Ceci Moss
Since 2005
Works in Oakland, California United States of America

Ceci Moss is the Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco and an Adjunct Professor at San Francisco Art Institute. She is responsible for coordinating several exhibitions (both solo and group shows) each year, special projects, public art commissions, and public programs for YBCA. Highlights include solo exhibitions by Jacqueline Kiyomi Gordon, Lucy Raven, Nate Boyce, Shana Moulton, and Brenna Murphy, a large scale public art installation by Kota Ezawa in YBCA’s sculpture court, and YBCA’s signature triennial Bay Area Now 7 co-curated with Betti-Sue Hertz. She also co-curated with Astria Suparak the exhibit Alien She that examines the lasting influence of the punk feminist movement Riot Grrrl on contemporary artists, and toured to five venues nationwide.

She has a MA and PhD in Comparative Literature from New York University, and a BA in History and Sociology from U.C. Berkeley. Her academic research addresses contemporary internet-based art practice and network culture. Her PhD dissertation "Expanded Internet Art and the Informational Milieu" examines the expansion of internet art beyond the screen in the 2000’s, especially towards sculpture and installation, as a product of what theorist Tiziana Terranova called an “informational milieu.” Combining art history and media theory through the analysis of case studies that range from internet art and social media in the 2000’s to Jean-François Lyotard’s groundbreaking new media exhibition at the Centre Pompidou in 1985 Les Immatériaux, her dissertation asks how the widespread technological capture of information affects cultural production, specifically contemporary art, and the kind of critical response it necessitates.

Her writing has appeared in Rhizome, Art in America, ArtAsiaPacific, Artforum, The Wire, Performa Magazine, New Media & Society and various art catalogs. Prior to her position at YBCA, she was the Senior Editor of the art and technology non-profit arts organization Rhizome, Special Projects Coordinator for the New Museum/Rhizome and an Adjunct Instructor at New York University in the Department of Comparative Literature. From 2000-2014, she programmed a radio show dedicated to experimental music, Radio Heart, on the independent radio stations KALX, East Village Radio and Radio Valencia.

January 2008 on -empyre- soft-skinned space: Stations, Sites and Volatile Landscapes

January 2008 on -empyre- soft-skinned space:

Stations, Sites and Volatile Landscapes


with Naeem Mohaiemen, Katherine Carl, Srdjan Jovanovic Weiss, Nat Muller and John Haber

In the wake of the post-war situationists, the seventies Moebius-strip concept of site/non-site initiated a dynamic of ironic play as if subjectivity and the art object interpolated freely, to project a new participatory space. On offer was a new kind of public transgression, produced at ground level. Post 9/11, new media is after the net. What follows in the traces of the site/non-site? Globalization inflects locality through branding, privatization and glamour from the top down. The ubiquity of digital tools as integrated circuitry within hypercapitalism and war opens onto an ethical problem for media arts-- how to extend free modes of encounter: here sites become stations.

Please join us!

Subscribe at http://www.subtle.net/empyre


"28 Years In the Implicate Order" by Pascual Sisto (2004)

love this

Single channel video loop by artist Pascual Sisto entitled "28 Years In the Implicate Order". Description below from a September 2007 screening by Screening in Philadelphia, PA.

Pascual Sisto's "28 Years in the Implicate Order" is a work based on the concepts of Quantum Theory and Quantum Mechanics. The video consists of a fixed locked off shot of an empty parking lot. A centered sodium vapor light illuminates the desolate landscape. Twenty-eight red balls bounce up and down in a chaotic, random manner-- each ball performing as an individual entity bouncing at its own rate and speed. As the video progresses towards its mid point, the balls align themselves in a single synchronized bounce, only to resume bouncing in a random manner.


Interview with Alessandro Ludovico (Neural Magazine)

Alessandro Ludovico is a media critic and editor in chief of the highly respected Neural magazine from 1993, (Honorary Mention, Prix Ars Electronica 2004). He is the author of several essays on digital culture, he co-edited 'Mag.Net Reader' (1 and 2). He's one of the founding contributors of the Nettime community, one of the founders of the Mag.Net (Electronic Cultural Publishers)' organization and he teaches 'Computer Art' and 'Interface Aesthetics' at the Academy of Art in Carrara.

I think that's more than enough for a sole man.

Not for him apparently. Not only does he wear great t-shirts*, he also collaborates with UBERMORGEN and Paolo Cirio on artistic projects which have toured the world: GWEI - Google Will Eat Itself (Honorary Mention Prix Ars Electronica 2005, Rhizome Commission 2005, nomination Prix Transmediale 2006) and Amazon Noir (1st prize Stuttgarter Filmwinter 2007, Honorary Mention Share Prize 2007).

When I met him several years ago, i also realized that i had no chance of ever winning the contest for the "Nicest person in the new media art world." Sigh!


Interview with new media luminary Alessandro Ludovico from art blog We Make Money Not Art. Ludovico was commissioned as part of UBERMORGEN for the Rhizome 2006 commission Google Will Eat Itself


Atom / Electric Mo0ns


Atom (image above, video below) and Electric Mo0ns, two aspects of the same developed interactive system, are a stunning performance and installation created by Christopher Bauder, Till Beckmann, Holger Pecht and Robert Henke. In Atom:

Performance for a matrix of 64 gas balloons, lights, and sound.

A room is filled with deep, evolving noises from a four-channel sound system. An eight-by-eight array of white, self-illuminated spheres floats in space like the atoms of a complex molecule.

Through variable positioning and illumination of each atom, a dynamic display sculpture comes into being, composed of physical objects, patterns of light, and synchronous rhythmic and textural sonic events. Change, sound, and movement converge into a larger form.

The height of the helium balloons is adjusted with a computer-controlled cable, whilst the internal illumination is accomplished using dimmable super-bright LEDs, creating a pixel in a warped 8×8 spatial matrix.


Click the above link for video footage of a performance of "Atom" on Network Research's blog. Visit the team's website for further images and documentation: http://www.electricmoons.com/