TRANSFER presents the gallery’s third solo exhibition with Lorna Mills: The Great Code is an exhibition of animated gifs and prints suggesting the order of knowledge has been collapsed and compressed. The culminating work has evolved in Mills’ studio over the past 15 years.
The Great Code is a suitable analogy for the way we now consume information – in a heterodox and nonlinear manner. Or it could be a new model for the Western tradition of thought: the fragmented datastream, an incoherent pile of thoughts, arguments and stories, … a firehose of information from perverts, hustlers, thieves, liars, fascists, communists, bad mothers, colonialists, drug addicts, middle aged ladies from small towns, misogynists (lots of them), homophobes, racists, supply-side economists, plagiarists, political hacks, jesuits, pederasts, bank tellers, and blaggards.
A catalog will be released from the exhibition, which includes an essay, “She Full of Books and Worrying” commissioned from Seth Watter. A closing reception screening event will be held on Saturday, March 24th 2018, coinciding with TRANSFER’s 5-Year Anniversary.
In 2013, Lorna Mills curated Clusterfuck Zoo, instigating a series of closing events curated by artists in response to their solo shows – all eight of the spontaneous series will be screened at the same time: Clusterfuck Zoo from Lorna Mills, Anatomize from Rollin Leonard, Net Worth from Daniel Temkin, Refraction from Giselle Zatonyl, GIFs to Have Sex By from Faith Holland, Le Petit Mort du Blingee from Lorna Mills, NarGIFsus from Carla Gannis, and Rule 35 from Faith Holland. A full inventory of work from The Great Code is available from the gallery.
Canadian artist, Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990’s, both in Canada and Internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film & video, and obsessive on-line animated gifs incorporated into restrained off-line installation work.
Recent exhibitions include Abrupt Diplomat at the Marshal McLuhan Salon at the Canadian Embassy in Berlin, for Transmediale, At Play in the Fields of the Lord at TRANSFER Gallery, Brooklyn NY, DKRM at DAM Gallery, Berlin and Dreamlands: Immersive Art and Cinema 1905 – 2016 at the Whitney Museum in NYC. For the month of March, 2016, her work Mountain Time/Light was displayed on 45 Jumbo monitors in Times Square, NYC, every night as part of the Midnight Moment program curated by Times Square Arts.
She has also co-curated monthly group gif projections, with Rea McNamara, for the Sheroes performance series in Toronto, a group gif projection event When Analog Was Periodical in Berlin with Anthony Antonellis, and a four person gif installation, :::Zip The Bright::: at Trinity Square Video in Toronto, with Sara Ludy, Nicolas Sassoon and Rick Silva.
Lorna Mills’ most recent curation project, Ways of Something is a collaborative remake of the 1972 John Berger documentary Ways of Seeing episodes one through four, featuring over 115 networked artists.