Darren Bader

The Vagrant

XPLEX (proposal for exes)

proposals for Sculpture #4, Sculpture #3.95, Sculpture #3.985, (Sculpture #5) and Sculpture #7

Karimah Ashadu 

Machine Boys

Nate Boyce

Discipline

Diego Marcon

Fritz

Kobby Adi

Lesson

Ellen Pau

Yau Ma Tei Massage Body Movies (油麻地拍身推拿)

Enzo Camacho & Amy Lien

Decomposition Animation

Sin Wai Kin

The Universe

Dolle

Rei Hayama

Hollow-Hare-Wallaby

400 feet of factory fresh unexposed VISION3 500T 5219/7219 Colour Negative 16mm film, buried in the Camden Art Centre garden for an indefinite period of timed in the Camden Art Centre garden for an indefinite period of time

Jennifer and Kevin McCoy

17SC-06Trees-78Mountains-78Mountains-08Special-08Special-39Sky-17Trees

Jill Magid

Hand-hacked Bouquet 2

Florence Yuk-ki Lee

merry-go-round like a lullaby

Paul Pfeiffer

Vs. (Battle of Brisbane)

Cici Wu

Belonging and Difference

Langit Lupa

Kawita Vatanajyankur

Pendulum

Leung Chi Wo

My Random Diary 0

Hand-hacked Bouquet 10

Kang Seung Lee

The Heart of A Hand

you build a home in my mind

P. Staff

La Nuit Américaine

Shala Miller

Genesis

Vs. (Fight of the Century)

Helen Marten

Writing A Play (dark blue orchard)

Jes Fan

Palimpsest

Aki Sasamoto

Point Reflection (Video)

Jonathan Lyndon Chase

Mouth 1

Angela Su

The Magnificent Levitation Act of Lauren O

Apichatpong Weerasethakul

For Bruce (致布魯斯)

Sonia Boyce

FEELING HER WAY

Lydia Ourahmane

Tassili

Tiffany Sia

What Rules The Invisible

Samson Young

The messengers

Thenjiwe Niki Nkosi

The Same Track

James Richards

Qualities of Life: Living in the Radiant Cold

Walid Raad

Festival of Gratitude, Mao Zedong

Alex Da Corte

ROY G BIV

Nikita Gale

HOME

Shirin Neshat

Ungrateful/Blasphemy (Fragment 1)

A Dream of Wholeness in Parts

Tony Cokes

SM BNGRZ 1 + 2

Weather Bar Forecast #1

Juria Toramae

Pelagic Dreams

Shuang Li

ÆTHER (Poor Objects)

Yee I-Lann

Tikar Reben 

Zheng Bo

Le Sacre du printemps

Tao Hui

Being Wild (奔放)

It's Always You

Kenneth Tam

Silent Spikes

Martine Syms

Carolyn Lazard

Weather Bar Forecast #2

Scale of Injustice

Ugly Plymouths

Calla Henkel & Max Pitegoff

Paradise

Ho Tzu Nyen

Waiting (Ripon Chowdhury with Ho Tzu Nyen)

Klara Liden

You're all places that leave me breathless

The Spade 

Alan Kwan

Bad Trip

Jonathan Horowitz

Best Picture

Quỳnh Lâm

I Am Not A Spy (video performance)

My Random Diary

Xiaofei Mo & POND

Lovers Revolt, Lovers Revolve 1

Evil.80.Empathy?

S1:E4

Tuan Andrew Nguyen

The Boat People

Charles Atlas

A Prune Twin

Lee Kit

Blink and blank

Imran Perretta

the destructors

The Prince of Homburg

Vvzela Kook

Drowned in, or not in the swimming pool

Unfinished Return Of Yu Man Hon

Thao Nguyen Phan

Becoming Alluvium

Lawrence Lek

AIDOL 爱道

Knit

Pulsating Atom (跳動的原子)

Martha Atienza

Tarong 11°16'12.0"N 123°45'23.4"E 2019-08-06 Tue 2:27 PM PST 1.50 meters High Tide Kaongkod 11°16'12.0"N 123°45'23.4"E 2019-08-03 Sat 12:14 PM PST 2.03 meters High Tide

Mute Grain (潘濤阮)

Andrew Thomas Huang

Kiss of the Rabbit God (兔兒神)

Su-Mei Tse

Shaping (塑形)

Wong Ping

Wong Ping's Fables 2 (黃炳寓言)

The Modern Way to Shower 摩登沐浴法

On Venus

Julian Simmons

EGG: Sarah Lucas & 750 eggs

Panangatan 11°09'53.3"N 123°42'40.5"E 2019-10-24 Thu 6:42 AM PST 1.29 meters High Tide 2019-10-12 Sat 10:26 AM PST 1.40 meters High Tide

Yuri Pattison

sunset (provisioning)

Capricorn

Robert Sandler

Fatal Loins

WangShui

From Its Mouth Came a River of High- End Residential Appliances

Garden

Do Nut Diagram

Jeremy Deller

Everybody in the Place, An Incomplete History of Britain 1984-1992

Luke Willis Thompson

_Human

Cecile & Marianna

How Long

b. 1982, Kansas City, MO; lives and works in New York, NY

Nate Boyce is an artist and musician who uses 3D modelling, video, and physical objects to produce works that morph between moving image and sculpture. Often disorienting in form and bewildering in cultural and historical reference, the artist’s complex forms oscillate between spatial and visual gestures, between the animated image and sculptural form and with an anachronistic sensibility for locating us temporally. His practice considers how mutable the world has become through computerized simulation and reflects on the experience and conditions of our time; a time where our own increasing participation in digital technologies locates us in an unstable present, a contested past and an uncertain future.

Nate Boyce's solo exhibitions include LOMEX, New York, NY (2024); Galerie Pepe, Mexico City, Mexico (2023); TG,Nottingham, United Kingdom (2023); Altman Siegel, San Francisco, CA (2016, 2012); Kunstverein München, Munich, Germany (2016); The Yerba Buena Center for Contemporary Art, San Francisco, CA (2015); and the Bemis Center for Contemporary Art, Omaha, NE (2012). Group shows include,

, Sadie Coles, London, United Kingdom (2019); 

A Slow Succession with Many Interruptions

, San Francisco Museum of Modern Art, San Fransisco, CA (2016); 

How to Tell if Your Kill Oil Supplements are Ripping You Off

, Abrons Art Center, New York, NY (2015); 

, Galerie Hussenot, Paris, France (2015); 

The Universal Addressability of Dumb Things

, Nottingham Contemporary, Nottingham, United Kingdom (2013); 

, New Galerie U.S., New York, NY (2013); 

, Vilma Gold, London, United Kingdom (2011); 

, Orange County Museum of Art, Newport Beach, CA (2010); 

, Ullens Center for Contemporary Art, Beijing, China (2008); 

, curated by Takeshi Murata, Deitch Projects, New York, NY (2008); 

, Pittsburgh Filmmakers, Pittsburgh, PA (2008); 

, Galerie Neue Alte Bruecke, Frankfurt, Germany (2007); and 

How to Build a Universe that Doesn’t Fall Apart Two Days Later

, CCA Wattis Institute, San Francisco, CA (2006).

Boyce is one half of Pedagogy alongside Eli Keszler, a band that has notably performed at Unsound Festival, Kraków, Poland (2019) and the Modern Art Museum of Fort Worth, Fort Worth, TX (2019). He has also been a longstanding audiovisual collaborator with Oneohtrix Point Never, with whom he has performed at venues such as the Art Institute of Chicago, Chicago, IL (2019); Walt Disney Concert Hall, Los Angeles, CA (2018); the Barbican, London, United Kingdom (2018); Sydney Opera House, Sydney, Australia (2016); Sónar Barcelona, Barcelona, Spain (2016); the Wexner Center for the Arts, Columbus, OH (2014); MoMA PS1, Queens, NY (2013); The Institute of Contemporary Art, Boston, MA (2013); and Museum of Modern Art, New York, NY (2011). Boyce has also performed at Centre Pompidou, Paris, France (2016) and the Royal Festival Hall, London, United Kingdom (2010) alongside electronic music duo Matmos. 

For further information about these artists please click 

(still), 2024, HD digital animation, sound, 8 mins 46 secs. Courtesy of the artist and Lomex Gallery. 

24 May - 29 June 2024, 89 Walker, #2R, Lomex Gallery. Image Courtesy of the artist and Lomex Gallery. 

If the camera is the body and the lens the skin, it becomes almost entirely undetectable, as it mirrors its surroundings while recording.

(2023), the epic showdown between Floyd Mayweather Jr. and Manny Pacquiao finds Mayweather erased from the footage, a ghost the mind wraps around. Pacquiao ducks and sways before an etched collective memory. His gloves cover his head. He quivers with hits from a figure we might easily fill in, or have to find a reminder of. I try to watch as many times as possible, holding off from watching the original fight. As I do so, I pay more attention instead to where my eyes tend to focus when the central drama is cut and drained from the scene. I look at the eyes of the crowd, which move together, tracking the two’s dance, narrowing at each hit. The viewer shapes her mind around a void, strays to the MOTOLITE on Pacquiao’s waistband, the blue of the MGM GRAND across the mat.

Fights of the century like this are cited as media tipping points, offering a rare convergence: dense layers of sensory, political and quasi-spiritual spectacle. This fight was wildly anticipated for years, hotly covered, watched by many millions and then debated for the decade after. Many felt the fight was five years too late past each boxer’s prime, and that Pacquiao’s technical proficiency and number of blows should have secured the win. Pacquiao – the people’s hero – sustained a shoulder injury. Any clean opposition became less clear. This was one of the few fights in which Mayweather was forced to move, duck, and run around the ring. It was unusual to see Pacquaio in as many defensive postures as offensive, ducking, stepping back, pushed, even thrown against the ropes, which the artist’s edit highlights. In this edit, 

 gets as much credit for his defensive skill, taking serious hits in the face and head that would send most to the ground. Finished. We can admire Mayweather’s ghost’s technical precision. He was strategic and bided his time, even if he was less of a showman.

The sheer weight of expectation bearing down on this fight heightens the drama of what’s unseen, namely, all the puppeteering hands pulling on lines of tension, orchestrating the scene. The dance of the two was on a set before an audience both real and imagined, against a backdrop diamond-sharp in its symbolism. Pfeiffer’s choreographed edit nudges us to hold all that is off-screen as we watch. The interruption between the image and what is expected turns us to what is not there, what is outside the frame. We orient towards what might be working beyond view. A body in motion, seen through the filter of absence, through the language of speculation, betting, through the crowd’s gaze, through our imagining and our memory of his opponent in this lucrative spectacle. We watch Pacquiao’s squints, mouthed deep breaths, his expressions of grim determination. Muscles move in waves across his back and arms with each heavier punch. The camera flips views, second to second. We drift to the crowd, to the god’s-eye view, the isometric view, to the ring mat, to the back, to the shoulders of Pacquiao. 

The whole place is silent, allowing us to concentrate. We can note the improvisational, emergent aspects of the fight; there are brief smiles, moments of acknowledgement, hugs right before the final round. There is begrudging and mutual respect, if totally different styles. And there is a deep understanding on the part of each athlete that their image, and their performance in the game, is all. Pfeiffer notes in a recent interview that he was riveted to find Mayweather owns the rights to the fight, and so likely has the highest-resolution footage.

 A direct feed into the minds of the watching.

Watching Pacquiao dodge before the ghost memory figure of Mayweather, caught from every camera angle, I am reminded of Jena Osman’s challenging book 

(2019). Osman looks so closely at the details of how cameras evolved across human history that we feel her prose start to move with the cameras. As the power of visual capture accelerates, becomes more wily and tied to technological systems that are themselves more difficult to see (beyond the interface, at work through computation, or quite literally concealed), Osman argues that we must think as fluidly, deftly, with as much skilful movement. Motion technologies have their poetry, and our best possible role given their increasing speed, scale and power is to develop a critique of the moving image that lyrically moves with cameras, asking and answering the questions their movement makes possible.

, along with other videos in the long-running 

 suite, Pfeiffer uses spatially responsive and deft, fluid editing techniques to ask for a thinking and thought that meets them in flux, cutting and moving with the eye. These works blend jump cuts, speculation and documentary not just to ‘speak to’ how oversaturation, surveillance, and economic and cultural power are managed and mediated through these spectacles. The works, through what’s in absentia, ask the viewer to turn their eye and mind beyond the frame, to poke into what is unseen and what sits right beyond. Why did we see what we saw, in this way, framed in these terms?

Collective cultural memories, like the endlessly proliferated media of a great fight, are continually reworked much like individual memories. New theories, more critical analyses of digital media and sophisticated technical systems, more savvy media literacy attuned to algorithmic orchestration attune us more to what is not seen. There’s an understanding that we need to be as much critical visual readers as readers of what is beyond the frame, as power now primarily unfolds and operates beneath or beyond the visual realm, even as visual evidence provides many sigils and clues. Our collective memories are partial, contingent and far more malleable than our externalized prostheses of artificial memory, our media storehouses, might suggest. Despite computational logic’s insistence, memories are not like files stored on hard drives, retrieved simply at will through a database, sorted in a table of contents. They necessitate retrieval, prompted by association or a trigger (a madeleine, a scent), and story and context to activate them, and active retelling. ‘We’ are collectively prone to embellishment and error in remembering, to selectively forgetting, to blocking.

In Absentia

screening

Medium	HD digital animation, sound
Duration	8 minutes 46 seconds
Edition	Edition of 3

Akeroyd Collection

Works

Nate Boyce, Discipline, 2024