📢 Rip Space and Supercollider LA are pleased to announce 𝙒𝙖𝙠𝙚 𝙈𝙚 𝙐𝙥 𝙄𝙣𝙨𝙞𝙙𝙚, a hybrid exhibition and public program series opening June 5, 2026 at Wilshire Online in Los Angeles.
Bringing together works by Nat Decker, Devin Wilson, Ina Chen, Naomi Sam, Filip Kostic, American Artist, Wednesday Kim, and Lou Fauroux, the exhibition explores the psychic, cultural, and infrastructural conditions of life lived through platforms and computational systems.
Borrowing its title from the chorus of Evanescence’s 2003 anthem “Bring Me to Life,” which returned to global charts nearly two decades after its release. 𝙒𝙖𝙠𝙚 𝙈𝙚 𝙐𝙥 𝙄𝙣𝙨𝙞𝙙𝙚 reflects on the return of a distinctly emotional register shaped by longing, dependency, alienation, and the desire to feel present again. The exhibition illustrates this resurgence within networked systems that transform attention, psychology, and social life into metrics, performance, and behavioral data.
At the same time, 𝙒𝙖𝙠𝙚 𝙈𝙚 𝙐𝙥 𝙄𝙣𝙨𝙞𝙙𝙚 resists pure technological pessimism and speculative forecasting. The forthcoming public program series turns toward artists building alternative systems, local networks and autonomous infrastructures. Responding to a growing desire for forms of collective technological life rooted in shared control over the systems we inhabit.
Curated by Vera Petukhova (@_vera_petukhova_ ), with exhibition design by Naomi Sam
The exhibition and program series is organized as a collaboration between Rip Space and SUPERCOLLIDER LA (@supercollider.la ) with exhibition support from Isabel Beavers (@isabelbeavers )
Coinciding with the exhibition is an artist-led workshop series organized by Maisa Imamovic (@iammans ) full program TBA soon!
@nat_decker__@devinwilsonstudio@ina_ccchen@oida_kalashnikov@flipkostic@a_____rtist@wednesdaykimm@loufauroux
RSVP/Link in bio 🌟
Flyer Design by Tiffany Ta @grafik_content
#supercollider.la #ripspace #LAart #NETWORK #AI
🌟 Thanks to our partners, ambassadors, affiliated artists, and publics for joining us in this year! We are looking forward to what is to come in 2026. Enjoy these highlights from 2025 programming, and we will see you in the new year! ⭐️
Images:
1. Whisper performing at ReFest ReCollect, CultureHub, March 2025, Photo by Gema Galiana
2. Kira Xonorika, ‘Trickster’, at Brave New Work: AI and Tech in the Hands of Artists, Santa Barbara, October 2025
3. SciArt Ambassador Cohort Kickoff, April 2025
4. ReFest ReCollect, CultureHub, March 2025, Photo by Gema Galiana
5. Nat Decker, ‘Mirrors are Illusions Inside Game Engines’, FIRST HOUR: Experiments on Common Ground, September 2025, Photo by Christopher Wormald
6. ReFest ReCollect, CultureHub, March 2025, Photo by Gema Galiana
7. Ellie Schmidt, ‘Let Your Eyes Adjust To The New Colors, It Just Takes Some Time’, FIRST HOUR: Experiments on Common Ground, September 2025, Photo by Christopher Wormald
8. FIRST HOUR: Experiments on Common Ground, September 2025, Photo by Christopher Wormald
#LAartists #supercollider.la #artandtech #sciart
Photosynthetic
Devin Wilson
2025
Photosynthetic extends the world of IN-TECHS by exploring alternatives to fossil fuels, using these specimens as potential repositories for renewable energy. Excavated from the earth, a fossilized ginkgo leaf undergoes paleontological analysis, positioned as both artifact and prototype.
Through an augmented reality reconstruction of the species, the structure resembles a monopine, an anthropogenic beast of camouflage engineered to conceal technological infrastructure within natural surroundings. The work suggests a speculative ecology where biological processes are hybridized with solar technologies to generate new forms of power.
Photosynthetic was part of FIRST HOUR: Experiments On Common Ground curated by Marcela Vieira in David Horvitz 7th Ave Garden in Los Angeles, September 2025.
@devinwilsonstudio@marcevieira
📸 by Christopher Wormald @christopherwphoto
#firsthour #supercollider.la #losangelesartist #devinwilson #xr
Vision Service: May I Offer You A Way Of Seeing?
Ina Chen
2025
Vision Service is a mobile sculpture and quiet performance. It proposes seeing as a shared ritual rather than a private habit.
Guests borrow a lens, lift it to bark or rubble or wing or sky, enlarge a small scene, then return it.
The instruments are ceremonial rather than technical: polished and a little impractical, built to slow the hand. Here the space is served - for a brief moment we borrow the details in the world. In that act attention becomes hospitality.
Part of FIRST HOUR: Experiments on Common Ground at David Horvitz Garden. Curated by Marcela Vieira in September 2025.
@ina_ccchen@marcevieira
📸 Christopher Wormald @christopherwphoto
#supercollider.la #inachen #vision #device #spectacle
SUR)veil—(SOUS)veil, Series II
Sadia Quddus
2025
To hide in a culture that values hyper-visibility is to deny one’s existence, but in this negation of self, there is freedom from the panopticon. “(SUR)veil—(SOUS)veil, Series II” features three veils printed with images drawn from a generative model trained on filmed landscapes of California Deserts, and color palettes of the artist’s design.
Part of FIRST HOUR: experiments on common ground, in David Horvitz Garden in September 2025 curated by Marcela Vieira.
@sadiaaa@marcevieira
Photos by Christopher Wormald
@christopherwphoto
#digital #landscape #garden #sadiaquddus #supercollider.la #LAartist #veil #generative
I AM A POET, I WAS A STARLING
Patrícia Lino
2025
I AM A POET, I WAS A STARLING is a performative reading of poems about birds by Patricia Lino. Designed for FIRST HOUR: experiments on common ground in David Horvitz’ Garden, the collage of poems includes ones by Lino and other authors including Emily Dickinson, e.e. Cummings, Ron Padgett, and more. It will be performed in the Garden for the first time on September 27, 2025. A series of drawings by the same name will be exhibited alongside the performance.
@patriciaxlino
Curated by @marcevieira
Photos by Christopher Wormald
@christopherwphoto
#Supercolliderla #poetry #performance #birds #collage #drawing
HEARSAY
Whisper
2025
can we hear me?
can you hear you?
yesterday makes a year since i stopped keeping a computer in my house
i had to take the computer out of the home to start thinking seriously about how to make a computer feel more like home
have been spending a lot of time lately sweeping out the ashes from 15 years of computing
files carried from machine to machine, the detritus that accumulates in a lived-in computer. nested folders of fugitive backups.
when you try to leave the corpo cloud, you can sense how deep and desperate the tendrils of control dig into this intimate device, this machine that should feel sovereign.
i would rather have ashes spread through hard drives i can hold in my hand than the illusion of safety in someone else’s computer
anyway, years ago I made a render of ‘his and hers computers’ — a speculative tether between Theseus, my dead husband’s computer, and a machine from the past future or the future past. An original Macintosh, with the stickers from my present day laptop on the side, and a glowing portal screen with my former avatar flitting around it.
this converged the ‘never to return’ of a molted identity and the ‘not yet’ of some other utopia — a place where the world (and the computer) felt like home.
i knew then as i know now, utopia is not a place so much as a direction
yesterday at the garden I’ll share an installation of Hearsay, as a temporal mirror of that gesture — a play at history as a garbled game of interdimensional telephone
for the first time Theseus will show in public after many years of making work with and about the machine, and the files inside
slouching ever deeper toward the singularity which has of course already happened for those who know
Part of ‘FIRST HOUR: Experiments on common ground’ at David Horvitz’ Garden in September, 2025. Curated by Marcela Vieira.
@miss__sammie@marcevieira
Photos by Christopher Wormald @christopherwphoto
#hearsay #supercollider.la #listen #network #language #coding #translate
Matter in Motion: An Open Score
Arrousiak Gabrielian
2025
David Horovitz’s 7th Ave Garden is not a designed tableau but a living conglomerate of flows. Rubble from the demolition of LACMA; Shells discarded from restaurants; Sand carried from eroded shores; Cuttings from a grandmother’s plumeria. Each element arrives from elsewhere, is displaced, carried, accumulated, dispersed. The garden is a commons of matter in motion, its ecology inseparable from histories of extraction, consumption, memory, and care.
This open score invites participants to enter those flows — not as observers, but as co-actors. Three simple actions, each governed by rules of clustering and dispersal, reconfigure the site. They echo the logics already at work here: rubble rearranged by hand, soil shifted by water, shells scattered and gathered, sound carried by wind and birdcall.
Earthwork (Ground): cut and fill, excavation and return.
Cairnwork (Matter): stacking and collapse, ruin and proto-structure.
Choruswork (Air): resonance and silence, flocking and dispersal.
Together, these scores form an ecosystem of gestures across ground, matter, and air. They generate topographies that are never final — voids, mounds, grids, columns, choirs — always forming and unforming.
The work does not aim at permanence. It embraces the temporality of gardens, their perpetual becoming. What remains is a residue of collective labor, sound, and touch — a choreography of human and more-than-human forces in continual exchange.
Part of FIRST HOUR: experiments on common ground, at David Horvitz Garden, curated by Marcela Vieira. September 2025.
@marcevieira
📸 by Christopher Wormald
@christopherwphoto
#firsthour #aroussiakgabrielian #performance #work #chorus #ground #cairn #supercollider.la #LAart
Let your eyes adjust to the new colors,
it just takes some time
Ellie Schmidt
High-fired ceramics, 2 channel projected video, 10 min loop.
2025
The mammalian dive reflex is a series of automatic processes in the body of many mammals, including humans, that prepare to survive prolonged submersion in cold water. When the face touches cold water, the heat rate slows, the outer blood vessels constrict, and the spleen releases red blood cells. This piece uses ceramics, and animation, to explore the physiology of the mammalian dive reflex and the affective experience of swimming.
Part of FIRST HOUR: experiments on common ground at David Horvitz’ Garden, curated by Marcela Vieira in September 2025.
@tesellie@marcevieira
#ceramics #FIRSTHOUR #ellieschmidt #ceramics #projection #houdini #divereflex
MIRRORS ARE ILLUSIONS INSIDE GAME ENGINES
Nat Decker
2025
Mirrors are notoriously difficult to render in a game engine. They are an illusion generated by turning the mirror into a window through which the player views an exact flipped copy of the room - in sync with a copy of the player… or a correcting cubemap... or placing a camera facing out from the mirror, creating a live video texture in the surface… or using raytracing with which the camera shoots out a virtual ray, simulating how light bounces off of surfaces… or the game mirror will be shattered, blurry, or vacant.
Part of the exhibition FIRST HOUR: Experiments on common ground, at David Horvitz’ Garden in September of 2025. Curated by Marcela Vieira.
@nat_decker__@marcevieira
#firsthour #gameengine #sculpture #mirror #illusion #LAartist #natdecker
💫👾 If you are in Santa Barbara for ‘Brave New Work: AI and Tech in the Hands of Artists’ check out the following talks with @supercollider.la artists Kira Xonorika and Isabel Beavers. Their works will also be shown on Wednesday evening as part of the Projected Public Artworks. 👾💫
“Brave New Work, AI and Tech in the Hands of Artists” is a contemporary art exhibition and three-day symposium in Santa Barbara showcasing internationally recognized artists and speakers who are utilizing exciting new technologies to tell compelling stories centered on the environment, cultural identities, and community. City-wide, the event includes networking opportunities, casual receptions, and public art.
@isabelbeavers@xonorika #art #tech #ai #santabarbara #LAartist
