Robert Jackson reviews Nathaniel Stern's Interactive Art and Embodiment: The Implicit Body as Performance (2013): a critical framework that argues for the importance of embodiment in digital interactive art together with a constitutive philosophy of relationality, movement, materiality and process.
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.
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?
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...
The artist Constant Dullaart in conversation with Rachel Falconer reflecting on his recent show Stringendo, Vanishing Mediatorsat Caroll/Fletcher. Exporing the liminal space and broadcast politics of the balcony and unpicking Dullart's Balconisation Manifesto.
Nathan Jones visits E-Vapor-8 at SITE Gallery, in Sheffield - a series of aesthetically and conceptually haunted works opening onto the death of rave - and finds an affecting, and more modern show than he was lead to expect.
Stefan Lutschinger reviews Die GstettenSaga: The Rise of Echsenfriedl. A film by Johannes Grenzfurthner. Set in the post-apocalyptic aftermath of the “Google Wars” – an armed global conflict between the last two remaining superpowers China and Google - which has turned what remained of the Alps into a Gstetten.
Nathan Jones reviews the exhibition ‘The Negligent Eye’ on digital printmaking at the Bluecoat in Liverpool. He examines its paradoxical concerns as printmakers question printmaking practice alongside other artists engaged in digital production.
Resonate, the Belgrade, Serbia digital arts and design festival, now in its third year unfolds over a long week at the start of April. Its central tenet is to bring together “artists, designers and educators to participate in a forward-looking debate on the position of technology in art and culture.” It is also an emerging and challenging festival that raises many more questions than it answers.
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