Employing spoken and subtitled dialogue that evokes the romance and existentialism in philosophical literature, Lu is known for her varied, multimedia practice, which articulates the subject of a contemporary, fragmented identity. She uses text, photography, sculpture, and video to explore the complex layers of what is lost in the era of digital communication.
The video Palmist (2015) focuses on three different, simultaneous narrations: sign language, French voiceover, and English subtitles, reflecting upon representation, immanence, and narcissism. The artist describes the overlapping found imagery as “a tragedy of love, intimacy, incoherence, and leaves.” Through this combination of immateriality and physical presence, the video parodies internal monologue and its removal from traditional celluloid as a film medium.
Cole Lu received her MFA from the Sam Fox School of Design and Visual Art at Washington University in St. Louis. She received her bachelor's degree in linguistics from Ming Chuan University (Taipei, Taiwan) and associate's degree in Japanese from Jinwen University (Taipei, Taiwan).
Throughout her career, Lu has worked simultaneously as artist and curator. Her work has been included in exhibitions throughout US, UK, Brazil, Mexico and Taiwan. Including Contemporary Art Museum St. Louis (CAM); Pulitzer Arts Foundation- St. Louis, MO; Urban Institute for Contemporary Arts (UICA)- Grand Rapids, MI; Yale University Art Gallery- New Haven, CT; CENTRAL BOOKING ART SPACE- New York, NY; Museo De Arte De Zapopan- Jalisco, Mexico; Mildred Lane Kemper Art Museum- St. Louis, MO, and 2nd annual New Digital Art Biennale- The Wrong (Again). Her artist book “Smells Like Content” (Endless Edition, NY) is in the collection of MoMA The Museum of Modern Art Library.
She is the Assistant Director at the 501(c)(3) nonprofit arts forum fort gondo compound for the arts; and Media Director of the experimental public exhibition platform The Transversal Project. She lives and works in St. Louis, MO, USA.
So Were You is a short handmade animation depicting a whimsical yet disturbing reaction to my frustration with contemporary politics. Hand drawn imagery combined with cell animation, is accompanied by a decidedly amateurish musical composition, giving the work a down-home DIY aesthetic.
A List. Thoughts is a work made around the time of the general election. It asks questions about the hierarchy within the political sphere though humour and the contradictions of logic through drawing. What is it like to be a final year art student leaving a BA fine art course with seemingly little job factors on the horizon. The reality is a job in Lidl. I think Cameron should read Wittgenstein. The arts is such a huge factor in British culture that oppressing the up and coming young British artists due to increasing tuition fees in replace for the wealthier international business students is steering our country into an abyss of Tesco employees and commercial producing art with the emphasis now not on making art but selling sellable art. I think capitalism and abstract painting share the cohesion of being rather interesting and cool but like beneath that top layer of expressive curiosities it becomes pretty hard to explain, if at all.
My work and ideas are an observation, occupying ideas of logic within contemporary culture; capitalism, the institution and freewill within an abstract sphere of information, cut and paste and notification. My work undermines and intends to intervene toying with the possibilities of what art is what it has been and what it could be. I like the idea of what could happen and where it could go. Studio in my pocket, scraps of paper and bus ticket scribblings behind glass. An intervention. Undermining and re-re-tweeting #Culture.
Who are we and why we were created?
Created to wait for something, for what?
On what to rely when all around us waiting.
We wait for it to pass. Maybe something happens?
We are delayed!
Miloš Vučićević is currently working on his Master Degree at the Academy of Fine Arts in Trebinje,Bosnia & Herzegovina.
He is one of the founders and chief representative of an association of Artists RAKURS, Serbia and a member of the art group RIZBA (BiH).
My practice revolves around ideas involving object oriented ontology or an invested equalised interest in all objects: in particular, I speak of and to the banal, the everyday, the alien things that exist in both domestic and public settings, interior and exterior, macro and micro. I experiment with illusion, simulation, reproduction in constructing 2D/3D virtual realities that echo the real and am strongly influenced by science fiction and speculative realist-based writings. The viral potential of self-aware contemporary mythologies, the integration of science and technology within art and their resulting ethical questions, and cultural trends in online communities are all recurring metamodernist themes I investigate within my own, constantly evolving myth.
The resulting installation-based works I make are often rhizomatic and unpredictable in nature: they consist of a variety of mediums and techniques, from wood-based large structures that house immersive spaces to sound reactive sculptures to videos that utilise digital voices and pan through architectural environments. I am interested in creating an ontography, or a geography of objects that speak and connect to one another, both separate yet intricately linked. I am not looking to dissolve the voice of the author but to bring it back as the voice of the undead – the reproduced, the digital, the twice removed.
My work is best described as a caricature, or a metaphor. It is the yearning of and the oscillation between things, people and objects that I find critically important: the grey slippages in between _______, _______. The interactive position of the viewer/audience is, therefore, also critically important to the understanding of my work. The absence of organic matter or presence (aside from a digitized, subjective voice) in my constructed environments speaks not of a lack of persona but rather presents a space in which the viewer might steer and map the course of their own ontography.