Juliette Bonneviot, Mitchell #2, 2010. Oil on Canvas. 16 x 24 cm.
French artist Juliette Bonneviot paints surreal outer space-scapes, which Olson explains tend towards the trope of "mimicry."
Kristin Lucas, still from Air on the Go, 2015. Video. Installation: 70 x 20 x 5 cm.
In this video, American artist Kristin Lucas films herself with a small camera on a selfie stick while wandering around an anonymous suburban neighborhood, invoking the oft-explored idea of suburban anxiety. As she speaks, though, she hints that change imminent. This, Olson argues, draws on the trope of "evolution and change."
Jeanette Hayes, DeMooning Transformation 1, 2014. Oil on vinyl. 46 x 71 cm.
New York-based Jeanette Hayes created a series of oil paintings titled "De Mooning": these superimpose the anime character Sailor Moon over Willem De Kooning's "Woman" pieces. Fitting in with the "mythology" trope for their reliance on stories behind Sailor Moon and De Kooning, the effect is humorous and evokes the strange juxtapositions one experiences from browsing the internet.
Brenna Murphy, nanostrand-ceremony, 2013. Archival pigment print mounted on dibond. 150 x 100 cm.
Portland-based Brenna Murphy's pigment prints also fall under the "mythology" trope for their blending of East and West cultural motifs, or as Olson phrases it, "Southest Asian design aesthetics meets Portland yoga clubs."
Katja Novitskova, Shapeshifter 12, 2013. Broken silicon wafers, apoxy clay, nail polish, appropriated acrylic case, and appropriated wooden capital. 25 x 37 x 13 cm.
In the trope of "prediction, invention and novelty," sculptural pieces by Estonian-born Katja Novitskova like this one could be props in science fiction stories.
Saya Woolfalk, still from ChimaTEK: Hybridisation Machine, 2013. Video.
Japanese-born, New York-based Saya Woolfalk created a narrative animation that tells the story of human/plant creatures in a timeless and placeless utopia. These embody the trope of "fantasy and cyborgs," Olson writes.
Katie Torn, Breathe Deep, 2014. Single channel animation.
Also grouped under "fantasy and cyborgs," this animation by New Yorker Katie Torn seems to depict a bizarre, futuristic porno in a child's dream dollhouse.
Caroline Delieutraz, Embedded files, 2014. Blocks of paraffin, desk (glass, trestles), lights. 80 x 70 x 80 cm.
Exploring the trope of "communication and transmission," French artist Caroline Delieutraz eveloped printouts of undated internet images, USBs, CDs, and more in paraffin wax, signaling th obsolescence of digital information.
Julieta Aranda, There Has been a Miscalculation (flattened ammunition) (photo #1), 2007. Giclee print. 70 x 60 cm.
Hypnotic as it is inscrutable while in action, this piece by Julieta Aranda is an empty plexiglass vitrine containing remnants of older science fiction books that predicted the future incorrectly. Their sentence is obliteration by a small hidden machine that periodically sends an explosive pulse through the container.
Aleksandra Domanovic, Untitled (Makoto Hela), 2014. Stack of A4 paper and plastic (approximately 8,000 pages), inkjet print. 90 x 21 x 29.7 cm.
Berlin-based artist Aleksandra Domanovic printed out 8,000 sheets of paper right before the opening of the exhibition to create this sculpture. Olson categorizes it in the "frontier" trope, both for the topographic appearance of the paper and the information hidden between the pages.