One & Other is part of the Zabludowicz Collection’s annual Testing Ground project. The show is a curatorial collaboration between MA Curating students from Chelsea College of Arts and CASS, London Metropolitan University. One & Other threads the simultaneously disturbing yet beautiful dualities between the simulated daily persona humans perform and genuine human presence – the distinction between real and the Other.
Marc Garrett Kicks off this year's Choose Your Muse series of interviews, with artist Carla Gannis. A visual storyteller, using 21st Century representational technologies to narrate through a “digital looking glass” reflecting on power, sexuality, marginalization, and agency.
Kristian Lukić reviews Armin Medosch's New Tendencies – Art at the Threshold of the Information Revolution (1961-1978), comparing the movement's approach and relationships with the wider contemporary art world with art at the threshold of the Information Revolution.
That Ends That Matter is a three-channel video installation by Jean-Paul Kelly exploring the lack of transparency elucidating a direct relationship between physical materiality and subjective perception of each individual. Kelly regularly attended the City of London Magistrate’s court in Central London as a visitor for eight weeks, recollecting a process whereby documentation is strictly prohibited.
Garrett Lynch reviews HFT The Gardener, the recent exhibition by Susan Treister at Annely Juda Fine Art, London. The review relates Treister's work to the artistic visualisation of networks and the links between network structures and art practice.
In the second of this two-part interview we focus on Burak Arikan's recent exhibition Data Asymmetries, at Winchester School of Art. Carleigh Morgan speaks to the exhibition's curator, new media theorist Jussi Parikka, on the affordances of networks and their uses in Arikan's artworks.
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.
In this essay Ruth Catlow and Marc Garrett set out to show how the collaborative networked practices of the DIWO (Do It With Others) series of Email Art and co-curation projects (since 2007) underpinned the development of a series of projects, exhibitions and interventions that formed Furtherfield's Media Art Ecologies programme (since 2009) to explore what form an ecological art might take in the network age.
Lawrence Bird interviews Ricardo Dominguez about The Transborder Immigrant Tool (TBT), a hand-held device to aid crossers of the Mexico-US border. A project created by the University of California at San Diego’s Electronic Disturbance Theater (EDT) 2.0/b.a.n.g. lab, and still evolving today. It includes input from other members of the collective: Brett Stalbaum, Micha Cardenas, Amy Sara Carroll and Elle Mehrmand.
Annet Dekker in conversation with Russian artist Olia Lialina about her historical net art piece 'My Boyfriend Came Back From The War (MBCBFTW) created Twenty years ago, in 1996. Part of two exhibitions at HEK in Basel and MU in Eidhoven, paying hommage to MBCBFTW, a new approach to keeping history alive.
Patrick Lichty in his essay explores the aestheticization of unmanned mobile devices more commonly known as drones. What emerges is a cultural landscape where a burgeoning remote air force polices the globe while the images generated by them elicit a perverse visual fascination amongst certain subcultures, whilst also being flown by techno-enthusiasts. What is developing is a complex set of relations that is abstracting power, interaction, and representation.
Brett Scott examines the politics of the Bitcoin Blockchain and whether there will be a place for equality and democracy, as the power systems already in place begin to reshape new digital economies according to their own intentions.
Furtherfield presents Please identify yourself, a new exhibition by artist collective THEY ARE HERE, informed by their residency at Furtherfield, as well as online & offline activities across Finsbury Park.
Furtherfield Presents Offline Is The New Luxury, an exhibition by Alison Ballard. It is a collection of works exploring our relationship with technology and the Internet. When daily encounters are increasingly mediated by online technology, how is this affecting our experience of live-ness, presence, and time?
Re: development – Inside The Green Backyard is a collaborative, networked, online exhibition, which celebrates the success of The Green Backyard's campaign to safeguard land. The exhibition features cyanotypes (camera-less photographs of objects from the site) and voice recordings (oral testimonies by the volunteers) from Jessie Brennan's work Inside The Green Backyard (Opportunity Area), 2015–16, an outcome of Jessie's year-long residency with The Green Backyard and arts organisation Metal. More about Jessie's residency project can be found here in an article she wrote for the Guardian.
Furtherfield presents Superdiversity: Picturing Finsbury Park, an exhibition collaboration between researcher and artist Katherine Stansfeld and local people and communities in London’s Finsbury Park. The exhibition maps a multiplicity of meaning and experience of Finsbury Park in an exploration of what place and difference mean in today’s global London. Support gratefully acknowledged from Ordnance Survey, the Economic and Social Research Council, and the Royal Holloway Centre for the GeoHumanities.
The Games for Cities programme is hosting the first international conference with leading ‘city-game’ design experts from around the world. Games for Cities is an initiative started by Play the City...
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