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  • LIMITS OF CONTROL: RAIN ROOM AND IMMERSIVE ENVIRONMENTS - Artforum
    Rain Room’s visitors are not, of course, walking into a cloud of rain Rather, they are entering into and interacting with a field of data processed by invisible electronic circuits (for which their bodily movements serve as input) whose visual and acoustic expression or output is a spatiotemporal, three-dimensional matrix of droplets
  • LACMA Acquires Rain Room - artforum. com
    Restoration Hardware has gifted the Los Angeles County Museum of Art Rain Room, 2012, an interactive installation that re-creates the experience of a torrential downpour for visitors without drenching them hellip;
  • Dan Adler on Yuko Mohri’s “Moré Moré (Leaky),” 2015– - Artforum
    But lately such fond reminiscences are few and far between, partly because of the surging tide of institutional pressure to produce easy-to-consume spectacles Back in 2016, for example, a bit of dread crept into my encounter with Random International’s Rain Room, 2012, when the work made an appearance at the Los Angeles County Museum of Art
  • CLOSE-UP: UNMOORED FUTURE - Artforum
    limits of control: rain room and immersive environments Negar Azimi Like many of Barba’s longer films, and in contrast to her more conceptual projector sculptures and wall works, Outwardly from Earth’s Center conveys a sense of looming crisis, which is underscored by a foreboding electronic sound track (by Folke Rabe and Jan St Werner)
  • CLOSE-UP: WEATHER CHANNEL - Artforum
    To view Symptomatic Syntax, 1981, a twenty-seven-minute-long video work by Frank Gillette, is to be implicated in a concerted interaction between technical, biological, and human time loops that was one of the key preoccupations of the Raindance media collective founded in 1969 by Gillette along with Paul Ryan, Michael Shamberg, and Ira Schneider:This was the “media ecology” famously
  • CLOSE-UP: IN KINO VERITAS - Artforum
    limits of control: rain room and immersive environments Negar Azimi For those who know only a modern-day Paris, the various statistics cited by Marker—that one in twelve Parisian homes had no electricity and one in twenty no water—may, to some degree, undercut the sense of immediacy that is the strength of both films
  • Pamela M. Lee - Artforum
    IN THE BEGINNING WAS THE DESKTOP So commences Grosse Fatigue, Camille Henrot’s thirteen-minute video based on her residency at the Smithsonian Institution in Washington, DC, a place in which the imperial claims of scientific knowledge find diverse expression in the world’s largest museum and its rituals of collecting objects and managing information
  • TWO ANTITHETICAL ARCHIVES CAUGHT IN A CRUEL DIALECTIC - Artforum
    A project by Nils Norman The Adventure Playground and Playscape Archive and the Defensive Architecture and Design Archive—two projects of mine from which the following images are drawn—address these very specific developments in how public space is produced, manipulated, controlled, and experienced, working together in a perverse feedback loop


















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