Works by Participating Artists

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  • Hubbub of Human Magma 2012 Karimi and Konhauser
  • Hubbub of Human Magma still image 2 2012 Karimi and Konhauser
  • Hubbub of Human Magma 2012 Karimi and Konhauser2
  • Hubbub of Human Magma still image 2 2012 Karimi and Konhauser2

Pantea Karimi & Daniel Konhauser

The Hubbub of Human Magma, 2012, video-audio projection, 99 second

Image/video: Pantea Karimi   Soundtrack: Daniel Konhauser


In 99 seconds, the Hubbub of Human Magma chronicles the supremacy of ordinary people in the age of socially transformative technologies. The video is accompanied by a composed audio piece of hubbub in various languages showcasing the dawn of Peoples Spring. The unfolding drama is less about ideological cohesion and more a narrative of common mankind. The Hubbub of Human Magma compresses the present to ask the question of "What is Next?"


Video/Images: Pantea Karimi


Iran’s 2009 “Green Revolution” whose images and video-clips were promptly uploaded and circulated via social-media outlets inspired my exploration into the social networking applications and the role they play in the formation of contemporary political events. My 2012 watercolor paintings, The Logic of Human Magma, focus on recent socio-political uprisings in the Middle East and the Occupy Wall Street movement that I visited in October 2011. I created the video, juxtaposing my digitized watercolor paintings with iconic images and symbols. While I tackle a common global issue through my work, it is also a personal narrative conjuring up the revolutionary and post-revolutionary times in Iran, where I spent most of my youth. 


Soundtrack: Daniel Konhauser


My audio contribution is based on personal experiences within the sonic environment of  Occupy. I extend this to globally related movements, incorporating Russian, Persian, and Spanish voices that embrace public spaces. This dense collage references ambient noises perceived within a group of people. I invoke sensations of being inside a tent, with a universe of sound swirling around the crowd. Sources include uploaded video clips, as well as personal field recordings of everyday sounds. Compositional forms are derived from Occupy devices such as the human microphone, with phrases repeated in distinct acoustical spaces.



Pantea Karimi

Pantea Karimi lives and works in San Jose, CA. In her works, Karimi tackles socio-political issues, and being inspired by content of mass media, she combines both image and text in her paintings, prints and digital works. She earned her MFA in printmaking and painting from San Jose State University in 2009. She also holds a Diploma in printmaking from Hastings College of Arts and Technology in England and an MFA in graphic design from Art University in Tehran, Iran. Karimi’s fine art and graphic works have been featured in several publications in Iran, Italy, England and the United States. Her prints and digital works have been exhibited in various venues in Iran, Germany, Mexico, England, and the United States, including the de Young Museum in San Francisco, Institute of Contemporary Art, and Triton Museum in San Jose, Ellipse Arts Center in Arlington, Virginia, and Platform3 in Munich, Germany.

Daniel Konhauser


Visual artist and composer Daniel Konhauser has for several decades created works ranging from video and sound installations to music for dance. In his work he subverts older technologies and repurposes them in surprising new contexts. Konhauser’s work has been presented in numerous venues in the U.S., including CounterPULSE and The LAB in San Francisco, Krowswork in Oakland, and Joyce SoHo in New York City. His interactive audio installation, "Public Phone Booth,” was selected for The LAB's 25th Anniversary "PastForward" show. In 2010 he debuted his first public art piece, a Valencia Street storefront video and sound installation entitled, “The Late Late Show.” Konhauser received his BFA in Film from the San Francisco Art Institute.


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