Berlin Art Prize 2016

Berlin Art Prize, photo Anastasia Muna

The Berlin Art Prize is pleased to announce the list of nominated artists for the Berlin Art Prize 2016. Chosen from a pool of over 600 Berlin-based applicants through a multi-stage selection process, the nine nominees selected by the jury are:

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Martin John Callanan
Regina de Miguel
Stine Marie Jacobsen
Lindsay Lawson
Lotte Meret
Benedikt Partenheimer
Aurora Sander
Raul Walch
Lauryn Youden

Of the nine nominated artists selected by the jury (Karen Archey, Kito Nedo, Emeka Ogboh, Ahmet Öğüt and Susanne Winterling) and presented in the exhibition and catalog, three will be selected as winners of the Berlin Art Prize. The three winning artists will be awarded a trophy created for the occasion by Berlin-based artist Tomás Saraceno, prize money and a four-week residency in Georgia.

The exhibition will present a broad spectrum of artistic positions – including sculpture, installation, photography, performance and conceptual art. In contrast to previous years, the exhibition will focus on the nominee’s individual artistic positions, with multiple works from each artist.

The exhibition opening on November 11, 2016 will be followed by a special program of events, performances and lectures during the exhibition. All nine positions will also be documented in a publication which will be released on the occasion of the opening. The winners will be announced live for the first time at the awards ceremony at Kühlhaus Berlin on the evening of December 10, 2016 followed by an after party.

( Opening )
Friday, November 11, 2016, 7pm
After Party starting at 10pm

( Award Ceremony )
Saturday, December 10, 2016
8:30 p.m.
After Party starting at 10pm

( Location )
Kühlhaus Berlin
Luckenwalder Straße 3
10963 Berlin

The exhibition will be open November 12 – December 10, Tuesday through Saturday, 1 – 6pm.

http://berlinartprize.com

Data on View, Nanterre Art Space

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La Terrasse, Nanterre Art Space
exhibition from 7 October to 23 December 2016
Opening on Friday 7 October 6-9 pm

Data on view Curators: Sandrine Moreau and Thierry Fournier

Works by Martin John Callanan, Marie-Pierre Duquoc Hasan Elahi, Oyvind Fahlstrom, Ashley Hunt, Mark Lombardi, Philippe Mairesse, Claire Mairieux, Julien Prévieux, Ward Shelley, Ali Tnani and Lukas Truniger Publications by James Bridle, Bureau d’études, Eli Commins, Albertine Meunier, On Kawara, Jacopo da Pontormo, Erica Scourti

Performance by Magali Desbazeilles

La Terrasse window: work in situ by Thierry Fournier Documentation space created with Benoît Ferchaud, La Revue Créatique and L’Agora, Nanterre Centre for Citizen Projects, Nanterre

Digital network: websites and movies by Mark Boulas, Brian Knappenberger, Laura Poitras, Sandy Smolan, Mareike Wegener, etc.

The exhibition Data on view brings together a selection of works that offer interpretations of public or personal data through drawing or code: graphs, drawings, network installations, sculptures, publications… These works are addressing various stakes, sensitive and poetic but also critical or political. They question in particular what we expect from data, and how these expectations are likely to define our vision of the world. In this way, the exhibition offers a historical perspective, ranging from Oyvind Fahlström or Mark Lombardi to young international artists, some of whose works are being shown here for the first time in France. It is supplemented by film and web site documentations, which deals with the issues of empowerment and the appropriation of data by citizens.

LA TERRASSE : NANTERRE ART SPACE 57 Boulevard Pesaro 92000 Nanterre, France
press contact: Sandrine Moreau, sandrine.moreau@nanterre.fr
www.nanterre.fr

Exhibition invite (FR) [PDF]

Exhibition leaflet (FR) [PDF]

Exhibition press release (EN) [PDF]

Exhibition leaflet (EN) [PDF]

Photos Thierry Fournier 2016

Versions conference, EnsadLab, Paris, September 2016

On Wednesday, September 7th and 14th, between 10 am and 7 pm, Thierry Fournier, J. Emil Sennewald and the research group Displays – EnsadLab, EnsAD research Laboratory, Paris, invite you to take part in the discussions: “What do we expect of exhibitions?” as part of the international workshop-conference Versions which will be held at the Maison Populaire de Montreuil.

What becomes of the exhibition, especially in the context of post-digital cultures?Versions, which will take place over the course of two weeks (Sept 5th – 16th), is an international practice, debate and critique workshop-conference to experiment and discuss exhibition forms. It is organized by the Displays research group led by Thierry Fournier and J. Emil Sennewald at EnsadLab, research laboratory of the École nationale supérieure des Arts Décoratifs, Paris – which addresses the exhibition itself as a research situation.

Unlike a curatorial approach starting from a given project to organize works, Versions will take as its starting point suggestions made by stakeholders themselves, in order to reveal an experimentation of the exhibition’s “conditions of possibility”. Participants will work in groups of three for three days: two workshop days and one day of public debates. The process will be documented in real time and a publication will be edited after the event, in late 2016.

Fourteen guests will occupy a single space to conduct experiments in situ, and participate in public meetings and demonstrations: Martin John Callanan, artist, Eli Commins, artist, coordinator for digital policy at French Culture Ministry, Jean Cristofol, philosopher and teacher-researcher at Ecole Supérieure d’Art d’Aix en Provence, Milad Doueihi, historian and chairman for Digital humanities at University Paris-Sorbonne, Laura Gozlan, artist, Yuk Hui, philosopher, associated researcher at the Center for Digital Cultures, Leuphana University Lüneburg, Jan Kopp, artist, teacher (Esacm Clermont-Ferrand), Claire Malrieux, artist, teacher (Ensci, Beaux-arts Hauts-de France) and researcher at EnsadLab, Guilhem Pratz, director and producer, Gaïaland, Mathilde Roman, art critic, curator and teacher-researcher at Pavillon Bosio, Ecole supérieure d’Art de Monaco, Véronique Souben, curator and head of FRAC Haute-Normandie, Ann Stouvenel, curator and head for visual arts at Mains d’Œuvres, Pau Waelder, art critic and curator, Marion Zilio, art critic, curator and head of Young International Artists art fair. This workshop will be held at Maison Populaire de Montreuil, in dialogue with the venue’s team and with Vladimir Demoule and Marie Koch, the 2016 season exhibition curators.We would be delighted if you would consider your participation in this workshop conference’s public meetings on Wednesdays, September 7th and 16th, between 10 am and 7pm. You are cordially invited to weigh in on what you expect of exhibitions today. Please note: your RSVP is required at displays@ensad.fr

More info about Displays and the participants: www.displays.ensadlab.fr
Maison Populaire de Montreuil, 9 bis rue Dombasle 93100 Montreuil, France: map
EnsadLab: www.ensadlab.fr

An event co-organized by the Displays research group, EnsadLab Research Laboratory, coordinated by Thierry Fournier (artist and curator, EnsadLab, Endsad Nancy) and J. Emil Sennewald (art critic and journalist, Esacm, EnsadLab) and the ICCA Labex. EnsadLab / Displays researchers: Gaspard Bébié-Valérian, Thomas Cheneseau, Dorian Reunkrilerk, associated researcher Pauline Gourlet (designer and postgraduate Université Paris 8) and Rahaf Demaskhi (artiste et doctorante University Rennes 2). Thanks to Annie Agopian, Floriane Benjamin, Marie Koch, Vladimir Demoule and the Maison Populaire de Montreuil team.

5th Moscow International Biennale for Young Art – Departure of All

5th International Biennale of Young Art Moscow

5th International Biennale of Young Art Moscow

5th International Biennale of Young Art Moscow

87 young artists and art associations, representatives of 36 countries.

According to the curator, the artists’ touch the most important problem of our time – environmental crisis, blurring the boundaries between “nature” and technology, the interaction of transparency and lack of transparency in the information age. We live in an era of discontinuity. If modernism was trying to get to the bottom – zero of painting, the basic structures of human psychology, and historical laws of economics – that today we do not harbor such illusions. Naturally, now that artists find inspiration in the uncertainty, ambiguity, ciphers and conspiracies, talking about instability and multi-dimensional. ”

The main project of 5th Moscow Biennale of Young Art with the theme Deep inside will be shown from July 1 to August 10 Trekhgornij factory building, one of the oldest textile factories in Moscow. Moscow International Biennale for Young Art held since 2008, its founders and organizers – the Ministry of Culture, Department of Culture of Moscow, National Centre for Contemporary Arts and the Moscow Museum of Modern Art.

The participating artists in the main exhibition “Deep Inside” include:

Ozan Atalan, Turkey — USA
Stacy Belevicheva, Ukraine
Matilde Benmayor, Chile
Julius von Bismarck, Germany
Pamela Breda, Italy
Vladislav Brut, Russia / Alisa Beketova, Kazakhstan — Russia
Ekaterina Burlyga, Ukraine — Germany
Olga Butenop, Russia
Martin Callanan, Great Britain
Noor Ali Chagani, Pakistan
Julian Charrière, Switzerland — Germany
Revital Cohen, Israel / Tuur van Balen, Belgium — Great Britain
Juan Covelli, Colombia — Great Britain
Chris Coy, USA
María Dalberg, Iceland
Jasmin Daryani, Iran — Sweden
Petr Davydtchenko, Russia — Sweden — Great Britain
Jonathan Doweck, Israel
Liat Elbling, Israel
Hüseyin Mert Erverdi, Turkey
Karin Ferrari, Italy — Austria
Christian Fogarolli, Italy
Verena Friedrich, Germany
Veronika Geiger, Denmark — Switzerland
Adam Gibney, Ireland
Iuliana Golub, Ukraine
Florian Goldmann, Germany
Katharina Gruzei, Austria
Logi Leó Gunnarsson, Iceland
Ali Jan Haider, Pakistan
Elisabeth Haust, Russia — Czech Republic
Joey Holder, Great Britain
Marguerite Humeau, France — Great Britain
Marc Johnson, France
Graham Kelly, Great Britain — The Netherlands
Daria Khlapova, Russia
Felix Kiessling, Germany
Paul Kneale, Canada
Fabian Knecht, Germany
Darya Koltsova, Ukraine
Lilia Kosyreva, Russia
Egor Kraft, Russia — Great Britain — Austria
Ksenia Kuleva, Russia
Joshua Leary (Evian Christ), Great Britain / David Rudnick, Great Britain — USA
Juliana Cerqueira Leite, USA
Ekaterina Lukoshkova, Russia
Eli Maria Lundgaard, Norway
Vlad Lunin, Ukraine — Canada
Steve Maher, Ireland — Finland
Nadja Verena Marcin, Germany — USA
Maxime Marion, France / Émilie Brout, France
Zoë Claire Miller, USA — Germany
Alice Miceli, Brasil — The Netherlands
Marina Moskalenko, Russia / Tatiana Smirnova, Russia
Lee Nevo, Israel
Alisa Nikolaeva, Russia — France
Ismael Ogando, Dominican Rebulic
Tim Parchikov, Russia
Pau Pahana, USA — Germany
Claire Paugam, France — Iceland
Davide Quayola, Italy
Marina Ragozina, Russia
Martin Reiche, Germany
Rune Rasmussen, Denmark
Farid Rasulov, Azerbaijan
Paul Rosero Contreras, Ecuador
Vesna Rohaček, Croatia — Sweden
Jeremy Santiago-Horseman, USA
Hadas Satt, Israel
Dagmar Schürrer, Austria — Germany
Julia Selin, Sweden
Jura Shust, Belarus — Belgium
Rustan Söderling, Sweden — The Netherlands
Emmy Skensved, Canada — Germany / Grégoire Blunt, Canada — Germany
Joe Sobel, USA — France
Wilf Speller, Great Britain
Yulia Spiridonova, Russia
Arya Sukapura Putra, Indonesia
Natalia Tikhonova, Russia
Alvaro Urbano, Spain — Germany
Ivar Veermäe, Estonia — Germany
Martin Volman, Argentina — Germany
Addie Wagenknecht, USA — Austria
Beny Wagner, Germany — USA
Andrew Norman Wilson, Germany — USA
Helga Wretman, Sweden — Germany

The fifth Moscow Biennale for Young Art, taking place this summer for six weeks only from July 1-August 10, today announced the participants of the main project “Deep Inside,” curated by Berlin-based independent curator Nadim Samman, who co-organised the fourth Marrakech Biennale in 2012. More recently, Samman was also a curator at the TBA-21 Academy, a branch of the Thyssen-Bornemisza Contemporary foundation in Vienna, and oversaw the Antarctic Pavilion at the 14th Venice Architecture Biennale in 2014.

Taking place in the Trekhgornaya Manufaktura, one of Moscow’s oldest textile mills, the main exhibition will feature 87 works by 93 artists, selected from over 2000 applications, under the curatorial focus of tackling recent issues in ecology and economics. The project will also tackle questions regarding the dangers presented by new technologies and social instability.

“Ours is the time of fissures, of prying apart, of penetration and cavities,” Samman said in a statement. “We are climbing, or falling, ever deeper into a kind of black hole. As we do, it is perhaps to be expected that artists should be fascinated by opacities, by occultations, encryptions and conspiracies—the other side of the event horizon. Also, that they should rhapsodize about instability and polydimensionality. Deep Inside is a view from the chasm,” he explained.

The Moscow Biennale for Young Art was first held in 2008, and grew from the combined efforts of the National Centre for Contemporary Arts (NCCA) and the Moscow Museum of Modern Art (MMOMA) to offer a platform for emerging artists. Now in its fifth iteration, the biennale—commissioned by Ekaterina Kibovskaya—continues its mission to draw attention to a new generation of artists representing recent developments in the global art community.

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Press announcement
Artnet News article

Article in ArtForum

Each and Every Command, Baltic39

Each and Every Command

Each and Every Command is a new artwork – twelve years in the making – on show for the first time this week at Baltic39, Newcastle.

Each and Every Command documents, as on ongoing archive, over twelve years of edits I have made in the popular image editing software Adobe Photoshop (from version 8). Presented in readable text, each and every action, edit, change, mistake, or creation that I have made to my own work, and on behalf of other people, on any computer, from 23 December 2003 until today is recorded in unredacted form. Printed as one complete copy over 15,873 pages on mid-grey A4 paper and bound within eleven archive folders, the 27,504,497 million characters comprise 4,114,676 words over 198,605 lines of text. Equivalent to eight times the Complete Works of William Shakespeare.

To celebrate the first exhibition of the archive, the full record is now available in the Amazon Kindle Store, as the largest ebook ever released. For the next five days, the duration of the Baltic 39 exhibition, the ebook will be free to download.

Real Time, Arts Santa Mònica, Barcelona

Real Time
Art en temps real
Exposició, Arts Santa Mònica
28.01 – 10.04.2016

Guillem Bayo, Clara Boj i Diego Díaz, Martin John Callanan, Grégory Chatonsky, Thierry Fournier, Varvara Guljajeva i Mar Canet, Rafael Lozano-Hemmer, Nicolas Maigret, Katie Paterson, Antoine Schmitt, Thomson and Craighead, Addie Wagenknecht, Carlo Zanni

FULL EXHIBITION CATALOGUE PDF

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In our society accelerated, time becomes a main concern as we try to keep abreast of major events taking place globally and react to events. We live in a state of permanent connection that leads to anxiety of being part of a present that is not his own, but describing the media and social networks.

The term real time (real time) refers to the ability to display, communicate or react to events when they occur. This term, which is commonly used in computer science, in the media and in all types of stories, denotes a process that occurs synchronously with time the viewer or user. This immediacy means, for example, the ability to interact with a virtual environment, reporting on current events or tell a story that develops over time naturally. This individual is connected with present external or shared driving part of this issue or present an answer. The “real time” is also linked to “be there” or Dasein in the interpretation of Martin Heidegger, which refers to the relationship between the individual and the environment, and indicates that we are all linked to the world we live in and in which we participate. The concept also leads us to question what is “real time” as we measure time and how this measure is relative, but determines our perception of reality.

In the art world, time is a crucial element in a fact often ignored: the length of contemplation of works of art by the viewer. As indicated by Boris Groys, while in traditional media the necessary time for contemplation is determined by the user, process-based temporary art (new media, video and performance) passes this control to work. Usually, the artworks are a special time or action bounded in time, but what happens when a work is developed in the “continuous present” constantly changing and subject to endless process?

“Real Time. Art Real time “presents a selection of contemporary art in which the concept of” real time “has a leading role, either by questioning the relativity of time, using data extracted in real time Internet or their intention to create a vision today, “realistic” and the ever-changing times in which we live. Some of the selected works are fed information that appears on the media, while others extract data from various sources, establish a production process in real time or propose a questioning of the way we measure time and to relate to the present. The technologies we use today in our everyday lives have a major role in these pieces, which brings reflections on time in an area very close to the audience, which in some cases can interact with the work and about others do not know. [Google Translate]

En la nostra societat accelerada, el temps es converteix en una preocupació principal a mesura que intentem mantenir-nos al dia dels grans esdeveniments que tenen lloc a escala global i reaccionar davant dels fets. Vivim en un estat de connexió permanent que ens porta a l’ansietat de formar part d’un present que no és el propi, sinó el que descriuen els mitjans de comunicació i les xarxes socials.

El terme real time (temps real) fa referència a la capacitat de mostrar, comunicar o reaccionar davant dels esdeveniments en el moment en què es produeixen. Aquest terme, que s’utilitza comunament en informàtica, en els mitjans de comunicació i en tot tipus de narracions, denota un procés que es dóna de manera sincronitzada amb el temps de l’espectador o usuari. Aquesta immediatesa es tradueix, per exemple, en la capacitat per interactuar amb un entorn virtual, informar sobre successos actuals o narrar una història en la qual el temps es desenvolupa de manera natural. El present individual es connecta amb un present extern o compartit, impulsant a formar part del dit present o a emetre una resposta. El «temps real» es vincula així amb «ser-aquí» o Dasein en la interpretació de Martin Heidegger, que fa referència a la relació entre l’individu i el seu entorn, i indica que tots estem lligats al món en què vivim i en què participem. El concepte també ens porta a qüestionar què és el «temps real», com mesurem el temps i de quina manera aquesta mesura és relativa, tot i que determina la nostra percepció de la realitat.

En el món de l’art, el temps és un element crucial en un fet sovint ignorat: la durada de la contemplació de l’obra d’art per part de l’espectador. Com indica Boris Groys, mentre que en els mitjans tradicionals el temps necessari per a la contemplació és determinat per l’usuari, l’art basat en processos temporals (nous mitjans, vídeo i performance) passa aquest control a l’obra. Habitualment, les obres d’art mostren un moment específic o una acció fitada en el temps, però què succeeix quan una obra es desenvolupa en el «present continu», en constant transformació i subjecta a un procés sense fi?

«Real Time. Art en temps real» presenta una selecció d’obres d’art contemporani en les quals el concepte de «temps real» té un paper principal, ja sigui pel qüestionament de la relativitat del temps, per l’ús de dades extretes en temps real d’Internet o per la seva intenció de crear una visió actual, «realista» i sempre canviant del temps en què vivim. Algunes de les obres seleccionades es nodreixen de la informació que apareix constantment en els mitjans de comunicació, mentre que altres extreuen dades de diverses fonts, estableixen un procés de producció en temps real o bé proposen un qüestionament de la nostra manera de mesurar el temps i de relacionar-nos amb el present. Les tecnologies que emprem actualment en la nostra vida quotidiana tenen un paper principal en aquestes peces, la qual cosa porta les reflexions sobre el temps a un àmbit molt proper a l’espectador, que en alguns casos pot interactuar amb l’obra i en uns altres ho fa sense saber-ho.

http://artssantamonica.gencat.cat/en/detall/Real-Time.-Art-en-temps-real

FULL EXHIBITION CATALOGUE PDF

Data in the 21st Century, V2 Rotterdam

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Data in the 21st Century explores the friction between the unpredictable reality that we live in and the desire to capture it in data.

19 December 2015 – 14 February 2016
V2_ Institute For The Unstable Media, Eendrachtsstraat 10, 3012 XL, Rotterdam

The capitalist belief that profit-seeking is the best way to manage and develop societies has sparked an unprecedented desire to abstract and quantify everything into data. In the pursuit of economic efficiency, data is money, data is power, data is everything and everything is data. Yet data is contingent on a world that is messy, irrational, unstable, and emotional. The rise of so-called big data and the emergence of technologies that are able to quantify our every move, preference and behaviour, have demonstrated where the friction lies between the unpredictable reality that we live in and the desire to capture it in data. The public program Data in the 21st Century will explore how this friction has changed and shaped our relationship to data and seeks to discuss how this relationship will develop in the future.

Featured Artists
Kyle McDonald
Lev Manovich, Daniel Goddemeyer, Moritz Stefaner & Dominikus Baur
Martin John Callanan
Timo Arnall
Informal Strategies
Lane/You/Debackere
PWR Studio
Max Dovey & Manetta Berends

http://v2.nl/events/data-in-the-21st-century

Bank of England, Data visualisation competition

The Bank of England has announced the winner of its first data visualisation competition.
The competition, launched as part of the Bank’s One Bank Research Agenda, asked competitors to create a novel or insightful visual representation of Bank data sets that were made publicly available for the first time.
The winning entry from Cath Sleeman, showed an interactive web based visualisation of “Recessions and Recoveries”. This visualisation explored how the UK’s most recent recession, and subsequent recovery, compared to recessions in other countries and to previous recessions in the UK. She was awarded a £5000 prize.

All the shortlisted entries can be seen on the Bank’s website.

The announcement was made as part of a finalists’ day at which shortlisted entrants presented their visualisation to a panel including Chief Economist, Andy Haldane; Chairman of the NATO Research Task Group on visual analytics, Margaret Varga; Artist and author of Data Soliloquies, Martin Callanan; and Advanced Analytics Analyst, Lyndsey Pereira-Brereton.

Deputy Governor, Ben Broadbent, announced the winner. He said:
“The calibre of entrants to this competition has been extremely high. The original and creative use of our data – which we’ve made available to the public for the first time – has been inspiring as well as illuminating. I’d like to congratulate all those who entered the competition.

We launched this competition as a way of opening the Bank up to the broader research community. The high quality of the submissions received demonstrates the exciting new possibilities in the field of data visualisation.

Congratulations to Cath Sleeman on the outstanding use of our three centuries of macroeconomic data. It provided a fascinating perspective on the pattern of economic cycles in the UK and other countries.”

Cath Sleeman said:
“I entered the Bank’s data visualisation competition because I really enjoy analysing and visualising new and interesting data sets. My entry aims to contextualise the UK’s recent recession, by comparing it to recessions in other countries and to past recessions in the UK. I was surprised by the way in which the recent recession resembles a recession that took place one hundred years earlier, in 1908. The 1908 recession triggered a similar sized fall in GDP and was also accompanied by a weak recovery in productivity. I am extremely grateful to the Bank for running the competition. It was great to meet the other finalists and to learn more about the Bank’s Advanced Analytics unit.”

http://www.bankofengland.co.uk/publications/Documents/news/2015/054.pdf

Discursive Objects, Van Abbe Museum, Eindhoven

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17-25 October 2015, 11h – 18h
Gagelstraat 44, 5616RR, EIndhoven

Aldo Bakker, Maarten Baas, David Bernstein, Martin John Callanan, Chmara Rosinke, Sarah Daher & guests, The Grantchester Pottery, Richard Healy, Anton Hjertstedt, Vincent Knopper, Pieteke Korte, Nynke Koster, Pottery Yacht Club, Corinne Mynatt, n-o-m-a-n, Studio Minale Maeda, Superstudio

The first exhibition for Work at Home situates art, design, and transdisciplinary practices in the home space. In what might be a likely setting for ‘design’, outside of the white cube it presents an alternate context for how we experience contemporary art today. The presentation of ‘art’ and ‘design’ suggests a mutual inclusion of both devices which we use to frame human experience.

Beyond ‘home exhibition’ histories, the structure of the visitor experience is as a lived-in space, and presents potentials of what a contemporary collection of art and design might look like today. Presenting in the home creates a new paradigm that explores the evolving publicisation of our private space.

Press release PDF

http://wah.gallery

Hearts & Minds: new artwork for Dundee

Create a Single Functioning Human Heart from Two Distinct Human Genomes

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.

Martin John Callanan will reflect aspects of central banking, economics, finance and data through conceptual art

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.”

Read on Bank of England website
PDF

I Cannot Not Communicate at Vitsœ New York

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
newyork@vitsoe.com

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 books are displayed on our trusted shelves, with chairs and tables to ensure your time interacting with the artwork is a comfortable one.

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.

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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.

Ausgestellt werden die Bücher in unseren bewährten Regalen. Unsere Sessel und Tische sorgen dafür, dass es beim Kunstgenuss nicht an Komfort mangelt.

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.

Video DOC at Media Art Futures, Departure of All and Text Trends

Video DOC cinema programme at Media Art Futures, Murcia, 15-30 April 2015 features both Text Trends and documentary video of Departure of All.

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.

Abelardo Gil-Fournier
Alessandro Ludovico
Aram Bartholl
Aymeric Mansoux
Carlo Zanni
Chris Sugrue
Christa Sommerer
Clara Boj y Diego Díaz
Dave Griffiths
Evan Roth
F.A.T. Lab
Gordan Savicic
James Powderly
Laurent Mignonneau
Mar Canet
Marco Cadioli
Marloes de Valk
Martin John Callanan
Martina Höfflin
moddr_
Moisés Mañas
Paolo Cirio
Pascal Glissmann
Radamés Ajna
Sander Veenhof
Tempt1
Theo Watson
Thiago Hersan
Thierry Fournier
Tilman Reiff
Varvara Guljajeva
Volker Morawe
VR Urban
Zach Lieberman

Curated by Pau Waelder

See the whole film programme or the whole Festival programme or PDF

E-Flux Conversations: Paranoid Subjectivity and the Challenges of Cognitive Mapping – How is Capitalism to be Represented?

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).

Join the conversation

How to Construct a Time Machine – This is Tomorrow

How to Construct a Time Machine

How to Construct a Time Machine
MK Gallery Milton Keynes
23 January-22 March 2015
Review by Edwina Attlee

In his essay on the history of photography Walter Benjamin charges patent-law problems and a coincidence of industrious inventors as the cause for the accelerated development and misty history of the medium. Conditions were created ‘that for a long time ruled out any kind of looking back.’ (1) The irony is that photography created the conditions for a backwards-look, an arrest and exposure of the momentary that made looking back, both pastime and pleasure. What was it now possible to look back at? Nothing more than the optical unconscious. This was Benjamin’s term for the hitherto unseen, the blown up, the magnified, the halted and the reversed. After photography people could see, for the first time, ‘their posture in the split second of their stepping out’. It is its revelation of the split second that makes the camera a time machine. Obsession with the split second is not a new phenomenon as the 26 works on show here, spanning 1896 – 2014, make clear. Film, video and still-image animation make up the largest proportion of an exhibition that includes drawings, sculpture, musical scores and recordings. From the grainy magic of Georges Méliès and Louis Lumière to Teching Hsieh’s 8,627 single film frames depicting a year of clock-punching, the screen-based medium seems to be the one that is turned to and returned to for attention to the timely.

The show’s curator, Maquard Smith, set himself this question, ‘what is particular – historically, conceptually, aesthetically – to the recent temporal turn in contemporary art?’ He writes that each work ‘makes it possible to play around with, to transform and reinvent the ordering of the past, the present and the future’. What the works do side-by-side is in fact to reveal the opposite, they might desire to subvert and escape time but not a single one does. The medium of photography and film is satisfying because it can be manipulated; it permits the fantasy of slowing down, speeding up and holding still.

The art historian Carol Mavor has described her essay on nostology (the study of aging) as ‘an embarrassment of helplessness’. This exhibition reveals the construction of time machines to be a similar endeavor. The machines betray a discomforting obsession. Their makers are desperate, compulsive, and I suspect, always to be frustrated. On Kawara’s date paintings are only a more legible version of the lines scored into prison walls, made by a captive so as not to forget. But not to forget what? Are dates so important? Are times? As Martin John Callanan’s ‘real time’ departure board, for all the planes in the world, scrolls through an improbable spew of lift offs from Ho Chi Minh City, from Bradford, from Tibilisi, the effect is nonsensical. These events (flight, waking, falling asleep) are both countable and uncountable, or, counting them does not add up to an amount that contains or stands for what is ‘real’. An attention to time does not hold it still, nor does it empty it of its contents.

Which is not to say that this is a pessimistic exhibition. Although redolent of Samuel Beckett’s gallows humour, a lot of the works are extremely funny. After all, a good joke is all in the timing. Thomson & Craighead’s ‘The Time Machine in Alphabetical Order’ calls out ‘machine, machine, machine, man, man, man, Morlocks!’ A number of the pieces give glimpses of a technological unconsciousness, the unbidden pictures and patterns that emerge from automatic systems of ordering. Manfred Mohr’s programmed expressionism uses algorithms to make art. The humour of these pieces works side-by-side with the discomforting sensation of the inanimate made animate.

It is always funny (and tragic) to think about what is happening at the same time as something else. Upstairs from the exhibition, in an empty Video Room, I watch John Cage and Merce Cunningham dance and make sounds on the same stage. Purposely near to one another but conscientiously dislocated they try to make their work without influence from the other. Cage describes it as ‘two things going on at the same time, which is characteristic of life’. It is the ‘at the same time’ which is the most contemporary of concerns for the time machines whirring in the gallery below. Current technologies make simultaneity visible, splitting seconds and distributing their image. The desperate work of the self-consciously timed machines continues – and the clocks still work.

(1) Walter Benjamin, ‘Brief History of Photography’, One-way Street and Other Writings (London: Penguin, 2009) p.172

This is Tomorrow

Mapping Spaces book edited by Ulrike Gehring

Mapping Spaces

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)
Language: English
ISBN-13: 978-3777422305
Dimensions: 25.5 x 3.8 x 29.4 cm

Piet Zwart Institute Symposium: The Laughter of Things

Monday January 26, 2015. 10am till 6pm
Piet Zwart Institute, Karel Doormanhof 45 3012 GC Rotterdam
Admission free

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.

http://www.pzwart.nl/blog/2015/01/12/symposium-the-laughter-of-things/

Made possible with support from the British Council Travel Grant Fund

How to Construct a Time Machine, MK Gallery, Milton Keynes – Departure of All

		How to Construct a Time Machine, MK Gallery, Milton Keynes

23 January – 22 March 2015

Preview 22 January 2015 / 6-10pm

MK Gallery, 900 Midsummer Boulevard, Central Milton Keynes, MK9 3QA.
Admission is free

www.mkgallery.org

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.

MK Gallery exhibition page
List of works (PDF)
Installation images
Download PDF News Release
Download PDF invite

www.mkgallery.org

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