Women, and the UN #HeforShe Campaign. This program empowers girls and femme-identifying youth from under- resourced communities to find, develop, and use their voices for positive social change through filmmaking.

by artist Tiffany Trenda
Curated by Marisa Caichiolo
Artist Tiffany Trenda presents Un/Seen, a live performance within an immersive experience using volumetric capture. It transforms in real-time depending upon the actions of the public.

With new immersive experiences, we become disembodied. That is, we are physically in one space while our eyes and thoughts are experiencing another world simultaneously. Our bodies become dissociated as we shift between the simulated and the real. Furthermore, we are not immediately within the presence of another. Our presence is mediated and transported into another space that doesn’t actually exist. We are in essence, seen and unseen.

These new applications also blur the role of the user and creator by allowing both parties to change the experience. That is, the spectator is no longer a witness but a collaborator. Also, all parties are represented as avatars and this opens a narrative of, “who is this?” and “what will happen?” Our roles as players in these games are ambiguous, a perfect reflection of our time with the uncertainty of our future.
IMAGRAPHY (Documentary)
Directed by Alejandro Ordoñez
Produced by Yesenia Higuera, Alejandro Ordoñez & Benjamin Price
Imagraphy is a documentary where a variety of international photographers share their stories about the craft, the industry, techniques and their overall impressions of the world as seen through their lenses. Featuring: Roger Ballen, James Balog, John Batho, Peter Bialobrzeski, Michel Comte, Ralph Gibson, Greg Gorman, Henry Horenstein, Graciela Iturbide, Hiroji Kubota, Sir Derry Moore, Howard Schatz, Andres Serrano, Sandy Skoglund, Paul Watson, and Stephen Wilkes.
Rose River Memorial
by Marcos Lutyens
Curated by Marisa Caichiolo
The Rose River Memorial is a community art collaboration that honors and grieves the many lives lost during the COVID-19 pandemic in the United States.

We aspire to create a felt rose as a symbol of grief for every life lost. The installation will be a sacred space for healing, where people can connect with their own feelings and senses to experience their own grieving, individually or in a collective, as well as celebrating life and inviting humanity to celebrate new beginnings.
Upcoming in DIVERSEartLA 2022
Saving the planet, and documenting change in our environment (Past – Present – Future). One of the most powerful things about art is that it brings people together, and transforms the way we communicate.

The goal of DIVERSEartLA 2022 is to view this sector of art within the show through ecological glasses: how the environment is represented in art installations and objects, and also how humans’ place in the world is depicted.

This topic is at the heart of a growing number of art narratives, including exhibitions built with high-tech innovations, designed to inspire artistic appreciation and the desire to respond to environmental challenges, reinforcing the value of translating environmental advocacy into art.

These installations represent our present day and the looming impact we will all face as the planet warms. DIVERSEartLA 2022 will encourage visitors to confront the complex challenges of our global climate crisis and imagine potential solutions.