Glitch art is dead

Introduction

The Glitch art is dead project was initiated by Aleksandra Pieńkosz and Zoe Stawska in 2015 in order to support glitch artists and to develop tools for understanding new digital art phenomena among broader public.

As part of the project we organized international exhibitions, glitch art workshops and conventions in Poland and USA (with Miles Taylor). With Piotr Puldzian Płucienniczak I released a bilingual and free digital art book with exhibition catalogue and theoretical works. Everything we did, was achieved with the help of volunteers-enthusiasts and it was done non-profit, for the art’s and community’s sake.

It was the initiative’s goal to foster a deep sense of community among glitch artists (especially those connected to the Facebook group Glitch Artists Collective) by creating a platform for series of events, publications, educational activities and social interactions in real life.

The initiative began with the exhibition in Kraków. It presented emerging and established artists from all over the world. The exhibit was hosted by Teatr Barakah in Krakow, Poland and ran from September until mid-October. It featured a day of workshops ran by Aleksandra Pieńkosz and Tomasz Sulej – author of many glitch tools used by the whole community. An exhibition book, edited by Pienkosz and published by Hub Wydawniczy Rozdzielczość Chleba, features artists from the first exhibition as well as discourse on glitch art, and was released in December 2016.

Hosted by Gamut Gallery, the 2017 Minneapolis installment featured an exhibition of more than 90 artists from around the world; a three-day weekend of Glitch Art workshops; and a “Noise Night” exhibit finale with performances curated by Alex Kmett.

Although Glitch Art’s roots go back into the 20th century, it’s a nascent artistic movement with a far flung, but significantly sized community centered around the Glitch Artists Collective with a Facebook following of more than 52,000 people (early 2019). Over 300 individuals from places as far from one another as Minneapolis, Hong Kong, Vienna, São Paulo and Warsaw, submitted in excess of 2,000 works to the open call. From these submissions, 41 still image artists and 12 video artists were selected to have their work featured.

It is the initiative’s goal to foster a deep sense of community by bringing these digital denizens into the real world. The Glitch Art is Dead: Minneapolis exhibition aimed to deny its title, introducing the viewer to a wide spectrum of artwork that shows the vitality of the medium.