LoVid
LoVid is a New York-based interdisciplinary artist duo who have worked collaboratively since 2001. Their practice focuses on aspects of contemporary society where technology seeps into human culture and perception. Across two decades of interdisciplinary projects, LoVid has maintained a signature visual and sonic aesthetic rooted in dense color, pattern and texture, often marked by disruption and noise. Their work captures a layered world in which the virtual and physical, materials and simulations, connection and isolation intermingle.
LoVid’s process incorporates home-made analog synthesizers, hand-cranked code and tangible materials. Their videos, textile works, performances, net art, installations and NFTs have been exhibited internationally for over twenty years. Their work has been presented at venues including Budapest Art Factory, Museum of the Moving Image (New York), Wave Hill, Brookfield Arts, RYAN LEE Gallery, Art Blocks Curated, Postmasters Gallery, Honor Fraser Gallery, VSOP Projects, New Discretions, And/Or Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, the Museum of Modern Art, MoMA PS1, ISSUE Project Room, the Science Gallery Dublin, the Jewish Museum, the Kitchen, Daejeon Museum, Smack Mellon, Netherlands Media Art Institute and the New Museum (New York).
LoVid’s projects have received support from organizations including Guild Hall, the Robert Rauschenberg Foundation, New York Hall of Science, Graham Foundation, Signal Culture, CUE Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, Turbulence.org, New York Foundation for the Arts, Lower Manhattan Cultural Council, Experimental Television Center, New York State Council on the Arts and the Greenwall Foundation.
LoVid’s videos are distributed by Electronic Arts Intermix (EAI), and their work is included in private and public collections such as the Whitney Museum, the Museum of the Moving Image, the Parrish Museum, the Thoma Foundation, the Butler Institute of American Art and the Heckscher Museum.
