Eva Davidova will share her recent projects Global Mode >, and Intentions: Transfer and Disappearance II, and their conceptual and technical development. In the second part of the lecture Eva will talk in depth about collaboration, work processes, and software, with a hands-on look into how one ambitious project was realized during lockdown. [February 12th, 2022]
Playing with a paradox, Eva Davidova imagines us as being built by our descendants (humans or cyborg), and poses a question: If we are the games our children will program one day, can we influence the code they are writing?
The issues in Davidova’s work—interdependency, ecological disaster and manipulation of information emerge as paradoxes rather than statements, in an almost fairy-tale fashion. Her immersive installations and exuberant visuals are disorienting and performative, inviting audiences to inhabit other possible realities and to invent new actions. Davidova works with XR, 360 video, digital tools and sensors, performance and animation.
In this 2 hour presentation for the Harvestworks TIP, Davidova will share recent projects and their conceptual and technical development. Her practice is project-based, and in this talk she will discuss different approaches to different ideas, with constants as “actions”, certain treatments of images, and the non linear tempo, polyphonic coexistence of spaces and bodies in her work.
In the second part of the lecture she will talk in depth about collaboration, work processes, and software, with a hands-on look into how one ambitious project was realized during lockdown.
Hovey Brock, for the Brooklyn Rail:“Her work stakes out a point of resistance against the shredding of community and empathy by communications technologies. She and her guest artists offer a utopian vision that stands the global capitalist propensity to atomize consumers into disconnected individuals or groups on its head. In Global Mode > Omnivores, Davidova, Ramos, et al. invite us not only to identify with the protagonists in their narratives, but to become actors instead of spectators to engage with people and situations very different from our own.”
Ken Johnson, for the New York Times:“In a strangely erotic and moving image, a hand probes the crevice between two surrealistically flowing concrete walls. And most bizarre, a naked torso is penetrated by the John Berger book “Ways of Seeing,” drawing blood, in a horrifying and absurd image that David Cronenberg would appreciate.”
COLLABORATORS: Danielle McPhatter, Matthew D. Gantt, MX Oops, Naicha Diaby, Heather Morowitz, Marcel Oliver Rose Trujillo, Meredith Drum, Daniela Kostova, Janet Biggs, Mark Ramos, Estudio Atractor, Hans Tammen, Sai Liu, Kyle Meredith