PEACE CORE
A video work of infinite duration that continually auto-edits American television footage first broadcast in the moments before the world-changing events of September 11, 2001. Originally presented as part of Kulendran Thomas’s recent exhibition at Wiels Contemporary Art Centre in Brussels, and realized together with his longtime collaborator Annika Kuhlmann.
Christopher Kulendran Thomas & Annika Khulmann
New on view (October 2025)
Gagosian,Park & 75
Multichannel Video, Sound, Infinite Duration
Original Music and Sound Design
by Aaron David Ross, Algorithmic Composition
On the notorious border of El Paso, Texas and Cd. Juárez, Mexico, an off-road culture thrives in the untamed dunes of the Chihuahuan desert. Red Sands is about the singular identity of an intergenerational community and the scene they’ve created in a desert known for its red hues. The Mexican-American population finds solace through off-roading, using the desert dunes as a canvas to imprint their unique identities. The film follows characters from the past and present reflecting on their journey while headlines of danger loom overhead, threatening the very space in which their identity is rooted. Red Sands pulls the viewer into an exhilarating never-before-seen world, highlighting the resilience and beauty in a place mostly unknown to outsiders.
Directed by Romina Censori
Original Soundtrack by Aaron David Ross
BEING HUMAN
Christopher Kulendran Thomas's 𝘉𝘦𝘪𝘯𝘨 𝘏𝘶𝘮𝘢𝘯 considers the rise of Sri Lankan contemporary art in the wake of the country’s decades-long civil war, which ended with a massacre of Tamil civilians in 2009. The installation brings together Kulendran Thomas’s own works with artworks he purchased from galleries in Sri Lanka’s capital, Colombo.
Christopher Kulendran Thomas & Annika Khulmann
New on view (2025-2027)
MoMA New York, Floor 2, 213
High-definition video (color, sound; 24 min.) projected on glass, with three paintings and three sculptures
Original Music and Sound Design
by Aaron David Ross
Luar SS25 “El Boca Quedó” · Rockefeller Center Plaza · Original Music by Gatekeeper
New York-bred designer Raul Lopez has become one of the most sought-after names in fashion; season after season, fashion-exumed editors hungrily await their invitations to the Luar show, which is often one of the last on the CFDA calendar. And it never disappoints. Lopez has a natural talent for putting on a show.
The collection’s title, En Boca Quedó, a Dominican phrase signifying a lingering presence even after departure, was fitting. If there’s anyone everybody’s talking about, it’s Raul. Held at Rockefeller center with a star-studded front row, including Madonna and Ice Spice seated together, Amanda Lepore, Paloma Elsesser, and Parris Goebel, among others, Raul debuted 53 looks that left their mark long after the final look had left the runway.
Aspen ArtWeek 2024 reached an apex with AUDIENCE PLANT 2024 on August 1—a concert of original music Ryan Trecartin, Ashland Mines, Aaron David Ross, Michael Beharie, and Lizzie Fitch. Performed at the top of Aspen Mountain.
Featuring guest performers including Jason Moran, Sam Gendel, Matthew Jamal, JK Kim, and the Aspen Music School’s Contemporary Ensemble, the live event merged a newly composed score of electronic and orchestral music with rollicking sonic improvisations.
Aaron David Ross served as Musical Director, Conductor, and Technical Director.
WATCH DOCUMENTATION
NEW YORK, NEW YORK - FEBRUARY 15: A model walks the runway at the Luar fashion show during New York Fashion Week February 2023 at Faurschou Foundation in Brooklyn on February 15, 2023 in New York City. (Photo by Hippolyte Petit/FilmMagic)
THE MAW OF by Rachel Rossin (*1987, US) is a transmedia story — a narrative unfolding across multiple platforms and formats about the coming together of flesh, machine, cognition, and code provoked by current research into brain-computer interfaces.
Music and sound design by Aaron David Ross featuring music by Debussy
Artist and composer ADR (Aaron David Ross) stops by NM on the occasion of his new album, Filter Failure and launch of his label with Gatekeeper partner Matthew Arkell, Legendarium. Reflecting on his past decade of cultural production—see: Safdie Brothers’ Uncut Gems, Grant Singer’s iconic 2012 cult short, IRL; collaborations with Dis, Kelela, Lafawndah, Mykki Blanco, Ryan Trecartin, Telfar, Korakrit Arunanondchai—ADR discusses how he sees the industry and our sensibilities co-evolving.
all things under dog where two things become one
In all things under dog, where two things are always true, Monica Mirabile looks at the ‘mafia’ as an outlaw ecosystem rising from a lack of resources to cultivate a support structure. Working on a therapeutic level within this architecture, Mirabile builds out a collapsing of time from the combined personal histories of the performers and herself—working through questions of grief, trauma, support, and ultimately resilience in family systems and the society they are influenced by. all things under dog travels through symbolic representations of a house—with five distinct rooms dividing The Keith Haring Theatre—and a black hole. Heightening the intimacy of the work, the audience, viewing the piece in small groups, move through the rooms with the performance.
Performance Space New York, New York, US
Original music and Multichannel Sound Installation by Aaron David Ross
LGND001 - Out July 11th 2021 on Legendarium
adr
FILTER FAILURE Filter Failure is the new album and audiovisual work by composer, producer, and artist Aaron David Ross (ADR). Following his work on the acclaimed Uncut Gems soundtrack and solo releases Deceptionista and Throat on PAN, Filter Failure takes the form of a cinematic song cycle, featuring ten animated tone poems which showcase ADR as both a cybernetic singer-songwriter and as a 3D hobbyist animator.
Filter Failure features ADR as a storyteller-architect-maestro, conducting an exodus across panoramic vistas of his making—landscapes, architectures, and lounges all brimming with iconography that mirror the album’s detailed compositions. Long engaged in a practice of reconstructing the archeology of classical, jazz, pop, and electronic music into new contemporary art & technological contexts, Filter Failure stands apart as a hybrid opus, synthesizing years of ADR’s obsessive genre studies that have spanned over a decade of solo releases and collaborative works.
The eponymous concept of “Filter Failure”—originating from theories around Web 2.0 digital workflows—occurs when our filtration mechanisms rupture from sheer access, resulting in being completely at the whim of the avalanche-feed of information and shifting contexts. As if reveling in the wreckage, Filter Failure is ADR’s most maximalist vision to date: a vibrant amalgam of symphonic wanderlust: ascending pizzicato, riffing drifts of digital wind, epic bacchanals of rhythm and bass. Throughout, ADR’s previously unheard voice is a clairvoyant chorus, remarking on its own fragmented subjectivity—a trace remnant of humanity’s hubristic meltdown now freed to encircle the world as a transcendent RPG protagonist. ADR’s vocals—frayed with layered tonality—ring true as both an evocation and a narrative degeneration of a cherished tradition of sensitive, introspective songwriters.
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