Crying Cat

Co-meme-unity

A meme is an organism. A meme is alive. It enters the body, it replicates, it jumps to its next host, maximizing its message reach, it mutates to keep itself spreadable.

|Text by Alina Lupu and the ever more expanding flow of embedded references|

Moodboard - camouflage garments of Simone C. Niquille, Jalouse n8 (19978), everyday found footage

Corruption of forms. Or fashion like a digital cloth – one ill-fitting draft

If I am to say fashion and the digital, the first thing that comes to mind would probably be the changes that brought the so-called democratization of fashion through online platforms and image sharing, especially the social media impact. ‘Instagram it!’ – you know how that goes. Or, on the other side of the spectrum, the relationship between the two, every so often surfaces in ‘scandals’ over digitally retouched images of celebrities and models – those idealized bodies that here and there lost touch with an anatomical bone structure. What if instead of the digital perfected body or the ‘materialized ideal body of the models’ – as Franziska Bork-Petersen called it – we were to shift the discussion towards touch? Can we treat fashion as an ‘in-process-of-becoming’ digital skin?

| Text by Edith Lázár |

GLITCH - A POINT OF VIEW

GLITCH – A POINT OF VIEW

Glitches are everywhere, in every software or hardware that we use. They pop up from time to time but they are all unintended, being only involuntary malfunctions of the software code being run. What are we going to talk about in this essay is intentional glitches, software that generate glitches and artists using machine errors to display their work aesthetically.

|Text by Miron Ghiu |

everything is present online at SPRLQDT, 2016 Photo Credit: Roland Váczi. Courtesy of Superliquidato

Re-framing a space into multiple screens Superliquidato (SPRLQDT) – a hazy story

SPRLQDT presented itself as a capsule space, a backdrop where ideas and practices merging from digital art or derived from it, whether experiments and ‘orthodox’ media, could find a temporary place. For you see, the digital art scene was and still is to coagulate, but back in 2014, finding a platform for it was a constant struggle. Yet, between the hive-mind of the Internet and ideas unfolding in everyday conversations, rummaging through ways of visibility and exasperation, spaces can emerge; like this one, in a dome-like structure, 12 m², an oddity among the artists’ studios and galleries of The Paintbrush Factory in Cluj-Napoca.

| Text by Edith Lázár |