Electronic Arts Intermix (EAI) is pleased to present a selection of works recently added to our distribution catalogue. The evening takes its title from one of Cory Arcangel’s Runners series videos: a screen recording of a live bot performance on Walmart’s Instagram feed, in which the bot systematically “likes” every post, undermining the genuineness of Walmart’s slogan, and the supposed engagement with its customers. Videos in this screening share an emphasis on human care, curiosity, and idiosyncrasy as artists utilize evolving tools and platforms to witness the multidirectional links between technology, labor, and interpersonal relationships.

In this array of short videos, artists contend with the larger topics of AI, “essential” work, labor economies, and the false naturalization of technological progress. Two videos from Zoe Beloff and Eric Muzzy’s @ Work series (2022), now installed as a mural at the Electrical Industry Training Center in Long Island City, will bookend the evening. Following an expanded definition of “essential worker,” Beloff and Muzzy conducted interviews throughout New York City reflecting on cultural economies of labor and the diverse, often overlooked, skillsets involved in her interviewee’s vocations. Sondra Perry’s phantom. menace. (2023) uses AI DALL-E animation software to play out a speculative interaction based on a version of Perry’s Newark studio, formerly a barbershop. Kit Fitzgerald’s Romance (1986) comprises vibrant, computer-generated video paintings live-edited and set to original music by Peter Gordon. Cory Arcangel’s Transitions (2007), A Couple Thousand Short Films about Glenn Gould (2007), and Making Your Life a Little Easier (2020) make use of popular digital-age forms such as the stock video transition, social media feed, and self-directed YouTube performances to contextualize the relationships between these tools, their users and audiences, and technological development at large. Finally, Kristin Lucas’ Inforeceptor (1994), shot on Hi-8 and Super-8, provides a playful yet ominous anticipation of the then-cresting World Wide Web.

Following the program, there will be an informal chat with artists Kit Fitzgerald, Zoe Beloff, and Michael Britto. An online, closed-captioned version of this program will be accessible for a limited time in March.

Electronic Arts Intermix (EAI)’s venue is located at 264 Canal Street, 3W, near several Canal Street subway stations. Our floor is accessible by elevator (63" × 60" car, 31" door) and stairway. Due to the age and other characteristics of the building, our bathrooms are not ADA-accessible, though several such bathrooms are located nearby. If you have questions about access, please contact cstrange@eai.org in advance of the event.

If you are experiencing a fever, cough, shortness of breath, loss of taste or smell, or other symptoms that could be related to COVID-19, we ask that you please stay home.

Image: Sondra Perry, phantom. menace. (2023). A warped, AI-generated closeup of two Black men shaking hands, shrouded in green light against an abstract blue background.

EAI is pleased to announce its first-ever Benefit Art Auction, to be held on Thursday, April 19. This special event will raise essential funding towards our mission of preserving and providing access to media art’s rich legacies, while fostering powerful new voices.

silent auction hosted by P·P·O·W
535 West 22nd Street, 6th floor, New York, NY

cocktail reception & screenings at EAI
535 West 22nd Street, 5th floor, New York, NY

online bidding available on Artsy

Sound Stage was a special Saturday afternoon screening program featuring artists' videos that are driven by music performance. Sound Stage was presented as part of Chelsea Sound: A Not-For-Profit Festival of Artists in Sound, organized jointly by Printed Matter Inc., Eyebeam Art + Technology Center, Electronic Arts Intermix and Family Business. Taking place in Chelsea's Gallery District on Saturday, October 27th, the collaboratively produced festival included a series of performances, sound installations, and video screenings throughout the day across four venues.

Featuring works from the last four decades by a diverse group of artists, Sound Stage presented a program of videos that foreground musical performance. The screening embraced artists' documentation of music performances, artists' performances that incorporate live music, and works created for the camera and screen in which musicians take center stage.

EAI is proud to present Raymond Pettibon's Sir Drone (1989, 55:37 min), featuring Mike Kelley, at Migrating Forms. Shot in two days on home-video equipment, with dialogue read off cue cards, Sir Drone is part of a series of feature-length, low-tech video narratives that Pettibon made in the late 1980s focused on West Coast American radical subjects of the 1960s and 1970s. In Sir Drone, Mike Kelley and musician Mike Watt (of the legendary hardcore band Minutemen) play two teenage punks trying to start a band in the 1970s. They struggle to create the right image for themselves and their band, debating bands' names, the distinctions of punk and hippie music, and strategies to avoid being "rinky dink." Writing about Sir Drone, Mike Kelley stated, "Despite their crudeness, Raymond's tapes are strangely moving: he is a brilliant script writer."



Sir Drone will be accompanied by two lo-fi works involving teenagers and music by Cory Arcangel: Insectiside (1992-03, 7:29 min) and Message my Brother Justin Left Me on my Cell from the Slayer Concert Last Week (2004, 2:27 min).

In a rare New York speaking appearance, JODI (Joan Heemskerk and Dirk Paesmans) took part in a presentation and conversation with independent curator Michael Connor and computer programmer, composer, and artist Cory Arcangel. JODI are pioneers of Web-based art who have been called the monkey wrench in the works of the digital revolution. At EAI, they presented a selection of their digital interventions, including videos, custom software, hacked video games, and Internet-based works.

EAI participated in The NY Art Book Fair at MoMA PS1, organized by Printed Matter. EAI's project space, installed in MoMA PS1's basement vault, featured STAGED DIRECTIONS, a special ongoing program of early and recent videos by artists, including rarely seen works drawn from EAI's extensive archive. STAGED DIRECTIONS featured conceptual videos that involve rules, instructions, or tasks, incorporating the script or the instruction manual into the action and placing the artist's directions on stage and in front of the camera. The screening program included works by Vito Acconci, Cory Arcangel, John Baldessari, Lynda Benglis, Dara Birnbaum, VALIE EXPORT, Nancy Holt and Robert Smithson, Joan Jonas, Mike Kelley, Kristin Lucas, Kalup Linzy, Shana Moulton, Bruce Nauman, Dennis Oppenheim, Seth Price, Anthony Ramos, Martha Rosler, Carolee Schneemann, Stuart Sherman and Lawrence Weiner, among others.

The re-edit and the remix have become increasingly important strategies for artists working with appropriated moving images. In the era of YouTube and affordable, user-friendly video editing software, a minimalist approach to reworking appropriated material has emerged. What is the most economical way to make something new from something old?

Eschewing collage, the artists in this program choose to make works by refashioning a single piece of found video or film, such as a Hollywood action movie, a '70s sitcom, or a low-resolution video clip. Though recalling Internet fan edits and exercises encountered in film school editing classes, these remixes and re-edits by artists are driven by conceptual or formal investigations. Employing an economy of means, these artists create new forms of cultural critique and media intervention.

Contemporary music drives the visuals of these recent and historical videos. Pop, heavy metal, experimental, house, hip-hop, and ambient sounds mix in this series of performance, found-footage, abstract, and animated videos. Videophonic includes works by Steina Vasulka, Gusztav Hámos, Cory Arcangel, Forcefield, Takeshi Murata, and Paper Rad.

EAI's program of alternative music-videos and music-based video by artists traveled to Art Basel Miami Beach. Screened at Art Positions' Open Air Cinema, the program included videos by Cory Arcangel, Charles Atlas, Michael Bell-Smith, Johanna Billing, Dara Birnbaum, Meredith Danluck, Devin Flynn, Shana Moulton, Tony Oursler with Sonic Youth, Ara Peterson, Seth Price, and William Wegman.

This special open-air video screening on the Hudson River at Pier 63 Maritime included alternative music-videos and music-based video by artists. The artists in the program included Cory Arcangel, Charles Atlas, Michael Bell-Smith, Johanna Billing, Dara Birnbaum, Meredith Danluck, Devin Flynn, Shana Moulton, Tony Oursler with Sonic Youth, Ara Peterson, Seth Price, and William Wegman.

Rhizome.org and EAI presented a panel which discussed current developments in Internet art in light of larger cultural and technological shifts. Panelists included artists Cory Arcangel, Michael Bell-Smith, Marisa Olson, and Wolfgang Staehle and curators Caitlin Jones and Michael Connor.

Cory Arcangel assembled a program of his works for this special screening at Monkeytown. The artist was present to guide the audience through the program.

EAI presented nightly screenings of new video from the EAI collection by emerging and established artists. Works by Cory Arcangel, Bernadette Corporation, Dan Graham, Joan Jonas, Shana Moulton, Takeshi Murata, Paper Rad, Seth Price, and Lawrence Weiner were shown.

EAI participated in LOOP :THE VIDEO ART FAIR '05, featuring works by artists including Cory Arcangel, Bernadette Corporation, Shana Moulton, Takeshi Murata, Paper Rad, and Radical Software Group (RSG). EAI also took part in the discussion: Best Practices for the Trade of Video Art. This panel examined key issues relating to the presentation, sale, and preservation of video art, and highlighted best practices.

Electronic Arts Intermix was a participant in The Armory Show: The International Fair of New Art 2005. EAI featured new video and digital works by emerging and established contemporary artists, including Cory Arcangel, JODI, Paper Rad, and Lawrence Weiner. EAI also previewed a new initiative featuring emerging artists, including Bernadette Corporation, Shana Moulton, Takeshi Murata, and Seth Price.

EAI was represented as a featured video art institution at the second edition of LOOP, the world's premiere video art fair, held annually in Barcelona, Spain. EAI presented new single-channel video and interactive media by artists who expand definitions of "video art," including Cory Arcangel and Kristin Lucas as well as vital yet rarely screened historical works by artists such as Theresa Hak Kyung Cha and Juan Downey. LOOP '04 was held from November 18 to 21, 2004 at the Barceló Hotel Sants, located at the central railway station Barcelona-Sants (RENFE).

EAI presented a special event that celebrated new interactive media and video works: open source Web art, hacked video games, restaged and reworked films, girl-band music videos, and underground legends of the downtown music and art scenes. This event was also the official launch of Tux Dog, artist collective Paper Rad's new open source Web project, which is hosted by EAI. Cory Arcangel and members of Paper Rad were present to introduce and demonstrate this new project. In addition to the Web launch, EAI presented a program of new and newly released video projects by multimedia, multigenerational artists, including Cory Arcangel, Cheryl Donegan, Ken Jacobs, Kristin Lucas, Tony Oursler, Pipilotti Rist and Stan VanDerBeek

EAI presented a live performance event and video screening featuring three new art collectives who re-activate the lo-fi. Cory Arcangel and Alex Galloway from Beige and Radical Software Group demonstrated the subversive genre of video game hacking. Video work by Forcefield and a live music performance from Termination Gnome galvanized obsolete analogue signal-processors and defunct electronics. With psychedelic ebullience, Paper Rad synthesized and re-staged popular material from the Internet, television, video games, and advertising. An analogous era of analogue synthesis was bridged by rarely screened video from technical pioneers of the 1960s and 70s.