Andrea Steves
artist / curator / producer / organizer

Collaborations
  1. Museum of Capitalism
  2. FICTILIS
  3. RADIO GRAVEYARD ORBIT (w/Laressa Dickey)
  4. with Steffi Sembner
  5. Half-Life Collective
  6. Center for Hydrosocial Studies
  7. Double Vision in Maine / California

News + Publications
  1. Art After the Future (with James McAnally)
  2. Museum of Capitalism Second Edition Publication (Inventory Press)
  3. Looking for Justice Downwind of Trinity (with Gem Romuld)
  4. “In Pursuit of A Dream Museum” -- Museum of Capitalism and Paul Farber for Monument Lab
  5. What Is The Speculative? Sublevel Magazine
  6. Curating "Outside" of the Institution (Exhibitions on the Cusp)

About

Recent
-In residence at The Luminary, St. Louis

-Museum of Capitalism: Archive of the Present in Vienna
-In Residence @ Hewnoaks Artist Colony, Maine
-Bergen Assembly, sound design/composition in support of Dickey / Gharavi
-Museum of Capitalism at The New School
-The End of Everything, panel discussion at Pioneer Works, Brooklyn
-Technology After Capitalism at SFMOMA with Finn Brunton, Kim Stanley Robinson, Caitlin Zaloom, and Xiaowei Wang
-Tutor, The Whole Life: Archives and Reality, Dresden
-In residence at Skálar, Experimental Sound Art Residency,
Seyðisfjörður, East Iceland, with Sam Hertz
-Museum Interventions @ 516Arts, Albuquerque









 
Mark

Listening Score


Developed while in residence at Skálar, Experimental Sound Art Residency, Seyðisfjörður, East Iceland, with Sam Hertz

“Imagine you are sitting in the empty space left behind by a glacier (you very well may be). Imagine, as you face the water, the slow curve of the fjords walling you in, with a slight uphill climb behind you. Imagine the volume of this space. Use this ‘container’ to bound your listening. Consider the expanse of this space.”




Published in the Center for Sustainable Practices in the Arts Issue Q27: LEGIBILITY
March 25, 2020
“An opening up of and gathering of discourse around the concept of legibility. Who and what can be read and defined? And how easily? What should be made visible and accessible, determinate, and what should remain in the registers of ambiguity and contingent understanding?
Reaching for Jack Halberstam’s use of the term legibility in “The Queer Art of Failure,” and placing it next to technology and the rendering of the climate as legible to better predict and understand its behavior, bodies and genders resist the legibility of being easily defined and determinate to governing bodies and power, while we are scrambling for more clear legibility of our environments, positioning the body in contention with the atmosphere it’s amidst. Contributions to the journal will be suspended between these two ideas, questioning the foundations on which we perceive the legible, and who it benefits. ISSUE TAKEOVER by Calvin Rocchio.”

Mark