The Museum of the Moving Image (MoMI) in New York has named the three winners of its Community Curation competition, which will grant digital artists whose works are largely based on movement exposure on its lobby walls.
In the coming weeks, Ceren Su Çelik, Anna Malina, and Rodell Warner will meet with MoMI curators to select works to display on the Queens institution’s Schlosser Media Wall. Located in the former Paramount studio complex (originally known as Famous Players-Lasky) built in the 1920s, the museum opened in 1988 and underwent a $67 million renovation. dollars in 2008.
The community-selected artworks will be on display alongside some of the 130,000 film, television and time-based media artifacts held in the museum’s permanent collection.
“With a still image, you can, in a way, see everything at once,” said Warner, a Trinidad-born visual artist. Hyperallergic. “With moving images, you can’t see the whole picture at once. It takes time to reconstruct the picture in your mind or put the pieces together.
Earlier this month, MoMI released a shortlist of 10 artists based on nominations from what the museum called “blockchain advocates” and held a voting session via the Typeform survey from June 11 to September 22. The project is sponsored by the Decentralized Digital Art Foundation. Tezos blockchain, according to a MoMI spokesperson.
Çelik, a Turkish artist, presents “cyborgs and hybridized elements” to “investigate the co-evolution of humanity and technology in the modern world,” according to a statement from the artist. His 2024 work “It Will Follow You” combines artificial reflections, blurred paint strokes, fruit, trash bags and scary two-legged creatures.
“Her work explores how technology reshapes identities and bodies in a dynamic digital landscape,” wrote Grida, Çelik’s nominator.
The work “Kollaps” by selected artist Molina in 2023 goes through different phases of a distorted face that crumbles like a piece of paper.
“Through her chosen subjects…she injects subjectivity and poetry into a medium and aesthetic realm that can sometimes seem insensitive or inhumane,” said Molina’s nominator, whose name is Vincent Van Dough.
Warner said. Hyperallergic that he documented the plants in the United States for five years, often rendering them in what he calls “simulated glass containers.”
“This way I can kind of preserve them,” Warner said, “and look at them and share them with others.”
Warner also sees his digital art practice as a way to stay connected to Trinidad. He modifies archival images of the Caribbean – many of which he says depict the Caribbean “almost like machines, less like humans” – to disrupt early photographic narratives of his native country.
The exhibition will open at MoMI on November 22, at which time visitors will also have the opportunity to “mint” or save to the blockchain a fragment of the digital art as a souvenir.
