Filippo Lorenzin interviews Antonio Roberts, UK based artist whose research is focused on the influence of corporate logic on people and their way to perceive reality. He's currently showing among others in, Jerwood Encounters: Common Property until 21st Feb 2016.
The Wrong Biennial, organized by David Quiles Guilló, is possibly the largest internet-based exhibition to date. Patrick Lichty gives a structural & historical analysis of this massive project, and muses about some of its ramifications for media art culture.
Taina Bucher interviews artist and bot maker Katie Rose Pipkin about her most popular Twitter bots, how they work and what they mean. Indeed, what are bots, who else is engaged in artistic bot making, and how will social media bots evolve?
Filippo Lorenzin interviews artist duo Varvara Guljajeva & Mar Canet about their research within maker culture, and their work around privacy and the possibilities of soft coexistence between, humans, technology and nature.
At the V&A Museum, an overview of the first decades of the computer's history in art and design including some of the earliest computer-generated works in the V&A's collections, many of which have never been exhibited in the UK before.
Making art specified by a computer program is nothing new but artists using Big Data and Open Data are changing its relationship to artworld production. Can such software really replace artists, and if so are art critics any safer? Jonas Lund's "The Fear Of Missing Out" (2013) and Shardcore's generative art may hold some of the answers.
Elin Ahlberg reviews 'Face to facebook' by Italian artists Paolo Cirio and Alessandro Ludovico. It was the Final project of a series of three called 'Tha Hacking Monopolism Triology'. The 'Face to facebook' project was to steal 1 million facebook profiles and re-contextualize them on a custom made dating website (lovely-faces.com).
Marco examines the issues around Google breeding the next generation of digital artists, as shown in their recent venture with their infamous DevArt exhibition at the Barbican in London. There has been an intense debate in the past weeks on what this powerful curatorial and marketing move by Google actually means.
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...
Furtherfield is a Not-for-Profit Company Limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH.