Earthquakes, in color.
At the Nevada Museum of Art (@nevadaart) in Reno, Ken Goldberg's (@Ken_Goldberg) ReBloom: Reno (2026) runs on live seismic data, sending circular blooms of color across the gallery whenever the ground shifts nearby. Each band of color is sampled from one of five landscape paintings in the museum's collection, by Chester Arnold, Sandow Birk, Maynard Dixon, Jean LaMarr and Phyllis Shafer, whose originals hang at the entrance. Goldberg, an artist and UC Berkeley robotics professor who began working with seismic data in 1997, sums it up in three words: "Earth, color, time." Through Feb 7, 2027.
Today in Montréal, PHI opens two shows, through Mar 14, 2027.
Stephanie Comilang: ANTHEMS is her most comprehensive exhibition yet and her first in Québec: multi-channel video, VR, textiles and 3D-printed objects from what she calls "science fiction documentaries," where we meet an all-seeing drone spirit named Paradise and an artificial intelligence named Piña. Down the street, Jean-François Bouchard's Turn or Burn, his first museum-scale exhibition, premieres new works, among them a seven-channel video installation, from his encounters with evangelical street preachers in American cities.
New on http://catalogue.gallery: a squeegee that never stops painting.
Bryan Brinkman (@bryanbrinkman) debuted Squeegee at the Art Blocks (@artblocks_io) Artists Fair in Marfa, an edition of 100 fully on chain on Ethereum, made with Art Blocks' open source ABX protocol. Dots and lines piped like icing are laid on cream paper, then a blade drags through and smears them, and every 10 seconds it starts over, snapping streaks to pure colors "so streaks stay bold and saturated instead of averaging into pastel mud." Double tap and you can pipe and squeegee your own; press "p" and any painting turns into a paint by number print.
Digital Art Week Belgrade opened Tuesday at the French Institute in Serbia with Sanja Šikoparija's In a Grain of Light, on light, nature and biological textures, and runs through Saturday with a Mundane AI workshop, a presentation of studio Demagog and a symposium.
Its starting point: technology should be judged not only by its innovations but by its ecological, social and cultural consequences.
And a history: in 2011 the artist Dustin Yellin bought an 1866 ironworks on Pioneer Street in Red Hook, Brooklyn.
Months after it opened, Hurricane Sandy put five feet of water into the ground floor, and it reopened in 2013 as Pioneer Works (@PioneerWorks_). On Jan 12, 2018 its main hall went dark for Anthony McCall's Solid Light Works, his first institutional show in New York: 30-foot cones of projected light made visible by haze, possible only because digital projectors, unlike 16mm film, could hang from the ceiling. "The advent of digital projectors allowed me to create vertical pieces," he said. Its Technology Residency counts Stephanie Dinkins, Morehshin Allahyari and Lauren Lee McCarthy among its alumni.