Cory Arcangel's Official Portfolio Website and Portal

Posted on: January 6, 2017

Asymmetrical Response @ the Kitchen

​Olia Lialina’s & I’s show travels to the Kitchen! New install. New works. (x3) the SIZE. OMG. wink Jan 11—Feb 18, 2017 opening, Wednesday 11th 6-8pm. TXT:

In military parlance, the terms asymmetrical and symmetrical are employed to refer to political provocations and diplomatic démarches, escalation and tension, and power dynamics of the highest order. Not specific to war, these terms also refer more generally to a set of relations that define our connections to power.

On the eve of Y2K, Russian­-born Olia Lialina—who is among the best-known participants in the 1990s scene—first met American artist Cory Arcangel. Ever since, the artists have been deep in dialogue about the social and cultural impact of the Internet’s historical shift from a tool for military communication to an “information superhighway” promising open and equal exchange, and, finally, the increasingly asymmetric “content delivery system” we experience today. In this first collaboration, Arcangel and Lialina present complex bodies of work that arose through their continuing conversation. Curated by Caitlin Jones for Western Front, Vancouver; organized by Tim Griffin and Lumi Tan for The Kitchen.

Posted on: October 30, 2016

So shines a good deed in a weary world

So pleased that tonight(!!!!!) is the US premiere of my 2014 longform documentary (and one of my proudest thingz made this 2010’s), So shines a good deed in a weary world. It’s part of an Anthology Film archives series called, “THE MEDIUM IS THE MASSACRE”, and is screening along with Gabriadze’s UNFRIENDED. Says anthology here:


A special double feature encompassing the U.S. premiere of recent work by artist Cory Arcangel and one of the most innovative horror films of the last decade. (Arcangel screens first followed by UNFRIENDED, without intermission.)

Cory Arcangel
2014, 93 min, digital
Named after a line from WILLY WONKA AND THE CHOCOLATE FACTORY – whose star Peter Ostrum turns up on a video on the Dunkin’ Donuts YouTube channel handing out free coupons to DC metro riders – this is a deadpan anthropological exploration of the Dunkin’ Donuts digital marketing apparatus in the form of a feature-length screen capture desktop documentary. Moving with structural precision through Dunkin’ Donuts’s website, YouTube channel, Vine, and Twitter, SO SHINES is a kind of DIY archival project documenting the ephemeral promotional literature that corporations are so quick to expunge, and also a wry and frequently hilarious commentary on how 21st century marketing leverages manifold new platforms, genres, consumers, and pseudo-celebrities to make its pitch. Highlights include an awkward promotional interview with Patriots tight end Rob Gronkowski and a stomach churning Google Hangout-hosted #DDTOPCHEF cooking contest, in which aspiring chefs compete to make the tastiest (and most bizarre) Dunkin’-inspired recipes like “Desert Nachos” (“Donuts are my favorite food, nachos are my other favorite food… How can you go wrong?”) As Arcangel writes, “SOOOOOOOO DARK!” Terrifying indeed.

Levan Gabriadze
2014, 83 min, 35mm
Created entirely from a seemingly unedited desktop capture, UNFRIENDED is an innovative pop horror film about a group of friends connected via Skype, Facebook, and iChat while seemingly harassed by the malevolent digital presence of their deceased friend, formerly the popular but deeply disliked queen bee of her class. Her suicide, captured on Live Leak, followed an anonymous YouTube upload of embarrassing footage. As the five friends are held hostage by the invasive digital presence, questions of culpability and loyalty drive a wedge between them amid sadistic psychological games – and gruesome deaths. UNFRIENDED gets major likes for the authenticity of its digital environment and the keenly observed minutiae of communication (the fits, starts, and deletions, the glitchy buffering, and the anxious anticipation of seeing “Laura is typing…”). Few films so effectively, gleefully, and unpretentiously convey the concerns of so much “post-internet” art – and if things couldn’t get stranger, the director is none other than Georgian Levan Gabriadze, the fiddle player in 1986 Soviet sci-fi cult classic KIN-DZA-DZA!

Posted on: October 10, 2016

Files @ Badlands

​Sooooooo pumped 2 be a part of the Badlands “Files’ series. In short, Bandlands is publishing “files”, not artworks, not writing, but files. Out of my 750,000 currently littering my RAID, I have published a small TXT file from never finished project of mine from 2006 ... so peep the site for more info. Also def wroth it r the other projects by Paul Chan & Martine Syms. YAS!

Posted on: September 14, 2016

Arcangel Surfware at NYABF 2016

Nu book, nu gear, peep PR below, c u there!———>

Arcangel Surfware at NYABF 2016

MoMA PS1, 22-25 Jackson Avenue on 46th Avenue, Long Island City, NY
Reading and Signing: Saturday, September 17, 1–2pm

Preview: Thursday, September 15, 6–9pm
September 16–18, 2016

Arcangel Surfware is pleased to announce our participation in the New York Art Book Fair at MoMA PS1 this weekend, where we’re premiering a new “FUCK NEGATIVITY” line and a new book, both **exclusively** available only at the Book Fair!

“FUCK NEGATIVITY”, the theme and title of our 2015 and 2016 collections, is inspired by Arcangel’s iconic 2014 sculptural work, Going Negative / Lakes. The work—part of the artist’s “Lake” series—is a sculpture consisting of a flat-screen television turned on its side displaying the phrase “FUCK NEGATIVITY”. The phrase has been mirrored by the Java applet “lake,” which creates a shimmering, seemingly liquid reflection along a horizontal axis.

Whereas our 2015 inspiration sat somewhere between suburban mall goth and self-help, the 2016 “FUCK NEGATIVITY” collection is an inverse of last year’s, with a focus on freshness. The collection, displayed within a new installation of Cory Arcangel’s Dump Bin series, as seen at Art Basel Miami, Team Gallery, 2016, includes our newest take on our signature slides, sweats, hoodies, and tees. Get yours before they sell out!

Also, hot off the press is The Source Digest, a paperback collection of Issues #1–10 of The Source (2006–), an ongoing archival zine project1 of annotated computer source code from Cory Arcangel’s software-based works from the past 15 years. The 172 page book—designed by Gil Gentile—features black foil stamp on uncoated stock—sick! While Issues #1–8 will be individually available, The Source Digest includes the two newest issues which are currently only available in this book!

To celebrate its release, Cory Arcangel will read from The Source Digest on Saturday, September 17 from 1–2pm in The Classroom, followed by a book signing. Come meet the author!

You can read more about The Source + the larger story of software preservation in a brilliant essay by Dragan Espenscheid, “The Storage Is You” formatted in a rich text document for easy de-coding!

——> available here.

Designed by Cory Arcangel in partnership with Bravado, the global music merchandising company, Arcangel Surfware, is a publishing and merchandise imprint aimed toward content creators of all ages.

Hope to c u there!


Preview Thursday, September 15, 6-9 pm
Friday, September 16, 1-7pm
Saturday, September 17, 11am-9pm
Sunday, September 18, 11-am-7pm

1. All zines are produced with 300-year archival inks and papers. ✔

Posted on: August 19, 2016

Asymmetrical Response @ Western Front

Since their first meeting on the eve of Y2K, Stuttgart-based, Russian-born Olia Lialina and the American Cory Arcangel have been influencing and responding to each other’s work and their digital environment through many means and formats. Collaborating for the first time, the work in Asymmetric Response takes as its subject how hardware and software correlate to power: personal, bureaucratic or algorithmic.

In January 2017, this exhibition will tour to The Kitchen in New York.

Posted on: May 13, 2016


​started a run of solo exhibitions in 2014. last show in that run is next week. currentmood @ Lisson Gallery. press release below. come thru! gonna be chaos. update 05/14: the soundtrack to the show (Native Instruments Massive white noise filtered and side chained to a sampled 909 kick via Ableton Live) is here.

A technological exploration of obsession and obsolescence underlies all the works in ‘currentmood’, Cory Arcangel’s second solo show at Lisson Gallery London. Reflecting the temporal nature of web-based culture and the American artist’s own transient interests, the new works in this exhibition present something like a ‘listicle’ image dump self-portrait of Arcangel (who often shares his browsing habits on social media via the hashtag #currentmood).

The exhibition takes place at Lisson Gallery London and extends online through an advertising campaign. IRL (Internet slang for “In Real Life”), at 27 Bell Street, new works are presented, created via a variety of media and drawn from a variety of sources, including scans of Ibiza flyers, tracksuits and magazines; default Photoshop image effects; commercial and cell phone photography; low-res screen captures, as well as emulations and re-prints of earlier works by the artist. Encountered within the forum of the exhibition, these are each given equal billing and size despite their varying subject matters and the relative renown of their production methods within the artist’s oeuvre.

Online, the artist will run a series of ads for the show which will appear dispersed across the Internet as ‘promoted content’. In this context, ‘currentmood’ takes the equanimity of Internet culture as its template, embracing the radical disjunctions, open sensibility and non-hierarchical stance in its advances. Arcangel is concerned with the democratization of his own art: by exhibiting the same image both IRL in a white cube and online as ‘click bait’; in the leveling of cultural value, despite variance of image quality; and in his adherence to open source culture (evidenced especially in work titles that double as instructions to make them oneself).

Arcangel’s innumerable ideas and projects spin from the duality of technological evolution: its dazzling opportunities and fast oblivion to the scrap heap. In hijacking popular software or web technology – such as the Java applet ‘lake’ that was much used at the end of the last millennium – Arcangel is attentive to collective memories, celebrating their outmoded aesthetics while interrogating their cultural moment. Kitsch, tacky or banal graphics and images are wryly incorporated into a dialogue that incorporates art history, literature and music. “I’m not taking sides with almost anything,” Arcangel has said. “For me, to see how these things change is my interest.” ¯\_(ツ)_/¯