Adam Basanta

Adam Basanta


Adam Basanta’s work explores technological practices as active, participatory, multi-sensory performances which are distributed throughout a variety of human, cultural, material and computational agencies.Born in Tel-Aviv (ISR) and raised in Vancouver (BC), Basanta has lived and worked in Montreal since 2010. Originally studying contemporary music composition, he has developed an artistic practice in mixed-media installations.Since 2015, his works have been exhibited in galleries and institutions including Fotomuseum Winterthur (CH), Arsenal Art Contemporain (CAN), Galerie Charlot (FRA), National Art Centre Tokyo (JPN), V Moscow Biennale for Young Art (RUS), Carroll/Fletcher Gallery (UK), American Medium Gallery (NYC), Serralves Museum (POR), Edith-Russ-Haus fur Mediakunst (GER), York Art Gallery (UK), and The Center for Contemporary Arts Santa Fe (USA).He has been awarded several international prizes, including the Japan Media Arts Prize (2016) and the Aesthetica Art Prize (2017). In 2018 he was longlisted for the Sobey Art Award. He is currently represented by Ellephant Gallery (Montreal, CAN).Remaining active as an experimental composer and performer, his concert music, live performances, and sound recordings are presented worldwide.


"A Brief History of Western
Cultural Production"

Adam-Basanta - A-Brief-History-of-Western-Cultural-Production

Description of the work

I intend to use the custom software (currently in development) to create a first study piece, which will, figure as part of a larger future series of artworks using the techniques outlined. The particular digital database subset I will employ will be sourced from The Metropolitan Museum; specifically, archeological artifacts from antiquity from around the world (Egypt, Africa, North America, South America, Europe, Asia collections). Using digital images of the objects in these collections in combination with the techniques described, the software will be used to create a artwork which will be a concatenation of available data. The work will be then be physically produced as a C-print mounted on Aluminum, sized 52cm x 76cm.In making this new artwork I will be essentially be re-extracting and re-contextualizing objects that have been previously extracted and decontextualized, thereby generating a new “universal archaeological artifact.” Inherent in this practice is a tension between an apolitical idea of “raw data” which machine-learning softwares operates on, and the deeply human, political context of the collection practices of Western cultural institutions. In operating in this space of tension, A Brief History of Western Cultural Production is designed to provoke a deepened engagement with cultural databases while exploring how their underlying structures and logic may be re-directed towards different ends

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