Randall Packer interviews three artists from the Chicago glitch community: Nick Briz, Paul Hertz, and Jon Satrom about glitChicago: An Exhibition of Chicago Glitch Art, recently shown at the Ukranian Institute of Modern Art, discussing their funky (as in Chicago blues), punk-inspired disruptions and hacked creations.
Daniel Rourke reviews works commissioned by curator Shiri Shalmy for the ongoing Data as Culture project, by artists Paolo Cirio and James Bridle, that deal explicitly with the concatenation of data. What happens when society is governed by a regime of data about data, increasingly divorced from the symbolic?
You know a book review is going well when you disengage your critical mind and find yourself falling into the text and just soaking up everything you're reading. HOLO magazine gets you like that. I don't think it's too much of an exaggeration to say that HOLO magazine is itself a work of art.
ChannelTWo review Anette Barber's Casualties, an interactive, kinetic installation, that was exhibited at Chicago Artists Coalition from Aug 22 to Sept 11, 2014. Barbier explores the tension between the built environment and the marginalized place of nature in our urban spaces as seen through the plight of urban birds.
Michael Szpakowski reviews Pencil-Line-Eraser, the 'expanded' drawing exhibition at Carroll/Fletcher in London and finds a great deal to commend in it, though it also raises some knotty problems too...
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.
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.
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.
Spill >> Forward by Transnational Temps is an 'Online Exhibition' of images and other media of the theme of oil spills. With some works shown at the MediaNoche gallery in NY from July 30th - November 19th, 2010. TT are an arts collective exploring the interstices of art, ecology and technology.
The first of a brand new series of Mathias Jansson's study of Videogame Appropriation in Contemporary Art. This article explores the videogame Tomb Raider and Lara Croft, using Anne-Marie Schleiner's question as it's central theme, "Does Lara Croft Wear Fake Polygons?" asked in a gender analyse essay published in 2000 in the Switch magazine. Including examples of works by artists who have appropriated, intervened, hacked and critiqued this popular videogame character.
Marc Garrett interviews John Jordan and Gavin Grindon about their collaborative publication, 'A Users Guide to (Demanding) the Impossible'. "This guide is not a road map or instruction manual. It’s a match struck in the dark, a homemade multi-tool to help you carve out your own path through the ruins of the present, warmed by the stories and strategies of those who took Bertolt Brecht’s words to heart: “Art is not a mirror held up to reality, but a hammer with which to shape it.”
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.
Is it really OK for corporations to compile and sell personal profiles so intimate that they know more about us than our loved ones do? Is 'smart' economy an all-round bad idea purely to be defended against or is there the possibility of 'smart' technology and smart systems co-designed by and for women themselves and a respectful way to manage 'big data'?
This two-day event by Fossbox will explore these questions around surveillance, gender and society in a practical privacy workshop followed by a day of discussion, making and performance.
This is the fourth and final part of the Digital Futures: Money No Object series of events. The session will be led by Brett Scott author of The Heretic’s Guide to Global Finance: Hacking the Future of Money, followed by an evening public showcase. It will be a currency prototyping brainstorm, where we will explore whether a currency or alternative exchange system might be developed for and by a distributed network of artists to support and promote experimental, open and free practices.
A panel – chaired by Ruth Catlow and joined by Steve Fletcher and Lindsay Taylor – that discusses an electrifying cluster of controversies: the subversive intentions and emancipatory motivations of many media artists; the needs and concerns of public art collectors and conservators; the opportunities for private collectors and the interests of high art market speculation.
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