In the Press:
The DAY for NIGHT Project, Larry Ossei-Mensah, 9/25/17
Hyperlocal Shortlist 4: Searching for Art, Cultured GR, 9/29/17
The Fully Interactive ArtPrize Entries of 2017 , MLive Michigan, 9/29/17
Bruce Sterling, Augmented Reality: AR uninvited at MOMA NYC, Wired, 2010
Eduardo Porter, Is that a Dagger I See?, New York Times, 2010
Julia Kaganskiy, Augmented Reality Art Takes over the MoMA, The Creators Project, 2010
Marie Lechner, New York le virtuel à l’œuvre, Libération.fr, 2010
Adam Volk, Blink and You Might Miss It, Ottawa XPress, 2009
Herland, Karen, Art Matter Takes Over, The Concordia Journal, 2008
Laura Pacinni, Interview with Shereen Soliman PT1, Interaccess Electronic Media Arts Ctr, 2008
Stephanie Bokenfohr, Art Matters Comes to a Close with Fantastical Interactive Art, The Concordian, 2008
Wendy Denham, ‘Artist Jumps in with Both Feet’ , Brome News, 2006
Extracts:
“There are many layers to this project. An augmented reality phone app, a scavenger hunt across the city, a textual story, music, and a beautiful series of photos.” (Cultured GR, 2017)
“DAY for NIGHT takes interactive to a new level. Described by the artist as a “fiction-based, interactive and augmented reality” project, it is meant to be explored at its stationary exhibit space at Kendall College, and also through 50 “story markers” spread throughout the city.” (MLive Michigan, 2017)
“Vestiges: An exhibition of works by MFA’s”, featuring the works of Denis Bradette, Dipna Horra, Edwin Janzen, Marcia Lea, Irina Lyubchenko, John Naccarato, Jennifer Norman, Theo Pelmus, Geneviève Pratte, Andrew Smith, Chris St. Amand and Laura Taler. Curated by Dr. Celina Jeffery (Akimbo, 2010)
“To the alarm and surprise of practically everybody including myself, I’m pretty sure that I will be uninvitedly attending this uninvited AR event this weekend in New York. It might be me, or, who knows, maybe just an augmented me.” (Bruce Sterling, Wired, 2010)
“The temporary exhibition will only last a few hours (and possibly even less, considering that the project is not condoned by the MoMA itself and who’s to say how they’ll respond to the “invasion”). Anyone equipped with an iPhone or android phone sporting the popular Dutch AR application, Layar, and a handy map of the AR works scattered among MoMA’s exhibition galleries and garden can view the hidden exhibition.”(the Creators Project, 2010)
“We’ve been waiting a long time for technology to deliver us an alternative reality, like the future in H.G. Wells’s “Time Machine,” Neo’s Matrix, or the universe of code navigated by the “Neuromancer” hacker, Case. The future has arrived, finally — by the prosaic hand of our cell phones. Chances are it will soon be sponsored by laundry detergent or a fast-food chain. Just the other day, my iPhone showed me an exhibition at the Museum of Modern Art that most people around me didn’t know was there. Looking at the galleries through the phone’s camera, I saw a chunk of the Berlin Wall floating before me. There were faces suspended in midair in the museum’s immense atrium. Over the sculpture garden hovered a path through the desert along which illegal immigrants often die,” (NY Times: Opinion Pages, 2010)
“ His (Naccarato’s) latest work, entitled The Vertebra Series, is a unique mixed media installation consisting of disassembled VCRs, old television sets, radios, record players and other pieces of technological detritus which have been carefully stripped, rearranged and rewired into a cohesive work of interactive art. It’s a bold and undeniably creative reimagining of how humanity perceives technology, and something you’re unlikely to see in most mainstream galleries.” (Ottawa Xpress, 2009)
“John Naccarato worked with Sarah Nesbitt to curate Intimacy in Public Space. Naccarato met Nesbitt in a performance class and wanted to build on that momentum. “We wanted to take art outside of the white box of the gallery.” Their show includes performances on- and off-campus. Some are confrontational for passersby; others provide an unusual diversion within a familiar location,” (cjournal, 2008)
“The Art Matters festival came to a close Saturday night with two engaging vernissages at the Eastern Bloc gallery. Intimacy in Public Spaces, curated by Sarah Nesbitt and John Naccarato, involved a number of installations that intruded on public space and invited the spectator to interact and play with the art. Electric carnaval électrique had many different multimedia installations and was curated by Shereen Soliman. The space had a definite Andy Warhol feel, with projection sheets dividing the loft-like gallery. A robot-like structure on wheels moved around the space, compelled to move by body heat. There were animations, videos and sound installations controlled by sensors, allowing the spectator to be more self-aware than ever.” (The Concordian, 2008)