Simon Farid is a visual artist interested in the relationship between administrative identity and the body it purports to codify and represent. In practice, this means that the artist is ‘squatting’ identities that have been constructed by other people for surveillance, marketing or institutional purposes and then discarded.
He notoriously ‘inhabited’ the identity of an undercover police officer and the one of a politician who moonlighted as a web marketing guru
At this year’s edition of TodaysArt, Mike Rijnierse will submit a 100 kg church bell to regular sessions of bungee jumping. The sounding bell will drop from a bungee jump tower at the Scheveningse Pier near The Hague and its sixty meter fall will cause a Doppler effect…
CTM’s work combines appealing aesthetics, humour and language with actions that invite people to think, question and reclaim their civil rights. Their most famous project is the Tactical Ice Cream Unit, a truck distributing free ice cream along with propaganda developed by local progressive groups. Another of their initiative saw them launch a bank heist contest…
Karl Philips is a Belgian (h)activist, performance and conceptual artist who casts a critical but always witty glance at society, paying particular attention to cracks in consumerism, town planning, advertising, and turning upside-down their logic
Karla Diaz asked friends serving time in prisons in California to send her their own food recipes and collected them for a print on demand book called Prison Gourmet.
On a documentary and curiosity level, Prison Gourmet is a kind of culinary version of Prisoners Inventions. But Prison Gourmet is also a performance in which the artist addresses the politics of food and incarceration by reproducing prison recipes devised by inmates
In September 2012, the English Disco Lovers movement was founded, as a subversive Google-bombing campaign, looking to replace the English Defence League website as the top result when ‘EDL’ was searched on Google
DRONE.2000 is a performance where autonomous objects moved by simple algorithms are patrolling over the audience. Their latent and dysfunctional presence is a concrete threat. Drone.2000 takes us into a dystopian situation, thus illustrating the military origins of these entertaining objects. Here, trusting the autonomy of the machine is not only a discursive concept but a true experience shared with the audience