PMx is a collaborative curatorial project that explores the intersections of contemporary arts and social media through research, exhibitions, and other programs.
Install Theme
Devin Kenny, “Uniform Discipline Code Switch B,” 2014
Prop 9mm handgun and clear PVC backpack
On view at Hammer Museum, Los Angeles, as a part of Made in LA exhibition.

Devin Kenny uses music, performance, video, writing, fashion design, and almost any other means possible to explore and complicate ideas on contemporary culture. Kenny’s work often exists online, as websites, blogs, video posts, and audio files. Employing the tropes of social media–driven youth culture to reach a base audience, the work is free to convey broad ideas while subversively inserting political and philosophical theory. There is a hyperawareness in Kenny’s work that belies his sincerity in making it, an ironic stance that separates what he makes from the pop culture that it mimics. Kenny uses the Internet as source material and venue, consuming and processing cultural production to reveal it anew to his audience.

#Devin Kenny #Internet #contemporary #Culture #HammerMuseum #MadeinLA #LosAngeles #LA #PMxPostMeridiem

Devin Kenny, “Uniform Discipline Code Switch B,” 2014
Prop 9mm handgun and clear PVC backpack
On view at Hammer Museum, Los Angeles, as a part of Made in LA exhibition.

Devin Kenny uses music, performance, video, writing, fashion design, and almost any other means possible to explore and complicate ideas on contemporary culture. Kenny’s work often exists online, as websites, blogs, video posts, and audio files. Employing the tropes of social media–driven youth culture to reach a base audience, the work is free to convey broad ideas while subversively inserting political and philosophical theory. There is a hyperawareness in Kenny’s work that belies his sincerity in making it, an ironic stance that separates what he makes from the pop culture that it mimics. Kenny uses the Internet as source material and venue, consuming and processing cultural production to reveal it anew to his audience.

#Devin Kenny #Internet #contemporary #Culture #HammerMuseum #MadeinLA #LosAngeles #LA #PMxPostMeridiem

Penelope Umbrico, “Moving Mountains,” 1850-2012
Currently on view in the exhibition “Aperture Remix,” (05/24 - 9/26, 2014) at Museum of Photographic Arts, San Diego.

Moving Mountains (1850–2012) considers an analog history of photography within the digital torrent that is its current technological manifestation. Penelope Umbrico steadies her focus on the mountain: oldest subject, stable object, immovable landmark, site of orientation, place of spiritual contemplation. The mountain, the photographer, the book—these are the masters.  Umbrico employs smartphone camera apps to make new photographs of the images of mountains that appear in the Aperture Masters of Photography books. The artist states: “Pointing my iPhone down at these mountains, the hallucinogenic effects of the camera apps’s filters blend with the disorienting effects of the iPhone’s gravity sensor. My mountains are unstable, mobile, changing with each iteration, re-mastered. Here is the biggest distance, the longest range. I present a dialogue between distance and proximity, limited and unlimited, the singular and the multiple, the fixed and the moving, the master and the copy. I propose an inverse correlation between the number of photographs that exist of mountains at any one time, and the stability of photography at that time.”

#PenelopeUmbrico #MovingMountains #Photography #Analog #Digital #Mountain #Smartphone #Camera #Aperture #PhotoBook #Mopad #SanDiego #PMxPostMeridiem

Penelope Umbrico, “Moving Mountains,” 1850-2012
Currently on view in the exhibition “Aperture Remix,” (05/24 - 9/26, 2014) at Museum of Photographic Arts, San Diego.

Moving Mountains (1850–2012) considers an analog history of photography within the digital torrent that is its current technological manifestation. Penelope Umbrico steadies her focus on the mountain: oldest subject, stable object, immovable landmark, site of orientation, place of spiritual contemplation. The mountain, the photographer, the book—these are the masters. Umbrico employs smartphone camera apps to make new photographs of the images of mountains that appear in the Aperture Masters of Photography books. The artist states: “Pointing my iPhone down at these mountains, the hallucinogenic effects of the camera apps’s filters blend with the disorienting effects of the iPhone’s gravity sensor. My mountains are unstable, mobile, changing with each iteration, re-mastered. Here is the biggest distance, the longest range. I present a dialogue between distance and proximity, limited and unlimited, the singular and the multiple, the fixed and the moving, the master and the copy. I propose an inverse correlation between the number of photographs that exist of mountains at any one time, and the stability of photography at that time.”

#PenelopeUmbrico #MovingMountains #Photography #Analog #Digital #Mountain #Smartphone #Camera #Aperture #PhotoBook #Mopad #SanDiego #PMxPostMeridiem

Wafaa Bilal, “The Ashes Series: Market,” 2003-13, archival inkjet photograph, 40 x 50 inches. All images courtesy Driscoll Babcock and the artist. On view in the exhibition “Wafaa Bilal: The Ashes Series” at Driscoll Babcock Galleries.

Wafaa Bilal asks us to bear witness, examine, and understand recent history. In his most recent series, “The
Ashes Series,” Bilal displays the suffering of war through the absence of human life. In this series Bilal uses the photograph as documentation, a place for meditation, and reflection on destruction and what has been lost. He archives history and brings it to our awareness through reconstructions, humor, and performance.

Interview with the artist in Hyperallergic: “Wafaa Bilal’s War of Images” by Samuel Jablon, 2014

#WafaaBilal #PMxPostMeridiem #Ashes #History #Archives #Absence

Wafaa Bilal, “The Ashes Series: Market,” 2003-13, archival inkjet photograph, 40 x 50 inches. All images courtesy Driscoll Babcock and the artist. On view in the exhibition “Wafaa Bilal: The Ashes Series” at Driscoll Babcock Galleries.

Wafaa Bilal asks us to bear witness, examine, and understand recent history. In his most recent series, “The
Ashes Series,” Bilal displays the suffering of war through the absence of human life. In this series Bilal uses the photograph as documentation, a place for meditation, and reflection on destruction and what has been lost. He archives history and brings it to our awareness through reconstructions, humor, and performance.

Interview with the artist in Hyperallergic: “Wafaa Bilal’s War of Images” by Samuel Jablon, 2014

#WafaaBilal #PMxPostMeridiem #Ashes #History #Archives #Absence

Cristina de Middel, “An imagined portrait of David Kodjo” from the project “Poly-Spam.” 

For her project “Poly-Spam,” De Middel took her spam, carefully noted the details within, and created fictitious portraits of the imaginary senders.

Dear Friend,
I am the below indicated employed in one of a leading bank here in Dapaong, a coast state bordering the Republic of Togo.I am employed in the bankʼs department of Data Processing & Development.This was where i discovred a huge amount of fund deposited by the late Togo Minister of Sport (Mr Richard Attipoe) who died through an air crash on June 4th 2007 (…) During my required enquries, i discovered that this fund was deposited lacking the criterias of next of kin/beneficiary status.You will be required to represent this status and ensure the immediate transfer of this fund out of the country.The bank account as refered is credited with a cash balance of $ 18,230,000.00 Usd.(eighteen million,two hundred and thirty) .Upon your response therefore, i will give you the necessary details that you will need to ensure the hitch free representation and the fund transfer in general I anticipate your urgent response.
Best regards,
Mr David Kodjo
Data Processing & Development Department Banque Atlantique Dapaong

#CristinaDeMiddel #Spams #PMxPostMeridiem

Cristina de Middel, “An imagined portrait of David Kodjo” from the project “Poly-Spam.”

For her project “Poly-Spam,” De Middel took her spam, carefully noted the details within, and created fictitious portraits of the imaginary senders.

Dear Friend,
I am the below indicated employed in one of a leading bank here in Dapaong, a coast state bordering the Republic of Togo.I am employed in the bankʼs department of Data Processing & Development.This was where i discovred a huge amount of fund deposited by the late Togo Minister of Sport (Mr Richard Attipoe) who died through an air crash on June 4th 2007 (…) During my required enquries, i discovered that this fund was deposited lacking the criterias of next of kin/beneficiary status.You will be required to represent this status and ensure the immediate transfer of this fund out of the country.The bank account as refered is credited with a cash balance of $ 18,230,000.00 Usd.(eighteen million,two hundred and thirty) .Upon your response therefore, i will give you the necessary details that you will need to ensure the hitch free representation and the fund transfer in general I anticipate your urgent response.
Best regards,
Mr David Kodjo
Data Processing & Development Department Banque Atlantique Dapaong

#CristinaDeMiddel #Spams #PMxPostMeridiem

Sanaz Mazinani, ‘Flag #2 (detail),’ from the series ‘Conference of the Birds,’ 2014, mixed media, dimensions variable. On view at Southern Exposure in ‘Fabrications: Theory of Survival’ (9/5/14 to 10/25/14)

In the latest iteration of her ‘Theory of Survival’ project, curator Taraneh Hemami invites 12 California-based Iranian artists to engage with Iranian political and cultural historical moments, exploring decades of collective activism and revolutionary actions inside Iran and in its larger diaspora.

'Conference of the Birds' (2012) brings together popular images of the Occupy Movement in the West with those of the Arab Spring in the Middle East.

#SanazMazinani #SouthernExposure #SoEx #TaranehHemami #Flag #Archives #LibraryIranianStudentsAssociationNorthernCalifornia #Superimposition #PMxPostMeridiem #PMx

Sanaz Mazinani, ‘Flag #2 (detail),’ from the series ‘Conference of the Birds,’ 2014, mixed media, dimensions variable. On view at Southern Exposure in ‘Fabrications: Theory of Survival’ (9/5/14 to 10/25/14)

In the latest iteration of her ‘Theory of Survival’ project, curator Taraneh Hemami invites 12 California-based Iranian artists to engage with Iranian political and cultural historical moments, exploring decades of collective activism and revolutionary actions inside Iran and in its larger diaspora.

'Conference of the Birds' (2012) brings together popular images of the Occupy Movement in the West with those of the Arab Spring in the Middle East.

#SanazMazinani #SouthernExposure #SoEx #TaranehHemami #Flag #Archives #LibraryIranianStudentsAssociationNorthernCalifornia #Superimposition #PMxPostMeridiem #PMx

PMx will be hosting Twitter Chats on Tuesday, September 23, 2014, 6-8pm (PST). Part of @acacsf #acaw 2014. Design by @yinakiim

PMx invites creative leaders, curators, and artists to participate in a series of short Twitter chats focused on their use of social media as a platform for critical dialogue and practice. 

Invited guests include Jan Christian Bernabe (Operations, New Media, and Curatorial Director, Center for Art and Thoughts, Los Angeles, CA); Adriel Luis (Curator of Digital and Emerging Media, Smithsonian Asian Pacific American Center, Washington, DC); An Xiao Mina (Artist, Writer and Researcher, The Civic Beat, San Francisco Bay Area, CA); and Laura Kim (Artist, San Francisco Bay Area, CA).

#PMxPostMeridiem #TwitterChats

PMx will be hosting Twitter Chats on Tuesday, September 23, 2014, 6-8pm (PST). Part of @acacsf #acaw 2014. Design by @yinakiim

PMx invites creative leaders, curators, and artists to participate in a series of short Twitter chats focused on their use of social media as a platform for critical dialogue and practice.

Invited guests include Jan Christian Bernabe (Operations, New Media, and Curatorial Director, Center for Art and Thoughts, Los Angeles, CA); Adriel Luis (Curator of Digital and Emerging Media, Smithsonian Asian Pacific American Center, Washington, DC); An Xiao Mina (Artist, Writer and Researcher, The Civic Beat, San Francisco Bay Area, CA); and Laura Kim (Artist, San Francisco Bay Area, CA).

#PMxPostMeridiem #TwitterChats

Miranda July, “Somebody,” 2014 (still). Video, dir. Miranda July Image courtesy the artist and Miu Miu.

"Texting is tacky. Calling is awkward. Email is old." —Miranda July
Somebody – A New Messaging Service by Miranda July: “When you send your friend a message through Somebody, it goes—not to your friend—but to the Somebody user nearest your friend. This person (probably a stranger) delivers the message verbally, acting as your stand-in.” Somebody is available as a free download via the iTunes Store, and somebodyapp.com can be visited for an overview of the work.
#MirandaJuly #Messaging #Somebody #Somebodyapp #Somebody #Miumiu #PMxPostMeridiem
http://fuckyeahmirandajuly.tumblr.com

Miranda July, “Somebody,” 2014 (still). Video, dir. Miranda July Image courtesy the artist and Miu Miu.

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Kristina Lee Podesva, ‘Learning SSL (Startups as Second Language,’ 2014.  Workshops at Yerba Buena Center for the Arts. #KristinaLeePodesva #TechLanguage #PMxPostMeridiem
Inspired from second language classes, the 4-exercise workshops (dictation, listening comprehension, translation, and vocabulary questions) introduced participants to the semiotics of contemporary tech environment. (at Yerba Buena Center for the Arts)

Kristina Lee Podesva, ‘Learning SSL (Startups as Second Language,’ 2014.

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Martin Parr “‘A very important Issue of Aperture Magazine’ in response to ‘Fiction & Metaphor, issue no 103, summer 1985’” in #apertureremix @mopasd  With prints by Martin Parr, Larry Sultan, Chris Killis, and Nan Goldin. #PMxPostMeridiem #MartinParr #ChrisKillis #LarrySultan #NanGoldin
Photos: Nan Goldin, ‘C.Z and Max on the beach, Provincetown,’ 1966, cibachrome. Nan Goldin, ‘Thu Hig, New York Cory,’ 1980, cibachrome. (at Museum of Photographic Arts)

Martin Parr “‘A very important Issue of Aperture Magazine’ in response to ‘Fiction & Metaphor, issue no 103, summer 1985’”

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By Nancy Winkelmann. Installation view of the one-day exhibition “Transient Heavens” by The Invisible Institute @_sfai_ @SFAIevents with @pfgal0pin at SF Proxy.  (at Proxy SF)

By Nancy Winkelmann. Installation view of the one-day exhibition “Transient Heavens” by The Invisible Institute @_sfai_ @SFAIevents with @pfgal0pin at SF Proxy. (at Proxy SF)