Frieze Los Angeles 2024: Booth C6

Feb 29 - Mar 3, 2024
  • For Frieze Los Angeles 2024, Altman Siegel presents works from artists on the gallery’s roster, specifically highlighting the practices of Trevor Paglen, Lynn Hershman Leeson, and Simon Denny, leading figures in the field in terms of their relationship with technology.
     
    With this grouping, Altman Siegel exhibits artistic responses that explore how one’s environment can both be constructed and erased, often through one’s relationship to economic and technological mechanisms. From Hershman Leeson’s Synthia Stock Ticker, which reiterates the influence of external market activity on one’s sense of self, to Paglen’s examination of the geography and aesthetics of our surveillance state, and Denny’s analysis of digital land ownership, the work in this presentation investigates the fraught boundaries between our environment, the state, and technology.
  • 'Part of the 'digital realities' that are continually evolving on the internet are conventions that migrate from more analogue –...

    "Part of the 'digital realities' that are continually evolving on the internet are conventions that migrate from more analogue – but maybe no less virtual – systems. My series of landscape paintings depict title deeds, sections of maps that are for sale in blockchain-indexed digital worlds. As abstracted as any terrestrial land plot, these depictions are tied to digital ownership tracking tokens, and underline the importance of province over the territorial assets in a format even more automated and efficient than our current ownership paradigm. Like landscape paintings of the past, my paintings import aesthetic languages that connect the future of speculation with the past."

     

    – Simon Denny
  • 'We’re living in a world where most images are made by machines for other machines. For the past decade, I’ve...

    "We’re living in a world where most images are made by machines for other machines. For the past decade, I’ve been building tools that allow me to 'see' through the eyes of various computer vision and machine learning algorithms. I want to understand what kinds of formal and conceptual abstractions machines make when they see the world and how those abstractions are different from the ones we perceive as humans. All of my 'machine vision' works represent a collision between the squishy and malleable forms of human perception and the rigid and formalized logics of the machines we build to make sense of the world on our behalf."

     

    – Trevor Paglen
  • “Eternally Yours (2023) is a piece I completed this year, but the themes relate to ideas of the past four...
    “Eternally Yours (2023) is a piece I completed this year, but the themes relate to ideas of the past four decades. It is an anti-aging vaccine derived from a recent installation, The Infinity Engine, which was about the ramifications of programming DNA, CRISPR, and genetic information.
     
    When I researched scientists that I had previously interviewed for The Infinity Engine, I was amazed that all of them were doing work that dealt with anti-aging. It was not possible to replace cells before a few years ago.  Many scientists now say that ‘aging’ is a disease to be cured. 
     
    CRISPR allows the gene editing of living organisms. With CRISPR we can reverse-engineer cells. It was originally invented to help children who were having problems with various parts of their body and to be able to bio-print organs rather than having them go through life with a series of constant operations.  
     
    In the United States and Europe, experiments with aging can not be done on humans, though they have been able to experiment on rats. However, I was able to work with the same scientist from Switzerland, Dr. Thomas Huber, whom I worked with on several projects including Room #8 and Twisted Gravity. He located a lab in China that was working with humans and we were able to order the anti-aging vaccine from them.
     
    So, I’m excited and pleased that we were able to create this project. I don’t know of anyone working this way or any place in the U.S. that created a serum for human anti-aging. This is really what the future is going to be about.”

     

    - Lynn Hershman Leeson
  • Press
  • Simon Denny’s work has been the subject of solo exhibitions at Altman Siegel, San Francisco, CA; Petzel, New York, NY; Dunkunsthalle, New York, NY;  Auckland Art Gallery, Auckland, NZ; Frans Masereel Centrum, Kasterlee, Belgium; Heidelberger Kunstverein, Heidelberg, Germany; Michael Lett, Auckland, New Zealand; Museum of Old and New Art, Hobart, Australia; Galerie Buchholz, Cologne, Germany; MOCA Cleveland, Cleveland, OH; Museum für Neue Kunst, Freiburg, Germany; Hammer Museum, Los Angeles, CA; Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand; Wiels Contemporary Art Centre, Brussels, Belgium; Serpentine Galleries, London, UK; MoMA PS1, New York, NY; Mumok, Vienna, Austria; Kunstverein Munich, Munich, Germany; and Aspen Art Museum, Aspen, CO. Group exhibitions include Espacio Fundación Telefónica, Madrid, Spain; Frankfurter Kunstverein, Frankfurt, Germany; HEK Basel, Basel, Switzerland; National Taiwan Museum of Fine Arts, Taichung City, Taiwan; The Modern Art Museum of Fort Worth, Fort Worth, TX; Kunsthalle Zurich, Zurich, Switzerland; Hamburger Kunsthalle, Hamburg, Germany; Kunsthal Charlottenborg, Copenhagen, Denmark; Zabludowicz Collection, London, England; MAXXI, Rome, Italy; Centre Pompidou, Paris, France; MUDAM, Luxembourg; Kunsthalle Basel, Basel, Switzerland; de Young Museum, San Francisco, CA; Mori Art Museum, Tokyo, Japan; Museum of Contemporary Art, Chicago, IL; Institute of Contemporary Art, Boston, MA; 12th Gwangju Biennale, South Korea; Guangzhou Museum of Art, Guangzhou, China; Museum of Modern Art, New York, NY; Hessel Museum, Annandale-on-Hudson, NY; Manifesta 11, Zurich, Switzerland; 55th and 56th Biennale di Venezia, Venice, Italy; Moderna Museet, Stockholm, Sweden; Institute of Contemporary Arts, London, UK; KW Institute for Contemporary Art, Berlin, Germany; CAPC, Bordeaux, France; and 16th Biennale of Sydney, Sydney, Australia.
  • Lynn Hershman Leeson’s work has been the subject of solo exhibitions at Momenta Biennale de l’image, Montreal Museum of Fine Arts, Montreal, Canada; TeTuhi, Auckland, New Zealand; Simian, Copenhagen, Denmark; Altman Siegel, San Francisco, CA; the New Museum, New York, NY; ZKM Center for Art and Media, Karlsruhe, Germany [Civic Radar retrospective]; House of Electronic Arts, Basel, Switzerland; Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; de Young Museum, San Francisco, CA; Palais de Tokyo, Paris, France; KW Institute for Contemporary Art, Berlin, Germany; Kunsthaus Graz, Graz, Austria; National Gallery of Canada, Ottawa, Canada; Cleveland Museum of Art, Cleveland, OH; bürobasel, Basel, Switzerland; Thoma Foundation, Santa Fe, New Mexico; Seattle Art Museum, Seattle, WA; and Modern Art Oxford, Oxford, UK. Group exhibitions include Espoo Museum of Modern Art, Espoo, Finland; Fotograf Festival, National Gallery Prague, Prague, Czech Republic; Francisco Carolinum Linz, Linz, Austria; Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; Kunstmuseum Solothurn, Solothurn, Switzerland; Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen, China; GAMeC Bergamo, Bergamo, Italy; the Whitworth, Manchester, UK; Centre d’Art Contemporain Genève, Geneva, Switzerland; Taipei Fine Arts Museum, Taipei City, Taiwan; The Modern Art Museum of Fort Worth, Fort Worth, TX; the 59th Biennale di Venezia, Venice, Italy; Institute of Contemporary Art, Los Angeles, CA; Kunsthaus Zürich, Zürich, Switzerland; 13th Gwangju Biennale, South Korea; Walker Art Center, Minneapolis, MN; Guggenheim Museum, Bilbao, Spain; Museum of Contemporary Art, Chicago, IL; Serpentine Galleries, London, UK; the Whitney Museum of American Art, New York, NY; Brooklyn Museum, Brooklyn, NY; Los Angeles County Museum of Art, Los Angeles, CA; Institute of Contemporary Art, Boston, MA; Fondation Louis Vuitton, Paris, France; Whitechapel Gallery, London, UK; Museum of Contemporary Art, Los Angeles, CA; Contemporary Arts Museum, Houston, TX; Tate Modern, London, UK; and MoMA PS1, New York, NY.
  • Trevor Paglen’s work has been the subject of solo exhibitions at Altman Siegel, San Francisco, CA; Matadero Madrid, Madrid, Spain; Neuer Berliner Kunstverein (n.b.k.), Berlin, Germany; Pace Gallery, Seoul, Korea and New York, NY; San Jose Museum of Art, San Jose, CA; Carnegie Museum of Art, Pittsburgh, PA; Fondazione Prada, Milan, Italy; Barbican Centre, London, UK; Smithsonian American Art Museum, Washington, D.C.; MCA San Diego, San Diego, CA; Museo Tamayo, Mexico City, Mexico; Tensta Konsthall, Spånga, Sweden; KW Institute for Contemporary Art, Berlin, Germany; Kunsthalle Winterthur, Winterthur, Switzerland; Nevada Museum of Art, Reno, NV; Frankfurter Kunstverein, Frankfurt, Germany; Eli & Edythe Broad Art Museum, East Lansing, MI; Secession, Vienna, Austria; Kunsthall Oslo, Oslo, Norway; and San Francisco Museum of Modern Art, San Francisco, CA. Group exhibitions include Louisiana Museum of Modern Art, Humlebæk, Denmark; 14th Shanghai Biennale, Power Station of Art, Shanghai, China; 14th Shanghai Biennale, Power Station of Art, Shanghai, China; Contemporary Art Museum, Kumamoto, Kumamoto, Japan; Mudam, Luxembourg; Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; Kunsthalle Mannheim, Mannheim, Germany; Frac Normandie Rouen, Sotteville-lès-Rouen, France; The Modern Art Museum of Fort Worth, Fort Worth, TX; GAMeC Bergamo, Bergamo, Italy; Espacio Fundación Telefónica, Madrid, Spain; Milwaulkee Art Museum, Milwaukee, MN; Museum der Moderne, Salzburg, Austria; Centre Pompidou, Paris, France; Astrup Fearnley Museet, Oslo, Norway; Sprengel Museum, Hannover, Germany; C/O, Berlin, Germany; Leopold Museum, Vienna, Austria; Cantor Arts Center, Stanford, CA; Kunsthalle Düsseldorf, Düsseldorf, Germany; Kunsthalle Basel, Basel, Switzerland; Contemporary Art Museum, St. Louis, MO; MCA Denver, Denver, CO; de Young Museum, San Francisco, CA; Queensland Gallery of Modern Art, Brisbane, Australia; MOCA Toronto, Toronto, Canada; Museum of Modern Art, New York, NY; Cleveland Art Museum, Cleveland, OH; MAXXI, Rome, Italy; the Gwangju Biennale, Korea; Contemporary Art Museum, Houston, TX; Manifesta 12, Palermo, Italy; Smart Museum, Chicago, IL; Museum of Contemporary Art, Chicago, IL; the Institute of Contemporary Art, Boston, MA; Museum of Fine Arts, Boston, MA; Mori Art Museum, Tokyo, Japan; Kunsthalle Wien, Vienna, Austria; Whitechapel Gallery, London, UK; Kemper Art Museum, St. Louis, MO; Walker Art Center, Minneapolis, MN; Metropolitan Museum of Art, New York, NY; and New Museum, New York, NY. Paglen received the Nam June Paik Art Center Prize in 2018 and was a recipient of a MacArthur Fellowship in 2017.
Back to exhibitions