Born Taipei, Taiwan

 

Education

2016 - 2020 PhD in Media Art, Digital Media, Art Education | University of British Columbia

2010 – 2012 MFA in Visual Art | University of British Columbia

 

Conferences and Artist Talks

2021

"Reversal, Disconnect, and Proposition: Noise and Data Politics in the Work of Julian Oliver and Trevor Paglen," 2021 Special Interest Group on Computer Graphics and Interactive Techniques Conference (SIGGRAPH), virtual. 

2020

"The Mattering of Algorithms: Reading the Media Performance of Erica Scourti through Originary Technicity," 2020 International Symposium on Electronic Art (ISEA), Printempts Numerique, Montreal, Canada

"towards a Brechtian model of media art pedagogy," Canadian Society for the Study of Education 2020 Conference (CSSE), University of Western Ontario, London, Canada (cancelled due to COVID-19)

"How A!arming; Arts Based Research, is it ruining our field?," panel participation, National Art Education Association Conference (NAEA), Minneapolis, USA (cancelled due to COVID-19)

2019

"as it correlates to virtuality," 2019 Electronic Literature Organization Conference (ELO), University of Cork, Cork, Ireland

"exploring 'making' in media art through digital materialism," Making - 2019 International Society of Education through Art Conference (InSEA), UBC, Vancouver, Canada

2017

"Is 'research' even the right word? Artistic methodology and its discontents," Research-Creation and Precarity, 2017 Universities Art Association of Canada Conference (UAAC), Banff Centre for Arts and Creativity, Banff, Canada

Artist Talks with Barb Choit, Kevin Day, and Anchi Lin, Richmond Art Gallery, Richmond, Canada

2016

Artist Talk with Kevin Day, Galerie Sans Nom, Moncton, Canada

"Beyond Quantification: Excess and Dysfunction as Artistic Tactics in Information Capitalism," Art as Information, 2016 Universities Art Association of Canada Conference (UAAC), UQAM, Montreal, Canada

"Im/mediate Noise: Sound Art in Algorithmic Culture," Sound Art Matters, Kunsthall Aarhus + Aarhus University, Aarhus, Denmark

2015

Interview with Kevin Day and Nathan McNinch, Alternator, Kelowna, Canada

2012

Global Landscapes and Transformations: Young Multi-Media Artists Today, North Vancouver District Library, North Vancouver, Canada

“The Democratic and The Algorithmic: Art in the Age of Post-Fordist Immaterial Consumption/Production,” Display:Consume:Respond – Digital Engagement with Art, Computers & History of Art 28th Annual Conference, London, United Kingdom

“Incommensurable Bio-Media: Protocol, Algorithm, Noise, Virus,” Irving K. Barber Learning Centre, University of British Columbia, Vancouver, Canada

2011

“Digital Memories and Rhetorical Devices: a Temporal Analysis of the Web,” Digital Memories, 4th Global Conference, Michna Palace, Prague, Czech Republic

VISA 210 – Digital Arts, Dorothy Sommerset, University of British Columbia, Vancouver, Canada

“Digitization, Information, and Relativism: Lateralization and the Free Market on the Internet,” Future Theory, Present Praxis: Humanities as Digital Discipline, Interdisciplinary Conference, University of Guelph, Guelph, Canada

“Leveling the Digital Turn: Information and Heterogeneity in the Internet Age,” In the Know: How We Evaluate, Disseminate, and Apply Research, 7th Sociology Graduate Student Conference, University of Alberta, Edmonton, Canada

2009

VISA 480 – Advanced Seminar I, AMS Gallery, in conjunction with tragically, rescuing his family from the wreckage of a destroyed sinking battleship, Vancouver, Canada

 

Solo + Collaborative Exhibitions

2018

The New Gallery, feedback loop of commensurability, Calgary, Canada

2016

Galerie Sans Nom, as it correlates to virtuality, Moncton, Canada

2015

Alternator Centre for Contemporary Art, a scanner ubiquity 2.0 (collaboration with Nathan McNinch), Kelowna, Canada

2014

Arnica Artist-Run Centre, a scanner ubiquity (collaboration with Nathan McNinch), Kamloops, Canada

2012

The Crying Room, www.thecryingroom.org, Vancouver, Canada

2009

workSpace, Rorschach’s show, Vancouver, Canada

AMS Gallery, tragically, rescuing his family from the wreckage of a destroyed sinking battleship, Vancouver, Canada

 

Auctions

2017

Richmond Art Gallery, Richmond

2012

Rosewood Hotel, Contemporary Art Gallery, Vancouver

 

Performances

2012

Hut M-18, 1000 pieces of crumpled paper, in conjunction with IainBaxter&: Information/Location, Vancouver, Canada

North Vancouver Museum, chalk drawing until finished, IainBaxter&: Information/Location, North Vancouver, Canada

 

Selected Group Exhibitions

2021

Fantastik Lab, Under the Subway Video Art Night, Valencia, Spain

St. Nicholas Park, Under the Subway Video Art Night, New York, USA

2017

Richmond Art Gallery, eternal return, Richmond, Canada 

2016

Run Run Shaw Creative Media Centre, Cultural R>Evolution, in conjunction with the 22nd International Symposium on Electronic Art (ISEA2016), Hong Kong

2015

Vancouver Art Gallery, Disruption, in conjunction with the 21st International Symposium on Electronic Art (ISEA2015), Vancouver, Canada 

Robert Lynds Gallery, camera machina, Capture Photography Festival 2.0, Vancouver, Canada 

2014

Robert Lynds Gallery, Front Lines II, Vancouver, Cananda

2013

Les Territoires, Monobandes III, Montreal, Cananda

Project Gallery, architexture, Toronto, Canada

Gladstone Hotel, shifting ground, Toronto, Canada

Qubit, noise non-ference, New York, USA

2012

Gallery 1313, urban, Toronto, Canada

Morris and Helen Belkin Gallery, hail to the destroyers, Vancouver, Canada

Edmund-Siemers-Allee Flügelbau West, University of Hamburg, iFormations, in conjunction with Digital Humanities Conference 2012, co-sponsored by Google and Oxford University Press, Hamburg, Germany

Brooklyn Art Library, the sketchbook project, New York, USA

Local Project Art Space, Under the Subway Video Art, New York, USA

Nanaimo Art Gallery, MayWorks Festival, Nanaimo, Canada

AMS Gallery, The Unseen, Vancouver, Canada

2011

Richmond Art Gallery, International Mail Art Exhibition, Richmond, Canada

Beaty Biodiversity Museum, IsoTYPE, Vancouver, Canada

Koerner Gallery, where nothing is in its place, lies disorder, Vancouver, Canada

Irving K. Barber Library, iFormations, Vancouver, Canada

AMS Gallery, Picturing Intuition, Vancouver, Canada

1612 Gallery, A Furtive Conundrum: Practicing the Furtive, Vancouver, Canada

2008

Winning Business Warehouse, Today’s Special, Vancouver, Canada

AMS Gallery, It’s Not That Big, You’re Just Too Close, Vancouver, Canada

 

Publications/Writing

2021

Day, K. (2021). Playing the Race Card: Issues and Limits of Categories based on Race in Contemporary Art Discourse. In S. Han, O. Lee, M. Lim & R. Shin (Eds.), Counternarratives from Asian American Art Educators: Identities, Pedagogies, and Practice beyond the Western Paradigm. Routledge & CRC Press. (forthcoming)

Day, K. (2021). Reversal, Disconnect, and Proposition: Noise and Data Politics in the Work of Julian Oliver and Trevor Paglen. Proceedings of the ACM on Computer Graphics and Interactive Techniques (SIGGRAPH), 4(2): 1-8. https://doi.org/10.1145/3465624

Day, K. (2021). Reading the media performance of Erica Scourti through originary technicity. Proceedings from the 2020 International Symposium on Electronic Art (ISEA), Montreal, Canada. 

2020

Day, K. (2020). whitepages. The New Gallery. Retrieved from http://www.thenewgallery.org/whitepages

Day, K. (2020). Estranging the Device: Media Art Pedagogy via Brecht, Heidegger, and McLuhan. The International Journal of Arts Education 15(1): 11-18. doi:10.18848/2326-9944/CGP/v15i01/11-18.

2017

Day, K. (2017). Im/mediate noise: Sound art in algorithmic culture. Seismograf: Journal of Contemporary Music and Sound Art, Special Issue. Retrieved from https://seismograf.org/fokus/sound-art-matters/the-immediate-noise-sound-art-in-the-algorithmic-culture. 

2016

Day, K. (2016). San-Zhi in three inadequate memory systems. Prefix Photo, 34, 1 – 6.

Day, K. (2016) Sonic Fourth Wall: a preamble to an artist statement. In M. Emme & A. Shields (Eds.), Emergent Art Education. Canadian Society of Education through Art (CSEA).

Day, K. (2016). A Discussion/Disclosure regarding Professional Development in the Arts. Simon Fraser University Our Learning Community. Retrieved from http://www.sfu.ca/olc/blog/co-op/discussiondisclosure-regarding-professional-development-arts 

2014

Day, K. (2014). Digital Memories and Rhetorical Devices: Archive, Reconstruction, and Artistic Strategies. In T. Fawn (Ed.), Memory and Meaning: Digital Differences (pp. 38 - 52). Inter-Disciplinary Press.

2013

“The Persistence of Process,” Decoy Magazine, ed. Lauren Marsden. July 2013. Web. (under alias)

2012

Day, K. (2012). Digital Memories and Rhetorical Devices: a Temporal Analysis of the Web. In S. Sak (Ed.), Remembering Digitally. Inter-Disciplinary Press. 

Day, K. (2012). Controlled Horizontality: Relativized Information in the Net Ecology. In A. Lauder (Ed.), IainBaxter&raisonnE. Windsor University. Retrieved from https://collections.uwindsor.ca/iain-baxterand_raisonne/items/show/4082

2011

Day, K. (2011). Screaming Alley smelled like fresh laundry: an entry on Tran’s A Way to Go. The Contemporary Art Gallery Blog, June 2011.

 

Bibliography

2017

Sunshine Frere, "The Objectness of Objects," eternal return exhibition essay. Richmond, Canada. Print.

2015

Samantha Newton, "Kevin Day - resuscitated algorithms," Magtear, April 2015. Vancouver, Canada. Print.

Amy Modahl, "A Scanner Ubiquity," Alternator Centre for Contemporary Art. Kelowna, Canada. Web.

2014

Wayne Egers, "Interview with Kevin Day and Nathan McNinch," Arnica Artist-Run Centre. Kamloops, Canada. Web.

2012

Dr. Claudine Moulin, “Dynamics and Diversity: Exploring European and Transnational Perspectives on Digital Humanities Research Infrastructures,” Keynote Presentation, Digital Humanities Conference 2012, Hamburg, Germany.

Amy Fung, “Hail to the Destroyers,” Post Pacific Post, 10 Sept. 2012. Web.

Louis-Alexandre Douesnard, Tarah Hogue, Toby Lawrence and Klara Manhal, "The Unseen," Exhibition Essay. Vancouver, Canada. Print.

Dr. Tara Lee, “con/text,” Hail to the Destroyers, 2012. Morris and Helen Belkin Gallery. Vancouver, Canada. Print.

Ksenia Cheinman, “Where Nothing is in its Place, Lies Disorder,” Alternative Library Spaces, 9 May 2012. Web.

 

Awards and Distinctions

2018

Social Sciences and Humanities Research Council of Canada (SSHRC) Doctoral Fellowship

Canada Council for the Arts - Concept to Realization Project Grant

2017

Jeanette Andrews Scholarship in Art Education

2016

Canada Council for the Arts – Travel Grant to Media Arts Professionals

Canada Council for the Arts – Production Grant to Media and Audio Artists

2015

University of British Columbia Four-Year Fellowship

2014

Canada Council for the Arts – Production Grant to Media and Audio Artists

2012

Helene Roberts Bursary Award – presented by Routledge and Taylor & Francis 

Canada Council for the Arts – Travel Grant to Media Arts Professionals

Killam Graduate Teaching Assistant Award - Nominated

University of British Columbia Graduate Travel Grant

2011

B. C. Binning Memorial Fellowship

2010

University of British Columbia Graduate Entrance Scholarship

2008

AMS Student Initiatives Grant

2004

British Columbia Government Scholarship 2004 Passport to Education

2001

University of Waterloo’s Pascal Mathematics Certificate of Distinction

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