João Enxuto & Erica Love

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Artist Statement

In the last five years we have created work about art institutions, labor conditions, and value systems shaped by recent technologies. We have given talks, taught at universities, written essays, organized discussion groups, a symposium, and made work for gallery exhibitions. Regardless of how our work is executed, we always attempt to make a claim for artwork as a critical and experimental tool. A growing technocracy parcels social experience as monetizable expressions, leading networks, databases, and algorithmic regulation to become mechanisms for “disruption” in contemporary cultural fields. These vectors and strategies are the focus of our research-based work.

We are also concerned with emerging institutional forms and with the reshaping of institutionality itself. If calculated disruption and cultural acceleration upend structures that empowered critique, then these forces stand to unravel the radical potential of a public sphere. The alternative, it now seems, is to imagine radical potential elsewhere. This is why much of our work is delivered in the form of propositions and speculations. There are political stakes for technological disruption when it is leveraged to capitalize on emerging art industries and with institutions once deemed public. For this reason, we have addressed the strategies of corporate actors like Google and Artsy.

Our most recent exhibition titled, Beacons (IMAGES 1-6), built upon our interest in technologies that negotiate the power dynamics between institutions and publics. Some of the beacons used in this exhibition were small Bluetooth sensors that are attached to objects in order to track and communicate data such as location, movement, and interaction. This “smart” technology allows for user interactivity to be monitored within the gallery space. This technology has recently been employed in commercial contexts and museums to monitor the attention given to products and artworks. Like data collected from any social system, this information is often put to the service in reinforcing existing agendas. We used these and other technologies to foreground how exhibition spaces already functioned according to strict protocols long before the advent of “smart technologies.” By drawing thematic threads throughout the gallery as if it was a nervous system—with the central “brain” purportedly contained inside a custom-designed server cabinet—wireless sensors graph the movement of objects and map signals from things that would otherwise be insensible: the movement of an inanimate limestone rock, the perfect positioning of a viewer in front of a photograph, or the opening and closing of a gallery door. Beacons extend beyond the gallery walls to draw wider connections between contemporary art, creative production, and the possible limits to future growth due to environmental conditions.

On the morning of November 25, 2015, the wait for a public computer station at Atlanta’s Central Library was 40 minutes. Our video Waiting for the Internet (IMAGE 11) documents that wait. The Central Library was the last built project by the Bauhaus-trained architect Marcel Breuer. Designed by Breuer and Associates in 1969, it finally opened its doors in 1980. The library embodied modernist notions that arrived late and ultimately never came to pass. Now it serves as a critical internet and education hub for the mostly poor African-American population of downtown Atlanta. Despite the expansion of libraries to the city suburbs, the Atlanta Central Library has been severely underfunded, understaffed, and continues to operate amidst threats that the building will be sold or razed. This is happening despite a consistent stream of patrons waiting to get on public internet computer stations and tend to critical life matters that have migrated online. For our exhibition, Prospects for a Labor of Love, we deployed the Breuer library to frame the economic disparity that extends an existing digital divide: between those who lack internet access, and those who imagine technology as the key to prosperity and ultimate emancipation towards the pursuit of meaningful work (labors of love).

The Institute for Southern Contemporary Art (ISCA) (IMAGES 7-9), a proposition for an art institution to be housed in a renovated Breuer library building, leverages new technologies and the art market to support progressive art and political discourse. ISCA coalesces a number of different trajectories –– the contemporary art market, American regionalism and its connection to global financial infrastructures, modernist legacy, technological ‘innovation’, etc. This is an ongoing project and our most complex to date.

Art Project 2023 (IMAGES 12-14) is a third-person narrative told 10 years in the future that reports on the fate of the another Marcel Breuer building, the former Whitney Museum which is acquired by Google during a financial crisis. The building is cloned, destroyed, and rebuilt as a virtual interface for the Google Art Project. Our narrative envisions a future where visitors use a future version of Google Glass (AR) to navigate the museum and “Google Art Scholars”—recent art history grads, paid by Google—serve as a human interface to the otherwise-digitized experience.

Earlier works like Tamayo Burial (IMAGE 18) and Out of Frame (IMAGE 19) were actions designed to complicate the interior and external realities that shape the museum. These were interventions, a direct method we will plan to re-integrate in future projects.




for Joao Enxuto

Whitney Museum Independent Study Program
Studio Program, 2012- 13
Rhode Island School of Design, Providence, RI
M.F.A. Photography, 2001
University of Connecticut, Storrs, CT
B.A. Journalism, 1998


for Erica Love
Whitney Museum Independent Study Program
Studio Program, 2012- 13
University of California, Los Angeles (UCLA)
M.F.A. New Genres, 2009
Brown University, Providence, RI
B.A. Economics and B.A. Visual Arts, 1999


Hidden Assembly , curated by Yaelle Amir, SPACES, Cleveland and Center for Contemporary Art & Culture at Pacific Northwest College of Art, Portland, Oregon (forthcoming)
Authenticity? IMPAKT Festival, Utrecht (forthcoming)
Museum (science) fictions , curated by Elena Sorokina, Centre Pompidou, Paris
ISCA, First Look, an online exhibition and essay written by Lauren Cornell, The New Museum (solo)
Subject to Capital, curated by Josh Lubin-Levy, Abrons Art Center, New York [catalog] Beacons , ArtCenter/South Florida (solo exhibition)
PowerPoint Polemics , curated by Katrina Sluis, The Photographer’s Gallery, London
Waiting for the Internet , Hampshire College, Amherst, MA
Prospects for a Labor of Love , Georgia State University, Atlanta (solo exhibition)
Real Live Online , curated by Lucas G. Pinheiro and Devin Kenny, Rhizome and New Museum
A Sea Change Into Lands Rich and Strange, curated by PARMER, Abrons Art Center, New York
The 27th Dimension , curated by Jennifer and Kevin McCoy, Vanessa Albury, Moynihan Station
That Obscure Object of Desire , Anthology Film Archives, New York
Unimaginable Terrain , The City College of New York
Anonymous Paintings , Carriage Trade, New York (solo exhibition)
A Tamayo Burial , Tamayo Museum, Mexico City
The Passage of a Few Persons Through a Rather Brief Unity of Time , ISP Exhibition {TEMP}, NY
Visions of the Now, Fylkingen, Stockholm, curated by Anna Lundh [catalog] The Pathos of Things , curated by Peter Scott, Carriage Trade, New York [catalog] 2012
The Skin We’re In , Yossi Milo Gallery, New York
Everything is Index , curated by Natalie Bell and Melanie Kress, Recession Art, Brooklyn
Rhythms of Time-Sharing , Vox Populi, Philadelphia and KIOSK, London
D3: Object Divestment Services , Machine Project, Los Angeles
Talk to Me , Pratt Institute, Brooklyn (solo performance)
Remnants , curated by Mores McWreath and Kant Smith, The Werkhaus, Brooklyn

“Global Cybernetics,” organized by Corinna Kirsch, SECAC, Roanoke, VA (forthcoming)
Visiting Lecturers and Artists at SOMA, Mexico City
Interviewed for video series Of Supply Chains by Caroline Woolard, Susan Jahoda and Emilio Poppe
Visiting Lecturers at Maumaus, Lisbon, Portugal
Visiting Artists at Institute for Curatorial Practice, Hampshire College
ISCA presents Our Literal Speed with Christopher P. Heuer and Matthew Jesse Jackson, Atlanta
Between the Discursive and the Immersive, Louisiana Museum of Modern Art, Denmark
“All Together Now? Disincorporations of the Art Public,” organized by Joanna Fiduccia, Association of Arts of the Present, Clemson University, SC
“99 Objects—Barnett Newman’s Day One ,” Whitney Museum, New York
Moderators for Temporary Collections of Ideas around SPECULATION with Ed Keller, Orit Halpern, and Metropolarity, The New Museum, New York
Digital Labor: Sweatshops, Picket Lines, and Barricades , The New School, New York
IBM: A Self Portrait screening and questions with Albert Maysles, Maysles Cinema, New York
Co-organizers and Presenters for Shared Spaces: Social Media and Museum Structures , Whitney Museum

Art Center/South Florida, Miami
Ernest G. Welch Fellows at Georgia State University
The New Museum Seminar Participants for Speculation
Summer Forum, Joshua Tree
The Art & Law Program, Fordham Law School
SOMA, Mexico City

“Flat Lining” [name] publications, edited by Gean Moreno (forthcoming)
“ISCA Manifesto” Finance and Society , co-edited by Suhail Malik and Gerald Nestler (forthcoming)
“False Positives” Art in America, Fall 2016 (forthcoming)“The Administrator’s Dilemma” The Born-Digital Art Institution, Rhizome Anthology, (forthcoming)
“Museum Hacks” Dilettante: Networks of Belonging, 2016
“Museum Hacks” Initiales A.F. (Andrea Fraser), Spring 2015
“Genetic Drift: Artsy and the Future of Art,” X-TRA Contemporary Art Quarterly, Winter 2014
“The Real Power of Open Innovation” interview with Sarah Hromack, Mousse Contemporary Art Magazine, 4/2014
“See Some Art While You Can” Interview with Pete Brook, Wired , 9/2013


Mike Pepi, “Is a Museum a Database? Institutional Conditions in Net Utopia” e-flux journal, 12/2014
Zachary Kaplan, “Cloud-based Institutional Critique” Rhizome, 8/29/2014
Matt Shaw, “Art Project 2023 Imagines the Museum of the Future” Architizer, 2/28/2014
David Smucker, “Cracks in the Street View: Artist’s Re-Framing Google’s Imagery” CAA
Conference, Chicago, 2/2014
Anna Lundh and Julie Cirelli, “Visions of the Now” Catalog, Stockholm, Sweden, 2013
Vanessa Albury, “Enxuto and Love: Anonymous Paintings” Art Pulse , 12/2013
“Critic’s Pick: Enxuto & Love Anonymous Paintings” Time Out, 10/10/2013
Peter Scott, “João Enxuto and Erica Love” Grey Magazine , Fall 2013
Corinna Kirsch, “Looking at Our Financial Future: The 2013 Whitney ISP Exhibition”
ArtFCity 6/14/2013
Kirsch, Corinna. “This Week’s Must-See Art Events” ArtFCity , 6/12/2013
Noah Dillon, “The Promise of the Image” ArtSlant, 3/ 25/2013
“Critic’s Pick,” New York Magazine , 8/27/2012
“Best in Show,” The Village Voice, 8/22/2012
“Editor’s Pick,” Bloudin Artinfo, 8/2012
Kevin Holmes, “Anonymous Paintings Turns Copyrighted Paintings” The Creators Project , 8/8/2012
“The Skin We’re In: Group Show at Yossi Milo Gallery” Newsweek & Daily Beast , 8/2/2012
Libby Rosof, “The agony and the ecstasy at Vox’s AUX” The Art Blog , 2/1/2012

Directors of the Institute for Southern Contemporary Art
Art Advisors to the Art & Law Program
Adjunct Lecturers at New York University, School of Visual Arts and City College of New York, DIAP