Image courtesy of the artist While visiting an ex soldier training area in Maastricht turned into workshops for […]
With the arrival of 3D printing prosthesis using bio-compatible material, we might see more and more extreme body modifications reaching the mainstream. What could once only be imagined is now only a matter of time
The second session of the symposium dedicated to the use of the human body by artists was titled “Blood & Bone: Post-mortem Afterlives, Trauma & Ethics.” And it involved many uncomfortable trips to the autopsy room
In a world where scientific rationalism rules, interest is on the rise for alternative forms of relating to the world and to others.
Semen, cell cultures, urine, feaces, tears, blood, hair, skin– the human body has been used not merely as the subject of art works, but also as their substance.
Last week, the Institute of Advanced Studies at University College London held a symposium that explored the use of “biomaterial” in modern and contemporary art practices
The two installations are composed of identical elements, connected in a network and exchanging information through electric signals. The collective behavior of the actuators and sensors create unpredictable patterns, as though a system of living organisms with their own variable program. A moving scene emerges, where the borders between a ‘natural’ order of things and the mechanical constructions of humans are tested
The young designer uses radically different entertainment channels to explore questions of radicalisation, spying and UK government role in spreading a climate of suspicion
The triptych All About You is a ready-made that brings up several social and subject/object relations, such as money circulation, artwork status, identification and citizenship. We could say it represents a “self-portrait as a citizen” with the Republic of Slovenia used as a mirror
Following the death of industrial Europe, rave emerged as Europe’s last big youth movement. This book considers the social, political and economic conditions that led to the advent of rave as a ‘counterculture’ across Europe, as well as its aesthetics, ideologies and influence on contemporary art and beyond
When Jonáš Gruska is not busy giving workshops on urban sonification, creating his own recording instruments, making electromagnetic fields audible or organizing a solar-powered (experimental) music festival called SVUK, you’ll find him under bridges, inside bridges, in ventilation systems or near oil refineries exploring the psychoacoustic properties of sound in industrial spaces
This piece of sound equipment emits low frequency infrasound waves, which causes those in its path to release the contents of their bowels—or more colloquially, to “shit themselves”. This kind of sound cannon has its roots in sonic weapons first developed by the Nazis for the purposes of crowd control, and purportedly also by the French authorities during the Paris riots of 1968
In spite of the loss of a large part of its collection, the museum remains a wonderful place to visit. For the historical specimens of course but also for a number of artefacts that are interesting from an artistic point of view
Perry can be a bit rude but he’s never vulgar. He observes and satirizes British society, its classes, tastes and rituals but he does so with kindness. His vases look traditional but as you go nearer, you realize that they bear crude images and cheap tabloid headlines
The book examines cultural contexts and stereotypes with visual examples. It demonstrates that communication tools are never neutral, and encourages its users to rethink global cultural understanding. Additional works by contemporary artists and designers show that political awareness does not limit creativity, but opens up new explorations for a critical visual culture
This year, the Share festival in Turin shed its new media art skin and became a festival resolutely centered on design. The event was all about technology and creativity but this time in their most domesticated forms
A new variety of capitalism is currently taking form on the African continent. States are being remade under the pressures of rapid demographic growth, conflicts over boundaries, security demands, and the offerings of multi-lateral donors and data-processing corporations. Much of this turns to enhanced forms of state surveillance that is common to societies across the globe, but the economic and institutional forms on the African continent are unusual
The exhibition questions the underlying myths within design, deconstructs its emerging signs, and examines how technology determines the future landscape of design
Each of the essay in the book explores a different case study: ‘anti-Indianism’ in New Mexico, influence of Israeli policing structures on the LAPD, New York city’s strategy to rely more on invasive policing than on mass incarceration, LA Skid Row as a testing ground for police practices that will be exported to the world, links between criminalization of poverty and real estate speculation, state violence and gentrification in El Salvador, etc.
Syuko Kato and Vincent Huyghe from the Interactive Architecture Lab have designed a robotic system that turns dance into architectural forms
The exhibition Hormonal at LifeSpace Gallery in Dundee brings together work by three women artists who, each in their own witty way, reflect on the hormone oestrogen and how it is understood socially, politically, technologically and environmentally.
Nik Nowak‘s sound objects combine the aesthetic qualities of sculpture with utility or functional objects, and explore urban or military phenomena at play in everyday life
The exhibition explores the mechanisms by which cultures, from the most ancestral to the most contemporary, “inject personality” into objects. Through 230 pieces: statues, installations, paintings, robots, excerpts from films, the show throws light on these “strange humans”
Ellie Irons is one of those rare artists whose work opens your eyes to what is just under your nose but remains unnoticed. Some artists bring the spotlight on data collecting, others on corruption, corporate malpractice, or land grabbing. Ellie forces us to consider the wild and often reviled urban ecology that sprouts all around us. She uses galleries to provide asylum to wild and invasive plant species, extracts the pigments from local weeds to paint their map-like portraits, photographs the vigorous life growing inside vacant lots, and is actively collecting the seeds of the most humble but robust plants that mirror population growth and flux in globalized cities
Bruce Gilden, Factory in the Midlands, from the series The Black Country, 2014 Evelyn Hofer, Crossing Guard, London, […]
From painting to digital technologies to crowdsourcing, over the last few decades the means of making artworks have become more extraordinary and diverse. Yet we rarely consider the implications of how art is made
When he is not painting murals in Latin America, creating coloring books for children living in refugee camps or stealing Berlin’s iconic and kitschy buddy bears, Avignon turns himself into “neoangin”, a performer of electronic music that doesn’t seem to take himself too seriously either.
There is a surprising similarity in the way neural networks and analogue modular synthesizers function, in that for both, voltages are passed through components to produce data or sound. The neural interface we developed juxtaposes these two networks and in a sense creates a continuum that creates one unified network. With CellF, the musician and musical instrument become one entity to create a cybernetic musician, a rock star in a petri dish.
The installation’s mechanical workings and network of strings allow us to explore the poetic potential of technology via its materiality, so that Interface I sits on the boundary between an imaginary field and an epistemological condition
The objects, books, artifacts, gadgets and artworks offer a contemplation on autonomy as a disappearing modus operandi of political action, while workshops, discussions and demos focus on the devices we use every day: How do they work? What individual data traces do they capture? Where do these go, and what kind of control can one regain?
Through the course of these lifeworks, Hsieh moved from a year of solitary confinement in a cell to a year in which he punched a worker’s time clock in his studio every hour on the hour to a year spent living without shelter in Manhattan to a year in which he was tied by a rope to artist Linda Montano and finally to a year of total abstention from all art activities. In 1986 Hsieh announced that he would spend the next thirteen years making art but not showing it publicly
The mobile ecosystem has a robotic core wrapped in twelve garden modules. Whenever the lowermost plants require more sunlight, they ‘vote’ to have the sphere gently roll over. If it becomes too hot for the majority of them, they will steer the structure towards the shade
Martin Roemers’ photographs take us to abandoned army bases and bunker complexes, military training areas, technical installations, monitoring facilities and military cemeteries
Like all Pictoplasma guests, Julian Glander creates little fellows. His have been dipped in cotton candy and other similarly sugary substances. They live a merry life, star in comic strips, music videos, short films, adverts and illustrations but they particularly shine when they get to frolic in GIFs!
Ploeger is an artist who looks at the broad picture, who realizes that e-waste, sexuality, ecology or violence are all valid points of entries into the study of the many paradoxes, complexities and entanglements of our consumer culture and its impacts on the planet
In 1961, Donald Michie, a British WWII code breaker and a researcher in artificial intelligence, developed MENACE (the Machine Educable Noughts And Crosses Engine), one of the first programs capable of learning to play and win a game of Noughts and Crosses (or Tic-Tac-Toe if you’re American.) Since he had no computers at his disposal at the time, he created a device built out of matchboxes and glass beads to simulate a learning algorithm.
With an emphasis on the ‘now’ and the most recent exhibitions, this book examines the variety and richness of curating practices today, from public commissions by Art Angel to experimental projects such as the ‘Ghetto Biennale’ in Haiti or the Rhizome digital archive
Bits and Pieces transforms the gallery into a space of poetic performance through the choreographic movements of ordinary objects. The organic rhythms of the sculpture allow for a new language to emerge that influences how we come to understand the functions of everyday, disregarded objects
The Promise of Total Automation, an exhibition recently opened at Kunsthalle Wien in Vienna, looks at our troubled relationship with machines. Technical devices that were originally designed to serve and assist us and are now getting smarter and harder to control and comprehend. Does their growing autonomy mean that the machines will one day overpower us? Or will they remain our subservient little helpers, our gateway to greater knowledge and sovereignty?
In 1980, the Sunday Times Magazine asked war photographer Raymond Depardon to go and photograph Glasgow. His images was deemed too upsetting and Sunday Times Magazine never published them
Destructables.org is a DIY repository of projects of protest and creative dissent. The site features user generated step-by-step video and photo/text based instructions for a wide range of dissenting actions, including art actions, billboard alterations, shop-dropping, protest strategies, protest props, methods of civil disobedience, stencil work, and many other forms of public dissent – from the practical and tactical to the creative and illegal. It is a living archive and resource for the art and activist communities