Out now, the new survey book Art and the Internet features Martin John Callanan, Brighid Lowe, Thomson & Craighead.
Art and the Internet is a much-needed visual survey of art influenced by, situated on and taking the subject of the internet over the last two and a half decades. From the early 1990s the internet has had multiple roles in art, not least in defining several new genres of practitioners, from early networked art to new forms of interactive and participatory works, but also because it is the great aggregator of all art, past and present. Art and the Internet examines the legacy of the internet on art, and, importantly, illuminates how artists and institutions are using it and why. Art and the Internet features newly commissioned essays about the history, development and future of art and the internet from leading writers and curators in the field. By breaking down art on and about the internet into distinct forms as chapters – such as “Net.Art”, “social media influenced art”, “Post-Fordist art”, “activist art”, “surveillance-related work”, “post-internet art”, “internet-enabled participatory, interactive and video art” – the book deals with these challenging categories, with each illustrated by the work of leading practitioners. A selection of reprinted essays and manifestos, along with new interview material, offers an alternative chronology of the internet via the changing ‘of the time’ opinions from the late 1980s until today. The newly commissioned essays foreground the wider cultural context of the subject, laying out a longer history in art, design, technology and software that pre-dates the internet’s wider use, illuminating the cultural conditions and modes that made way for contemporary art using the internet. The changing role of the artist online is discussed. A concluding essay examines how the multifarious global art worlds use the internet, from activism to voyeurism to marketing, featuring organisations such as Rhizome and e-flux and their predecessors, illuminating how the internet has irrevocably altered the art world as a whole. As such, Art and the Internet is an essential book for all those interested in art whether directly involved in internet art or not.
Martin with Richard Hamblyn write a guest post for Urbantick’s Ecological Urbanism series.
FutureEverything, taking place 12-15 May in Manchester UK. Expect world premieres of astonishing artworks, an explosive citywide music programme, visionary thinkers from around the world, and awards for outstanding innovations.
Serendipity City: The FutureEverything 2010 main exhibition, featuring architecture-inspired art, a curated selection of city-drifting iPhone and Android apps, jaw-dropping data visualisations including Martin John Callanan’s A Planetary Order, and a selection of FutureEverything 2010 Award nominees. The venue is The Hive (47 Lever Street, Manchester M1 1FN), a spanking new Northern Quarter location.
Liverpool to Liverpool tells the story of an epic journey by Simon Faithfull from Liverpool, UK, to Liverpool, Novia Scotia. Faithfull made about six drawings a day throughout his journey, documenting the minutiae of daily life on land and sea, from Liverpool to Liverpool, with his Palm Pilot. This book includes 181 digital drawings, and Faithfull’s often wry, imagist commentary on the landscapes he was passing through and the humans he encountered – from English Liverpudlians crouched under umbrellas to Canadian Liverpudlians with moustachioed lips and pick-up trucks – as he drew them. The book serves as a reminder of Liverpool’s maritime past, its historical dependence on the shipbuilding industry and transatlantic trade, and the survival of these global connections today. Both the words and images in this fascinating book attest to the survival of the texture and detail of individual everyday lives even in our restlessly mobile world.
From interrogating Nicolas Bourriaud’s ideas of a new age of the altermodern to the daily life of a political actitivist in the World Bank-backed last dictatorship in Europe -Belarus, You Are Here goes a way to offering a sort of field book for contemporary Europe. A continent where young artists and activists blend forms and travel in their work, living in one country while all the while subtly interrogating their home countries’ traditions and expectations. A generation has come of age in a post- Wall Europe who no longer feel obligated to answer the national questions, but instead answer to their unique personal experience, one of borderless work and travel, mediated by translation and the Internet. Such instances of artistic, intellectual and activist projects are given space in You Are Here, offering the chance to see whether such young practitioners really are writing from a freedom and plurality born in 1989 back into a new, wider and pan-European tradition in 2009.
Edited by Line Madsen Simenstad and John Holten
Texts and artwork by Ann Cotton (AUS), Anna Bro (DK), Agnieszka Drotkiewicz (POL),
Martin John Callanan (UK), Volha Martynenka (BEL), Francesca Musiani (IT), Christophe Van
Gerrewey (BE), Urszula Wozniak (GER)
9 November, 2009
English (with Polish, German, Belarussian, Danish)
Book Release Party @ Basso Berlin (Köpenickerstr 187, Berlin-Kreuzberg) 21 Uhr, Mittwoch, 11. November
Aglow was the first in a series of critical material encounters exploring an interdisciplinary approach to materiality, exploring luminescence as an electronic, synthetic and natural phenomenon at the macro and micro scale, as a scientific phenomenon and cultural material. This session was convened by Melanie Jackson and hosted by The Slade Research Centre at Woburn Square and the Material Culture Group, in the Department of Anthropology. This is an inter collegiate group from Birkbeck, Kings and UCL.
On a wasteland at the centre of Berlin there is a strange apparition – Mobile Research Station no.1 has landed.
If you happen to be in Berlin over the next month please drop by and see the researchers in their luxury pod.
As a sculpture, Mobile Research Station no.1 is a curious hybrid – half hi-tech Antarctic Research Station / half rusty-broken-dumpster. Using a standard building-waste container as its basis, the station nevertheless forms a luxurious designer-pod provided for an eccentric set of researchers. Rather than researching the frozen wastes of Antarctica or the moons of Saturn, the invited artist/researchers have begun their research into the wilderness and urban zones of uncertainty that still lie at the centre of Berlin.
The invited researchers are: Martin John Callanan (London), Nick Crowe & Ian Rawlinson (Manchester/Berlin), Tim Knowles (London), Annika Lundgren (Gothenburg/Berlin), Katie Paterson (London), Esther Polak (Amsterdam)
Initial research can be seen on the Research Station Blog
Or, one of the researchers themselves can be found daily at the station anytime from now till the sept 20th.
The artists findings will be communicated in an evening of short presentations taking place in the park itself – drinks and snacks will be available from 8pm. [in case of bad weather mail for update…]
We hope to see you here in the wilderness.
Saturday 23, Sunday 24 May 10am–5pm / Monday 25–Thursday 28 May 10am–8pm
Tomoko Aoki, Hazel A. Atashroo, Helen Carmel Benigson, Anna Cronin, Thomas Dawson, Mélanie de Quincey, Benjamin Doherty, Sophie Eagle, Jacob Farrell, Aaron Fickling, Lewis Fox, Luey Graves, Amy Howard, Will Hurt, Oscar Jamieson, Natasha Malherbe, Georgina Nettell, Francesca Owen, Ethan Pollock,
Candida Powell-Williams, Matthew Richardson, Jennifer Rush, Lias Saoudi, Nick Spiers, James Taylor, Zak Yeo Zhixiong, Thomas Yeomans, Esther Yuan
The Slade School of Fine Art
University College London
London WC1E 6BT
Tel +44 (0)20 7679 2313
This two-day symposium brings together scientists, artists, social scientists and policy-makers to explore scientific controversy from an interdisciplinary perspective. From esoteric arguments over the structure of the universe to highly charged public controversies around the use of stem cells, Eye of the Storm will touch on brilliance and ego, dissent and whistle-blowing, big science, high finance, deviant science, the reliability of knowledge and the legislation of uncertainty.
Tate Britain Auditorium (booking required)
Friday 19 June 2009, 10.00–19.30
Saturday 20 June 2009, 10.00–17.30
Jon Thomson & Alison Craighead will be showing a new gallery work called, ‘Horizon’ and their mechanical railway sign version of, ‘BEACON’ as part of the exhibition, ‘Timecode’ opening on 17th January 2009 at Dundee Contemporary Arts, Scotland. They have also made a limited edition print for the exhibition.
Here’s some more information about Timecode:
Timecode / Dundee Contemporary Arts
17 January 2009 – 8 March 2009
Private View: 16th January 7pm – 9pm
Ross Birrell, Graham Dolphin, Ceal Floyer, Douglas Gordon, Ilana Halperin, On Kawara, David Lamelas, Kelly Mark, Tatsuo Miyajima, Ugo Rondinone, Christian Stock, Thomson & Craighead
Each artist in the exhibition has an obsession with marking time but have very different ways of expressing this – live web streams, wallpaper, lumps of coal, lava medallions, digital code alongside more traditional, yet still idiosyncratic and highly personal approaches – graphite, watercolour and oil paint.
More info and downloadable press release here:
More about our work here:
This exhibition opened last Thursday at Eyebeam in New York.
Some pics from the show have already been posted as a flickr set here:
There’s also an audio guide here:
Danya Vasiliev [RU]
Nicola Unger [DE]
Michelle Teran [CAN] & Isabelle Jenniches [NL]
Nathan Menglef [USA]
Nancy Mauro-Flude [AUS]
Walter Langelaar [NL]
Jesse Darlin’ [UK]
Scot Cotterell [AUS]
Martin John Callanan [UK]
“Casting Away” by Francesca da Rimini,
“GOD LISTENS TO SLAYER” by Andrew Harper
Plimsoll Gallery, Centre for the Arts,
University of Tasmania, Hunter St, Hobart.
Exhibition: 10 October – 31 October, 12:00- 17:00 daily EST.
Exhibition Opening: Friday 10 October, 17:30 EST.
encoding_experience/10_October_2008_18:00_EST.* is the first of a series of exhibitions
inspired by the ways in which artists are embracing critical, hands on interventive
strategies towards the understanding of, and experimentation with technology.
The artists in the show open up issues of privacy, piracy and control,
paradigms that are deeply embedded into technology and the way technology
Most of the artists favour a collaborative, socio-centric approach to their work,
they have an agenda about thinking through questions such as;
Where does the technology come from? What is the real use of a computer?
What are the social issues around regular access to domestic machines
i.e. game consoles, home stereos and digital cameras.
How do we use and question systems that tirelessly reproduce and augment environments,
image and sound?
Actively engaging with conceptual concerns, DaDa-esque notions of performance,
hacking and intellectual property; encoding_experience presents an insight into
how electronic media and craft knowledge operates in current art practice, not only
in terms of its functionality, but also in regards to artists who have a critical
approach towards the politics, aesthetics and economies coded into these systems.
The concept for this show was initiated and developed by Nancy Mauro-Flude,
in collaboration with Scot Cotterell.
Nancy Mauro-Flude will be showing her work and giving workshops at various places over the summer:
Paraphernalia will be shown at: GENRATECH 19-20 July at Hangar in Barcelona, FILE Hipersônica on 5th August and at The House of Natural Fiber, Indonesia. International Yogyakarta New Media Art Festival, 11-20 August.
Nancy will also be giving a 3 day workshop on ‘Bricolage: local and emergent technologies, custom built interfaces in Performance at Critical Path, Sydney, 20 – 22 August.