“A lot can be learned about the values of capitalist culture by critically investigating the materiality of the machines, processes and practices of technology that consumer society throws away. In its deconstructed form, everyday obsolete domestic technology exposes the confounding ways that humans treat one another and how we engage with ecology.”

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About Darsha

Darsha Hewitt’s art practice is situated across new media and sound studies and largely grows out of empirical material based experimentation with obsolete technology. She make electro-mechanical sound installation, performances with hand-made electronics, video, drawing and photography. Her studio practice and teaching methods alike take an adventurous hands-on /media-archeological approach to art making, where hidden systems within technology are de/re-mystified as a means to trace out structures of economy, power and control embedded throughout western culture.

Her artwork is presented internationally, with recent exhibitions at Werkleitz Festival (DE), Ars Electronica (AU), Zagreb Museum of Contemporary Art (HZ), Hong Kong City Hall (CH), Halle14 – Centre for Contemporary Art (DE), MU Artspace (NL), The Museum of Art and Design (NYC), Hartware MedienKunstverein (DE),Gaitée Lyrique (FR), Ottawa Art Gallery (CA), Modern Art Oxford (UK), The CTM Festival Berlin (DE) and WRO Media Art Biennale (PL). She has been awarded numerous commissions, grants and awards for her work. Within Germany, she was the recipient of an International Production Stipend from The Edith-Russ-Haus for Media Art and held a fellowship at the Berlin Centre for Advanced Studies in Arts and Sciences at the University of the Arts in Berlin.

She was recently the first residency host for Diversify the Code! – a joint program between Deichtorhallen and Kampnagel (DE). Alongside her art practice, she has worked as an Artistic Associate in Media Art and Design at the Bauhaus University and has been a guest Professor in New Media in the Visual Communications department at Kunsthochschule Kassel and in New Media/Sound at Karlsruhe University of Art and Design. She is presently a guest faculty member in Sound Art and Sonia Studies at the University of the Arts in Berlin. Her contributions to do-it-yourself technology communities are internationally recognized – her workshops and how-to videos have been profiled by technical forums such as the Chaos Computer Congress and Make: Magazine.

Selected Exhibitions, Performances, Presentations...

  • Künstlerhaus Dortmund (DE)
  • Kampnagel + Deichtorhallen – Residency Host (DE)
  • How to Beam! Exhibition @ Kampnagel + Deichtorhallen – Curator (DE)
  • Kontejner, Zagreb (HR)
  • Werkleitz Festival, Halle (Saale) (DE)
  • Ars Electronica, Online – Linz (AU)
  • Städtische Galerie, Villingen-Schwenningen (DE)
  • Global Forest, St. Georgen (DE)
  • Feedback McLuhan and the Arts, Museum für Kommunikation Frankfurt (DE)
  • Transmediale, Haus der Kulturen der Welt, Berlin (DE)
  • Computer GRRRLS, MU Eindhoven (NL)
  • Carbon and Light, Ottawa Art Gallery (KA)
  • Computer GRRRLS, Gaîté Lyrique, Paris (FR)
  • Sideman 5000 Listening Session, Hartware Medienkunstverein, Dortmund (DE)
  • What if it Wont Stop Here, Archiv Books, Berlin (DE)
  • Computer GRRRLS, Hartware MedienKunstVerein, Dortmund (DE)
  • Requiem for a Failed State, Auf AEG, Nürnberg (DE)
  • Sound Effects Festival, ARKO Arts Council Korea (SK)
  • Requiem for a Failed State, Leipzig Halle14 (DE)
  • Feedback: Marshall McLuhan & the Arts, West Den Haag (NL)
  • Close, Never Closer, Universität der Künste Berlin (DE)
  • Sonic Arcade: Shaping Space with Sound, Museum of Art and Design, New York, NY (US) 2017 Microwave Festival, Hong Kong City Hall (HK)
  • Future Flux Festival, RDM Submarine Warf, Rotterdam (NL)
  • Piratebloc Radio: In Situ, Eastern Bloc, Montreal (QC)
  • The Watch, Transmediale, Langenbeck-Virchow-Haus, Berlin (DE)
  • SideMan 5000 Listening Session, Spektrum Berlin (DE)
  • Side Man 5000 Project, FACT – Foundation for Art and Creative, Liverpool (UK)
  • Kontroll-Modus Feedback, Halle14, Leipzig (DE)
  • Object Mechanics, Kunstkraftwerk Leipzig (DE)
  • Side Man 5000 Project, Goethe-Institut, Montreal (KA)
  • 25 oscillators – 25 minutes, 32. Chaos Communication Congress, Hamburg (DE)
  • 25 oscillators – 25 minutes, Frameless, München (DE)
  • Lab 30, Augsburg (DE)
  • Sight and Sound Festival, Montreal (KA)
  • Experiments with CRT TV, Network Consciousness, Residency Unlimited, (NY)
  • 25 oscillators – 25 minutes, APO33, Nantes (FR)
  • European Sound Art Award, Skulpturenmuseum Marl (DE)
  • Going Dark, Transmediale/Lab for Electronic Arts and Performance, Berlin (DE)
  • WRO International Media Art Biennale, Wrocław (PL)
  • Electrostatic Bell Choir, Blackwood Gallery, Toronto (KA)
  • Electrostatic Bell Choir, Stéphanie Lagueux, SKOL, Elektra | Montreal (KA)
  • 25 oscillators – 25 minutes, Piksel Festival, Bergen (NO)
  • 25 oscillators – 25 minutes, Modern Art Oxford, Oxford (UK)
  • Electrostatic Bell Choir, Edith-Russ-Haus für Medienkunst, Oldenburg (DE)
  • Electrostatic Bell Choir, Pulverturm Oldenburg (DE)
  • 25 oscillators – 25 minutes, New Music Festival, Vancouver (KA)
  • Deep Wireless Festival, NAISA, Toronto (KA)
  • WWKA, MUTEK 12th Edition, Montreal (KA)
  • Deep Wireless Ensemble, NAISA, Toronto (KA)
  • WWKA, Nuit Blanche, Musée d’art contemporain de Montréal (KA)
  • end + Receive V.10, Winnipeg (KA)
  • The Québec Triennial, Musee d’art contemporaine de Montreal (KA) 2008 My Computer, Gallery 300m3, Gothenburg (SE)
  • Crosstalk, FrontGround, Galeria Manolo Rivero, Merida (MX)
  • Personal Soundtrack Emitters, Video Pool, Winnipeg (KA)
  • Media Povera, Ottawa Art Gallery (KA)
  • Make Art Festival, Poitiers (FR)
  • Damaged Goods, Piksel 2006, Bergen Center for Electronic Art (NO)
  • Les racines d’Origine, Art Origine, Strasbourg (FR)
  • Press Play, Interaccess, Toronto (KA)

Residencies (selected)

  • KONTEJNER – European Media Arts Platform Residency, Zagreb (CR)
  • Sonic Wild{er}ness, Hailuoto (FI)
  • FACT – Foundation for Art and Creative Technology, Future Humans Production Residency, Liverpool (UK)
  • STEIM – Studio for Electro-Instrumental Music, Research Residency, Amsterdam (NL)
  • PACT Zollverein – Research Residency, Essen (DE)
  • Stipendium für Junge Künstler im Bereich Sound Art, Braunschweig University for Art (DE)
  • Edith-Russ-Haus für Medienkunst, Produktionsstipendium, Oldenburg (DE)
  • Cultivamos Cultura, Bio-Art Research Residency, Sao Luis, (PT)
  • Western Front Media Arts Society, Research Residency, Vancouver (KA)

Interviews / Catalogues / Bibliography

  • Hewitt, Darsha. Meet the Machine: Sideman 5000 Edition. Interface Critique 2, ed. Florian Hadler, Alice Soiné, Daniel Irrgang (Heidelberg: Unversitätsbibliothek Heidelberg/ 2019
  • Valiquet, Patrick. “100% Expert!“ Mastery and Equality in Darsha Hewitt’s Sideman 5000 Adventure. In Jóri, A., & Lücke, M. (eds.), The “New” Age of Club and Electronic Dance Music Culture. Springer Verlag, 2020.
  • Gaikis, Lona, Schimana, Elisabeth Ed. Hidden Alliances Versteckt Verbunden, Ars Electronica, Hatje Cantz Verlag, 2019.
  • Langill, Caroline, Catherine Sinclaire. Carbon + Light: Juan Geuer’S Luminous Precision, Exhibition Catalogue, Ottawa Art Gallery, 2019
  • Neubert, Clara. Mit dem Rasenmäher zur gesellschaftlichen Emanzipation, 2017
  • Ludovico, Alessandro. 20 Oscillators in 20 Minutes, Neural Magazine, issue 53 / Winter 2016
  • Williams, Elliot. 32C3: 20 OSCILLATORS IN 20 MINUTES, Hack-A-Day, 2016
  • Kirn, Peter. 20 Oscillators in 20 Minutes is Comic Gold, Create Digital Music, 2016
  • Walter, Moritz. Colour Changing LED Makes Techno Music, Hack-A-Day, 2016
  • Smith, Greg J.. Slinging Beats with Darsha Hewitt – A Side Man 5000 Interview, Creative Applications 2015
  • Bell, Donald. Learn Electronics from the World’s Oldest Drum Machine, MAKE: Magazine, 2015
  • Migone, Christof. “Hear Hear” Blackwood Gallery – University of Toronto, 2015
  • Debatty, Régine. We Make Money Not Art, Glitches and vintage baby monitors, interview (online), 2014
  • Kropiowski, Łukasz. Do it Yourself Art – Prace Darshy Hewitt, Artpunkt 19, Article, 2014
  • De Menezes, Marta. Sul Sol – Cultivamos Cultura, Exhibition Catalogue, 2013
  • Smith, Greg J.. Invisible Forces, Domestic Rhythms, Text for Solo Exhibition, 2013
  • Migone, Christof. “WoodTwo” Blackwood Gallery – Catalogue University of Toronto, 2013
  • Himmelsbach, Sabine. (für das Edith-Ruß-Haus für Medienkunst) “Produced@” Revolver Verlag Berlin, 2013
  • De Menezes, Marta. Sul Sol – Cultivamos Cultura, Exhibition Catalogue, 2013
  • Christof Migone, “WoodTwo” Blackwood Gallery – University of Toronto, 2013
  • Gérin, Annie. Perambulations: Art of Motion and the Streets of Ottawa” dans La culture en transit : mobilités culturelles Brésil-Canada / Cultures in Transit : Cultural Mobility in Brazil and Canada, Pascal Gin et Walter Moser (eds), Ottawa, University of Ottawa Press, coll. « Transferts culturels, 2012
  • McCallum, David. Darsha Hewitt: Electronics Cowgirl, Music Works Magazine, Summer 2010, #107
  • Falvey Emily. Electronic Blue Orchids: Media Povera Catalogue, The Ottawa Art Gallery – ABC Art Books Canada, Ottawa, Canada, Catalogue for exhibition: Sept. 11th – Nov. 11 2007, pp. 14-15, 54- 57, 60
  • Cole, Crys. Zen and the Art of Listening. 2007, Poolside: Nano-Mega, Videopool, Winnipeg