Two years after Harun Farocki's death, a project-retrospective collaboration of his work was undertaken, with its first part at The Institut Valencià d'Art Modern (IVAM) named ‘What is at Stake’, and more recently the second-part titled ‘Empathy’ at the Fundació Antoni Tàpies focusing on an analysis of labour within the framework of capitalist demands. The exhibition ran from the 2nd of June until the 16th of October 2016.
Why was there not to be a Soviet Internet? Can the roots of today's Internet be connected to the ideologies of capitalism? Baruch Gottlieb reviews and questions Benjamin Peters’ book "How to Network a Nation".
In Power and Architecture, the post-Soviet city and utopian public space was used as a critical framework with which to discuss issues related to the Russian contemporary culture and identity. Molly Hankwitz reviews the exhibition that was presented as a sequence of four interconnected installments in Calvert 22.
What does it mean to think and act as a sculptor on the net? Artist, Jan Robert Leegte has been reflecting on this question since before the invention of Web 2.0. His solo (online) exhibition at Carroll / Fletcher Onscreen is the right opportunity to discover its peculiar research.
What is the relationship between state corruption and economic collapse in Greece? Lina Theodorou, artist and creator of the board game 'Pawnshop', talks with Furtherfield’s Ruth Catlow about Grexit, Brexit, and crisis in Europe.
This is a review of Leila Johnston's residency at the Rambert Dance company from October 2015 - 2016 and the report she produced as a result. It looks at the value Leila brought by engaging the company with her critical perspectives about tech culture, as much as by introducing the dancers to 'tools'.
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.
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.
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.