For more than two decades, Italian artist duo Eva and Franco Mattes have sought to subvert and expose the systems which produce power. Their current exhibition, Abuse Standards Violations at Carroll/Fletcher gallery, looks at who and what is made visible and invisible in the process of producing culture for online consumption.
In this special feature Steve Jampijimpa Patrick writes about "YAMA" the Warlpiri word for a shadow, or reflection. A word that signifies the nature of existence in Australian Aboriginal Culture, YAMA is also the name given to the multimedia installation made by artists from the Warnayaka Arts Centre with Napanangka (Gretta Louw) for the Networking the Unseen exhibition at Furtherfield Gallery.
Michael Szpakowski offers some notes on the photography of London art teacher Joseph Cartwright, who operates under the Flickr name Noitsawasp. This is the second of three articles about the use of Web 2.0 photosharing service Flickr, by self defining artists, outsider artists and hobbyists, to share and be mutually influenced by each others work.
Josephine Bosma reviews the controversial but worthwhile exhibition about whistleblowers, Internet rebels and digital vigilantes at HMKV in Dortmund. The show puts together activist art projects, documentation of criminal acts and political activists such as Snowden in one space, and asks what they have in common and how they are different.
The “As rights Go By” exhibition at freiraum Q21 aimed to unfold the irregularities of a ‘regular legal system’ in today's postdemocratic societies. The 15 works on show, curated by Sabine Winkler, focused on the complex dynamics of this system and on the sociopolitical asymmetries that it allows.
What kind of digital content do we consume and what culture do we create? How are we “feeding” today’s digital markets? How ephemeral is digital Pop culture? Under the theme of Digital Pop, Athens Digital Arts Festival 2016 aimed to capture the different aspects of Pop in the digital era, focusing on the response of artists and users alike.
An appreciation of David Daniels, the great shape-poet, who died in May 2008. one of those figures who straddles the divide between digital and pre-digital art and literature. His art is about liberation, uninhibited outpouring, spontaneity and fun. Co-published by Furtherfield and The Hyperliterature Exchange.
From Vooks to ebooks, from the iPad to the Google settlement, and from print-on-demand to new styles of writing, Edward Picot attempts to analyse the effects of the digital revolution on the publishing industry, and to make some educated guesses about how things may develop in the next few years.
The New Aesthetic is a new art meme, originally defined by James Bridle as a method of collecting materials which point towards an infatuation with the agency of computing. Although it has existed in it's current form since last year, it's sudden emergence has set off plenty of scholars, writers and artists into profuse flusters. But here's the question - can the new aesthetic be more than a meme? More to the point, does it want to be? Is it capable of a direction?
In Part Four of his series on classic Videogames and their appropriation into contemporary art. Mathias Jansson explores Pac-Man, with a selection of examples of how the game has impacted artists' work and contemporary art culture.
What if Turing's centenary was not just a way of recapitulating or celebrating the discoveries of his legacy, but a rare chance for unearthing some surprises within Turing's own constructions which reveal new ways of approaching the agency of computation? Robert Jackson reflects on how the humanities and the arts could reclaim the unpredictable elements of Turing's legacy which other fields seemingly ignore.
Join us on August 4th between 6 and 6.45 for an exhibition tour by Gretta Louw at the Furtherfield Gallery. Then from 7 to 8, we will continue at Furtherfield Commons with a presentation by Louw, Your Emojis Are Not Innocent: Selfies and Alterity, in which she will present her upcoming collaboration with Warnayaka Art Centre to create a Warlpiri selfie and photo editing app, and a discussion about how selfies, social media, and alterity can be used for social good.
Networking the Unseen is the first exhibition of its kind to focus on the intersection of indigenous cultures and zeitgeist digital practices in art, bringing together concepts and experiences of remoteness and marginalised cultures, with art-making in contemporary society.
Featuring Gretta Louw, Lily Hibberd, Brook Andrew, Curtis Taylor, Jenny Fraser, Sharon Nampijinpa Anderson and the Warnayaka Art Centre.
Deep Water Web is a poetic essayistic meditation around phenomena straddling contemporary and historical geopolitical contexts of the UK and Australia; a continuous hyperlandscape, an environment composed from local manifestations of global ecologies, between points in the northern and southern hemispheres in the UK and Australia, online and in the physical space of Furtherfield Gallery.
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