Jennifer Chan
Since 2010
Works in United States of America

brief description of self
Discussions (40) Opportunities (3) Events (11) Jobs (0)

London Calling

but I would like to point out that an increased use of web 2.0 social networking does not correlate to political change or activism, which might not be what you meant, but seemed to come across in the end of your article.


London Calling

Enjoyed the article, good coverage of the pockets of things that happened. Of what I had seen in London I actually really appreciated the Piccadilly Community Centre project as social sculpture and wish you talked more about that. When I went in I wasnt sure who was performer, volunteer or visitor and I felt like I was intruding in an old persons' music class.
I really do hope that there are artists that are more politically activated-maybe in the sense that the contemporary artists should be an autonomous, self-sustaining group that have little to do with capitalism as possible. Other than LuckyPDF, I was very impressed and suprised that DIY projects had a principle about being entirely self-funded and "untainted" by fundraising or public grants. (This is different from artist-run centers in Canada that do sustain on them and take pride in it)


.*. SELF-LOVE .*.

Tue Jul 19, 2011 18:30 - Mon Jul 18, 2011

London, United Kingdom of Great Britain and Northern Ireland

Non-consensually exhibiting excellent 
immaterial + irl works by:
Kaja Cxzy Andersen 
CANT COPE WONT COPE Autodespair​ntcope 
Andreas Banderas​/ 
Jubal Brown​albrown
Hannah Tindle http://hannahtindle.tumblr​.com/ 
Riyo Nemeth
Nicholas O’Brien​t/Irish
Daniel Waldman​r/GouffidIslandWebsite 
Kacie Kim (unicorngirl)​iesays 
Kirstin Smallwood (Krad Choeger)
Krystal South​m/
Timur Si-Qin 
Michael Manning​/ 
Amalia Ulman 
Wes Friedrich​m/ 
Micah Naguit 
Curated by Jennifer Chan
♡ ♡ ♡
BYOB !*All you can eat cupcakes* vegan and non vegan* as long as they last!
Informal Public Crit Wednesday July 20, 7pm 
SELF-LOVE is a wholeheartedly selfish endeavour to exhibit emerging web-based art without ever contacting selected artists. The featured artworks employ the immediate and intimate properties of online media to engender empathy and affect.
Achieving self-love involves doing something to resolve the part of oneself that persistently cares about a concern–in order to achieve a feeling of happiness. The one-night exhibition approaches the social dimension of the internet as a public domain for sharing transient projections of the self. It is, however, not the first exhibition of its sort. SELF-LOVE extends prior attempts at non-consensual exhibition in No Permission: Absolute Heartbreak (2010). ( 
This approach acknowledges shifting definitions of curating in a time when the common user may share and decontextualize art on media distribution platforms such as YouTube and tumblr. Conflating curatorial and artistic practice, deliberate installation and recreation of artworks explores unfixed ways of representing an image or object in a social-exhibition context.
In dialogue with a previous Copenhagen Place exhibition, SELF-HELP, Chan looks at highlighting the psychological presence of the artist. An emotionally gratuitous use of technology is an ethical obligation to care for the self. This manifests in a profoundly banal and expletive use of the camera, or absurdly symbolic uses of found media. 
While narcissism is frequently attributed to interactive and introspective qualities of using “new media”, performance for the webcam places the artist in a scene of exposure to share and enact a self-concerned matter. Meanwhile, visual-verbal puns inspire the creation of found object installations to convey emotional investment in electronic objects as instruments of mediated communication. Regardless of form, the displayed works exhibit vague but unapologetic affinities for socializing online and creating artwork for a networked audience.



Sat Apr 16, 2011 19:00 - Sat Apr 16, 2011

Toronto, Canada


APRIL 16 2011, 7PM - 11PM
BAR·ME·CID·AL: providing only the illusion of abundance; illusory or imaginary and therefore disappointing.
Artists and curators JILLIAN KAY ROSS and MIKE GOLDBY celebrate their extended network of peers and contemporaries in BARMECIDAL PROJECTS’ inaugural group exhibition FREE 4 ALL, opening April 16th at BUTCHER GALLERY in Toronto and online at
BARMECIDAL PROJECTS is a digitally rendered space that is dependent solely on phenomenological perception; objectivity is discarded and the work, be it a replica of a preexisting form or a completely virtual fabrication, is displayed in an animated gallery walkthrough.
FREE 4 ALL features work by
ALEX MCLEOD, AMALIA ULMAN, BRAD TINMOUTH, BRIAN KHEK, DANIELLE BESSADA, DAVID HANES, EMILY JONES, GEORGIA DICKIE, IAIN BALL, JENNIFER CHAN, JILLIAN KAY ROSS, JON RAFMAN, JUSTIN BOCHEK, JÓNÓ MÍ LÓ, JARROD WILSON, KAITLIN TILL- LANDRY, LAUREN BRICK, LAUREN ELDER, LEE ORMEROD, LIAM WYLIE, LILI HUSTON- HERTERICH, MIKE GOLDBY, ORLANDO ORELLANO, RACHAEL MILTON, SHELBI CHEW, and TARA DOWNS, unifying artists working both immaterially and physically.The high-gloss, hyper-real finish of the rendered exhibition obscures the boundaries between Real and Representation. So shiny, so irresistible by virtue of its digitallness, FREE 4 ALL supersedes certainty. 


The Search for a Center: Vito Campanelli's Web Aesthetics

variable decisions and will to technology*