deadtech

In 1998, the landscape for technology-enabled art looked pretty different than it does today. At the time, there was consensus among many artists using networks, programming languages, and robotics/mechatronics that their work was either misunderstood, overlooked, or flatly ignored by larger U.S. arts institutions and commercial gallery spaces. Deadtech is a result of that angst and an attempt to advocate the notion that technology-based art can be thought-provoking, emotionally-engaging, and sometimes even life-changing.

Rob Ray, a Chicago artist transplanted from Florida, worn out and baffled by the crazed look he would get from curators and gallerists when asked about the speed of their Internet connection, decided that the simplest solution to the problem was the creation of an alternate reality. He envisioned a simple open space where a decent Internet connection, a well-powered sound system, an LCD projector and quality installation assistance were a given. He also imagined a space that embraced the punk rock DIY ethic and welcomed art patrons with a handshake and a beer instead of an up-down look and a polite cold shoulder.

So he started Deadtech. In May of 1999 Deadtech opened it’s doors to a packed house performance by legendary Japanese sound-artist Kazuyuki K. Null, New York artist Damian Catera, and San Franscisco-based audio nomad Jalopaz. This performance and a large stockpile of free beer pretty quickly eased Deadtech into the Chicago art and technology community. Since that first show, Deadtech has been lucky enough host a multitude of kick-ass installations, performances and artists from all over the world – most of them crazy enough to fund their own way and back home again. Also since that time, mechatronic, interactive and “new-media” works have seen large-scale recognition by SFMOMA and the Walker Art Center, and others. In response, we have updated our mission.