Joseph
Nechvatal
Computer Virus 1.0 and the Return of
Lazarus
November
8th - December 10th 2017
at
121
Orchard St. New York City
From November 8th to December 10th
2017 American artist Joseph Nechvatal presents Computer
Virus 1.0 and the Return of Lazarus.
This mini-retrospective exhibition consists of 9 computer-robotic assisted
paintings: 4 historic 1993 paintings from NechvatalÕs HyperCard Computer Virus Project (1992-93) that
dealt with the AIDS virus epidemic placed in conjunction with computer viruses,
2 small 1988 paintings from his Informed
Man series (1986-89), and 3 new 2017 paintings on velour entitled The Return of Lazarus. These 3 new
paintings are based on recovered digital files of NechvatalÕs 1986 maquettes of
un-realized computer-robotic assisted paintings from his Informed Man series that featured an information-saturated Lazarus
returning from the dead. The entirety of the show stresses a continuum of
artistic acts based on recovering from loss and the resisting of oblivion.
Hyper-Intersubjectivity
(1988) 24x18Ó canvas
Networked Animus
(1988) 24x18Ó canvas
viral attaque : amoR foRti
(1993) 46x70Ó canvas
viral attaque : breaK thRougH
(1993) 40x48Ó canvas
viral attaque : haVes & haVe
nOts (1993) 40x48Ó canvas
viral attaque : passiOn pluS
(1993) 40x48Ó canvas
Retrun of Lazarus : prOlOngatiOn
(2017) 4x5Õ velour
Retrun of Lazarus : sublimatiOn
(2017) 4x5Õ velour
Retrun
of Lazarus : expeditiOn (2017) 4x5Õ velour
Computer
Virus 1.0 and the Return of Lazarus picks up on the themes of extinction and viral demise that Joseph
Nechvatal developed in the late-80s and early-90s. His Computer Virus Project was created under
the umbrella of the FRAC Franche-Comte at the Centre International de RŽflexion
sur l'Avenir de la Fondation Claude-Nicolas Ledoux at La Saline Royale
d'Arc-et-Senans as part of NechvatalÕs artist-in-residency at Atelier Louis
Pasteur in Arbois, France (1991-1993). As
discussed with Thyrza Goodeve in an interview in the January 2016 issue of The
Brooklyn Rail, Nechvatal explains that the Computer Virus ProjectÕs
initial goal was to produce physical paintings using algorithms that implement
a virtual ÔviralÕ model. This use of computer code as simulation tool allowed
him to virtually introduce artificial viruses into a digitized reproduction of
his earlier artwork (the host) and to transform and destroy those images in a
ravishing manner. During these launched ÔattacksÕ in 1993, a new still image
was extracted and roboticly spray painted on canvas so as to bring the virtual
into the actual realm. The negative connotations of the HIV virus as a vector
of disease is reflected in the principle of degradation that the host image
undergoes, but the virus is also the basis of a creative process, producing
newness in terms of the history of painting.