Sorry to dump on you like this
net art, performance, video, photography, books, edition
2015-2017

Sorry to dump on you like this started as a zip file that was commissioned by Rhizome to debut their series The Download. Curator Paul Soulellis wrote, “Again and again, the work asks us — now that we’ve downloaded — is it ours? Who do we decide to keep or discard through time? These stories are an offering of sorts: characters once loved, now staged as daddies and bears, cigars and cocks. The object-files of Sorry to dump on you like this travel through networked relations, but settle into hard drives like angry ghosts.”

The zip is a marriage of two archives that were both amassed over 15 years at the beginning of the web: 1,860 pornographic jpegs from social/sexual sites and the emails/text messages to/from men that I was dating and fucking. Both collections were sorted chronologically and the 1st jpeg was renamed with the 1st sentence, the 2nd jpeg was renamed with the 2nd sentence, and so on. When a personal name was mentioned, I replaced it with the original file name such as “do you, in your heart, your soul, your head, truely love BEAR0033.jpg”. 



Library of the Printed Web commissioned me to version the zip file into a print-on-demand zine. First I performed the zip on my desktop. Downloading. Opening. Reading. Sorting. Dragging. Previewing. Resizing. Cleaning up. And trashing the entire archive causing the computer to crash. Then I choose 72 screenshots from the videos to create a new narrative for the zine. 

Spreads from the zine were enlarged and editioned into photographic prints. Installed in Berlin for the exhibition Adult Material, co-curated by Andreas Schmidt and David Evans. 

A layout from the zine was published as the center spread for Printed Web 4 — acquired by MoMA. Also exhibited at ICP for Charlotte Cotton’s exhibition Public, Private, Secret. 

Each jpeg icon in the zip was printed onto a sheet. The sheets were inserted into plastic sleeves and collated across 10 binders. I sell individual sheets to disrupt the master narrative and circulate printed jpegs. The binders were used in several performances. For Re: Art Show in Brooklyn they were placed on music stands and installed in 10 rooms. A mic and speaker accompanied each book. The audience was asked to browse, read, and listen. By the end of the exhibition most of the binders had intentionally opened — spilling jpegs onto the floor.

Soulellis and I have read from the zip file for The Classroom, NY Art Book Fair, MoMA PS1, Queens; Conceptual Poetics Day, MISS READ, Berlin; Zine and Self-published Book Fair, Baxter Street Camera Club, New York; and WordHack, Babycastles Gallery, New York. 

As a final act the zip file was saved onto a metal thumb drive and then intentionally rusted. The USB comes with a warning, “connecting it to a computer or other electronics may result in an excessive electric current to pass through the network and may potentially cause damage, overheating, fire and/or explosion.”

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Support
Rhizome commission
MoMA acquisition
Hyperallergic best internet art

Exhibitions
Graphische Sammlung ETH, Zurich
Public, Private, Secret, International Center of Photography, New York
Andreas Schmidt Galerie, Berlin
Re: Art Show, New York

Performances

Wordhack, Babycastles, New York
The Classroom, NY Art Book Fair, New York
Conceptual Poetics Day, MISS READ, Berlin
Re: Art Show, New York

Ask
Looking for venues to stage performances

Mark

Thankful to be an Eyebeam fellow, NEW INC member, awarded by the New Jersey State Council on the Arts, commissioned by Rhizome, supported by Meta Open Arts, exhibited at Les Rencontres d’Arles, sold at Art Book in China, collected by MoMA, reviewed in Art in America, and bested by Hyperallergic.