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You are invited to participate in the Transcultural Data Pact

Many generations have passed since the “Dread Isolation”. Two nations with shared ancestry and clashing beliefs meet to trade their unique technologies.

Join us for the workshop that is also a game where we use roleplay to explore how personal and collective data practices and devices might shape the attitudes and fortunes of a society? 

Sign up by 12th August 2020

Booking essential 

Participants will each receive one of two devices in the post, and will be given different roles to play as delegates in a fictional trade negotiation. In this first meeting on record, and with minimal knowledge of each other’s cultures, the people of Ourland and New Bluestead must use their devices to communicate with each other and to agree to the terms of a technology and data-culture exchange.

What do they have to offer? How will they decide what they want and what is in their best interests?

What freedoms might they sacrifice, what insights might they gain?

How might they adapt a foreign technology to their own needs, and how might they understand the risks involved?

This is an invitation to participate in Transcultural Data Pact, a research event that is also a  game of serious make believe. We welcome you to a future-historic event and clash of data-cultures. 

The event will take place online in Zoom and will last for about 3 hours with a lunchtime pre-event orientation session that will last for an hour.

There are two sessions available for both the game event and the pre-event orientation (which is a requirement of participation):

Lunchtime pre-game orientation events

13.30 – 14.30 BST Tues 18 August 2020

13.30 – 14.30 BST Wed 19 August 2020 

Transcultural Data Pact Game events

13.15 – 16.30 BST Thurs 20 August 2020 

13.15 – 16.30 BST Fri 21 August 2020 

In exchange for your time you will exercise your creative agency contributing to the ideation of future technologies for live personal data.  You might even discover new meanings in your personal data in places you never thought of looking before!

All participants will receive a £20 voucher for their contribution to the research.  

This is an open invitation to all. No experience in role-playing games is necessary.

Booking essential

Pregame orientation events 

13.30 – 14.30 to learn about your devices and about LARPing, to introduce and develop the scenarios, to build the fictional worlds together.

Game Event Schedule

13.20 – 13.30 Arrive in Zoom and sign in

13.30 Introduction

13.40 – 16.00 Nations Technology Exchange Live Action Role Play

16.00 – 16.30 Debrief, reflection and survey

For any enquiries, please email

In 2019 the “extreme users” discussed their hopes for future technology. ‘a reporting product, which is flexible, intelligent, perhaps there’s some AI may be in there.’ ‘ to know what the government gets and also how trustworthy they are.’

About the project

Findings contribute to a research paper Human-Computer Interaction (CHI).

The Transcultural Data Pact is a Qualified Selves research event that uses data objects to stretch people’s imagination about the collection and usage of their own data to investigate personal and collective data devices and practices that add real value.

Qualified Selves is a joint project between Lancaster and Edinburgh Universities. Improving how individuals make sense of data management (from social media to activity trackers to home IoT devices) in order to enhance personal decision making, increase productivity, and improve their quality of life. Its novel approach to co-design and co-creation has supported the development of new prototypes to help think about tracking data in different ways.

Transcultural Data Pact is created by Ruth Catlow (Furtherfield/DECAL) with Dr Kruakae Pothong, Billy Dixon, Dr Evan Morgan and Prof. Chris Speed from Edinburgh University, in collaboration with Kate Genevieve.

Ruth Catlow is Director of DECAL. Furtherfield is London’s first (de)centre for digital arts. DECAL is a Furtherfield initiative which exists to mobilise research and development by leading artists, using blockchain and web 3.0 technologies for fairer, more dynamic and connected cultural ecologies and economies.

The FurtherList Archives

A list of recommendations, reflecting the dynamic culture we are part of, straddling the fields of art, technology and social change.

Permanent archive of all the FurtherLists.

FurtherList No.19 April 3rd 2020

FurtherList No.18 March 6th 2020

FurtherList No.17 February 7th 2020

FurtherList No.16 January 3rd 2020

FurtherList No.15 Nov 29th 2019

FurtherList No.14 Oct 26th 2019

FurtherList No.13 Sept 27th 2019

FurtherList No.12 Sep 20th 2019

FurtherList No.11 September 6th 2019

FurtherList No.10 August 30th 2019

FurtherList No.9 August 23rd 2019

FurtherList No.8 August 16th 2019

FurtherList No.7 Aug 9th 2019

FurtherList No.6 July 30th 2019

The FurtherList No.5 July 5th 2019

FurtherList No.4 June 21st 2019

FurtherList No.3 June 14th 2019

FurtherList No.2 June 7th 2019

FurtherList No.1 May 31st 2019

Main image: Bad Shibe. Story by Rob Myers and Illustrations by Lina Theodoru. Wall installation. NEW WORLD ORDER exhibition, at Furtherfield 20 May – 25 June 2017. Photo by Pau Ros.

Children of Prometheus at NeMe, Cyprus 2019

NeMe and curator Marc Garrett, Co-Founding and Co-Artistic Director of Furtherfield, have the pleasure to invite you to Children of Prometheus at NeMe Arts Centre, Limassol. The exhibition investigates the landscape of a rapidly transforming world and how some of these shifts inform and affect our immediate environment.

The complex nature of the ancient Greek myth of Prometheus has inspired philosophers, authors and artists throughout many centuries and will continue to do so because of the powerful contradictions which it embodies which reflects the ongoing dualities present in both the human mind and physical existence. Acknowledging that the Promethean spirit lives on in the ambitions of science and technology, which in many cases defies the limits imposed upon humanity by nature, the post-modern Prometheus belongs to an organised world focused on the technology of the internet. This rapidly expanding domain, with its presumed ethos of democracy belies the technologies of data mining, fake data, targeted personalised advertising, etc used by global conglomerates to engineer/manipulate people’s perception via media into a state of hyper-real urgency by dislocating the individual from physical realities.

Yet despite the plethora of work in the field, there has not been any sustained attempt to think through the larger philosophical, sociological, economical, political and cultural implications of new technologies. A crucial methodology for this exhibition is to view these themes through the eyes of the artists. Children of Prometheus generates a visual discussion around this persistent narrative that is still very enmeshed into our contemporary context.

This exhibition was originally produced in partnership with LABoral, in Gijon, and is an extension of the Monsters of the Machine: Frankenstein in the 21st Century, 18 Nov 2016 – 21 May 2017.

Featured Artists

AOS (Art is Open Source) was born in Italy, in 2004 as an interdisciplinary research laboratory focused on merging artistic and scientific practices to gain better understandings about the mutation of human beings and their societies with the advent of ubiquitous technologies. AOS was created by Salvatore Iaconesi (engineer, hacker, artist, designer, TED Fellow, Eisenhower Fellow, Yale World Fellow, Prof. in Interaction Design at ISIA Design University in Florence), joined by Oriana Persico (social scientist, artist) and now includes more than 200 artists and researchers from across the world.

Alexia Achilleos is a Finnish-Cypriot artist with a background in fine art, archaeology and cultural studies. Her work is concerned with cultural, political and social issues which impact identity, specifically linked with cultural heritage & tourism, colonialism and national identity politics. She explores interactions, hybridisation and power struggles – especially how a cultural object’s function can change according to geography, history and politics, and how it can be suited to the needs and interests of the adopting culture.

Egor Chemokhonenko lives and works in Cyprus. He is a programmer and open source enthusiast, and keen to mix technologies with the arts. Egor has previously collaborated as a developer with fashion and arts projects such as Lumpen Agency and Cosmoscow Contemporary Art Fair. Machine self-portraits is his second programming for an artwork using artificial intelligence.

Anna Dumitriu is a British artist whose work fuses craft, sculpture and bioscience to explore our relationship to the microbial world, technology and biomedicine. She has an international exhibition profile, having exhibited at venues including The Picasso Museum in Barcelona, The Science Gallery in Dublin, The Museum of Contemporary Art (MOCA) Taipei, and The V & A Museum in London. She is artist in residence on the Modernising Medical Microbiology Project at the University of Oxford, a visiting research fellow: artist in residence in the Department of Computer Science at The University of Hertfordshire, and an honorary research fellow in the Wellcome Trust Brighton and Sussex Centre for Global Health at Brighton and Sussex Medical School.

Mary Flanagan is a writer and artist whose practice(s) extend into science, design, psychology, and futures studies. Her encompassing work in theory and criticism, with a wide range of essays and books on digital culture, is in constant dialogue with her use of digital and material platforms to create dynamic, constantly evolving systems that reflect cultural questions and trigger reflection. She is the author of the book Critical Play: Radical Game Design, the poetry collection Ghost Sentence, co-author of Values at Play in Digital Games and Similitudini. Simboli. Simulacri, and co-editor of the collections Reload: Rethinking Women in Cyberculture and Re:Skin. Her essays and articles have appeared in Salon, USA Today, The San Francisco Chronicle, and The Huffington Post.

Carla Gannis is an artist who lives and works in Brooklyn, New York. She received a BFA in painting from The University of North Carolina at Greensboro and an MFA in painting from Boston University. In the late 1990s she began incorporating net and digital technologies into her work. Gannis is the recipient of several awards, including a 2005 New York Foundation for the Arts (NYFA) Grant in Computer Arts, an Emerge 7 Fellowship from the Aljira Art Center, and a Chashama AREA Visual Arts Studio Award in New York, NY. She has exhibited in solo and group exhibitions both nationally and internationally. She is currently Assistant Chair of Digital Arts at Pratt Institute in Brooklyn.

Marinos Koutsomichalis is a media artist, scholar and creative technologist. He was born in Athens, GR (1981) and has since lived and worked in various cities around the world. His practice is hybrid, nomadic, and ethnographic, involving field-work, creative coding, critical theory, making, lecturing, live performance, workshopping, artist/research residencies, ‘Doing-It-With-Others’, and hands-on experimentation with materials and technologies of all sorts. His artistic corpus is prolific, yet persistently revolving around the same few themes: material inquiry/exploration; self-erasure; the quest for post-selfhood. He has hitherto publicly presented his work, pursued projects, led workshops, and held talks worldwide more than 250 times and in all sorts of milieux: from leading museums, acclaimed biennales, and concert halls, to churches, industrial sites, and underground venues. He has held teaching and research positions in various academic institutions, has published a book and numerous academic/scientific articles, and is currently a Lecturer in Multimedia Design for Arts at the Cyprus University of Technology (Limassol) where he co-directs the Media Arts and Design Research Lab.

Kypros Kyprianou is an artist based in Bristol. He investigates scientific, political and cultural constructs using materials drawn from official archives, reverse-engineered objects, scenarios from film and hearsay. His practice is often collaborative, culminating in performance, video, publications and site-specific intervention.

Gretta Louw was born in South Africa in 1981 but grew up in Australia. She received her BA in 2001 from the University of Western Australia and Honours in Psychology in 2002, subsequently living in Japan and New Zealand before moving to Germany in 2007. Her work has been exhibited widely, including in public institutions such as the Kunstmuseum Solothurn (CH), Münchner Stadtmuseum (DE), National Portrait Gallery (AUS), UNSW Galleries (AUS), LABoral (ESP), and Galeri Nasional Indonesia (IDN). She was awarded the Heinrich Vetter Preis by the City of Mannheim in 2014 and the Bahnwärter Stipendium by the City of Esslingen am Rhein in 2017, as well as studio scholarships in Munich and Mannheim. In 2017, Louw was an artist in residence at MozFest in London at the invitation of the Tate and the V&A museums in collaboration with the Mozilla Foundation. Louw has also curated thematic exhibitions at museums including the Villa Merkel (DE), Furtherfield Gallery (UK), and Paul W. Zuccaire Gallery (US) and contributed essays to numerous catalogues and publications.

Lynn Hershman Leeson is an artist and filmmaker whose work has been internationally acclaimed over the last five decades. Cited as one of the most influential media artists, Hershman Leeson is widely recognised for her innovative work investigating issues that are now acknowledged as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression. Over the last fifty years she has made pioneering contributions to the fields of photography, video, film, performance, installation and interactive as well as net-based media art. ZKM | Center for Art and Media Karlsruhe, Germany, mounted the first comprehensive retrospective of her work titled Civic Radar. A substantial publication, which Holland Cotter named in The New York Times “one of the indispensable art books of 2016.” Lynn Hershman Leeson is a recipient of a Siggraph Lifetime Achievement Award, Prix Ars Electronica Golden Nica, and a John Simon Guggenheim Memorial Foundation Fellowship. In 2017 she received a USA Artist Fellowship, the San Francisco Film Society’s “Persistence of Vision” Award and the College Art Association’s Lifetime Achievement Award.

Joana Moll is a Barcelona / Berlin based artist and researcher. Her work critically explores the way post-capitalist narratives affect the alphabetization of machines, humans and ecosystems. Her main research topics include Internet materiality, surveillance, social profiling and interfaces. She has lectured, performed and exhibited her work in different museums, art centers, universities, festivals and publications around the world. Furthermore, she is the co-founder of the Critical Interface Politics Research Group at HANGAR [Barcelona] and co-founder of The Institute for the Advancement of Popular Automatisms. She is currently a visiting lecturer at Universität Potsdam and Escola Superior d’Art de Vic [Barcelona].

Cédric Parizot is a Researcher at the CNRS. He is an anthropologist of politics and currently works at the Institut d’Etudes et de Recherche sur le Monde Arabe et Musulman (IREMAM, Aix en Provence). His research focuses on mobility and borders in the Israeli – Palestinian space. He has recently published with Stephanie Latte Abdallah A l’ombre du mur: Israéliens et Palestiniens entre séparation et occupation, Arles, Actes sud, 2011. He coordinates a transdisciplinary research programme involving social scientists, scientists, artists and professionals in order to elaborate a multidisciplinary approach on the mutations of 21st century Borders in Europe and the Mediterranean at the Institute of Advanced Studies in Marseille, France.

Guido Segni, aka Clemente Pestelli, lives and works somewhere at the intersections between art, pop internet culture and data hallucination. With a background in Hacktivism, Net Art and Video Art, his work is characterized by minimal gestures on technology which combine conceptual approaches with a traditional hacker attitude in making things odd, useless and dysfunctional. Co-founder of Les Liens Invisibles, he exhibited in galleries, museums (MAXXI Rome, New School of New York, KUMU Art Museum of Talinn) and art & media-art international festivals (International Venice Biennale, Piemonte SHARE Festival, Transmediale). Currently he teaches at the Accademia di Belle Arti of Carrara, directs the imaginary REFRAMED lab and he is part of the editorial committee for the project Atypo.

Alan Sondheim is an independent writer/theorist/artist. He co-founded the Cybermind and Wrytingemail lists. He is editor of Being on Line and author of .echo, Disorders of the Real and The Wayward. He is also published widely online and his video/sound work is internationally exhibited. Sondheim is the developer of the concept of code work, wherein computer code itself becomes a medium for artistic expression. He explores notions of the ‘abject’ in the masculine and feminine online, and more recently has dealt with the machinic using the language of computer code to articulate novel forms of identity in cyberspace. His work crosses over between philosophical explorations and sound poetry and more recently he has returned to the language of music using the tonalities of a wide range of ethnic instruments. His current areas of exploration include: the aesthetics of virtual environments and installations; mapping techniques using motion capture and 3D laser scanners; Buddhist philosophy and its relation to avatars and online environments; and experimental choreography.

Featured Image:
Detail from ‘The Garden of Emoji Delights Triptych’ (2014) by Carla Gannis

Connect for Creativity Curator Call Out

Furtherfield are looking for curators for collaboration in a short-term project based at their Gallery in London’s Finsbury Park

Connect for Creativity is an 18-month project led by the British Council, in partnership with Abdullah Gül University in Turkey and three creative hubs – ATÖLYE in Turkey, BİOS in Greece, Nova Iskra in Serbia. The project is co-funded by the European Union and the Republic of Turkey, through the Intercultural Dialogue programme. 

The project features art and technology residencies which will bring artists, creatives and technologists from Turkey, the UK, Greece and Serbia together at each location to explore uses of creative technology to build bridges and empathy within and across societies.

“The residencies will result in immersive and multimedia-rich artwork, powered by techniques of design research, human-centered design and speculative design. The artists will be asked to question what hopes and fears are associated with rapidly changing work and life environments in contemporary society, how a networked culture can develop cohesion and how to deal with uncertainty and change.” 

Furtherfield are looking for:

To work for a maximum of 6 days each, between 1st November 2019 and 28th February 2020 at €200 per day. Must be available to attend event at Furtherfield Commons between 5.00 and 9.00pm on 6th November. 

You will : 

If you are a curator with Turkish, Greek or Serbian heritage born or based in London we would love to hear from you. To apply please send a 1 page CV and 1 page covering letter explaining why the project interests you to by 12.00pm Friday 18th October. Final candidates will be notified by Friday 25th October. 

Join the Future Machine Procession in Finsbury Park

The Future Machine, part of Furtherfield’s Citizen Sci-Fi programme, has been built with local groups as a witness to people and places, changing over time. It gathers evidence and stories of these turbulent times, as the Earth changes, and we journey to an uncertain future. 

You are invited to join the Future Machine on it’s first procession around Finsbury Park on Sat 12 Oct. We begin at Furtherfield Gallery at 3.00pm. Then the Future Machine will be welcomed at various stops on the way by local groups who promise to care for the future, it ends its journey at 6pm with a party to welcome the Autumn in at Furtherfield Commons Garden.

Please join the procession at Furtherfield Gallery at 3pm, or at any of the stops and dress up in your best or wildest Autumn clothes.

Future Machine Procession Stops:

Future Machine has been created by Rachel Jacobs in collaboration with Juliet Robson, Wallace Heim, Frank Abbott, Alex Dayo, Ian Jones, Robin Shackford, Matt Little, Matthew Gates, Dominic Price, Furtherfield Gallery, researchers from the University of Nottingham, Dr John King from the British Antarctic Survey and all the participants in the ‘Building a Future Machine’ workshops.

After touring to other places across England, the Future Machine will return to Finsbury Park in October in 2020 and 2021, as the future comes.

Featured image: credit to Rachel Jacobs

Planet Cashless 2029


In June 2019 Martin Zeilinger and Furtherfield held a Future of Money workshop, inviting people with expertise in alternative currencies, crypto tech and to meet with sci-fi writers and enthusiasts. They presented their work and to stimulate a discussion on how the politics and practicalities of cashlessness could be explored with younger generations.

Image of Planet Cashless 2029 sticker designed by Studio Hyte
Image of Planet Cashless 2029 sticker designed by Studio Hyte

Contributors included:

Mud Howard – gender non-comforming sci-fi writer; Arjun Harrison-Mann – graphic designer; Ben Cain – graphic designer; Brett Scott – on the future of money; Jaya Klara Brekke – on the politics of crypto finance; Ailie Rutherford – feminist economics artist; Peter Holsgrove – art and blockchain developer; Cecila Wee – writer and curator with finance and money specialism. The aim of this event was to develop a framework for running workshops exploring the issues of a cashless society.

Image of a family playing Planet Cashless 2029 at the Furtherfield Future Fair on 10th August 2019, image credit: Julia Szalewicz
Image of a family playing Planet Cashless 2029 at the Furtherfield Future Fair on 10th August 2019, image credit: Julia Szalewicz

The framework, devised by Zeilinger, Furtherfield and Studio Hyte, is a playful workbook (and set of stickers and badges). Users select a scenario from Planet Cashless 2029 and are invited through a set of steps designed to tease out solutions to the scenario. For example in one scenario a cyborg melon seller loses power in their digital payment arm and they need to find an alternative way to sell their melons!

Image of the Planet Casheless 2029 table at the Furtherfield Future Fair on 10th August 2019, image credit: Julia Szalewicz
Image of the Planet Casheless 2029 table at the Furtherfield Future Fair on 10th August 2019, image credit: Julia Szalewicz

We now plan to further bring the workbook alive with AR. In particular, we aim to create futuristic scavenger hunts where young people can explore locally, investigate financial forms for themselves, and come up with their own solutions to arising issues of the disappearance of cash.


The first Future of Money Lab was run by Zeilinger and Catlow at Furtherfield Commons, London, on 6th June 2019

Planet Cashless 2029 was first shown at the Furtherfield Future Fair, London, on Sat 10th August 2019

the Future of Money Lab was run in a second iteration by Zeilinger and Catlow at Money Lab #7 Outside of Finance, Tolhuistuin, Amsterdam, on 15th Nov 2019


Martin Zeilinger is a new media researcher, curator, and practitioner whose work focuses on the intersections between new media art, emerging technologies, critical theory, and activism in the financial, political, and environmental realms. Martin is Senior Lecturer in Computational Arts & Technology at Abertay University in Dundee. He has curated the Toronto-based Vector New Media Arts Festival since 2013, and is a member of the curatorial collective for the Dundee-based NEoN Festival.

Featured image: Image from Planet Cashless 2029 booklet designed by Studio Hyte

Play Utopoly – and design utopian economies for all

Join us in using play to design a utopian economy by coming to play Utopoly at Furtherfield Commons. 

Utopoly is a tool for inquiry, reflection and idea generation. Its purpose is to generate alternatives to the neoliberal orthodoxy and address the social and ecological crises it creates. It uses a game as utopian practice to critique the state of society and engage in speculation about how to shape the future. Through improvisational play Utopoly provides that rare space for people to re-imagine society, where values, forms of exchange and social relations can be reconsidered and reconfigured. Players then interact with and evaluate the alternative social and political spaces that emerge. 

Utopoly starts with a Future Workshop, a method developed by Robert Jungk in 1962 to re-engage people’s innate creative genius which had been suppressed by school, work and consumerism. This involves separate stages of critique, fantasy and implementation. It starts with a discussion and critical exploration around a selected topic or situation. Players critically engage with the now or what-has-become to then open up space for the future or the what-is-yet-to-become. They create fantasies of a utopian nature unconstrained by whether they can be realized or not. Desires, ideas, alternative values, attributes and features of a utopian future are discussed. Moving from the limits of knowing to the possibilities of the yet-to-be-known. This is the political space where the future is open and crucially not a continuation of the present. 

The implementation stage involves a ‘hack’ of Monopoly, a popular game which in its original form in 1904 had a progressive and beneficial informative function, but now celebrates and normalises competitive accumulation and socially useless rentier behaviour.

Players discuss and decide which of the features of a utopian future they want represented in the game Utopoly. They determine how the new economy works and – by introducing alternative values, currencies and transactions – can inspire new ways of considering existing social norms. Players then collaborate in a contest against the prevailing crises bound by the neoliberal agenda. 

By playing Utopoly participants have the opportunity to reflect on alternative realities and social relations. They can navigate and negotiate the various game features and experience what it is like to inhabit a world incorporating the new economic and social possibilities they have created. In addition, by providing a platform for beneficial expectations Utopoly cultivates the ‘education of desire’ for a better world.

Further information about Utopoly can be found in the following articles:

New School (New York) Public Seminar, Utopoly – A utopian design game

Furtherfield UTOPOLY – playing as a tool to reimagine our future: an interview with Neil Farnan


The OPEN SCORES exhibition brings together 16 practices through which artists articulate their own forms of (digital) commons. From online archives, to digital tools/infrastructure and educational formats, the projects envision a (post-)digital culture in which notions of collaboration, free access to knowledge, sustainable use of shared resources and data privacy are central.

Curated by Creating Commons (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder)


For the exhibition, artists have developed a SCORE relating to their practice. A SCORE can have different meanings: It can be a general instruction, a working instruction, a performance instruction or an operating instruction. In any case, it is meant to lead to a realization of an intended action and as such is an interface between a human actor and an object/material/machine. And a SCORE can also be linked to a technical HOWTO document, in that it contains information on how to perform a specific task.

Within the exhibition, the newly developed SCORES add an aesthetic layer while pointing to the socio/political impact of the presented projects. The exhibition will also feature the interviews conducted as part of the research project as well as a temporary library on the subject of digital commons. Furthermore, there will be a program of talks, screenings, and workshops.

The exhibition features The DAOWO Open Score for Artworld Commoning by Ruth Catlow and Marc Garrett, Furtherfield/DECAL

DAOWO (Decentralised Autonomous Organisation With Others) is the second wave of global artworld restructuring against the toxic cult of the individual artistic genius which first found expression in the punk spirit of networked collaboration called DIWO (Do It With Others). 

The DAOWO Open Score is an experimental framework for nurturing the artworld commons after Web3.0, at the intersection of three fields of practice: art, commoning and decentralisation engineering.


Dušan Barok (, Marcell Mars & Tomislav Medak (, Sebastian Lütgert & Jan Gerber (, Kenneth Goldsmith (, AAAAARG, Zeljko Blace (#QUEERingNETWORKing), Ruth Catlow & Marc Garrett (, Laurence Rassel (, Marek Tuszynski (Tactical Tech), Constant (Michael Murtaugh, Femke Snelting & Peter Westenberg), Stefanie Wuschitz (Mz* Baltazar’s Lab), Panayotis Antoniadis (, Alessandro Ludovico (, Eva Weinmayr (, Spideralex, Sakrowski (, Creating Commons, Johannes Kreidler, Alison Knowles.

Artworld DAO Think Tank @EthBerlinZwei

The Machine that Eats the Artworld for Lunch*

Presentation and open conversation with Penny Rafferty and Ruth Catlow

Artists Ruth Catlow and Penny Raffety will host an open conversation about their recent Artworld DAO think tank, a 52 hour immersive event employing technical talk, political discussion and uncanny working methods to create pathways to collective arts production, tools, capacities, resources, resistance and solidarity.

“We believe that by engaging with these spaces collectively we will strengthen and build quicker and better models for the future DAOs and hopefully make them a reality for all.”

The intensive commodification of art over the last five decades has been accompanied by the hyper-individualization and beggering of artists on the ground in even the world’s wealthiest countries.  Decentralised Autonomous Organisations (DAOs) now allow people to exchange economic value, to pool resources and form joint-ventures, without control from the centre; to enjoy the benefits (or otherwise) of the shared activity in the future. DAOs provide both the technical underpinnings and the context for reimagining a full re-constellation of stakeholders for radical imagination and other possible art worlds. 

Additionally because artworlds can provide timespaces for practical philosophy and creative play with everyday rules, behaviours and structures they have the potential to inject (into an over-mechanised technical space) radical imagination that produces new ways of being, feeling and knowing for collectives of people. 

*The first Artworld DAO Think Tank was made possible with funding by Furtherfield/DECAL and Serpentine Galleries

Featured image: Woodcut (1888) Artist Anonymous

Future Fair

This family-friendly ‘Albion’ style fair for Finsbury Park’s 150th anniversary forms part of our 3-year programme Citizen Sci-Fi – crowdsourcing creative and technological visions of our communities and public spaces, together.

Music, storytelling, costumes, food, and all kinds of activities for exploring the future of the park and beyond!

Activities Include:

Planet Cashless 2029

Martin Zeilinger

Should a cashless society leave us quaking in our boots? Come play our game imagining the future of money – and how we’ll get by if there’s no cash to pay for things. You’ll get given a scenario and asked to design a way to make exchanges in the future. Are you a ‘Barter Bender’ or ‘Sharey Carey’? Or will you sink the system and start again? Find out!

Times: 10.00-5.00

Image credit: Studio Hyte
Image credit: Studio Hyte

Future Fictions of Finsbury Park

Mud Howard and Stephen Oram

Gather round and listen to two short stories emerging from the heady mix of sci-fi authors, scientists and the folk of Finsbury Park. Come and decide if these are the futures you want for your park?

Times: 11.30, 2.30

Rusty Russ Twisted Tree ReTwisted via photopin  (license)
Rusty Russ Twisted Tree ReTwisted via photopin (license)

Play Then Now or Never

Idit Nathan and Helen Stratford

Take part in the launch of an entirely new app that leads you on a walk of the park that’s like no park walk you’ve ever been on before! This app was designed with local people through similarly silly strolls and we need YOU to bring it to life! Drop by and we’ll show you how to download the app (it’s very easy!) and collect a map that will help you ‘catch’ prompts all around the park. We’ll also have colourful badges for you to take home. 

Times: 10.00-5.00

Photo credit: Julian Hughes (from Walk & Play YSP, 2018)
Photo credit: Julian Hughes (from Walk & Play YSP, 2018)

Jason and the Argonauts

Jason Wilsher-Mills

Pedal Power, come meet Jason and the Argonauts – a set of wild and wacky AR-enabled characters who have come to visit you. Jason will show you how he made them and how you can help him make new ones all about the Pedal Power community. (this activity is especially for Pedal Power, but all welcome)

Times: 10.00-5.00

Jason Wilsher-Mills, East Hull Elvis & His Dislocated Pelvis. Image credit: Jerome Whittingham
Jason Wilsher-Mills, East Hull Elvis & His Dislocated Pelvis. Image credit: Jerome Whittingham

Community Drumming

Alex Dayo 

Drop by and join in a family-friendly Community Drumming workshop led by Alex Dayo, master drummer from Burkina Faso (West Africa), find your inner rhythm and let it out!

Times: 10.30, 4.00

Image credit: Matthew Usher and 2NQ
Image credit: Matthew Usher and 2NQ

The Extended Trans*feminist Rendering Programme 

Possible Bodies: The Underground Division – Helen Pritchard, Jara Rocha, Femke Snelting

Join a research session with Possible Bodies: The Underground Division, a team of fiction writers, geo-techno-scientists and trans*feminist device problematizers. A hands-on collective investigation into the micro, meso and macro political consequences of earth scanning practices. Together we’ll look at what undergrounds are rendered when using techniques such as Terrestrial Light Detection and Ranging, magnetic resonance, UltraSound, and Computer Tomography. 

Times: All day but limited places, book now  

Prototyping a People’s Park

Feminist Internet

What have parks done for their communities? What role do they play in our lives both socially and politically? What kind of spaces could they be for us in the future? Feminist Internet launch a special episode of their podcast series and an accompanying zine for the Albion fair that unearths the history of Finsbury Park, examining the role urban parks play within their communities and speculates about their potential futures.

Times: 10.00-5.00

Image credit: Feminist Internet
Image credit: Feminist Internet

Minutes in the Park

Larisa Blazic

It’s time to call this meeting to order! Join a special Theatre of the Oppressed inspired performance by reading aloud  meeting minutes published by Finsbury Park’s many organisations and community hubs. 

Times: 12.00-2.30

Image credit: Larisa Blazic
Image credit: Larisa Blazic

Who Am I?

Sunara Begum

The ‘Who Am I?’ workshop is about reversing technology and reflecting on history through creativity. Design and create your own special crest and emblem to signify who you are. Investigate the world of sound through percussion-led music making and immerse yourself in the art of expression through movement. The workshop looks at understanding who we are, tapping into our inner self, asking questions, seeking answers and sharing personal and collective journeys. 

Times: 10.00-5.00

Tricia McGrath of 2D Design
Tricia McGrath of 2D Design

DoxBox trustbot

Artist: Alistair Gentry. Curators: Hannah Redler Hawes and Julie Freeman.

Just how trusting are you? Meet the hot-pink puppet-robot who wants to tell you all about your life online!  How much will you reveal and how much does the trustbot know already?

Times: 10.00-11.30, 12.00-2.00, 3.00-5.00

This work was produced as part of an ODI R&D project funded by Innovate UK.

Image: Alistair Gentry
Image: Alistair Gentry

Future Machine 

Rachel Jacobs

How will you dress fancy for the Future Machine? Rachel Jacobs needs your help to create a stylish parade for the unveiling of the Future Machine this autumn. What will you wear?

Times: 10.00-5.00

Image credit: Rachel Jacobs
Image credit: Rachel Jacobs

Solidarity Barbeque

They Are Here

There will be  a vegetarian and Halal barbeque on the go, with servings inspired by recipes from the refugees They Are Here have been collaborating with. Food will be offered in exchange for a sketch reimagining the transformation of the garden, this will inform the changes taking place in the Autumn. 

Times: DJ 12.00-4.30. BBQ 1.00-4.30

Curating London: Finsbury Park

Kathryn Davis, Dhelia Snoussi and Zey Kussan, Museum of London

What might future archaeologist say about us in the park? How right (or wrong!) could they be? Discover the left objects found in park through the Everything project, and see what connections you can make to you, the park and 2019.

Times: 11.00-1.00

Image credit: Simon Poulter and 2NQ
Image credit: Simon Poulter and 2NQ

Festivals, Events and Inclusive Parks

Andrew Smith, Goran Vodicka

Come and map your experiences of Finsbury Park and feed into research about urban parks and festivals. 

Times: 10.00-5.00

Image credit: Shu Lea Chung exchanging seeds with the community at the Seeds Underground party. Photo by Pau Ros.
Image credit: Shu Lea Chung exchanging seeds with the community at the Seeds Underground party. Photo by Pau Ros.

Featured image: Image by Studio Hyte, artwork in image by Jason Wilsher-Mills

Contributor Bios

Alex Dayo 

Alex Dayo is a versatile composer, arranger and musician (he primarily plays percussion instruments), who was born in Burkina Faso, West Africa. Alex recalls growing up to the sound of drumbeats all around him – music has been part of his everyday life from birth, with instruments replacing childhood toys. His professional musical career started in the 1980s, accompanying the National Ballet Kouledafourou on tour as well as playing for African Royalty and globally-recognised dignitaries at private and public events and the Ensemble des Radios and Televisions of Burkina Faso, based in Bobo-Dioulasso. In 1985, Alex founded Fusion band Wountey, and, for fifteen years, toured with his band and the Ballet across Africa and Europe, spreading Burkina Faso’s cultural fusion to a wider audience. His musical collaborations include Ali Farka Toure, Femi Kuti and Salif Keita from Africa and traditional Master Griots from Burkina Faso/Mali/Guinea/Gambia. An accomplished arranger, Alex modifies his style according to the need, incorporating African traditional, Fusion, Jazz, Rock, Latin and Caribbean influences. A highlight of Alex’s career was being chosen to play at the Opening and Closing ceremonies at the London 2012 Olympics. As well as gaining British community music teaching qualifications, Alex developed his teaching skills working throughout Europe (Switzerland, Italy, Germany, Austria, Luxembourg, Belgium, France and Holland) and Africa and has played at numerous festivals and events, including Notting Hill and Hackney Carnivals, where he has performed for the past ten years.

Alistair Gentry

Alistair Gentry is a science fiction artist. He likes silly costumes, museums, absurdity, visiting the uncanny valley, the Oxford comma, and making machines do things their manufacturers wouldn’t approve of. DoxBox trustbot was developed during his embedded research residency at The Open Data Institute. Other recent projects include an imaginary tourist information agency and a technological ritual with televisions and credit card shredders.

Andrew Smith

Andrew Smith is a Reader in the School of Architecture and Cities at the University of Westminster. His background is in urban geography and one of his main research interests is the significance of organised events in post-industrial and entrepreneurial cities.
Goran Vodicka is a Research Fellow in the School of Architecture and Cities at the University of Westminster. He is an architect/urbanist and his research is broadly focused on diversity and inclusion in public spaces.

Feminist Internet

Feminist Internet is a group of artists and designers working to advance online and offline equalities for women and other marginalised groups through creative and critical practice.

Hannah Redler Hawes

Hannah is the director of the Data as Culture art programme at the ODI and an idneoendent curator. She specialises in art and technology, art and science and emerging artistic practice with an interest in participatory process. She develops interdisciplinary projects for galleries, museums, digital space and non-art contexts. Alongside her work with ODI she curates exhibitions, events and art interventions. Past projects have been with Science Gallery London, Tate Modern, Natural History Museum, FACT Liverpool, the Digital Catapult and the Institute of Physics. As an artist, Julie’s focus is the investigation of data as an art material, using it to create work that reflects the human condition through the analysis and representation of data. As a computer scientist and artist, Julie oftens works collaboratively and experimentally with scientists. Her work has been shown widely in the UK and internationally, and she has won awards from the Wellcome Trust, the Arts Council and Nesta. She holds a PhD in Media & Arts Technology from QMUL and is the founder of the Data as Culture art programme at the ODI.

Helen Stratford and Idit Nathan

Helen Stratford and Idit Nathan – Working collaboratively as Play Anywhere Now or Never! and combining backgrounds in theatre and architecture, Idit and Helen have worked in partnership with Wysing Arts Centre, Kettles Yard, Cambridge and METAL and in locations across the UK (Bristol, Sunderland, Peterborough, Southend and London). In 2015 they formulated Play The City Now or Never! (PCNN) working with METAL Peterborough and Southend to develop the PCNN App, a site-specific geo-locative App for mobile devices positioned at the intersection of art, play and technology. The PCNN App, like other low-tech resources they have developed, such as a compilation of games and scores as well as DIY die, solicits playful engagement with spaces and sites. Other recent and ongoing collaborative projects include developing a mobile artwork for Yorkshire Sculpture Park as well as walkshops for Cambridge Junction, Festival of Ideas Cambridge, CounterPlay ’16 Aarhus, Wellcome Trust, Live Art Development Agency and the National Theatre.

Jason Wilsher-Mills

Jason Wilsher-Mills is a disabled digital artist who is based in the East Midlands, using iPads to create paintings which detail his disability, childhood memories, popular culture, social history/heritage, creating new biographical narratives, through theatrical artifice and humour. He initially painted traditionally, with oils, but since becoming disabled has found the iPad screen more manageable – affording him the opportunity to create large pieces of artwork, through high-resolution files, modern Giclée printing methods & projection methods. It has also given him the chance to work collaboratively, due to its connectivity and accessibility. The primary themes of his work include memory, childhood, disability and illness. In parallel to his own artistic practice Wilsher-Mills conducts public art commissions and residencies working primarily with learning disabled collaborators on wild and wacky interactive sculptures.

Larisa Blazic

Larisa Blazic is a London based digital artisan, educator and feminist hacker with practice ranging from to FLOSS art and design. In her most recent work, Data Union Fork, part of Vertigo STARTS Residency, she explores collective response to personal data abuses by state and corporate sector and creates experiments based on technologies developed within the DECODE project and investigates local governance in Local&&Ledger project.

Martin Zeilinger

Martin Zeilinger is a London-based interdisciplinary researcher, curator, and media practitioner. Currently he works as Senior Lecturer in Media at Anglia Ruskin University (Cambridge/UK), and also serves as curator of the Vector Festival (Toronto/CAN). His research interests include digital art, appropriation-based art practices, experimental uses of financial technologies in contemporary art, theories of cultural ownership and intellectual property, political economies of new media, live coding and creative computing, videogame culture, and experimental game art.

Mud Howard

Mud Howard (they/them) is a gender non-conforming poet, performer and activist from the states. mud creates work that explores the intimacy and isolation between queer and trans bodies. mud is a Pushcart Prize nominee. they are currently working on their first full-length novel: a queer and trans memoir full of lies and magic. they were the first annual youth writing fellow for Transfaith in the summer of 2017. their poem “clearing” was selected by Eduardo C. Corral for Sundress Publication’s the Best of the Net 2017. mud is a graduate of the low-res MFA Poetry Program at the IPRC in Portland, OR and holds a Masters in Creative Writing from the University of Westminster. you can find their work in THEM, The Lifted Brow, Foglifter, and Cleaver Magazine. they spend a lot of time scheming both how to survive and not perpetuate toxic masculinity. they love to lip sync, show up to the dance party early and paint their mustache turquoise and gold.

Possible Bodies – Femke Snelting

Femke Snelting works as artist and designer, developing undisciplined research at the intersection of feminisms and free software. In various constellations she explores how digital tools and cultural practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels.

Possible Bodies – Helen Pritchard

Helen Pritchard is an artist and researcher, whose interdisciplinary work brings together the fields of Computational Aesthetics, Geography and Feminist TechnoScience. Helen’s practice is both one of writing and making and these two modes mutually inform each other in order to consider the impact of computational practices on our engagement with environments. Helen is the head of Digital Art and a lecturer in Computational Art at Goldsmiths, University of London.

Possible Bodies – Jara Rocha

Jara Rocha is an independent researcher/mediator who tends to attend to the semiotic-material urgencies of present cultures with a trans*feminist sensibility. Works with infrastructural politics and aesthetics, text logistics, body inscriptions and tests non-formal ways of learning in collective situations like Euraca Seminar, Las promesas de los algos, Relearn Summerschool, or The Darmstadt Delegation.

Rachel Jacobs

Rachel Jacobs is an artist, researcher and games designer. She co-founded the artist-led collective Active Ingredient in 1996 and the commercial games company Mudlark Production Company in 2007. She completed a Doctorate in Computer Science in 2014. Rachel is a practising artist exhibiting nationally and internationally, and a Research Associate at the Horizon Digital Economy Institute, University of Nottingham. Her artworks include the award winning ‘Heartlands (Ere Be Dragons)’ one of the first mobile games that took place on city streets in Sao Paulo, Yokhama, Berlin, Paris, Cambridge, Bristol and Nottingham; ‘A Conversation Between Trees’, a touring artwork and schools exchange using environmental sensors to connect forests in the UK and Brazil; and ‘The Prediction Machine’, an interactive installation that predicts the future impacted by climate change. Rachel is currently developing a series of artists interventions ‘Creating Rituals for When The Future Comes’, alongside a mobile interactive artwork the ‘Future Machine’.

Stephen Oram

Stephen Oram writes thought provoking stories that mix science fiction with social comment, mainly in a recognisable near-future. He is one of the writers for SciFutures and, as 2016 Author in Residence at Virtual Futures – described by the Guardian as “the Glastonbury of cyberculture” – he was one of the masterminds behind the new Near-Future Fiction series and continues to be a lead curator. Oram is a member of the Clockhouse London Writers and a member of the Alliance of Independent Authors. He has two published novels: Fluence and Quantum Confessions, and a collection of sci-fi shorts, Eating Robots and Other Stories. As the Author in Residence for Virtual Futures Salons he wrote stories on the new and exciting worlds of neurostimulation, bionic prosthetics and bio-art. These Salons bring together artists, philosophers, cultural theorists, technologists and fiction writers to consider the future of humanity and technology. Recently, his focus has been on collaborating with experts to understand the work that’s going on in neuroscience, artificial intelligence and deep machine learning. From this Oram writes short pieces of near-future science fiction as thought experiments and use them as a starting point for discussion between himself, scientists and the public. Oram is always interested in creating and contributing to debate about potential futures.

Sunara Begum

Originally from Bangladesh, Sunara Begum studied film and fine art in the UK and Yoga and Ayurveda in India. She lives between London and Lagos where she is the co-founder of several international arts initiatives including Chand Aftara, an artist’s collective dedicated to the exhibition and production of experimental cinema, New Horizons Africa, an annual music and arts festival and Living Legacies, Gambia’s first traditional music archive. Begum’s work has been widely exhibited in film festivals, museums, galleries and cinematheques worldwide. In 2017, her film Meditation on Stillness was selected as the Best Experimental Short at the Art Africa Film Festival and the Jury Grand Prize at the 21st Media City Film Festival. Her films are in the permanent collections of Dimbola Museum & Galleries (UK), Lionel Wendt Gallery (Sri Lanka), Centre for Contemporary Art (Nigeria), Drik Gallery (Bangladesh) as well as Central Saint Martins College of Art & Design. Sunara’s work is a highly personal expression of themes including gender, memory and migration with powerful imagery that evokes deep-rooted feelings of reflection, contemplation and stillness. Sunara has developed a visual language that is distinctly her own drawn from her unique lived experience, straddling the dialectics of east and west, cultural identity, femininity and the immutable polarities of displacement.

They Are Here

They Are Here (f. 2006) is a collaborative practice steered by Helen Walker and Harun Morrison. They are currently based in London and on the River Lea. Their work can be read as a series of context specific games. The entry, invitation or participation can be as significant as the game’s conditions and structure. Through these games, they seek to create ephemeral systems and temporary, micro-communities that offer an alternate means of engaging with a situation, history or ideology. In parallel, they initiate multiyear socially engaged projects that become generative spaces for further works. They Are Here work across media and types of site, particularly civic spaces.

Museum of London

Curating London will change how the museum collects 21st century London. It also seeks to recruit staff from a broader range of backgrounds and professional experience and puts Londoners at the heart of our collecting practice by working in partnership with local communities. From physical objects to interviewing Londoners about their own histories and memories, Curating London will capture, collect and record contemporary London.

The project started in April 2018 and runs until March 2022.

Each year the museum will begin four projects: three area studies of particular areas and one themed study that spans the whole of London.

DAOWO Blockchain & Art Knowledge Sharing Summit UK 2019 – London

Join us in London at the DAOWO ‘Blockchain & Art Knowledge Sharing Summit’

DAOWO (Distributed Autonomous Organisations With Others) Summit UK facilitates cross-sector engagement with leading researchers and key artworld actors to discuss the current state of play and opportunities available for working with blockchain technologies in the arts. Whilst bitcoin continues to be the overarching manifestation of blockchain technology in the public eye, artists and designers have been using the technology to explore new representations of social and cultural economies, and to redesign the art world as we see it today.

Discussion will focus on potential impacts, technical affordances and opportunities for developing new blockchain technologies for fairer, more dynamic and connected cultural ecologies and economies.


9.00 Registration

9.30 Welcome and Scene Setting

State of the Arts: Blockchain’s Impact in 2019 and Beyond | A comprehensive overview of developments from critical artistic practices and emergent blockchain business models in the arts. DAOWO Arts and Blockchain pdf download (Catlow & Vickers 2019).

Presentation and hosted discussion with Ruth Catlow and Ben Vickers

10.30 Coffee

10.45  Protecting the Rights of Indigenous Australian Artists. What part can Blockchain technologies play?

The Copyright Agency, Australia in conversation with Mark Waugh, DACS UK

11.30   Towards a Decentralised Arts Economy

The launch of Zien, the new dApp for artists will be followed by a presentation and panel discussion with Peter Holsgrove, and artists of A*NA around the implications of tokenising artistic practices.

12.15 Digital Catapult panel

12.45 Wrap up, takeaways and final discussion  

Ruth Catlow, Ben Vickers  & Mark Waugh

Contributors include:

Ruth Catlow Co-founder of Furtherfield & DECAL Decentralised Arts Lab
Peter Holsgrove, Founder of  A*NA
Ben Vickers, CTO Serpentine Galleries, Co-founder unMonastery
Mark Waugh, Business Development Director DACS

Through two UK summits, the DAOWO programme is forging a transnational network of arts and blockchain cooperation between cross-sector stakeholders, ensuring new ecologies for the arts can emerge and thrive.

DAOWO Summit UK is a DECAL Decentralised Arts Lab initiative – co-produced by Furtherfield and Serpentine Galleries in collaboration with the Goethe-Institut London. This event is realised in partnership DACS, UK.

Time Portals Exhibition 2019


Octavia E Butler had a vision of time as circular, giving meaning to acts of courage and persistence. In the face of social and environmental injustice, setbacks are guaranteed, no gains are made or held without struggle, but societal woes will pass and our time will come again. In this sense, history offers solace, inspiration, and perhaps even a prediction of what to prepare for.

The Time Portals exhibition, at Furtherfield Gallery and online spaces, celebrates the 150th anniversary of Finsbury Park. As one of London’s first ‘People’s Parks’, designed for free movement and thought, it is the perfect location to create a mass investigation of radical pasts and futures, circling back to the start as we move forwards.

Each artwork invites audience participation – either in its creation or in the development of a parallel ‘people’s’ work – turning every idea into a portal to countless more imaginings of past and future urban green spaces and beyond.

Time Portals from Furtherfield on Vimeo.

What We Can Do, Antonio Roberts, Studio Hyte (2019)

An interactive wall depicting the urban green space of Finsbury Park as a machine for radical re-assemblage. The external billboard can be scanned with an Augmented Reality app to reveal the secret of realising progressive visions for the future. Scan the message in the Gallery to see the billboard image animated.

Photo credit: What We Can Do by Antonio Roberts

Future Machine, Rachel Jacobs (2019)

An interactive machine designed and built to respond to environmental change and inspire new rites for our troubled times. A slideshow of the machine as it is imagined and built will be presented alongside a ritualised unveiling in the Autumn.

Photo credit: Future Machine by Rachel Jacobs photo by Frank Abbott

Join the Future Machine design team at Furtherfield Commons in Finsbury Park to build a new artwork that will help us to respond to environmental change…as the future unfolds. Sign up to take part in up to 4 workshops that involve talking, thinking & making, using interactive technology and scientific sensors, helping to design and build the Future Machine itself.

Workshop times/dates and sign-ups:

  1. Tuesday 26th March 3-6,
  2. Saturday 20th April 1-4,
  3. Saturday 11th May 1-4,
  4. Tuesday 18th June 3-6

ArchaeaBot: A Post Singularity and Post Climate Change Life-form, Anna Dumitriu, Alex May (2018)

In collaboration with Amanda Wilson (MARA Project/Imperial College) and Professor Daniel Polani (University of Hertfordshire). Supported by EMAP, Arts Council England, and Haringey Council

An underwater robotic installation which explores what ‘life’ might mean in a future transformed by climate change and artificial intelligence. The work is based on new research into archaea, which are single-celled, ancient microbes that can survive in hot, polluted environments, combined with the latest innovations in machine learning. Now living at Furtherfield Gallery the “ArchaeaBot” is the ‘ultimate’ species for the end of the world as we know it.

Photo credit: ArchaeaBot by Anna Dumitriu and Alex May. Photo by Vanessa Graf.

Circle of Blackness: Part 1 – Meet Ann E. Styles, Elsa James (2019)

With creative team: Hugo Stanbury, Nick Lambert, Marius Matesan, Carl Smith, James E. Marks, Chris Szkoda

Through in-depth research James revisits a historical black woman who lived in the Finsbury Park area 150 years ago, embodies and reimagines her then and 150 years into the future. Produced together with Ravensbourne University PlayLabZ and Holotronica, experience time travel and holographic mixed reality at the Furtherfield Gallery throughout the summer.

Photo credit: Image from ‘Forgotten black Essex’ by Elsa James, photo by Amaal Said.

Part 2 of Circle of Blackness will be revealed later in the summer.

The Time Machine in Alphabetical Order, Thomson and Craighead (2010)

This video work is a complete rendition of the 1960s film version of HG Wells Novella re-edited by Thomson & Craighead into alphabetical order from beginning to end. In doing this, the artists attempt to perform a kind of time travel on the movie’s original timeline through the use of a system of classification.

Photo credit: Thomson & Craighead, 2010, The Time Machine in alphabetical order, Modified feature length movie. Photo by Ruth Clark.

Time Portals Events and Activities

Future Machine Artwork Workshops:
26 Mar, 20 Apr, 11 May, 18 Jun, 13 Jul, Furtherfield Commons

Book Launch Event for Jugaad Time by Amit S. Rai:
27 Apr 14.00-16.00, Furtherfield Commons

Find a Line to Follow and Face The Future! ‘Walkshops’:
5 May 18 May, 10 Aug, Furtherfield Commons

Free, Fair, and Alive! A People’s Park Play Day:
10 Aug 10.00-17.00, Furtherfield Commons

Future of Money Workshops:
10 Aug, 10.00-17.00, Furtherfield Commons, other dates TBC,

Citizen Sci-Fi 3-Day Artworkers Lab Event:
14-15 Sept, time TBC, Furtherfield Commons

Future Machine Procession in Finsbury Park:
12 Oct, 3:00 pm – 8:00 pm, join at any point

Citizen Sci-Fi Programme 2019-2021

This 3-year programme combines citizen science and citizen journalism by crowdsourcing the imagination of local park users and community groups to create new visions and models of stewardship for public, urban green space. By connecting these with international communities of artists, techies and thinkers we are co-curating labs, workshops, exhibitions and Summer Fairs as a way to grow a new breed of shared culture.

#CitSciFi – crowdsourcing creative and technological visions of our communities and public spaces, together.

Artist Bios

Anna Dumitriu is a British artist who works with BioArt, sculpture, installation, and digital media to explore our relationship to infectious diseases, synthetic biology and robotics. She has an extensive international exhibition profile including ZKM, Ars Electronica, BOZAR, The Picasso Museum, The V & A Museum, Philadelphia Science Center, MOCA Taipei, LABoral, Art Laboratory Berlin, and The Museum of the History of Science Oxford. She was the 2018 President of the Science and the Arts section of the British Science Association and holds visiting research fellowships at the University of Hertfordshire, Brighton and Sussex Medical School, and Waag Society, as well as artist-in-residence roles with the Modernising Medical Microbiology Project at the University of Oxford, and with the National Collection of Type Cultures at Public Health England. Dumitriu is a renowned speaker and has presented her work at venues including TATE Modern, Princeton University, Imperial College, La Musee de la Chasse et de la Nature, The Mendel Museum and UCLA. Her work is featured in many books including “Bio Art: Altered Realities” published by Thames and Hudson in 2016 and many other significant publications across contemporary art and science including Artforum International Magazine, Leonardo Journal, The Art Newspaper, Art Quarterly, Nature and The Lancet. Dumitriu’s work has a strong focus on the ethical implications of emerging technologies drawing threads across time, exploring future scenarios by reflecting on the past.

Elsa James is a visual artist, activist and producer based in Southend-on-Sea, Essex, who grew up in west London during the 1970s and ’80s. Her solo practice encompasses lens-based performance, language and text, and recently the use of aural and the archive to explore regionality of race; black subjectivity; and the historical, temporal and spatial dimensions of what it means to be black in Britain. She is currently developing work exploring alienation and outsiderness experienced as a black woman living in Essex since 1999. Forgotten Black Essex (2018) embodies two place-specific narratives from our national archives of two overlooked, under-researched and recognised black women in Essex. Her social practice includes advocating for the inclusion of marginalised communities in the arts sector. New Ways of Seeing, Telling and Making (2018), a visual provocation and participatory lab at the Social Art Summit, asked questions about how we can ‘genuinely’ address barriers to participation and involvement in the arts for BAME communities. In 2015 she was commissioned to research the asylum and refugee community in Southend. This culminated in a 38-page report exposing the council’s lack of provision for the needs of asylum seekers, failed asylum seekers and refugees living in Southend.

Rachel Jacobs is an artist, researcher and games designer. She co-founded the artist-led collective Active Ingredient in 1996 and the commercial games company Mudlark Production Company in 2007. She completed a Doctorate in Computer Science in 2014. Rachel is a practising artist exhibiting nationally and internationally, and a Research Associate at the Horizon Digital Economy Institute, University of Nottingham. Her artworks include the award winning ‘Heartlands (Ere Be Dragons)’ one of the first mobile games that took place on city streets in Sao Paulo, Yokhama, Berlin, Paris, Cambridge, Bristol and Nottingham; ‘A Conversation Between Trees’, a touring artwork and schools exchange using environmental sensors to connect forests in the UK and Brazil; and ‘The Prediction Machine’, an interactive installation that predicts the future impacted by climate change. Rachel is currently developing a series of artists interventions ‘Creating Rituals for When The Future Comes’, alongside a mobile interactive artwork the ‘Future Machine’.

Dr Nick Lambert is Director of Research at Ravensbourne University London, where immersive environments and mixed reality experiences are being developed. He researches the application of technology in contemporary art and visual culture. He has written on the history of computer art and engaged with artists and theorists in this field. He has also created artworks for immersive environments including fulldome, and interactive exhibits.

James E. Marks, PsychFi – A natural born new media pioneer, award winning social video, & dimensional computing arts for good maker, curator & speaker. With 4 decades of hands-on experience & experimental knowledge collaborating on Brand / Crowd / Arts Council funded “Sub & Pop Culture Mixed Up Reality Experiences”. Recent collaborations include V&A, London Design Festival, Boomtown Fair, Mobile World Congress, Ravensbourne University, Bethesda, SubPac, Modern Panic, Sci-Fi-London & BBC Click

Marius Matesan is creating narratives using real and virtual installation art, noted mostly for his work on theatre stages across Europe and more recently for his Mixed Reality experiences. Mixing reality with the imaginary, using sound, projection mapping, spatial computing and virtual reality. His work revolves around pushing the boundaries of perception, awareness and reality, creating installations that are often addressing social issues with a psychedelic twist.

Alex May is a British artist creating digital technologies to challenge and augment physical and emotional human boundaries on a personal and societal level in a hyper-connected, software mediated, politically and environmentally unstable world. He works with light, code, and time; notably algorithmic photography, robotic artworks, video projection mapping installations, interactive and generative works, video sculpture, performance, and video art. Alex has exhibited internationally including at the Francis Crick Institute (permanent collection), Eden Project (permanent collection), Tate Modern, Ars Electronica (Austria), LABoral (Spain), the Victoria & Albert Museum, Royal Academy of Art, Wellcome Collection, Science Museum, Bletchley Park, One Canada Square in Canary Wharf, the Museum of Contemporary Art in Caracas (Venezuela), the Science Gallery in Dublin, Princeton University, University of Calgary (international visiting artist 2016), Texas A&M University, and the Beall Center for Art + Technology, University of California, Irvine. Alex is a Visiting Research Fellow: Artist in Residence with the School of Computer Science of University of Hertfordshire, and a Digital Media Arts MA sessional lecturer at the University of Brighton.

Antonio Roberts is a new media artist and curator based in Birmingham, UK. He uses technology-driven processes to explore issues surrounding open source software, free culture and collaborative practices. His visual and performance work has been featured at galleries and festivals including in Arles, France (2012), Glitch Moment/ums at Furtherfield Gallery, London (2013), Loud Tate: Code at Tate Britain (2014), glitChicago at the Ukrainian Institute of Modern Art in Chicago, US (2014), Permission Taken at Birmingham Open Media and University of Birmingham (2015-2016), Common Property at Jerwood Visual Arts, London (2016), Green Man Festival, Wales (2017) and Barbican, London (2018). He has curated exhibitions and projects including GLI.TC/H Birmingham (2011), the Birmingham editions of Bring Your Own Beamer (2012, 2013), µChip 3 (2015), Stealth (2015), and No Copyright Infringement Intended (2017).

Carl H Smith is Director of the Learning Technology Research Centre (LTRC) and Principal Research Fellow at Ravensbourne University London. His background is in Computer Science and Architecture. He has 17 years experience conducting R+D into the application of hybrid technologies for perceptual, cognitive and creative transformation. He has worked on a number of large-scale FP7 and Leonardo Life Long Learning European projects. He is currently working on 4 EU projects including the Horizon 2020 project ‘[WEKIT] Wearable Experience for Knowledge Intensive Training’ which aims to create ‘Wearable Experience (WE)’ – an entirely new form of media. His research interests include Embodied Cognition, Spatial Literacy, Perceptual Technology and Hyperhumanism. His other projects involve Context Engineering, Umwelt Hacking, Natural Media, Sensory Augmentation, Memory Palaces, Artificial Senses and Body Hacking. He is co-founder of the London Experimental Psychonautics Club and co-founder of the Cyberdelic Society. Both organisations explore the myriad of ways it is possible to produce and examine Altered States of Consciousness. He has previously worked at the Computing departments at London Metropolitan University, Glasgow University and Sheffield University. The Learning Technology Research Centre (LTRC) conducts design research into the application of information and communication technologies to augment, support and transform cognition.

Hugo Stanbury has worked in the event and entertainment industry for over a decade. Inspired most by the area where cutting edge technology is used for properties rather than purpose, he works hard to balance sound technical delivery with new creative concept. He currently works as Operations Director at Holotronica – the UK company behind Hologauze. Hologauze is the world leading gauze for holographic effects with clients from BMW to Beyonce. Holotronica are specialists in a range of holographic displays, analogue holography and 3D content.

Studio Hyte is a London based multidisciplinary design studio who place research and concept above medium. Working between graphic design, interaction and emergent forms of visual communication, we aim to create meaningful and thought provoking work. Formed of a small group of individual practitioners, Studio Hyte is the middle ground where all of our interests and practices meet. As such our collective practice and research covers a broad spectrum of topics including; language, inclusion & accessibility, egalitarian politics & alternative protest and technology & the human. With an emphasis on process, we often create critical narratives through our work in order to conceptualise through making. Collectively, our visual practice is a means through which we can plot out a conceptual landscape in order to understand and explore real-world scenarios. Studio Hyte works on self-directed research projects, commissions and client-led projects for a small pool of like minded organisations and individuals.

Chris Szkoda, Kaws Infinity – Games Designer/ VFX Artist, works on designing mixed/virtual reality apps for a social mixed reality experience playground at Ravensbourne University London. Keen to support social good & diversity projects, working directly with students and helping them make their creative ideas a reality. He has expertise in immersive technology, VR modelling and painting in Google Tilt Brush and MasterpieceVR software.

Jon Thomson (b. 1969) and Alison Craighead (b. 1971) are artists living and working in London. They make artworks and installations for galleries and specific sites including online spaces. Much of their recent work looks at live networks like the web and how they are changing the way we all understand the world around us. Having both studied at Duncan of Jordanstone College of Art in Dundee, Jon is Reader in Fine Art at The Slade School of Fine Art, University College London, while Alison is a reader in contemporary art and visual culture at University of Westminster and lectures in Fine Art at Goldsmiths University.

Find a Line to Follow and Face The Future! ‘Walkshops’

Artists Idit Nathan and Helen Stratford are working with Furtherfield to create PLAY THEN NOW OR NEVER! a new playful App and map for Finsbury Park, and inviting you to help in the process.

Book now to join the artists to explore opportunities for free and creative play in Finsbury park. Walk, play and think in past, present and future spaces, in a ‘walkshop’ devised by the artists. Dice will roll, cards will solicit and props will inspire. The walkshops will inform the creation of playful prompts for PLAY THEN NOW OR NEVER! Finsbury Park’s newest and most playful digital mobile App, with its own map, that will reimagine the park and act as provocations for future park users.

Furtherfield Commons
269-271 Seven Sisters Road
Finsbury Park
N4 2DE

Image credit: Julian Hughes

The walkshops are designed to bring together people of all ages and abilities – everyone is welcome! The group will journey through the park for approximately an hour then regroup at Furtherfield Commons for a recall and share session where refreshments will be provided. 

Image credit: Julian Hughes

PLAY THEN NOW OR NEVER! is devised by artists Idit Nathan and Helen Stratford (Play Anywhere Now or Never!) who see play as a sophisticated yet highly accessible way to investigate ‘big’ and complex issues that relate to the way we move in and experience the world around us. Their work takes the form of site specific interventions that question and re-imagine these through the prism of play. To find out more about their work see their website.

PLAY THEN NOW OR NEVER is part of Furtherfield’s 2019 programme: Time Portals.

Jugaad Time Book Launch

Buy Now and use code: CSF19ASRA for a 30% discount

In India, the practice of jugaad—finding workarounds or everyday, usually non-technical hacks to solve problems—emerged out of subaltern strategies of negotiating poverty, discrimination, and violence. Yet it is now celebrated in management literature as ‘disruptive innovation’. In this book Rai considers how these time-efficiencies always exceed their role in neoliberal and authoritarian postcolonial economies and are put into motion by subaltern practitioners themselves.

On Sat 27 Apr from 14.00-16.00 Rai will introduce this important work to guests followed by a Q and A session with Furtherfield Co-Founding Director, Marc Garrett – with plenty for time for discussion.

This event is hosted at Furtherfield Commons in Finsbury Park* and has been supported by the Borderlines Research Group in Creative Economies and Postcolonial Intersectionality at Queen Mary, University of London.

Praise for the book

“This original and innovative work will enable a new and perhaps paradigm-shattering interpretation of the coimplication of digital assemblages, temporality, and affect. Drawing on a rich ethnographic archive, Amit S. Rai is deeply sensitive to how gender, class, and caste are implicated in emergent techno-perceptual assemblages. His invaluable book is also an effective antidote to the Eurocentricity of digital media studies.” — Purnima Mankekar, author of Unsettling India: Affect, Temporality, Transnationality

Jugaad Time is an important intervention into cartographies of postdigital media cultures. By drawing on the specificity of South Asian cultures, it enriches our understanding of the heterogeneity of these processes. The postcolonial study of media technologies is a vibrant and crucial field of inquiry; Amit S. Rai’s outstanding work is an essential contribution to global approaches to new media scholarship.” — Tiziana Terranova, author of Network Culture: Politics for the Information Age

Furtherfield 2019 Programme

The event form parts of Furtherfield’s 2019 programme Time Portals.

Octavia E Butler had a vision of time as circular, giving meaning to acts of courage and persistence. In the face of social and environmental injustice, setbacks are guaranteed, no gains are made or held without struggle, but societal woes will pass and our time will come and again. In this sense, history offers solace, inspiration, and perhaps even a prediction of what to prepare for.

The Time Portals exhibition, held at Furtherfield Gallery (and across our online spaces), celebrates the 150th anniversary of the creation of Finsbury Park. As one of London’s first ‘People’s Parks’, designed to give everyone and anyone a space for free movement and thought, we regard it as the perfect location from which to create a mass investigation of radical pasts and futures, circling back to the start as we move forwards.

Each artwork in the exhibition therefore invites audience participation – either in it’s creation or in the development of a parallel ‘people’s’ work – turning every idea into a portal to countless more thoughts and visions of the past and future of urban green spaces and beyond.

*Please not this is a separate building to our Gallery and is at the Finsbury Park station entrance to the Park.

Future Machine Artwork Workshops

Come and Build a Machine for the Future with Rachel Jacobs

Artist Rachel Jacobs is working in partnership with Furtherfield to build a Future Machine in Finsbury Park and you are invited to help build it.

Furtherfield Commons
269-271 Seven Sisters Road
Finsbury Park
N4 2DE

Sign up to take part in four workshops that will involve thinking about the future (in response to environmental change) and helping to design and build the Future Machine, towards an unveiling at Furtherfield Gallery this Autumn and tour of England in 2019/2020.

The workshops are designed to bring together people with ALL views on environmental change – denier, worrier, eco-warrior, confused, conspiracy theorist, lover of trees – everyone is welcome! The workshops will involve talking, thinking, making things with all kinds of arts and craft materials, as well as using interactive technology and scientific sensors. You are welcome to sign up to one or all of the workshops, you don’t need to attend them all to take part.

Furtherfield Commons is a wheelchair accessible venue. Please email the artist at: if you want to discuss any accessibility requirements.

Workshop times/dates:

  1. Tuesday 26th March 3-6
  2. Saturday 20th April 1-4
  3. Saturday 11th May 1-4
  4. Tuesday 18th June 3-6

Book now!
Refreshments will be provided

The Future Machine Artwork

The Future Machine sits on a hand cart ready for the journey, travels the country and plugs into a greater whole of many parts. It stands as a witness to the places, people, stories and events of these turbulent times, as the Earth changes, and we take a journey into an uncertain future.

The Future Machine is a new artwork, a large interactive machine, built to help us to respond to environmental change as the future unfolds. The machine will record people’s visions of the future, make predictions, facilitate new rituals and helps us to make decisions about the future we want, not one we fear.

The artwork will be created in collaboration with a team of engineers, programmers, climate scientists from the British Antarctic Survey, researchers from the University of Nottingham, and participants in a series of artist-led workshops, scheduled to take place in London and Nottingham in 2019.

The Future Machine will be built by YOU over the coming months and unveiled in an Autumn ritual – details to follow

The Future Machine is part of Furtherfield’s 2019 programme: Time Portals.

State Machines Book Launch

Editors present: Yiannis Colakides, Marc Garrett, Inte Gloerich

About The Book

State Machines: Reflections and Actions at the Edge of Digital Citizenship, Finance, and Art

Today, we live in a world where every time we turn on our smartphones, we are inextricably tied by data, laws and flowing bytes to different countries. A world in which personal expressions are framed and mediated by digital platforms, and where new kinds of currencies, financial exchange and even labor bypass corporations and governments. Simultaneously, the same technologies increase governmental powers of surveillance, allow corporations to extract ever more complex working arrangements and do little to slow the construction of actual walls along actual borders. On the one hand, the agency of individuals and groups is starting to approach that of nation states; on the other, our mobility and hard-won rights are under threat. What tools do we need to understand this world, and how can art assist in envisioning and enacting other possible futures?

This publication investigates the new relationships between states, citizens and the stateless made possible by emerging technologies. It is the result of a two-year EU-funded collaboration between Aksioma (SI), Drugo More (HR), Furtherfield (UK), Institute of Network Cultures (NL), NeMe (CY), and a diverse range of artists, curators, theorists and audiences. State Machines insists on the need for new forms of expression and new artistic practices to address the most urgent questions of our time, and seeks to educate and empower the digital subjects of today to become active, engaged, and effective digital citizens of tomorrow.


James Bridle, Max Dovey, Marc Garrett, Valeria Graziano, Max Haiven, Lynn Hershman Leeson, Francis Hunger, Helen Kaplinsky, Marcell Mars, Tomislav Medak, Rob Myers, Emily van der Nagel, Rachel O’Dwyer, Lídia Pereira, Rebecca L. Stein, Cassie Thornton, Paul Vanouse, Patricia de Vries, Krystian Woznicki.

Join editors Yiannis Colakides, Marc Garrett, Inte Gloerich, contributors Max Dovey and Helen Kaplinsky, and respondent Ruth Catlow on Tue 23 Apr from 18.00-20.30 for short presentations with plenty for time for discussion.

This event is hosted at Furtherfield Commons in Finsbury Park*

*Please note this is a separate building to our Gallery and is at the Finsbury Park station entrance to the Park.


ART AFTER MONEY, MONEY AFTER ART is a workshop with Max Haiven, author of Art After Money, Money After Art: Creative Strategies Against Financialization.

In a world turned into a casino is it any wonder that corporate gangsters increasingly run the show? What are the prospects for a democratization of the economy when new technologies appear to further enclose us in a financialized web where every aspect of life is transformed into a digitized asset to be leveraged? Ours seems to be an age when art seems helpless in the face of rising authoritarianism, or like the plaything of the worlds speculator-plutocrats, and age when “creativity” has become the buzzword for the violent reorganization of work and urban life towards an endless “now” of competition and austerity.

And yet… we are witnessing an effervescence of imaginative struggles to challenge, hack and reinvent “the economy.” Artists, technologists and activists are working together not only to refuse the hypercapitalist paradigm but reinvent the methods and measures of cooperation towards different futures. This workshop brings together many of these protagonists and their allies for a discussion on the occasion of the publication of Max Haiven’s new book Art After Money, Money After Art: Creative Strategies Against Financialization.

Haiven will kick off the conversation with a short presentation of key themes in the book as they impinge upon the question of working at the intersection of “art” and new technologies (including but not limited to blockchains) to create alternative economic paradigms. The central question is, to what extent can these efforts surpass the (important) desire to redistribute wealth in a world of growing inequalities and, additionally, aim for a much more profound and radical collective reimagining of who and what is valuable.

Respondents include:

Austin Houldsworth
Dan Edlestyn 
Brett Scott
Cassie Thornton 
Kate Genevieve
Emily Rosamond
Jonathan Harris

Ruth Catlow and Martin Zeilinger will chair discussions and the event is sponsored by Anglia Ruskin University

Pluto Press are happy to offer a Furtherfield discount on the book. Add Art After Money to the cart and use the discount code ART15 to get the book at £15.


Transient Hole (Variations) X (ten)

What happens to the hole when the cheese is gone?
Bertolt Brecht

Transient Hole (Variations) is a hybrid curatorial project and symposium by Viennese artist and curator Alexander Felch. The project`s title refers to a concept for a media artwork, that cannot, properly speaking, be materialized for it deals with a moving void – a transient hole.

Across the floor of a white, three-dimensional room a little black hole is constantly and randomly moving. The hole is simultaneously there and not there. It is a portal to nowhere. But is it really? Might it not lead to transcendence, to another reality, or perhaps our reality can only be understood through this liminal presence of nothingness?

The participants are invited to provide their own interpretation for this problem and develop means to represent it, whether through art or science, to display processes that cannot be depicted in reality. The aim of the project is obviously not to find a solution to this existential paradox but to bring about a reflection on the topic from a myriad of disciplines and different perspectives, which explore the limits of representation.  The various responses to the THR problematic will be gathered in a collected volume that is in itself a reflection on the boundary between art and science, reality and fantasy.

The project appears – just like the transient hole – in different cities popping up in various forms and is accompanied by lectures, talks and (sound-) performances.

Contributions by:
Atzgerei Productions, Arnold Berger, Ryan Mc Donagh, Sophie Dvorak, Alexander Felch / Aisek Ifraimov, Mariana Ferreira / Dayjon Edwards, Christoph Höschele, Hrvoje Hirsl, Harald Hund, Sandy Leong, Stefan Lutschinger, Nicholas Moloney, Anja Nowak, Jaysha Obispo, Shinji Toya, Jeroen van Amelsvoort, Anna Vasof, Stefan Voglsinger, Jan Vormann, Yilin Wang, David Wauters, Hui Ye.

Featuring concepts developed by students of Middlesex University London – BA Digital Media and BA Media and Cultural Studies

Transient Hole (Variations) X (ten) – Preview

Monday 12 November – Friday 16 November 2018
Middlesex University

Transient Hole (Variations) X (ten) – Exhibition View

Saturday 17 November 2018, 11:00 – 16:00
Furtherfield Gallery


Introduction and Guided Tour
Alexander Felch “Transient Hole Research – Instationarity as an artistic concept / a scientific particularity”

Cybersalon feat. Transient Hole Research

Saturday 17 November 2018, 16:00 – 21:00
Furtherfield Commons

Limehouse Hole Atlas Datathon
Navino Evans and Sean McBride (

Sound Performances


Karl Salzmann (A) is a sound & visual artist, curator and researcher currently based in Vienna / Austria. Within process-oriented and experimental setups, he develops and presents works that study the materiality of sound and its social, cultural and metaphorical levels of meaning. His artistic activities mainly concern the interaction between sound and visual arts and often relate to works and topics of (sound) art history.

T_A-Z (Paul Gründorfer) (A) is using process-related setups to explore sonic worlds and to realise site specific interventions, developing real time audio systems, that act autonomous or in reference to the spatial constellation. While considering the encounters between analog and digital, structured or improvised elements, he is focusing on the abstract occurrence of sound and its physical impact.
Electronic circuits are interconnected to cause semi-natural entities, autonomous organisms. Voice and articulation are generated through loops in feedback networks. Onomatopoeia.
His artistic activities examine variable connections between transmitter-receiver networks, which function as a conceptual framework for experimentation with sound and transmission of information.

Monsterfrau Lena Wicke Aengenheyster (A/D) – MONSTERFRAU PJ (Performance Jockey) – Part III of the performance serial MONSTERFRAU The voices’ bodies: MONSTERFRAU triggers, mixes and morphes dance music rythms, samples and sounds with her movement. STAATSAFFAIRE: Production of and reflection through artistic projects in music and performance art. Beyond that it is the common optimisation of production environments and network.

Simon Sarginson (live coding) (UK)

London edition curated by Alexander Felch + Stefan Lutschinger

Realised in cooperation with Cybersalon, Middlesex University London and the Austrian Cultural Forum London – with kind support by the Federal Chancellery Of Austria.




Feature image: Jeremy Hutchison, Movables, 2017. Photo courtesy of the artist.

We live in a time of stark and often violent paradoxes: the increasing liberalisation of social values in some parts of the world compared to increasing fundamentalism in others; the wealth of scientific discovery and technological advances in contrast to climate denialism, “post-factual” and conspiracy-driven politics; freedom of movement for goods and finance while individual movement is ever more constricted and subject to law; a drive towards agency, legibility and transparency of process while automation, computerisation and digitisation, render more of the world opaque and remote. At every level, mass movement of peoples and the rise of planetary-scale computation is changing the way we think and understand questions of geography, politics, and national identity.

These ever-increasing contradictions are seen most acutely at the border. Not merely the border between physical zones and between nation states, with their differing legal jurisdictions and requirements for entry and residency, but also the border between the physical and digital, when we apparently – but perhaps misleadingly and certainly temporarily – cross over into a different zone of possibility and expression.

This contradiction is also clear in the balkanisation of newly independent and fragmenting states, and in the rising current of nationalism across Europe, which seems to run in parallel to, and might even be accelerated by, digital connectivity. Some of the most outwardly regressive powers themselves employ what Kremlin theorist Vladislav Surkov has called “non-linear strategy”: a strategy of obfuscation and deliberate contradiction clearly indebted to the convolutions and confusions of the digital terrain – and of art. As ever more varied expressions of individual identity are encouraged, revealed, made possible and validated by online engagement, so at the same time a desperate rearguard action is being fought to codify and restrain those identities – online and off. These new emergent identities are, inevitably and by necessity, transient and contingent, slippery and subject to change and redefinition.

The artists featured in Transnationalisms address the effect of these pressures on our bodies, our environment, and our political practices. They register shifts in geography as disturbances in the blood and the electromagnetic spectrum. They draw new maps and propose new hybrid forms of expression and identity. In this exhibition Transnationalisms acknowledges and even celebrates the contradictions of the present moment, while insisting on the transformative possibilities of digital tools and networks on historical forms of nationalism, citizenship, and human rights. While the nation state is not about to disappear, it is already pierced and entangled with other, radically different forms. Alternative models and protocols of citizenship, identity, and nationhood are being prototyped and distributed online and through new technologies. Transnationalisms examines the ways in which these new forms are brought into the physical world and used to disrupt and enfold existing systems. It does not assume the passing of old regimes, but proclaims the inevitability of new ones, and strives to make them legible, comprehensible, and accessible.

Raphael Fabre CNI, 2017

Raphael Fabre CNI, 2017 Photo courtesy of the artist

On April 7th, 2017, Raphael Fabre submitted a request for a French ID card. All of his papers were deemed to be legal and authentic and so the demand was accepted and a new national ID card was issued. In fact, the photo submitted to accompany this request was created on a computer, from a 3D model, using several different pieces of software and special effects techniques developed for movies and video games. Just as our relationship with governments and other forms of authority is increasingly based on digital information, so the image on the ID is entirely virtual. The artist’s self-portrait suggests the way in which citizens can construct their own identities, even in an age of powerful and often dehumanising technologies.

Jeremy Hutchison Movables, 2017

Jeremy Hutchison Movables, 2017 Photo courtesy of the artist

The starting point for this work was a found photograph, taken by police at a border point somewhere in the Balkans. It showed the inside of a Mercedes, the headrests torn open to reveal a person hiding inside each seat. This photograph testifies to a reality where human bodies attempt to disguise themselves as inanimate objects, simply to acquire the same freedom of movement as consumer goods. Movables translates this absurdity into a series of photo collages, combining elements of high-end fashion and car adverts, enacting an anthropomorphic fusion between the male form and the consumer product. The results are disquieting yet familiar, since they appropriate a visual language that saturates our everyday urban surroundings, highlighting the connections between transnational freedoms and limitations, and international trade.

They Are Here
We Help Each Other Grow, 2017

They Are Here We Help Each Other Grow, 2017 Film Still from Video shot on thermal imaging camera Photo courtesy of the artists

Thiru Seelan dances on an East London rooftop, looking out towards the skyline of the Canary Wharf financial district. His movements are inspired by the dance form Bharatanatyam, traditionally only performed by women and taught to Thiru in secret by his younger sister. Thiru is a Tamil refugee and when he arrived in the UK in 2010, following six months of detention in Sri Lanka during which he was tortured for his political affiliations, Canary Wharf was his first home. His movement is recorded by a heat sensitive camera more conventionally used as surveillance technology and deployed to monitor borders and crossing points, where bodies are recorded and captured through their thermal signature. The song ‘We’ve helped each other grow’, composed and performed by London based Mx World, was chosen with Thiru to soundtrack the performance. Mx is a prefix that does not indicate gender. In the UK, it can be used on many official documents – including passports. The repeated refrain, ‘We’ve helped each other grow’ suggests a communal vision for self and social development.

Daniela Ortiz
Jus Sanguinis, 2016

Daniela Ortiz Jus Sanguinis, 2016 Photo courtesy of the artist

Jus sanguinis, meaning ‘the right of the blood’, is one of the main ways in which people acquire citizenship: from the blood of their parents. Daniela Ortiz is an artist of Peruvian descent living in Spain, where only babies with Spanish blood are recognized as subjects with the right to the nationality at the moment of the birth. As a result, her child would not have access to Spanish nationality. In this performance, undertaken when Ortiz was four months pregnant, she receives a blood transfusion from a Spanish citizen, directly challenging the racist and nationalist regime of citizenship which would classify her Spanish-born child as an immigrant.

The Critical Engineering Working Group (Julian Oliver and Danja Vasiliev)
VPN, 2018

The Critical Engineering Working Group Vending Private Network, 2018 Photo courtesy of the artist

Virtual Private Networks (VPNs) have come into increasing demand in recent years, providing route encryption through hostile networks. In China, Vietnam, Turkey and Pakistan they also serve to mitigate government censorship, so that foreign sites otherwise blocked by state firewalls are made available to VPN users (Twitter, Facebook, Wikipedia, activist sites and digital libraries being the most common).

Vending Private Network takes the form of a condom vending machine, such as those typically seen in toilets. Equipped with mechanical buttons, a coin-slot and USB ports, it offers 4 VPN routes, each adorned with an animated graphic depicting a fantasy destination. Audiences are invited to insert a USB stick into the slot, and a coin into the machine, then to select a VPN destination by pressing a mechanical button, a unique VPN configuration file is then written onto their USB stick. Special instructions (in the form of a README.txt) will also be copied to the USB stick that explain how to use the VPN in a special ‘sheathed’ mode that evades detection methods (namely Deep Packet Inspection, or DPI) used by corporations and state-controlled infrastructure administrators. This is the only means known to work against state controlled firewalls, for instance and requires an extra install of freely available, open source software and leverage economic and cultural privilege to benefit those not included. With each VPN config generated, another is covertly shipped to contacts in Turkey, China, Vietnam and Iran (and other countries to be confirmed).

Jonas Staal New Unions, 2016

Jonas Staal New Unions – Map, First draft, 2016

Jonas Staal’s New Unions is an artistic campaign supporting progressive, emancipatory, and autonomist movements all over Europe, and proposing the creation of a “transdemocratic union” which is not limited by the boundaries of nation states. The New Unions map illustrates the recent, massive rise in social movements and new political parties which are creating new models of political assembly and decision making while challenging traditional national and institutional structures. From the civil initiative in Iceland to collectively rewrite the constitution after the economic crash, to regional independence movements and pan-European solidarity groups, these emerging political experiments propose new forms of transdemocratic practices. This map is the first in a series which is continuously updated to reflect the evolving geography of transdemocracy.


The Critical Engineering Working Group is a collaboration between Julian Oliver and Danja Vasiliev. Their manifesto begins: “The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.”

Raphaël Fabre works on the interference of fictions and narrative storytelling in the real world, using techniques ranging from digital 3D technologies to set decoration. Born in 1989, he lives and works in Paris.

Jeremy Hutchison works with situational performance. Operating in sites of production and consumption, he often collaborates with factory employees, migrant labourers, online workers and jobseekers to examine the structures that limit human existence. How are unequal human relations constructed by global capital? How do consumer products function as portraits of exploitative material structures? In the process of developing these works, each context becomes a stage; a metaphor for the production of reason. To some extent, his projects are rehearsals for an uncertain kind of freedom. He was recently a member of the Whitney Independent Study Program in New York.

Daniela Ortiz (Cusco, 1985) lives and works in Barcelona. Through her work, she generates spaces of tension in which the concepts of nationality, racialization, social class and gender are explored in order to critically understand structures of inclusion and exclusion in society. Her recent projects and research revolve around the issue of migration control, its links to colonialism, and its management by Europeanwhite states and societies. At the same time, she has produced projects about the Peruvian upper class and its exploitative relationship with domestic workers. Daniela gives talks and participates in discussions on Europe’s migration control system and its ties to coloniality in different contexts.

Jonas Staal lives and works in Rotterdam (NL). He has studied monumental art in Enschede (NL) and Boston (US) and received his PhD for research on Art and Propaganda in the 21st Century from the University of Leiden (NL). His work includes interventions in public space, exhibitions, theater plays, publications and lectures, focusing on the relationship between art, democracy and propaganda. Staal is the founder of the artistic and political organization New World Summit and, together with BAK, basis voor actuele kunst, Utrecht (NL), of the New World Academy.

They Are Here (f. 2006) is a collaborative practice steered by Helen Walker and Harun Morrison. They are currently based in London and on the River Lea. Their work can be read as a series of context specific games. The entry, invitation or participation can be as significant as the game’s conditions and structure. Through these games, they seek to create ephemeral systems and temporary, micro-communities that offer an alternate means of engaging with a situation, history or ideology. In parallel, they initiate multiyear socially engaged projects that become generative spaces for further works. They Are Here work across media and types of site, particularly civic spaces.


James Bridle is an artist and writer working across technologies and disciplines. His artworks and installations have been exhibited in Europe, North and South America, Asia and Australia, and have been viewed by hundreds of thousands of visitors online. He has been commissioned by organisations including the Victoria & Albert Museum, the Barbican, Artangel, the Oslo Architecture Triennale, the Istanbul Design Biennial, and been honoured by Ars Electronica, the Japan Media Arts Festival, and the Design Museum, London. His writing on literature, culture and networks has appeared in magazines and newspapers including Frieze, Wired, Domus, Cabinet, the Atlantic, the New Statesman, and many others, in print and online, and he has written a regular column for the Observer. “New Dark Age”, his book about technology, knowledge, and the end of the future, is forthcoming from Verso (UK & US) in 2018. He lectures regularly on radio, at conferences, universities, and other events, including SXSW, Lift, the Global Art Forum, Re:Publica and TED. He was been a resident at Lighthouse, Brighton, the White Building, London, and Eyebeam, New York, and an Adjunct Professor on the Interactive Telecommunications Programme at New York University.


Furtherfield is an internationally-renowned digital arts organisation hosting exhibitions, workshops and debate for over 20 years. We collaborate locally and globally with artists, academics, organisations and the public to explore digital culture and the changing world we live in. From our unique venues in Finsbury Park we offer a range of ways for everyone to get hands on with emerging technologies and ideas about contemporary society. Our aim is to make critical digital citizens of us all. We can make our own world.

Furtherfield Gallery
McKenzie Pavilion
Finsbury Park, London, N4 2NQ
Visiting Information


This project has been funded with the support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Transnationalisms is realised in the framework of State Machines, a joint project by Aksioma (SI), Drugo More (HR), Furtherfield (UK), Institute of Network Cultures (NL) and NeMe (CY).

The Alternative UK write about Transnationalisms: We live in an age of transnationalisms. At Furtherfield, artists test all the borders 

Play Commonspoly 12 October – where we win by working as a community

Join Stacco Troncoso & Ann Marie Utratel (Commons Transition) and Ruth Catlow (Furtherfield) to play Commonspoly – the resource-access game where we win by working as a community.

Commonspoly is a hack and a critique of the game Monopoly. Players aim first to re-municipalize private goods and then turn them into a Commons – you’ll learn why this is the best strategy while playing the game.

Rather than compete against each other, players must overcome their conditioning and ‘rational, self-interest’ to instead maximize cooperative behaviours and create a commons-oriented locality. Who wins? Everyone in the community! Unless the speculators take over…which we must fight at all costs. United we stand!

This event at Design Museum in partnership with Furtherfield forms part of Convivial Tools, a programme of talks, debates and workshops exploring new strategies for a more cooperative society, based on the thinking of the late philosopher Ivan Illich.


Stacco Troncoso is the advocacy coordinator for Commons Transition and the P2P Foundation, and a co-founder of the Guerrilla Translation collective. He is the designer and content editor for, the P2P Foundation blog and the Commons Strategies Group website.

Ann Marie Utratel is part of the Commons Transition team, and is a co-founder of the Guerrilla Translation collective. Her work helps connect a widening network of people involved in forward-thinking communities including the Commons and P2P movement, collaborative economy, open licensing, open culture, open cooperativism, and beyond.

Ruth Catlow, artist, curator, and co-founder and co-director of Furtherfield, is a recovering web-utopian and has worked since the mid-90s with network practices in arts, technology and social change.

Playbour: Work, Pleasure, Survival



Would you like to monetise your social relations? Learn from hostile designs? Take part in (unwitting) data extractions in exchange for public services?

Examining the way that the boundaries between ‘play’ and ‘labour’ have become increasingly blurred, this summer, Playbour: Work, Pleasure, Survival, will transform Furtherfield Gallery into an immersive environment comprising a series of games. Offering glimpses into the gamification of all forms of life, visitors are asked to test the operations of the real-world, and, in the process, experience how forms of play and labour feed mechanisms of work, pleasure, and survival.

What it means to be a worker is expanding and, over the last decade, widening strategies of surveillance and new sites of spectatorship online have forced another evolution in what can be called ‘leisure spaces’. From the self-made celebrity of the Instafamous to the live-streaming of online gamers, many of us shop, share and produce online, 24/7. In certain sectors, the seeming convergence of play and labour means work is sold as an extension of our personalities and, as work continues to evolve and adapt to online cultures, where labour occurs, what is viewed as a product, and even, our sense of self, begins to change.

Debt: Bad Spelling, an Adult Problem, Cassie Thornton

Today, workers are asked to expand their own skills and build self-made networks to develop new avenues of work, pleasure and survival. As they do, emerging forms of industry combine the techniques and tools of game theory, psychology and data science to bring marketing, economics and interaction design to bear on the most personal of our technologies – our smartphones and our social media networks. Profiling personalities through social media use, using metrics to quantify behaviour and conditioning actions to provide rewards, have become new norms online. As a result, much of public life can be seen as part of a process of ‘capturing play in pursuit of work’.

Although these realities affect many, very little time is currently given over to thinking about the many questions that arise from the blurring between work and play in an age of increasingly data-driven technologies: How are forms of ‘playbour’ impacting our health and well-being? What forms of resistance could and should communities do in response?

To gain a deeper understanding of the answers to these questions, we worked with artists, designers, activists, sociologists and researchers in a three-day co-creation research lab in May 2018. The group engaged in artist-led experiments and playful scenarios, conducting research with fellow participants acting as ‘workers’ to generate new  areas of knowledge. This exhibition in Furtherfield Gallery is the result of this collective labour and each game simulates an experience of how techniques of gamification, automation and surveillance are applied to the everyday in the (not yet complete) capture of all forms of existence into wider systems of work.

In addition to a performance by  Steven Ounanian during the Private View, the ‘games’ that comprise this exhibition are:

Lab session leads and participants: Dani Admiss, Kevin Biderman, Marija Bozinovska Jones, Ruth Catlow, Maria Dada, Robert Gallager, Beryl Graham, Miranda Hall, Arjun Harrison Mann, Maz Hemming, Sanela Jahic, Annelise Keestra, Steven Levon Ounanian, Manu Luksch, Itai Palti, Andrej Primozic, Michael Straeubig, Cassie Thornton, Cecilia Wee, Jamie Woodcock.

Curated by Dani Admiss.

Concept development Dani Admiss and Cecilia Wee.


Mask Making for Children
Sunday 22 July and 12 August 2018, 11:00 – 16:30
Furtherfield Gallery

Screenshots of Gross_Gore playing League of Legends, taken from ‘Prank, Troll, Gross and Gore: Performance Issues in Esport Live Streaming ’ By Veli-Matti Karhulahti


Dani Admiss
When I was 16 I was in a band. I couldn’t sing that well so I used to write lyrics (about vampires) and put them into Babelfish to translate them into French thinking it made me sound automatically cooler.

Kevin Biderman
First met you in a dial up world; green block letters on a black screen. Later we traversed through neon colours, pixelated images and imperfect designs. I always knew you were an army brat born out of apocalyptic fears but I never thought you’d turn your back on the counter-culture who raised you. Maybe there will be a third act…

Marija Bozinovska Jones
The internet has concurrently enhanced and diminished life, yet I appear no longer able to recall life before it. Adding to Jameson’s quote: it is easier to imagine the end of the world, than the end of TECHNOcapitalism.

Ruth Catlow
I am a recovering Web Utopian – decentralised infrastructure does not, it turns out, lead automatically to decentralised power. However i am still most excited by art that happens in wild flows, through collaboration on open channels, rather than being owned, certified and traded like dead matter. I am Ruth and I am one of the voices and pairs of eyes.

Maria Dada
I regularly translate whole books from German to English using Google Translate. I then take the transcripts and print them using I take pride in the design of the covers for each book. Not all of them are unreadable but most of them just sit on my shelf untouched.

Beryl Graham
I confess:
To buying a mobile phone so that I could text my sweetie.
To being mildly obsessed with weather apps that work best in the North.
To using online dating 15 years ago. The respectable Guardian rather than Tindr of course – hey I’m not an animal.

Miranda Hall
After school, my friend and I would take screenshots of penises on ChatRoulette then save them in a desktop folder on the family computer called ‘cool fish’

Arjun Harrison-mann
For Much Longer than I Would Care to Admit, Every Since I Got Msn at the Age of 12, My Msn Profile Picture Was (and I Just Checked, Still Is), a Photoshopped Collage of Michael Jordan.

Maz Hemming
When I was 11, lying about my age to sign up on msn chat to chat about neopets, I ended up as one of the chatroom moderators. Which sometimes ended up with me leaving the window open to idle overnight (or the room would close). On the bonus side when my parents ended up with a bill at the end of the month of £200 (which I didn’t know would happen) we did get broadband. Much cheaper.

Robert Gallagher
The unread emails in my inbox currently outnumber my Twitter followers by a factor of 47.7461024499 to 1.

Sanela Jahić
Once my inbox got flooded with promotions of an online store. So my boyfriend and I composed a simple bot, which took random quotes from our sci-fi eBooks collection and posted them as customer reviews on their product pages.

Annelise Keestra
Until more recently than I would admit, I genuinely didn’t think there was any correlation between the file size of a download and data use. As if, there were two kinds of “GB”. Please don’t judge me.

Steven Levon Ounanian
I think the internet loves me, but just doesn’t know how to show it.

Manu Luksch
Our dream rewired. Our powers of prediction grow with every new circuit crammed in. Leap into tomorrow – one trillion calculations a second. And it grows more powerful, becomes smaller. Smart, mobile, personal. Today – in our pockets. Tomorrow – woven into our bodies. Create and share, everything, everywhere. Life in the cloud… with a chance of blue skies. Our time is a time of total connection. Distance is zero. The future is transparent. To be, is to be connected – the network seeks out everyone.” (Dreams Rewired; 2015 – my latest feature film about our hopes and fears of being hyper-connected).

Itai Palti
I started visiting an architecture news forum as a teenager, excited about updates on local building projects. I still visit regularly for the updates, but also make sure to check on an exceptionally cringeworthy, decades-long feud between a couple of regular posters. I think they’d really miss each other if it all stopped.

Joana Pestana
Back in 1999, frustrated, I nurtured no love for my iMacG3 as I had to bare with 1-song-download-per-week for not having Napster.

Michael Straeubig
Before social networks and Reddit, newsgroups were the places for online discussions. Catering to my interests was, a group notorious for debates going haywire.
Once I had a very heated discussion with someone I considered to be an immature and irrational teenager. It turned out it was a professor in Artificial Intelligence.

Cassie Thornton
I own/owned these URLs:,,,,,,,,,,,,,,,,,,,,, and many more I will never remember.

Cecilia Wee
The first time I went on the internet was about 1 year after Cyberia cafe opened in central London. I somehow convinced my mum to make a detour from a shopping trip so I could go online to look at 2 websites. Everyone else there was working very hard.

Jamie Woodcock
I decided it would be a fun idea to learn to play League of Legends as part of the fieldwork for an esports project. However, I was so bad at it that instead I had to study before playing, reading up on guides and watching streams/videos.

Photo of Steven Levon Ounanian’s workshop session “The Group Limb” as part of Playbour – Work, Pleasure, Survival Lab, May, 2018.


In the lead up to Furtherfield’s Playbour: Work, Pleasure, Survival exhibition Maria Dada, Miranda Hall and Cassie Thornton will be taking over the social media channels on Twitter, Instagram, and Facebook. Each micro-commission is an online space to take in different directions related ideas and themes of #playbour.

Our first week kicks off with Maria. Researcher in the fields of design and material culture, Dada’s Confessional Viral Hoax Engine brings together an interest in the infrastructures and processes used to spread misinformation online with themes of transparency, anxiety, and virtue signalling.

The second week is headed by Miranda Hall, who is a freelance journalist and research assistant at SOAS specialising in digital labour.

In the final week Cassie Thornton, artist, activist and feminist economist, will take-over Furtherfield’s social media channels. You can learn more about her here and her new project being launched on Kickstarter. Her take-over explores ideas surrounding yoga, feminist economics, class war, collective revenge, and social technology.


Dani Admiss is an independent curator and researcher working across art, design, and networked cultures. Her work employs world-building and co-creation to explore changes happening to our social, technological, and ecological, contexts. She is particularly interested in working with others to understand not yet completed transformations of body, society, and earth, into global capitalist systems. She is Founder of Playbour: Work, Pleasure, Survival, an art and research platform dedicated to the study of the worker in an age of data technologies.

‘THE BORING FLAMETHROWER TEST!’ from The Hacksmith found on


Furtherfield is an internationally renowned arts organisation specialising in labs, exhibitions and debate for increased, diverse participation with emerging technologies. At Furtherfield Gallery and Furtherfield Lab in London’s Finsbury Park, we engage more people with digital creativity, reaching across barriers through unique collaborations with international networks of artists, researchers and partners. Through art Furtherfield seeks new imaginative responses as digital culture changes the world and the way we live.

Furtherfield Gallery
McKenzie Pavilion
Finsbury Park, London, N4 2NQ
Visiting Information


This project would not have been possible without the kind support of our partners.

This project has been funded with the support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Playbour: Work, Pleasure, Survival, is realized in the framework of State Machines, a joint project by Aksioma (SI), Drugo More (HR), Furtherfield (UK), Institute of Network Cultures (NL) and NeMe (CY).

Poetry for Animals, Machines and Aliens: The Art of Eduardo Kac



In his first solo show in the UK, pioneering media artist Eduardo Kac puts poetry into space in entirely new ways and prompts us to ask “How do words work? What happens if we look at them upside down or inside out? What kind of poem could be made by an astronaut in outer space? What has poetry got to do with green bunnies?”

Kac explores how digital and other technologies provide poets with new possibilities of sound, light and movement. Even space flight offers the poet opportunities. Kac moves the poem off the page and into action. He explores the poetic possibilities of technologies ranging from digital videos and holograms to DNA manipulation and space flight, liberating poetry from the constraints of the printed page.

You can experience poems by Kac in the three rooms of Furtherfield Gallery as well as outside in the park. Follow the rabbit-shaped drawings on the paths in the park to see Poetry for Animals, Machines and Aliens in Furtherfield Gallery and installed in the field nearby.

Kac’s most famous work is GFP Bunny (2000), in which a rabbit called Alba was created in a laboratory with a gene causing her to glow fluorescent green under blue light. The artist made The Alba Flag (2001), on the outside of the Gallery next to the entrance, to celebrate Alba. Kac’s work with Alba prompted him to create a wordless language called lagoglyphs that give new expression to the bunny.

Lagoogleglyph I (2009) Google Earth work composed of Lagoglyph installed on the roof of Oi Futuro

One of the highlights of the exhibition is Kac’s Lagoogleglyph, a work made for viewing from space. Covering a field in Finsbury Park it is optimised by Kac for viewing through satellite imagery and visible in Google Earth. The Lagoogleglyph is part of a series which forms a globally distributed artwork visible only from space. Earlier Lagoogleglyphs were installed at Oi Futuro, Rio de Janeiro, Brazil (in 2009) and Es Baluard Museum of Modern and Contemporary Art, Palma de Mallorca, Spain (in 2015).

Also featured in the exhibition:

In Adhuc (1991), holography alters our behaviour as readers. You cannot read the poem left to right. You must dance a little in front of it. As you do this, letters and words shift, drift away and colours change.

Inner Telescope (2017), performed by the French astronaut Thomas Pesquet in the International Space Station, is poetry for zero gravity. The form has neither top nor bottom, front or back, left or right. Sometimes it looks like the French word MOI (me). At other times, it looks like a human figure with the umbilical cord cut. It is the first poem to be made in outer space.

Eduardo Kac, Adhuc (1991)


Let’s Fill this Park with Rabbits!
Free family Workshops
Sat 7 April, Sun 22 April & Mon 7 May, 11am – 4.30pm
Furtherfield Gallery
Families and groups of all ages are invited to join artist Michael Szpakowski to design their own giant rabbits and draw them on Finsbury Park by walking your own rabbit route using GPS software. Just turn up on the day to book a place for your group – workshop places will be offered on a first-come first-served basis on each day. Groups and families can also just turn up on each day to join in with the fun and walk some bunny routes in the park.

Arts and Humanities Research Council Digital Transformations Workshops
Inspired by and building on the Kac exhibition, these workshops will draw together themes and issues which have emerged from the AHRC thematic research programmes including Translating Cultures, Science in Culture, Care for the Future and Connected Communities.
More info

Digital Transformations and Community Engagement
18 April 2018, 10.30am – 4pm

Furtherfield Commons

How can we promote collaboration between communities and academic researchers? Do digital methods help create community engagement?
FREE | booking essential

Reconnecting Artistic Practice and Humanities Research

25 April 2018, 10.30am – 4pm
Furtherfield Commons
Can a renewed dialogue between humanities scholars and artistic practice provide innovative perspectives to confront current social and cultural challenges?
FREE | booking essential

Language and Diversity
8 May 2018, 10.30am – 4pm
Furtherfield Commons
Exploring the role of language and translation in promoting understanding and communication within, between, and across diverse cultures.
FREE | booking essential

Science in Culture
23 May 2018, 10.30am – 4pm
Furtherfield Commons
How can art engage with science and technology? And how can art explore the role of science in culture?
FREE | booking essential

Further Eduardo Kac exhibitions are being held in London during 2018 as part of the AHRC Digital Transformations theme. During June, the Horse Hospital, Colonnade, Bloomsbury, London WC1N 1JD, will host an exhibition called … and the Bunny Goes Pop!

This exhibition forms part of research undertaken by the Digital Transformations strategic theme of the Arts and Humanities Research Council. It has been curated by Professor Andrew Prescott of the University of Glasgow with assistance from Furtherfield team and Bronac Ferran, with advice and support from the artist.

Eduardo Kac with Lagoogleglyph I (2009) on the roof of Oi Futuro, Rio de Janeiro, Brazil


Eduardo Kac has been a pioneer in exploring the use of new technologies to create innovative poetic experiences. Experimenting with a range of technologies since the 1980s including fax, photocopiers, LED screens, the French videotext service Minitel, holography, conductive ink, and a variety of digital and network technologies. Kac’s distinctive body of work has been featured in exhibitions in New York, Paris, Rio de Janeiro, Madrid, Shanghai, Tokyo and many other venues. He has received the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. This is his first solo exhibition in the United Kingdom.


Andrew Prescott, Professor of Digital Humanities at the University of Glasgow and Theme Leader Fellow for the ‘Digital Transformations’ strategic theme of the Arts and Humanities Research Council.


Furtherfield is an internationally renowned arts organisation specialising in labs, exhibitions and debate for increased, diverse participation with emerging technologies. At Furtherfield Gallery and Furtherfield Lab in London’s Finsbury Park, we engage more people with digital creativity, reaching across barriers through unique collaborations with international networks of artists, researchers and partners. Through art Furtherfield seeks new imaginative responses as digital culture changes the world and the way we live.

Furtherfield Gallery
McKenzie Pavilion
Finsbury Park, London, N4 2NQ
Visiting Information

Digital Transformations Workshops

This event is part of exhibtion, Poetry for Animals, Machines and Aliens: The Art of Eduardo Kac, at Furtherfield Gallery.

Inspired by and building on the exhibition, these workshops will draw together themes and issues which have emerged from the Arts and Humanities Research Council thematic research programmes. Workshops are led by Andrew Prescott, curator of the exhibition and Professor of Digital Humanities at the University of Glasgow.

Digital Transformations and Community Engagement
18 April 2018, 10:30 – 16:00
How can we promote collaboration between communities and academic researchers? Do digital methods help create community engagement?
FREE | booking essential

Reconnecting Artistic Practice and Humanities Research
25 April 2018, 10:30 – 16:00
Can a renewed dialogue between humanities scholars and artistic practice provide innovative perspectives to confront current social and cultural challenges?
FREE | booking essential

Language and Diversity
8 May 2018, 10:30 – 16:00
Exploring the role of language and translation in promoting understanding and communication within, between, and across diverse cultures.
FREE | booking essential

Science in Culture
23 May 2018, 10:30 – 16:00
How can art engage with science and technology? And how can art explore the role of science in culture?
FREE | booking essential

More information about Poetry for Animals, Machines and Aliens: The Art of Eduardo Kac

Soft Sickness: Earthly Dependencies & Compulsive Transfictions

In partnership with AntiUniversity

Whether you smelt it, mine it, burn it, breathe it, or shove it up your ass the result is the same: addiction.

Addiction is defined as a chronic, relapsing earthly disease that is characterized by compulsive seeking and use of earth products, despite harmful consequences. It is considered a brain disease because humankind changes the earth—they change its structure and how it works.

Soft Sickness is a one evening/one day workshop hosted by the research project Shift Register exploring the signs, symptoms, circulations, exchanges, consumptions, dependencies, and management implicit in the multifarious and pathological dependence on the earth which is now named by that word “Anthropocene”. Earthly addictions produce quantified-earth self-portraiture, GIS co-dependencies, and all other variants of planetary narcissism. Earth-scale sensor systems and media networks, swathing the planet in information about itself, are unveiled with media from on- and off-planet earth science field-stations and reflections thereupon. Dependencies bring anxieties about the impending doom of resource dearths to come. People manage these anxieties with new psychotropic medications, whereas artists represent and markets bet on them, against the health of the earth and its living bodies.

Soft Sickness divines the earth lines of the often contradictory ingestion of and repeating addiction to the earth and its productions, data, memory — its circulations, seasons and natures, to the plants, the mushrooms and the animals, to fossil fuels, metals, to liquid screens and smogged surfaces, to longevity and, finally, to the real. To the thing and things which we cannot help doing (things to). To compulsively consume (the earth) is to eat and subsequently to excrete ourselves, humankind, and this cycle can be termed addiction. We feed from the earth, feeding back to the earth a world and mind-changing chemistry.

During the workshop, participants and invited guests will discuss, map, extract, ingest and excrete relations of local earth manifested in Finsbury Park in North London. Plant and pharmaceutical toxicities/ psycho-pharmacologies, poison cures, geophagic gastronomics, esoteric pollution sensing and embrace, and the invention and embedding of folkloric and human to non-human ecologies constitute parts of this invitation. We will gather psycho-active dew, imagine tales for the mole people, bake bread for crows, and make the earthworlds flesh.

We wish to develop contemporary rituals articulating the polarised and overgrown junk-tions of shamanic spirit journeyings with addiction managements; cold kicking the earth habit or indulging absolutely in the (cannibal/capital) undergrounds and (fairie) overgrounds.

SHIFT REGISTER is a research project investigating how technological and infrastructural activities have made Earth into a planetary laboratory. The project maps and activates local dynamics and material shifts between human, earthly and planetary bodies and temporalities. Contemporary, mainstream science and technology are intersected with other knowledge systems to attempt a reconfiguration of relations between humans and the earth. SHIFT REGISTER is Jamie Allen, Martin Howse, Merle Ibach, Jonathan Kemp and Martin Sulzer at the Critical Media Lab, Basel.

Let’s Fill this Park with Rabbits!


Part of the Poetry for Animals, Machines and Aliens: The Art of Eduardo Kac exhibition at Furtherfield Gallery

Families and groups of all ages are invited to design their own giant rabbits and to draw them on Finsbury Park by walking your own rabbit route using GPS software.

Taking about an hour, it will be a fun and creative time for all involved as we all work together with artist Michael Szpakowski to draw the rabbit and walk it for it to be added to the Finsbury Park map. Participants will be credited on a final image of all the rabbits created in the park.

Just turn up on the day to book a place for your group – workshop places will be offered on a first-come first-served basis on each day.

Groups and families can also just turn up on each day to join in with the fun and walk some bunny routes in the park.

Furtherfield Gallery
McKenzie Pavilion
Finsbury Park, London, N4 2NQ
Visiting Information


A three-day arts + research lab at Furtherfield Commons.

From the self-made celebrity of the Instafamous to the personal live-streaming of gamers, online sites of spectatorship are the emerging factories and playgrounds of the 21st century. We shop, share, and produce online, 24/7. As we do we alter the processes of how we work, what is viewed as a product, and our sense of self: work is like play and labour is seemingly without work. Playbour– Work, Pleasure, Survival, is dedicated to the study of the worker as they are asked to draw on internal resources and self-made networks to develop new avenues of work, pleasure and survival.

Over the three days we will form a community-led action research lab that brings together artists, researchers, data scientists, and activists, as well as community participants in an ambitious and intensive programme of experiments, interventions and performances. Led by a diverse community, and working towards a group exhibition at Furtherfield in July 2018, we will explore the converging spaces of work, play and well-being, as well as examine the role of the worker in the age of the Internet.


Playbour– Work, Pleasure, Survival, is an art and research platform dedicated to the study of the worker in an age of data technologies. Our first event is a three-day lab at Furtherfield Commons and we are currently welcoming submissions for people to join us!

We are looking for applications from a range of applicants artists, designers, researchers, curators, and activists, with an interest in the relationship between arts, technology, and design, and who are working on an art or research project relating to shifting realities of work, the worker, and the self, via cognitive capital, digital labour, play and entertainment spaces.


We will explore the contours and value systems we place on work, play, and well-being, and use this to work towards an exhibition at Furtherfield opening mid-July, 2018.

Each day will consist of three sessions DISCUSSTEST, and PLAY, convened and co-led by artists, academics, designers, and activists. Participants will critically analyze and thoughtfully engage in conversations, conduct research with “workers”, test out ideas through hands-on making activities, and engage in play-driven interventions and performances. Then working in groups, develop the foundation for newly commissioned works for the upcoming exhibition at Furtherfield gallery in July 2018.


Friday 25 May, Playbour, will examine shifting realities of work and professionalism in play and entertainment spaces. Participants will DISCUSS with sociologist Dr. Jamie Woodcock (Oxford Internet Institute) and explore the concepts of playbour, digital labour, immaterial labour, and cognitive capitalism – linking these explicitly to work and play through the example of video games. We will then CONNECT with live streamers. In the afternoon, we will PLAY in a “collective empathy” session with artist Steven Ounanian looking into how pain and suffering are experienced in online contexts.

Saturday 26 May, Body/Machine/Capital, investigates data-driven decision making and the colonisation of body and machine via capital systems. The first half of the day will DISCUSS and TEST with special guests. Later that day participants will begin to develop their “game installation” projects.

Sunday 27 May, Unwitting Extraction, participants will DISCUSS and develop their “game installation” with architect Dr. Itai Palti. Using behavioural science and data technology participants will TEST ideas and thinking for game-based installations through a scientific lens in anticipation of the Furtherfield exhibition. This will be followed by a group lunch and feedback session with Dani Admiss and illustrator, Maz Hemming. To apply for a place please submit your application by midnight GMT Sunday 25 April 2018, to

A complete application must include the following:

  1. Name and phone number.
  2. A short written statement discussing how you value work, play, well-being (250 words max).
  3. How this opportunity will assist your personal development of a new project. (250 words max).
  4. Provide one supporting image relating to work and play. The image can be created by you or found material but must include a caption (up to 50 words) explaining where it is from. Please supply all images as JPEG or PDF.

The lab has been organised with its partner Furtherfield Gallery as a pre-event to the Playbour– Work, Pleasure, Survival, exhibition opening in Friday 13 July 2018.Curated by Dani AdmissConcept development Dani Admiss and Cecilia Wee

Playbour – Work, Pleasure, Survival, is realized in the framework of State Machines, a joint project by Aksioma (SI), Drugo more (HR), Furtherfield (UK), Institute of Network Cultures (NL) and NeMe (CY).

This project has been funded with the support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Design 4 ACTION! Permaculture Course

London’s Permaculture Design Course – Design 4 ACTION (Active Community Transformation In Our Neighbourhoods) is a different kind of permaculture course – positive design for your life, your community and your world by empowering the genius inside all of us! D4A is about regenerative learning, enabling individuals, organisations and communities to come together over six weekends to create empowering solutions to the real world challenges we are all facing in these times of change. Adapted from the Permaculture Association (Britain)’s PDC core curriculum, this is a person-centred, fun, lively and inclusive course, exploring and utilising concepts such as Systems Thinking, Holistic Design, Community Empowerment, ‘Whole Person’ Health, Skill Sharing, Critical Thinking, Appreciative Inquiry, Right Livelihoods and much more.

The format is participatory and dynamic using diverse visual, audio and kinesthetic learning methods such as individual and group work, games, problem solving, discussion, observation, field trips, practical activities, lectures and slideshows. This course will be hosted at Furtherfield Commons in Finsbury Park, a new and exciting partnership project at the cutting edges of dynamic cultural change:“We believe that through creative and critical engagement with practices in art and technology people are inspired and enabled to become active co-creators of their cultures and societies.”

Learn more about Design 4 Action Permaculture Course

Venue: Furtherfield Commons and Edible Landscapes London, Finsbury Park, London

Led By: The course will be taught by Graham Burnett (Dip. Perm Des) and some great guest teachers.

Dates: 6 weekends, May – July 2018
5 – 6 May
19 – 20 May
2 – 3 June
16 – 17 June
30 June – 1 July
14 – 15 July

Cost: Full cost £590 for 12 days. Note that we are able to offer a strictly LIMITED number of subsidised/bursary places for people on lower incomes. We also offer a higher rate payment option in order to help support a subsidised place for those less able to pay. Below is a suggested scale of fees that we feel fairly reflects the income disparities among our attendees. Before booking we ask you to make an honest assessment of where you place yourself on this scale. Please contact us  if you wish to apply for a subsidised/bursary place. We would also ask you to read our article ‘Can’t Afford A Course?’ for other creative ideas for raising your fees such as crowdfunding, available grants, etc before applying for a subsidised place.

£790 – Supporters rate – paying our upper rate will help to support a subsidised place for somebody less able to pay.
£590 – Individual, waged (suggested income more than £25k)
£390 – Individual, waged (suggested income less than £25k subsidised place)
£250 – Individual, concessionary rate (suggested unwaged subsidised place)

NB. Your place on the course will be reserved upon receipt of a £95 deposit and secured upon receipt of full payment.

Book now
More information

Artists Organise (on the blockchain)

10:30 – 14:00 – Ruth Catlow and Max Dovey

Artists Organise (on the blockchain) is the fourth event in the DAOWO blockchain laboratory and debate series for reinventing the arts.

In previous workshops, hosted by Goethe Institut London, we have explored  developments in the arts ecosystem, impacts on identity, and the complex considerations involved in formalising systems for “doing good” on the blockchain.

In this special event hosted by Drugo More in Rijeka we will draw on the Croatian cultural context and attempt to envision, devise and test alternative forms of blockchain-based cultural production systems, for application at Furtherfield in London. This workshop is part of a wider programme events in Rijeka to accompany the opening at Filodrammatica Gallery of the touring exhibition New World Order.

Set up in 2002, the pioneering non-profit Croatian initiative Clubture“aims to empower the independent cultural sector”, organising according to decentralised, participatory principles that resonate with claims made for blockchain governance.

Together we will explore what lessons can be learned from the radical, decentralized, participatory organising principles developed by both Furtherfield and Clubture, when assessing the potential value of blockchain technologies to instigate collaboration between networks of cultural players? How do the affordances of different blockchain value systems impinge on our ideas of human nature, and the value and limitations of existing cultural institutions and networks? Who are the networks’ users? How does the network deal with inequalities of resources (time, money, reputation etc)? How are decisions made, rules enforced and conflict resolved?

Number of participants is limited. You can apply for the workshop by e-mail to dubi<at>, until 12 February.

Workshop – led by Ruth Catlow and Max Dovey

Using theatre, improv and role play techniques participants will develop the following premise:

Julian Oliver’s Harvest node has been installed on top of Furtherfield Gallery in Finsbury Park. A wind turbine is generating a small amount of electricity that is powering the graphics card to mine the ZCash cryptocurrency. It is suggested that the surplus value generated by the work should operate as the funding faucet for a body that commissions new environmentally focused cultural practices and projects for and with the visitors to the park where it is based.

Using the Harvest ´fund´, workshop participants will develop a new public artwork proposal that can commission a cultural program in Finsbury Park. The artwork aims to establish a ´headless´ organisational structure that is financially sustainable and incorporates various actors into the cultural program. The aim is to gain ‘real-world’ understanding of how different blockchain value systems may afford alternative social structures for collaborative cultural production.

Workshop Hosts

Ruth Catlow
Ruth Catlow [UK] is an artist, curator, and writer. She is co-director, of Furtherfield, co-founded with Marc Garrett in 1996, an artist led organization for labs, debates and exhibitions around critical questions in arts, technology and society. She has co-devised the ‘DAOWO’ workshop series with Ben Vickers (Serpentine Galleries) & in collaboration with Goethe-Institut London (Oct 2017- Mar 2018). Catlow is named by the Foundation for P2P Alternatives in their list of 100 women Co-creating the P2P society.

Max Dovey
Max Dovey [UK] can be described as 28.3% man, 14.1% artist and 8.4% successful. He is also an artist, researcher and lecturer specialising in the politics of data and algorithmic governance. His works explore the political narratives that emerge from technology and digital culture and manifest into situated projects – bars, game-shows, banks and other participatory scenarios. He holds a BA Hons in Fine Art: Time Based Media and a MA (MDes) in Media Design from Piet Zwart Institute. He is an affiliated researcher at the Institute of Network Cultures and regularly writes for Open Democracy, Imperica & Furtherfield. His work has been performed at Ars Electronica Festival, Art Rotterdam & many U.K based music festivals.

The DAOWO programme is devised by Ruth Catlow (Furtherfield) and Ben Vickers (Serpentine Galleries & unMonastery) in collaboration with the Goethe-Institut London, and the State Machines programme.

This project has been funded with the support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Doing Good (on the blockchain)

13.30 – 17.30 – Kei Kreutler, Sarah Meiklejohn, Laura Wallis, Jaya Klara Brekke

Doing Good (on the blockchain) is the third event in the DAOWO blockchain laboratory and debate series for reinventing the arts.

In previous workshops we have probed ideas focusing on developments for blockchain application in the arts and the role of identity within the blockchain ecosystem.

Citizen groups that engage in activism and ‘doing good’ are generally structured around informal economies which rely on a certain degree of flexibility, improvisation and indeterminacy of activity. The introduction of technical systems can have a flattening effect that removes all contingency from a system. It sets distinct rules under which an activity or exchange can take place. These rules however can be somewhat opaque, shaped by the affordances of technologies rather than the needs of its users. This event aims to examine what is at stake in the formalisation of ‘doing good’ under blockchain systems for decentralised trust. We will look at how informal systems (e.g. for organising migration from war zones to stable territories) are forced into a formalised rule based structure, while formal systems for public good (eg distribution of social welfare) may exacerbate issues of both exclusion and monitoring. We consider design for contingency, and identify what must be left out.


The Right Systems For The Job?
Sarah Meiklejohn will set the scene sharing her research into developments in systems of decentralised trust, openness and visibility in finance, supply chains, and managing personal data.

This will be followed by 3 provocations that will inform discussion and debate:

Increased Engagement & Resisting De-facto Centralisation
Jaya Klara Brekke on the affordances of Faircoin blockchain technology, exploring its use as a redistribution of what is possible, and for who – extending and reconfiguring spaces and modes of politics.

Incentives for Participation
Laura Willis, on the work of Citizen Me – a platform that promotes the understanding of the value of personal data through notions of citizenship.

Behaviour under Transparency
Kei Kreutler (Gnosis) on blockchain’s potential ability to encode and incentivize social behavior, both on- and off-chain, and designing for unforeseen consequences. How does the figure of the good—politically and aesthetically—influence the uptake of “new” technologies, and how do staked predictions influence the present?

This workshop is devised by Ruth Catlow (Furtherfield) and Ben Vickers (Serpentine) in collaboration with Goethe-Institut London and in partnership with Dr Sarah Meiklejohn from UCL, as part of the research project Glass Houses – Transparency and Privacy in Information Economies.


Sarah Meiklejohn
Sarah Meiklejohn is a Reader in Cryptography and Security at University College London. She has broad research interests in computer security and cryptography, and has worked on topics such as anonymity and criminal abuses in cryptocurrencies, privacy-enhancing technologies, and bringing transparency to shared systems.

Jaya Klara Brekke
Jaya Klara Brekke writes, does research and speaks on the political economy of blockchain and consensus protocols, focusing on questions of politics, redistribution and power in distributed systems. She is the author of the B9Lab ethical training module for blockchain developers, and the Satoshi Oath, a hippocratic oath for blockchain development. She is based between London, occasionally Vienna (as a collaborator of RIAT – Institute for Future Cryptoeconomics) and Durham University, UK where she is writing a PhD with the preliminary title Distributing Chains, three strategies for thinking blockchain politically (

Laura Willis
Laura Willis works as Design Lead in user experience at CitizenMe. Alongside this work Laura is also very passionate about illustration and won an award for Macmillan children’s books before she graduated from University of the Arts, London.

Kei Kreutler
Kei Kreutler is a researcher, designer, and developer interested in how cultural narratives of technologies shape their use. She contributes to a range of projects—from the networked residence initiative unMonastery to the augmented reality game for urban research PATTERNIST—related to organizational design and practice. She is Creative Director at Gnosis, a forecasting platform on the Ethereum blockchain, and lives in Berlin.

The DAOWO programme is devised by Ruth Catlow (Furtherfield) and Ben Vickers (Serpentine Galleries & unMonastery) in collaboration with the Goethe-Institut London, and the State Machines programme.

This project has been funded with the support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.


Exhibition tour as part of the European collaboration project State Machines 

Furtherfield Gallery, London
20 May – 25 June 2017

Aksioma, Ljubljana
11 January – 9 February 2018

Gallery Filodrammatica, Drugo More, Rijeka
15 February – 9 March 2018


Featuring Jaya Klara Brekke, Pete Gomes, HandFastr, Rob Myers, Primavera De Filippi of O’Khaos, Terra0, Lina Theodorou and xfx (aka Ami Clarke).

A mysterious and controversial technology is among us. The Blockchain underpins digital currencies and makes possible dramatic new conceptions of global governance and economy, that could permanently enrich or demote the role of humans – depending on who you talk to.

A self-owning forest with ideas of expansion, a self-replicating android flower, a tale of lost innocence, a DIY money making rig, a Hippocratic Oath for software developers, a five minute marriage contract; this exhibition presented by Furtherfield shows us life with blockchain technologies – through artworks by Jaya Klara Brekke, Pete Gomes, Rob Myers, Primavera De Filippi of O’Khaos, Terra0, Lina Theodorou and xfx (aka Ami Clarke).

Imagine a world in which responsibility for many aspects of life (reproduction, decision-making, organisation, nurture, stewardship) are mechanised and automated. Transferred, once and for all, from natural and social systems into a secure, networked, digital ledger of transactions and computer-executed contracts.

The artworks in this exhibition envision future world-making by machines, markets and natural processes, free from interference by states and other human institutions.

Plantoid by O’khaos and Terra0 featured in New World Order, Furtherfield Gallery (2017) touring to Aksioma and Drugo More 2018

The exhibition is part of a large scale programme of publications, workshops and talks that brings together leading international artists and writers from across the globe. Launching at Furtherfield Gallery in London’s Finsbury Park 19 May – 25 June 2017, the exhibition will then tour to Aksioma (Ljubljana, Slovenia) in October 2017, as part of State Machines: Art, Work, and Identity in an Age of Planetary-Scale Computation, a collaboration between Furtherfield, Aksioma, Drugo more (HR), Institute of Network Cultures (NL) and NeMe (CY).

Artists Re:thinking the Blockchain’ produced in collaboration with the experimental publishing group Torque and Liverpool University Press will be launched on 23 June 2017. Contributors include Helen Kaplinsky, Rob Myers, Hito Steyerl, Ben Vickers and Cecilia Wee. Chris Speed and the team from the Design Informatics Department at Edinburgh University will be embedding a new proto-blockchain experiment throughout print and digital versions, enabling readers to ‘like’ different parts of the book, sub-linked to a financial trading algorithm.


– free workshop by Network Diagnostics

Saturday 10 June, 2-5pm, Furtherfield Commons
Join Network Diagnostics (Dave Young and Niall Docherty) to discover how the promotional media of Silicon Valley companies envision the role of technology in society. In partnership with Antiuniversity
Booking is essential for this FREE event

GeoCoin – Bodystorming Blockchain in the City
Friday 23 June 10am – 5pm, Furtherfield Commons
A day of design-based research using the GeoCoin platform to explore novel ways of reconsidering and reinventing currency through location-specific value transactions. How can money be reprogrammed to interact with or react to everyday practices of value exchange in and around the city? Explore these and more questions with the Design Informatics team from the University of Edinburgh.
Booking is essential for this FREE event

This workshop is part of the ESRC funded research project After Money lead by Design Informatics at the University of Edinburgh.

Book launch – Artists Re:thinking the Blockchain
Friday 23 June, 6-8pm, Furtherfield Gallery
‘Artists Re:thinking the Blockchain’ produced in collaboration with the experimental publishing group Torque and Liverpool University Press

Wedding Event Day – Blockchain special
Saturday 24 June 11am – 5pm, Furtherfield Gallery
Ever wanted to join your partner in bitcoin matrimony? Or wanted to join another partnership for a short time only? You’ve come to the right place. For this day only, you can record your short-term bitcoin union via Handfastr on the blockchain in an immutable and ever growing ledger of bitcoin marriages at Furtherfield Gallery. A project developed by the Design Informatics team at Edinburgh University in collaboration with James Stewart, Max Dovey & Corina Angheloiu.

This project is part of the ESRC funded research project After Money lead by Design Informatics at the University of Edinburgh.
Book Here 

Furtherfield Gallery
McKenzie Pavilion
Finsbury Park, London, N4 2NQ
Visiting Information
Furtherfield Gallery is supported by Haringey Council and Arts Council England

This project has been funded with the support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.