The artist Perry Bard (Quebec, 1944), whose work draws on the use of electronic media, is presenting the audiovisual series In Perfect Disorder, a look at the ties between society, aesthetics and technology from the viewpoint of video creation. The programme, which includes pieces like Technology /Transformation: Wonder Woman (Dara Birnbaum, 1978-79), Feeling Free with 3D Magic Eye Poster Remix (Shana Moulton, 2004) and Escenario (Gabriel Acevedo Velarde, 2004), brings together ten artists who use different strategies to examine social, technological and aesthetic systems that are characterised by the repetition and regularity of their dynamics and by their methodical and constant use of internal logic to obtain predictable results. The videos use techniques including found footage, algorithms, rituals, performance pieces and a good dose of humour to call these results into question.
Perry Bard’s videos and installations have been shown at MoMA, the Lincoln Center and PS 1 in New York, the São Paulo Biennial and the Museum of Contemporary Art of Georgia (MOCA), among others. Her public installations investigate memory and cultural history and often involve members of the community in their production. Some of her current work deals with the United States involvement in Iraq, such as the mobile billboard travelling the streets of New York featuring artefacts missing from the Baghdad Museum.