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.
Banks, governments, credit card companies and fintech evangelists all want us to believe a cashless future is inevitable and good. But this isn't a frictionless utopia says Brett Scott, and it's time to fight back.
Josephine Bosma interviews Zeljko Blace on his involvement in the exhibition and program 'contesting/contexting SPORT 2016' and discusses how it contests the field of SPORT through critical art and activist practices.
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'.
Revisiting the Curious World of Art & Hacktivism, is the first of a series of articles exploring how contemporary artists engaged with technology and activism are transcending established art behaviours. Crossing over into territories that reflect not only social and political contexts, but new dialogues of experiencing and understanding art. The politics of today becomes the background, the material and canvas of imaginative and critical play.
Furtherfield recently received a hard copy of The Telekommunist Manifesto in the post, written by Dmytri Kleiner. After reading the Manifesto it was obvious that it was pushing the debate further regarding networked, commons-based and collaborative endevours. Marc Garrett interviews Dmytri about the Manifesto, its concepts and other projects created by the Telekommunist Collective.
Daniel Rourke visits the Photographers' Gallery in central London and reviews their latest exhibit One Terabyte of Kilobyte Age by artists Olia Lialina and Dragan Espenschied, on THE WALL. Over an eight week period (18 April - 17 June 2013) they feature a non-stop stream of video captures of what they term as the lost city and its archival ruins. A documentation of a past visual culture of the web and the creativity of its users with new pages changing every 5 minutes. The project provides a glimpse into web publishing when users were in charge of design and narration in contrast to the automated templates of Facebook, YouTube and Flickr.
Robert Jackson journeys into the realms of Accelerationism and Ordinaryism. Accelerationism has achieved potency by merging Enlightenment principles within the guise of complex systems and networked protocols. Ordinaryism proceeds in the same question in its own framework: the question of the everyday within automated systems. We might indeed change the world, but in most cases, it feels like the ordinary changes us.
Rob Myers takes us on a short historical journey of Glitch as an aesthetic signifier of technological presence that dates back at least to the 1980s. Referencing the Vaught-Kampf machine in Blade Runner (1982), the titular character in Max Headroom (1985). And how the use of Glitch as an artistic aesthetic in itself has accelerated with the democratization of new technologies.
As founder/director of the Media Archeology Lab in Colorado, Lori Emerson has (since 2009) been surrounding herself with "dead" media technologies in order to help make sense of (and critique) today's much-hyped alive ones. Montgomery Cantsin conducted this interview upon the release of Lori's new book, Reading Writing Interfaces.
Monsters of the Machine at laboral, Spain, is a group exhibition with a contemporary take on Mary Shelley’s Frankenstein, seeing the world through her eyes now. Shelley’s classic, gothic horror and science fiction novel, has inspired millions since it was written 200 years ago in 1816, and then published anonymously in London in 1818.
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.
London's Permaculture Design Course - Spring Into Action! and Design 4 A.C.T.I.O.N (Active Community Transformation In Our Neighbourhoods) are a different kind of permaculture course - positive design for your life, your community and your world by empowering the genius inside all of us!
Artist collective THEY ARE HERE invite you to play with and test software that allows wireless-enabled computers and mobile devices to directly form a spontaneous communication network independent of the internet. Across a series of drop-in sessions facilitated by THEY ARE HERE, games and experiments will be trialled as part of the development process for their forthcoming exhibition at Furtherfield in October 2016.
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.