Intangible Interferences examines the temporal/spatial dynamics of resistance and depolarization in the relationship between politics, economics, language, and existence. By exploring the subtle forces of interference in situations of translation, geopolitics, economics, culture, ecology, and human experience, artists become interfering strangers that re-situate by destabilizing preceding forces.

“Re-situating is de-propriating sites; re-situating as free play redefines the schemata of co-appearances.” -Denise Carvalho, curator

resingXruiz’s kinetic sound piece and installation, Is the world flat? (2010), muses on Thomas L. Friedman’s seminal book, The World is Flat, which examines globalization in the 21st Century.

xurban_collective’s video installation, The Cracked Sea of Marble (2009), is an anti-media statement in which revealing is hiding, spectacle is oblivion.

Christopher K. Ho’s performance piece, Accidental Racism (2010), plays with “accidental racism” to explore possibilities of contemporary interference.

Jesal Kapadia’s Ditto or ‘the same as what has been said’ (2009-present) explores the idea that repetition is rupture, and rupture is interference, proposing that sometimes a translation or the copy is so true it unnerves the original.

Susan Jahoda’s Excerpts from Serenade to the Photosphere (2008) is a series of digital prints of Internet images and texts addressing the consequences of pollution on our planetary environment.

Harout Simonian’s video installation comments on the relationship between the individual body and social space. The body is always predetermined by social conditions, that way having little room for singularity and diversity.

Grady Gerbracht’s video installation, 62931-62943 (2007), is part of a series of photographic C-prints and a meditative audio/video gallery installation visualized as planes of sound from field recordings of various spans of high tension wire.