Birmingham City University Alumni of the Year recognises and celebrates the outstanding achievements of Birmingham City University graduates. Our alumni make a real difference across the globe in a variety of ways, and the University seeks to acknowledge their contribution to the local, national and international communities through Alumni of the Year.
Hannah Maclure Centre
Preview: Friday 11 September 2015, 6-8pm
Exhibition runs until Friday 23 October 2015
‘Hearts’ is an exhibition that explores scientific and artistic research relating to our life-giving organ, examining local ground-breaking heart disease research and sharing the work of internationally renowned artists whose practice is concerned with the heart in transplantation, the heart as a system, the heart as a poetic object.
The exhibition arises from an ongoing body of cardiovascular research led by Dr Nikolai Zhelev at Abertay University. Miniature beating hearts are developed from human stem cells reprogrammed to grow has tiny heart organs which are then used to investigate preventions and cures of heart disease.
Featuring the work of artists Catherine Richards, Ingrid Bachmann, Martin John Callanan and Jennifer Kelly.
08 July 2015
Available as: PDF
With 11 days to go for the public to nominate a visual artist to feature on the next £20 bank note, the Bank is pleased to deepen its collaboration with visual arts through the arrival of artist Martin John Callanan, who will be working at the Bank over the next twelve months on a series of conceptual art projects. Mr Callanan’s work – which will be generously funded by the Leverhulme Trust and University College London – will reflect aspects of central banking, economics, finance and data.
Mr. Callanan – a Teaching Fellow at UCL’s Slade School of Fine Art and current holder of the Philip Leverhulme Prize in Visual and Performing Art – researches and creates artwork to better understand how societies and individuals interact with technological, political, economic, environmental and other systems. His work, exhibited and published internationally, expresses complex ideas relating to these systems in tangible, accessible ways.
Working with the Bank of England will provide Mr. Callanan a unique opportunity to expand his research into financial services and economics, and to collaborate with economists, mathematicians and computer scientists at the Bank and beyond.
Through the exhibition of these finished artworks, this collaboration will also provide the Bank with a unique opportunity – to raise awareness and broaden public understanding of our mission to promote the good of the people of the United Kingdom by maintaining monetary and financial stability.
The Bank renewed its mission as part of the launch of its Strategic Plan in March 2014. Core priorities as part of this Plan included: opening up the Bank’s research and analytical work to external contributions – and its data sets to the public – in order to benefit from external points of view; partnering with outside academic researchers to develop advanced data and research capabilities; encouraging diversity in all forms, including promoting and encouraging diversity of thinking and experience; and building public understanding of the Bank’s responsibilities for maintaining monetary and financial stability.
The Bank’s collaboration with Mr. Callanan will help to further each of these priorities, and builds on other successful Strategic Plan initiatives to date – including the launch of a One Bank Research Agenda, a data visualisation competition and our new Bank Underground staff blog.
It is also timely, given the next £20 banknote will celebrate Britain’s achievements in the visual arts. Since 19 May 2015, the public have been invited to nominate historic visual artists they would like to see on the £20 note, to be released by 2020. Thousands of nominations have been received so far – underlining the extent of British achievement in the visual arts and reinforcing why this field deserves to be recognised on the next £20 note. The public has until 19 July 2015 to make their nominations on the Bank’s website.
Welcoming Mr. Callanan’s presence at the Bank, Governor Mark Carney said:
“Today’s announcement brings together three recent themes of the Bank’s work. The financial crisis has taught us that we must look beyond the conventional, and approach policy issues with creativity, audacity, and diverse thinking. Harnessing the power of Big Data will allow for new patterns, new trends, and ultimately, new answers to age-old questions. And as we move towards celebrating the visual arts on our new £20 bank note, we also reflect on how the visual arts can help us deliver on our mission to promote the good of the people of the United Kingdom. On behalf of the Bank, I warmly welcome Martin Callanan, I look forward to seeing the results of his work, and I thank the Leverhulme Trust and University College London for generously sponsoring his work.”
I Cannot Not Communicate, Martin John Callanan at Vitsœ New York: 14–19 May
33 Bond Street
New York NY 10012
T 1 917 675 6990
At Vitsœ we like to share the work of creative people. So when Berlin and UK-based artist (and Vitsœ customer), Martin John Callanan, asked to show a new piece for the first time at our New York shop, we were happy to oblige.
I Cannot Not Communicate, consists of the top 100 books recommended to Callanan by Amazon, based on everything he read and bought since the online retail giant first launched its recommendation algorithm over 15 years ago.
The event will take place during a busy time with New York design week and Frieze Art Fair New York occupying the city – all the more reason to take a moment to pause in comfort at our New York shop at 33 Bond Street.
To accompany the installation, Callanan has produced a pamphlet, including a text by Marialaura Ghidini. A limited number of copies are available free to visitors.
Martin John Callanan is an artist researching an individual’s place within systems. Recent solo exhibitions include Noshowspace, London, Horrach Moya, Palma and Or Gallery, Berlin. His work has been shown at White Cube, James Cohan Gallery, Whitechapel Gallery, International Film Festival Rotterdam, Whitstable Biennale and Imperial War Museum. He is recipient of the Philip Leverhulme Prize in Visual Art.
Die Zusammenarbeit mit kreativen Köpfen macht uns immer wieder Freude. Als uns der in Berlin und Großbritannien lebende Künstler (und Vitsœ Kunde) Martin John Callanan fragte, ob er seine neue Arbeit in unserem New Yorker Shop ausstellen könne, sagten wir ohne Zögern zu.
„I Cannot Not Communicate“ besteht aus den ersten 100 Büchern, die Callanan von Amazon vorgeschlagen wurden – basierend auf allem, was er gekauft und gelesen hatte, seit der Onlineshop-Gigant vor mehr als 15 Jahren seinen Algorithmus für Kaufempfehlungen einführte.
Die Ausstellung findet während der trubeligen Zeit der New York Design Week und der Kunstmesse Frieze statt – gönnen Sie sich eine kleine Auszeit von der Geschäftigkeit in unserem New Yorker Shop in der Bond Street 33.
Begleitend zur Ausstellung hat Callanan im Riso-Druckverfahren ein Pamphlet produziert, unter anderem mit einem Text von Marialaura Ghidini. Eine limitierte Auflage können geneigte Besucher kostenlos mitnehmen.
Martin John Callanan sucht nach individuellen Wegen im Kunstbetrieb. Seine jüngsten Solo-Ausstellungen fanden im Noshowspace, London, Horrach Moya, Palma und der Or Gallery, Berlin statt. Seine Werke wurden gezeigt von Institutionen wie White Cube, James Cohan Gallery, Whitechapel Gallery, International Film Festival Rotterdam, Whitstable Biennale und dem Imperial War Museum. Er ist ausgezeichnet worden mit dem Philip Leverhulme Prize für Bildende Kunst.
In his book “The Imaginary Museum” (1965), André Malraux asserted that in the reproductions of artworks published in books and exhibition catalogues we can find more significant artworks that could be seen in the largest museum of the world. Internet has exponentially expanded Malraux’s Imaginary Museum and provided us with unprecedented access to a myriad of artworks. In digital art, the complexity or ephemerality of many artworks makes it difficult to see them in an exhibition and therefore it is the video documentation created by the artists themselves that allows us to discover their works. Two selections of documentation videos present an overview of the many faces of digital art today.
Clara Boj y Diego Díaz
Marloes de Valk
Martin John Callanan
Curated by Pau Waelder
The most shocking thing about the Edward Snowden revelations is not so much their content as the fact that they have been met with little interest or surprise; not because people are unconcerned about the erosion of civil liberties, but because they thought that they knew all of this already. The internet now seems to produce a mode of hyper-connectivity, short-circuiting any separation between public and private. Along with the internationalisation of finance and other aspects of globalisation, this can make it feel as if everything has become completely interconnected, and there is nowhere left to hide from the encroachment of capital.
We submit that this state of hyperconnectivity induces a kind of paranoid subjectivity. Marx showed that there is something inherent to capitalism which makes it very difficult to see past its surface effects to its essential structure. While this was already true in his time, today the vast scale of the networks governing contemporary existence makes this aspect of capitalist society a near-constant feature of everyday experience. As abstraction reaches into every crevice of our existence, art increasingly adopts a style that Emily Apter has called oneworldedness: “a delirious aesthetics of systematicity … held in place by the paranoid premise that ‘everything is connected’”. on Paranoia.pdf2 (912.0 KB)
‘Onewordledness’ is poignantly and hilariously expressed in Hito Steyerl’s video Liquidity Inc. (2014), which deliberately confuses various meanings of the word liquidity (physics, finance, climate, martial arts), showing intricate, but unfathomable links between seemingly unrelated spheres. Steyerl’s work is the latest in a long line of artistic and theoretical reflections on (and of) paranoid subjectivity since the 1960s. From the novels of Thomas Pynchon, paranoia movies such as The Conversation and the films of Adam Curtis, to the rise of systems theory, and notions of the ‘network’ (Luhman), much art and theory from the US and Europe in this period has reflected an increasing interest in modes of cognition either contend with or break down due to the increasing scale of social abstraction. The popular television show The Wire (2002-2008) is a key example, being centered on a dense web of connections which traverse the US city of Baltimore, uniting all of its diverse spheres into a violent and tragic situation that the character Omar simply calls ‘the game’.
In this conversation, the third and last in a series that we, David Hodge and Hamed Yousefi, are organizing for e-flux conversations, we would like to critically consider the political consequences of ‘oneworldedness’. Fredric Jameson once said that “Conspiracy […] is the poor person’s cognitive mapping in the postmodern age … the degraded figure of the total logic of late capital, a desperate attempt to represent the latter’s system”.JamesonF86a_CognitiveMapping.pdf1 (155.3 KB) But what if capital’s abstractions interpolate subjects who are unable to undertake a critical cognitive mapping? Can art help to induce new forms of subjectivity, which might be better equipped to trace the totality?
Yet again, we have another fantastic group of contributors, who will take it in turns to write a post every weekday:
Martin John Callanan ( http://greyisgood.eu) is an artist whose practice involves “researching the individual’s place within systems”. His work has been exhibited and published internationally and he lectures at Slade School of Fine Arts, UCL, London.
Alberto Toscano is Reader in Critical Theory at the Department of Sociology, Goldsmiths, University of London. His most recent book is Cartographies of the Absolute (with Jeff Kinkle) – see: https://cartographiesoftheabsolute.wordpress.com.
Sarah Brouillette is Associate Professor of English Language and Literature at Carleton University in Ottawa, Canada. She is currently researching “a sort of cultural history of neoliberalism”, focusing on UNESCO as a core case study.
Tom Eyers is Assistant Professor of Philosophy at Duquesne University in Pittsburgh, U.S.A. He is the author of three books including Speculative Formalism: Literature, Theory, and the Critical Present (Forthcoming, 2015).
This large survey book builds on the ZKM Karlsruhe exhibition tracing the multifaceted relationship between art, science and technology in Dutch landscape art around 1650. Long before digital satellite imagery, Dutch artists used modern systems of remote sensing. Their art works provide valuable insights into past exchanges of knowledge that anticipate the techniques of mapping used today.
Includes A Planetary Order.
Hardcover: 500 pages
Publisher: Hirmer (1 Dec. 2014)
Dimensions: 25.5 x 3.8 x 29.4 cm
Monday January 26, 2015. 10am till 6pm
Piet Zwart Institute, Karel Doormanhof 45 3012 GC Rotterdam
This day of lectures and presentations will focus on old and recent media technologies of temporal measurement and control, and how they animate and re-animate human life.
The keynote speaker is Zoe Beloff, who will discuss works she is presenting in the International Film Festival Rotterdam 2015 program, including: The Infernal Dream of Mutt and Jeff (2012) and Glass House (2014)
Further speakers that will expand on this topic of pervasive techniques of control, that mobilise audiovisual media to measure, categorise, and discipline us, include: Zoe Beloff, Aura Satz, Julien Maire, Martin John Callanan, Florian Cramer
The PIET ZWART INSTITUTE, MASTER MEDIA DESIGN (LENS-BASED MEDIA / NETWORKED MEDIA) is an intensive project-based research degree that will equip you to create a distinctive voice as an artist/designer in the contemporary media landscape. Our programme encourages students to explore the new possibilities released by the friction between media forms, critically working across the historical gaps between photography, cinema, animation, mobile media, information systems and technological networks. The curriculum combines collective learning, intensive individual tutorial support, practice-based research and theoretical inquiry.
Made possible with support from the British Council Travel Grant Fund
24/7 will focus on the changing world & technology, and how the attention economy is affecting our lives, how we consume information and how it dominates not only our waking but also our sleeping moments. Our experience of time is mutating at the speed of light, due to the glass fibre and wireless networks that keep us entangled. How this affects our sense of reality now and its impact in the near future is one of the most important discussions in the world today.
In the late 1990s, when Google was barely one year old and was still a privately held company, its future CEO, Dr. Eric Schmidt was already articulating the context in which such a venture would flourish. Schmidt declared that the twenty-first century would be synonymous with what he called the ‘attention economy’, and that the dominant global corporations would be those that succeed in maximizing the number of ‘eyeballs’ they could consistently engage and control.
24/7 is focussed on stimulating discussion on this ‘attention economy’, the global thirst for information and the daily data consumption and mass synchronisation of work and leisure rhythms which are synonymous with this. We are working, communicating and consuming whenever and wherever we happen to be in the world. Divisions between night and day, between rest and work are gradually disappearing. Our experience of time is mutating at the speed of light, due to the glass fibre and wireless networks that keep us entangled.
Therefore 24/7 forces the audience to step out of the cinema, into hotels. A hotel is just like a cinema, a place where one checks in to step out of the daily routine. They are open 24/7 and strongly associated with our need for sleep. While examining the ever-changing world of the 21st Century, this programme challenges the traditional notion of a film ‘slot’ by raising the question of what we now class as a ‘normal duration’.
Made possible with support from the British Council Travel Grant Fund
23 January – 22 March 2015
Preview 22 January 2015 / 6-10pm
MK Gallery, 900 Midsummer Boulevard, Central Milton Keynes, MK9 3QA.
Admission is free
January 2015 MK Gallery presents How to Construct a Time Machine (23 January – 22 March 2015), an exhibition of over twenty-five historical and contemporary works that explore how artists play with media in innovative ways to transform our experience of time.
What is time? How do we order the past, the present, and the future? Why are artists interested in time? How is art a machine, vehicle, or device for exploring time? How is art a means by which time ‘travels’, and how does art permit us to travel in time? Consideration of these and other questions has provided the exhibition rationale for guest curator, Dr Marquard Smith, Head of Doctoral Studies/Research Leader in the School of Humanities at the Royal College of Art, London.
The show’s title is taken from an 1899 text by the avant-garde French writer, Alfred Jarry, written in direct response to H. G. Wells’ science fiction novel The Time Machine (1895). Wells invented and popularised a distinctively modern, fictional concept of time travel, with the time machine as a vehicle that could be operated ‘selectively’.Jarry’s response crafted a pseudo-scientific fiction that presents the time machine and time travel as an instance of ‘the science of imaginary solutions’.
Taking this idea of the time machine, time travel, and perhaps even time itself as an instance of ‘the science of imaginary solutions’, the exhibition is divided thematically across the galleries and includes works by John Cage, Martin John Callanan, Jim Campbell, Edgar Cleijne and Ellen Gallagher, Matt Collishaw, Ruth Ewan, Tehching Hsieh, the Lumière Brothers, Chris Marker, Kris Martin, Manfred Mohr, Melvin Moti, Nam June Paik, Katie Paterson, Elizabeth Price, The Otolith Group, Raqs Media Collective, Meekyoung Shin, Sun Ra, Thompson & Craighead, Mark Wallinger and Catherine Yass, amongst others.
Film work ranges from George Méliès’ A Trip to the Moon (1902), an iconic silent movie which follows a group of astronomers as they explore the moon, to Thomson & Craighead’s The Time Machine in alphabetical order (2010), a complete rendition of the 1960s film version of the Wells’ novella re-edited into alphabetical order.
Sculptural work includes Mark Wallinger’s Time and Relative Dimensions in Space (2001), an aluminium version of Dr Who’s ‘Tardis’ police box that simultaneously disappears into the space-time continuum and reflects its own surroundings, and Ruth Ewan’s We Could Have Been Anything That We Wanted to Be (2012), a decimal clock which divides the day into ten (rather than twenty-four) periods, echoing a bold 18th century French Republican attempt to redefine and rationalise the day.
The exhibition will be accompanied by a catalogue, designed by Herman Lelie, featuring an extended Introduction by the exhibition’s curator and a translation of Jarry’s How to Construct a Time Machine, together with essays by Dutch cultural theorist and video artist Mieke Bal and radical philosopher Peter Osborne. The exhibition will be supported by a range of related events including tours by the curator and artists, seminars, academic conferences, and film screenings.
The Future of Objectivity
Dr Chiara Ambrosio, UCL Department of Science and Technology Studies
This volume sheds light on still unexplored issues and raises new questions in the main areas addressed by the philosophy of science. Bringing together selected papers from three main events, the book presents the most advanced scientific results in the field and suggests innovative lines for further investigation. It explores how discussions on several notions of the philosophy of science can help different scientific disciplines in learning from each other. Finally, it focuses on the relationship between Cambridge and Vienna in twentieth century philosophy of science. The areas examined in the book are: formal methods, the philosophy of the natural and life sciences, the cultural and social sciences, the physical sciences and the history of the philosophy of science.
Hardcover: 788 pages
Publisher: Springer; 2014 edition (20 Jun 2014)
Product Dimensions: 23.6 x 15.5 x 4.8 cm
Scientific research on climate change has given rise to a variety of images picturing climate change. These range from colorful expert graphics, model visualizations, photographs of extreme weather events like floods, droughts or melting ice, symbols like polar bears, to animated and interactive visualizations. Climate change graphics have not only increased knowledge about the subject, they have begun to influence popular awareness of global weather events. The status of climate pictures today is particularly crucial, as global climate change as a long-term process cannot be seen. When images are widely distributed, they are able to shape how the world is thought about and seen. It is this implicit basic assumption of the power of images to influence reality that this book addresses: today’s images might become the blueprint for tomorrow’s realities. “Image Politics of Climate Change” combines a wide interdisciplinary range of perspectives and questions, treated here in sixteen interdisciplinary case studies. The author’s specializations include both visual practice and theory: in the fields of climate sciences, computer graphics, art, curating, art history and visual studies, communication and cultural science, environmental and science & technology studies. The close interlinking of these viewpoints promotes in-depth insights into issues of production and analysis of climate visualization.
Birgit Schneider (Editor), Thomas Nocke (Editor)
Paperback: 388 pages
Publisher: Transcript Verlag (15 Mar 2014)
Product Dimensions: 22.6 x 14.8 x 2.8 cm
To sum up the latest report from the Intergovernmental Panel on Climate Change: we’re toast. The nearly two dozen participants in this terrific, if depressing, show propose an art for the Anthropocene, in which time has accelerated (Martin John Callanan’s airport departure board cycles eerily fast), the seasons are out of whack (Charles Burchfield’s “Summer” features a tree, December-bare), and no purchase of organic strawberries will outweigh the ten billion metric tons of carbon spewed forth each year. An eighteenth-century theatrical scene, featuring an artificial sun, leads all too inevitably to AlexisRockman’s trash-strewn seascape, featuring a drowning elephant and a capsizing container ship. The ever-sharp Pierre Huyghe and the young filmmaker Erin Shirreff also make strong contributions, but the most haunting work is an anonymous video from the destroyed power plant at Fukushima, in which a single man points his finger in silent accusation at the camera, at the polluters, at us. Through Aug. 8.
Make the Living Look Dead
June 7 – July 26, 2014
Opening reception Saturday June 7, 3-6pm
For Make the Living Look Dead, Book Works invited a selection of artists it has previously worked with over the last 30 years to make a new work on A4 paper as a contribution, intervention or fictionalization for its archive. Each work plays with notions of time and exposes the fragility of coherence inherent in the archive. Contributions range from original discarded material to found objects or fabricated letters, as well as new work masquerading as past proposals or future projections of sequels, panegyrics or unfinished work.
Participating artists are: An Endless Supply, Steve Beard and Victoria Halford, Pavel Büchler, Martin John Callanan, Brian Catling, Adam Chodzko, Jeremy Deller, Mark Dion, Giles Eldridge, Ruth Ewan, Luca Frei, Dora García, Beatrice Gibson and Will Holder, Liam Gillick, Susan Hiller, Karl Holmqvist, Stewart Home, Hanne Lippard, Jonathan Monk, Bridget Penney, Sarah Pierce, Elizabeth Price, Laure Prouvost, Clunie Reid, John Russell, Slavs and Tatars, NaoKo TakaHashi, Nick Thurston, Lynne Tillman, Mark Titchner, Alison Turnbull, Eva Weinmayr, and Neal White.
This project will be shown alongside recent publications commissioned by Book Works and a series of poster projects by: Fabienne Audéoud and John Russell, Stewart Home, Inventory, Jonathan Monk.
Live Events with HEAD Gallery, Jarett Kobek, Maxi Kim and others to be announced.
2nd Cannons project space
2245 E Washington Blvd. Los Angeles, CA 90021
This article considers how distribution as a process interacts with technology and how users engage with distribution. It is not the first time that the relationship between distribution and technology has been discussed. It was discussed a curatorial practice for online technologies by CRUMB (Curatorial Resource for Upstart Media Bliss) on its 2012-2013 list. some of the discussions about distribution relate it to the visualisation of data within curatorial practice locating it within social and cultural debates. CRUMBS’s online group discussions looked at how the actions of curators, artists and gamers created social environments for people to interact with. Also Furtherfield art projects looked at the accessibility of online technology for people from low economic backgrounds. While mapping projects relate different data to other sources. However, this is not the only way to consider distribution. To comprehend distribution as a process this article discusses the different levels of distribution.
Departure of All cited as example.
24 June – 8 August 2014
Opening Reception: Thursday, June 26, 6 – 8 PM
James Cohan Gallery is pleased to present The Fifth Season, opening on 24 June until 8 August 2014. An opening reception will be held on Thursday 26 June, 6 – 8 pm. This group exhibition explores the seasonal rhythms of natural systems, the human disruptions of these once-balanced cycles, and the increasing alarms of global climate change.
The theme of the “four seasons” has inspired countless works of art throughout history. As a subject, the seasons are metaphors for life cycles and transitions. The calendar propels our existence on a regular emotional and physiological schedule. The rhythm of life is inextricably connected to the quartered year.
Ecological and technological changes have created a less defined cycle of life, one that is sped up by the velocity of communication and slowed down by unpredictable environmental behavior, calling into question our long-held notions of how time behaves. One is confronted on a daily basis by unprecedented connectivity and growing awareness of irregular natural patterns, and we as a species are struggling to understand this new reality.
Whether addressing the conventional notion of the four seasons or reflecting on today’s intense technological hybridity and climate change, the exhibition presents an opportunity to situate ourselves in this fifth season—a highly nuanced, unfamiliar place.
Participating artists: Matthew Brandt, David Brooks, Charles Burchfield, Martin John Callanan, Claude Louis Châtelet, Jacques de Lajoüe, Mark Dion, Spencer Finch, Finger Pointing Worker, Futurefarmers, Carsten Höller, Pierre Huyghe, Natalie Jeremijenko, Beatriz Milhazes + BUF, Katie Paterson, Alexis Rockman, Erin Shirreff, Kota Takeuchi, Alison Elizabeth Taylor, Fred Tomaselli, and Erik Wysocan.
The exhibition will be accompanied by a free publication and guide containing complementary images and texts.
15 April – 30 April 2014
Born Digital is a benefit auction and an online exhibition made to support the activities of the Link Art Center on the online auction platform Paddle8. The event – the first with this focus taking place in Europe on this scale – will open on April 15, 2014, and will include more than 50 works kindly provided by 33 artists. For two weeks long, you are invited to bid on the works to support the artists and help us reach our goals. The Link Art Center is the first Italian organization collaborating with Paddle8, a web platform organizing monthly themed and benefit auctions, experimenting with the auction format as a means of self-funding.
The complete list of participants includes: Alterazioni Video, Anthony Antonellis, Aram Bartholl, Erik Berglin, Enrico Boccioletti, Heath Bunting, Marco Cadioli, Martin John Callanan, Gregory Chatonsky, Adam Cruces, Caroline Delieutraz, Harm Van Den Dorpel, Constant Dullaart, Electroboutique, Herbert W. Franke, Elisa Giardina Papa, Matteo Giordano, Emilio Gomariz, IOCOSE, Joan Leandre, Jan Robert Leegte, Jonas Lund, Janez Jansa, Janez Jansa, Janez Jansa, JoDi, Eva and Franco Mattes, Rosa Menkman, Filippo Minelli, Vera Molnar, Jaakko Pallasvuo, Angelo Plessas, Evan Roth, Alexei Shulgin, Carlo Zanni.
All the featured artists are either based or born in Europe. The selection includes different generations of artists working with the digital medium and within the digital environment, from early pioneers such as Vera Molnar and Herbert W. Franke, to net.art classics such as JoDi and Alexei Shulgin, to younger artists still in their twenties. The selected works display a wide range of formats, and respond in different ways – sometimes traditionally, sometimes more radically – to the issue of collecting the digital: prints, installations, drawings and videos are joined by animated gifs, websites, printable 3D files and 3D printed sculptures. Some of them display generative images, some others deal with desktop aesthetics; some refer to online habits, cultures and places, others are strictly related to the living and working conditions introduced by the digital shift. They all inhabit networked spaces; they are Born Digital.
Starting prices vary from the very affordable (around 100 € for a video-in-print by Carlo Zanni or a Certificate of Existence by Martin John Callanan) to the higher prices reached by outstanding installations like Jan Robert Leegte’s Scrollbar Composition 2005/2011. If an artwork is sold, 20% of the final price will be used to support the upcoming activities of the Link Art Center.
The LINK Center for the Arts of the Information Age (Link Art Center) is a multi-functional center promoting artistic research with new technologies and critical reflections on the core issues of the information age. Founded in Brescia, Italy, in 2011, the Link Art Center is active locally, internationally and online: it organizes exhibitions, produces artistic and curatorial projects, publishes books. To check out past activities, visit our website: www.linkartcenter.eu. The funds raised will be used to support our ongoing activities: Link Editions, our publishing initiative; Link Point, our project space; and Link Cabinet, our upcoming online gallery.
Paddle8 is an online auction house, connecting buyers and sellers of fine art and collectibles across the world. They offer two types of auctions: monthly themed auctions, and benefit auctions in collaboration with non-profits. More info: http://paddle8.com
The Link Art Center would like to thank all the artists, XPO Gallery (Paris) and DAM Gallery (Berlin) for their amazing support in this initiative.
A century of conflict
The first world war can seem hopelessly remote to the 21st-century mind. And yet, this war ushered in modernity and set the pace for the most murderous century of human history. It ripped through Europe, dissolved empires, changed the nature of warfare and continues to define global relationships.
For After a War, LIFT, Tim Etchells (Artistic Director, Forced Entertainment) and 14–18 NOW WW1 Centenary Art Commissions, have invited 25 artists and companies from across the world to think about the global impact and legacy of the first world war alongside contemporary issues of war and peace. Our programme culminates in this three-day weekender at Battersea Arts Centre — a potent venue which, from 1916 onwards, housed the trials of many of London’s conscientious objectors.