Kari Altmann


Xomia (Return Home, Realflow, All Terrain)


27th March - 2nd May 2015

How do you remain elegant about survival?

Reduce it down to skeletal movements

Make it more ergonomic

Customize, decorate to fit

Stretch, flex, and Xtend

Show up fresh, stay fluid
It works in liquid impressions

XEVIA AND AQUAHYDRATE COMBINE TO FORM AQUEVIA XHYDRATIA

Head toward the horizon together

Grip the ground with TalonFlux

The best of soft-shell and hard-shell

Orca Killer Compression Core

Second-Skin

Stimulastine

The Ability to Detach and Reattach

Your friend Ssaleikha just posted a new photo on Zorpia!

In a closed but very powerful ecosystem

Not just a network, it’s an attitude

Also comes in clay, clear, blue, white, iridescent

Until everything is a mandala

everything is a compass

everything is a virus

everything is a sun

It’s a big world, go run it

————-

Ellis King is delighted to present Kari Altmann’s first solo exhibition in Europe entitled Xomia (Return Home, Realflow, All Terrain).

To start, you doubt whether Kari Altmann is a real person.

But at what point do you declare a word is a real word?

Discovering her work online many years ago, I became immersed in a series of viral Tumblrs, hashtags, content flows, music videos, Soundcloud accounts, title tags and hyper-adept art gallery documentation, tied together by a constantly evolving and carefully edited website. The avatar was a structure, never reducible to a single image.

Each gesture is an illustration of a practice;

Each word a screenshot of a language.

Many artists use their websites as project archives, hers performs as a portal to live, daily updated flows which she carves through different strata of cultural materials, many of which she also produces herself.

(Meta=micro. Works=workflows, and vice versa.)

I hesitate at this text’s opening as I write it, having just spent an afternoon chatting with her next to her open laptop by a canal in northeast London. But I recognise it as a gesture of awe + quiet gratitude towards the cultivation of an extensive art practice, through cell culture to cell phone culture, through intimate imaging structures to structures at large. There’s a connection and a difference between something on a meta level and something printed out in front of you, and this is what her exhibitions capture. Practices are legitimized as new formats. Textures, turns, terrains become all.

Your friend Ssaleikha just posted a new photo on Zorpia!

Where were you when you returned home?

Harry Burke

————

Kari Altmann (b. 1983) is a nomadic, swarm-based American artist with current headquarters in New York and Amsterdam. Focused on the tropes of today’s survival fantasy aesthetics, identity mutation, mistranslation and aggregation, branding and class tactics, and “sharing culture”, she works across disciplines to create new blackmarket microgenres of persona and content. These series primarily connect through exposed networks of memes, tags, friend groups, conceptual and material motifs, cultural proximity, and social media accounts.

Recent projects include, Soft Mobility Abstracts, for the New Museum, New York; a commissioned video for Extinction Marathon at Serpentine Gallery, London; and a group exhibition entitled Art Post Internet at Ullens Center, Beijing. She has also undertaken projects for and with Art Dubai, The Goethe Institute, Fade to Mind, Mixpak, Dis Magazine, Nero Magazine, to name but a few. Her work has been featured by The Fader, Dazed Magazine, and Art in America, and receives consistent critical acclaim. Upcoming presentations in 2015 include her participation in the Biennial of the Americas, Denver, and group exhibitions at Yarat Contemporary Art Space, Baku, Artists Space, New York, and Ellis King, Dublin. In 2014 she was awarded an inaugural Prix Net Art by Rhizome and TASML Beijing.