After The War & A Dream Turns Sour- BAC

Chris Hong writes:

There are more thoughtful pieces such as Wars During My Lifetime, which is a newspaper by Martin John Callanan listing all wars between 1982-2014 and read aloud by a town crier at various times throughout the day. It is a sobering and thoughtfully simple piece that highlights the number of conflicts and the lack of progress we have made in reducing them.

full review here.

Make the Living Look Dead

Book Works
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

Distribution as a Process for Online Technology

Pauline de Souza
GSTF Journal on Computing (JoC) Vol.3 No.4, April 2014

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.

Read full paper [PDF]

The Fifth Season, James Cohan Gallery

the fifth season, james cohan gallery

the fifth season, james cohan gallery

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.

Press release [PDF]



Online exhibition from featuring Digital & Net.Art on the subject of Money & Error, put together by an anonymous curator “Vasily Zaitsev”:

“M0N3Y AS AN 3RRROR | MON3Y.US” proposes to establish connections, dialogues, and new insights into the contemporary art scene around the general topic of MONEY. Around 70 international artists selected with various aesthetic and conceptual approaches who work in fields such as Digital Art, Net.Art , New Media, Interactive Art , Multimedia, JavaScript, Glitch, Video, Online Performance, Animated GIF, and Digital Image.

“M0N3Y AS AN 3RRROR | MON3Y.US” has a display format that promote aesthetic reception of the digital work, to understand it as a fundamental part of the work. In this display format is highlighted each of the works as an artistic piece.

Rafaël Rozzendal
Paolo Cirio
Anthony Antonellis
Aaron Koblin + Takashi Kawashima
Nuria Güell
Martin John Callanan
Martin Kohout
Dafna Ganani
Thomas Cheneseau
Lorna Mills & Yoshi Sodeoka
Jan Robert Leegte
Jennifer Chan
Kim Asendorf & Ole Fach JUST DO IT
Nick Briz
Nicolas Sasoon
Maximilian Roganov
Mitch Posada
Dominik Podsiadly
Ellectra Radikal
Marco Cadioli
Miron Tee
Andrey Keske
Gusti Fink
Curt Cloninger
Jon Cates
Aoto Oouchi
Cesar Escudero
Nick Kegeyan
Alfredo Salazar Caro | TMVRTX
Robert B. Lisek
Dave Greber
Addie Wagenknecht
Émilie Brout & Maxime Marion
Kim Laughton
Ciro Múseres
Paul Hertz
Keigo Hara
José Irion Nieto
Mathieu St-Pierre
Marc Stumpel
Lars Hulst
León David Cobo
Adam Braffman
Jefta Hoekendijk
Vince McKelvie
Benjamin Berg
Guayaco Coco
George Jacotey
Haydi Roket
V5MT & Sofía Reta
Fabien Zocco
Adam Ferriss
Yemima Fink
Emilio Vavarella
Azahara Cerezo
Tom Galle
Geraldine Juaréz
Filipe Matos
Gustavo Romano
Erica Lapdat-Janzen
Laturbo Avedon
Kamilia Kard
A Bill Miller
Agente Doble | UAFC
Rollin Leonard
Jasper Elings
Florian Kuhlmann
Milos Rajkovic
Frère Reinert
Rozita Fogelman
Eugenio Tisselli

Sound Art Show: Episode 19

BCB Radio, the Sound Art Show on BCB which aims to make sound art more accessible to mainstream audiences in the Bradford district.

Late, Jim Scott
Pulse, Michelle Lewis-King
Ja Ja Ja Ne Ne Ne, Joseph Beuys
Wars During My Lifetime (1982 – 2013), Martin John Callanan

Born Digital on Paddle8



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 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: 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:

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.

Download the PDF catalogue

Ole Miarte

Cuando, a mediados del siglo XVII, el filósofo y escritor Gilles Ménage criticó las traducciones del humanista Perrot Nicolas d’Ablancourt afirmando: “Elles me rappelent une femme que j’ai beacoup aimé à Tours, et qui était belle mais infidèle” (“me recuerdan a una mujer que amé muchísimo en Tours, y que era bella pero infiel”), dio lugar a una expresión que define un problema aún sin resolver: la fidelidad de toda traducción literaria. A principios del siglo XX, José Ortega y Gasset afronta esta cuestión señalando que la dificultad de la traducción radica en que intenta hallar equivalencias entre dos “cuadros mentales diferentes, de sistemas intelectuales dispares –en última instancia–, de filosofías divergentes”. El lingüista Georges Mounin indica que es en la persona del traductor donde se produce este encuentro entre dos (o más) lenguas, y por tanto el problema se halla en la forma en que cada individuo decide emplear estas dos estructuras de pensamiento y procura mantenerlas intactas. Para el poeta Octavio Paz, la constatación de que cada lengua constituye una visión del mundo y que el lenguaje es, en sí, una traducción, nos conduce a concluir que toda traducción no es sino una creación literaria independiente: “Cada traducción es, hasta cierto punto, una invención y así constituye un texto único”.

El proceso de traducción literaria pasa así de ser una mera operación de equivalencias, idealmente invisible, a un acto creativo de una persona que establece contactos entre dos realidades más o menos dispares. Notablemente, esta última afirmación se produce con más contundencia a finales del siglo XX, cuando las transformaciones políticas, sociales y culturales han dejado patente que el mundo no puede limitarse a una visión única, a una verdad última, sino que se disuelve en una multiplicidad de interpretaciones. Los artistas, por su parte, han dejado de ser meros traductores de la realidad sensible, valorados por su capacidad para reproducir fielmente lo que se ve. Introducen claramente los términos de su visión del mundo, la total subjetividad con la que la obra se erige en reflejo de la realidad contemporánea. No son, por tanto, como ese traductor apocado que describe Ortega, traduttore traditore, que atrapa la rebeldía del texto original en una forma regular y fácilmente comprensible para el lector. En la creación contemporánea, incluso cuando un artista emplea objetos, imágenes o referencias de la realidad que conocemos, incluso cuando la obra resulta indiscernible del objeto cotidiano, nos hallamos ante traducciones “bellas, pero infieles” de aquello a lo que hacen referencia. Esto no supone una apreciación negativa del arte contemporáneo, sino que, al contrario, lo pone en valor en cuanto las obras no son simples documentos del mundo en que vivimos, sino dispositivos que nos inducen a una reflexión.

Vasco Araújo Who Where, 2011

Vasco Araújo Who Where, 2011

Vasco Araújo (Lisboa, 1975) afirma en una conversación con Eloise Aquino que el objetivo principal de su obra es hacer que el espectador piense. Para ello, emplea recursos que llevan al observador a cuestionar lo que ve, a partir de un reconocimiento de los objetos que no conduce necesariamente a una comprensión inmediata. Araújo construye narrativas empleando otras narrativas: films, textos, imágenes que se acumulan y dialogan entre ellas, dejando espacio para múltiples lecturas y una constante construcción de significados. Una serie de fotografías se muestran junto a una narración en primera persona que nos habla de un destierro, una pérdida de la identidad y cultura propias, que inducen una lectura particular de las imágenes, ineludiblemente sujetas a la interpretación que les confiere la vecindad del texto. Ese destierro halla también una metáfora elocuente en los paisajes ingrávidos, arrancados de raíz, que crea Jorge Mayet (La Habana, 1962). El artista cubano expresa en estas reproducciones a escala de imaginarios trozos de tierra una experiencia personal de pérdida y esperanza, un recuerdo fragmentario y deshilachado de un espacio, tal vez añorado, que nunca existió. No hay aquí una reivindicación política ni surrealismo alguno, sino una realidad traducida a los términos que mejor comunican las emociones vividas. El paisaje deja de ser espacio de contemplación ociosa o escenario de ensoñaciones románticas y se convierte en lo que Mayet describe como “símbolo paisajístico”, una clave para leer su discurso. El paisaje es también un elemento recurrente en la obra de Montserrat Soto (Barcelona, 1961) quien emplea una imagen modificada, en el margen de lo posible, para ofrecer al espectador un lugar (o no-lugar) con el que establecer un vínculo. Si bien parece, de entrada, una simple instantánea de un espacio anodino, el fotomontaje y la inclusión de diversos elementos narrativos abren la puerta a un amplio terreno de interpretaciones, en los que se integra el interés de la artista por explorar el hábitat del ser humano.


Montserrat Soto Invasion-Sucesion 23. 2011

Montserrat Soto Invasion-Sucesion 23. 2011

Representar el mundo por medio de una serie de imágenes implica una síntesis que necesariamente genera ficciones y nuevas formas de paisaje. Martin John Callanan (Birmingham, 1982) busca su lugar como individuo en un mundo dominado por sistemas (económicos, sociales, informáticos, naturales) a través de obras que, irónicamente, buscan alcanzar una totalidad imposible. Un programa recoge cada día las portadas de más de 600 periódicos de todo el mundo y las dispone en una página web. Las noticias, que son en sí interpretaciones de la realidad actual, se presentan en un formato que impide su lectura y alcanza un total saturación de información. El artista, notablemente, no necesita realizar esta traducción diariamente puesto que se produce de forma automática, a través de un intercambio de datos entre máquinas. Lo cotidiano y lo global se expresan de una forma muy distinta en la obra de Joana Vasconcelos (París, 1971), quien emplea objetos cotidianos y elementos de la cultura popular, particularmente vinculados a las artes decorativas en Portugal, para cuestionar tanto su adscripción a una tradición concreta como su significado en un contexto internacional. Ya sea en las piezas de cerámica de Rafael Bordalo Pinheiro, que cubre con una segunda piel de crochet, o en las exuberantes Valquirias, las obras de Vasconcelos juegan con las interpretaciones asociadas a los elementos que las componen. La artista se apropia de estos significados, a partir de los cuales genera una ambigüedad que necesariamente conduce a una reflexión acerca de los estereotipos sobre las artes populares, el ámbito doméstico y la feminidad. De manera similar, Susy Gómez (Palma, 1964) crea una obra que, a la vez que se nutre de elementos de la cotidianidad, se resiste a una interpretación superficial. Cuestionamientos acerca de la identidad y la espiritualidad penetran en piezas que emplean clichés vinculados a lo femenino: vestidos convertidos en corazas o contenedores vacíos, imágenes apropiadas del mundo de la moda, neutralizadas y monumentalizadas, articulan un trabajo compuesto por capas de traducciones, tanto a nivel simbólico como de los materiales empleados. Pese a su serena elegancia, subyace en estas obras una violencia latente, que también encontramos en la obra de Alejandro Vidal(Palma, 1972). El artista manipula con habilidad los mensajes de la cultura mediática para ofrecer una reflexión acerca de los conflictos y la relaciones de poder, en la manera en que estos se presentan al público. Dejando espacio para la incertidumbre, nos ofrece la imagen de la luna delantera de un coche, totalmente destrozada, invocando las asociaciones que ésta genera con la violencia, los conflictos y la inseguridad gracias al adiestramiento a que nos someten los medios de comunicación. En el trabajo deAlícia Framis (Barcelona, 1967), el conflicto está a menudo latente en acciones e instalaciones cuya sobriedad contrasta con la sólida crítica de sus contenidos. Pero también se trata de una posibilidad de relación e intercambio, que enlaza con el concepto de estética relacional, al que la artista adscribe su obra. El trabajo en el espacio público y el contacto directo con los transeúntes, no mediatizado por el contexto del mundo del arte, es una constante en la obra de Framis, como también lo es en las acciones de Aníbal López (Guatemala, 1964). Conocido por su número de identidad (A-153167), López plantea una mirada crítica hacia la realidad socio-política de Guatemala por medio de intervenciones urbanas y otras acciones con las que propone recuperar el arte como herramienta para el cambio social. Una obra sobre papel presenta una composición que recuerda a una obra de expresionismo abstracto, pero ha sido realizada con sangre: el artista sugiere así una traducción del significado de un tipo de expresión artística alejado de toda connotación externa, en el que introduce una posible lectura política.

Joana Vasconcelos Concha, 2013

Joana Vasconcelos Concha, 2013

La pintura es un elemento presente en la obra de Carles Congost (Olot, 1970), pero no en cuanto a técnica, sino como una manera de parodiar la diferenciación entre alta y baja cultura. Inspirado por innumerables referencias de la cultura popular, el cine de terror y el mundo adolescente, el artista elabora una ácida crítica al mundo del arte por medio de una joven pintora (heredera, tal vez, de Basil Hallward y el maestro Frenhofer) y una pintura que cobra vida gracias a un recurso de Synchro-Vox. Congost elabora una obra que incorpora su propia crítica, como en cierta manera lo hace Girbent(Sòller, 1969) con dos obras en las que la pintura se expande más allá del marco gracias a su relación con una serie de textos críticos que ofrecen lecturas alternativas a la imagen presentada. Pese a su dominio de la representación, el artista no se pliega a una traducción servil sino que introduce, sutilmente, una concepción de la obra como texto a la vez que como imagen. La obra escapa así a la condición de objeto para ser contemplado, mientras que el texto adquiere una nueva dimensión, al situarse al mismo nivel de la pintura. La obra de Girbent ejemplifica así el juego de significados que se puede establecer en la obra entendida como traducción: una traducción que no se acaba en la obra en sí sino que prosigue en la lectura que hace de la misma cada espectador, cada crítico, o este mismo texto que ahora concluye.

Carles Congost Easy Katz/ Bad Painting Series, 2013

Carles Congost Easy Katz/ Bad Painting Series, 2013

Exposición: Hasta el 1 de junio de 2014

Galeria Horrach Moya
Oratorio de Sant Feliu
Plaça Drassanes 15
07012 Palma de Mallorca
Tlf. 971 73 12 40 | Fax 971 22 13 25

Para más información Galeria Horrach Moya

Reivindicando intenciones

Georgina Sas Les belles infidèles Galería Horrach Moyà Plaça Drassanes, 15. Palma. Hasta el 1 de junio.

Durante la edad de oro de la literatura francesa traducían à sa manière los textos clásicos, que en muchas ocasiones dejaban irreconocibles los textos originales, de ahí la expresión “la fidelidad sin resolver de toda traducción literaria”. El proceso de traducción pasa por ser una operación de equivalencias, igual que la que puede ofrecer el arte. Cada espectador establece contactos diferentes con la obra que tiene ante él; su grado de cultura, su situación en la sociedad e incluso el pensamiento político, pueden variar la lectura de esa realidad sensible. El autor ha reproducido según su propia visión del mundo, pero el espectador se refleja en su propia realidad. Si para Aristóteles el concepto estético de la Mímesis era la imitación de la naturaleza como fin esencial del arte, para los creadores del siglo XXI les conviene erigir en conciencia y en coherencia. Creaciones que, por su heterogeneidad y diversidad han asumido la vocación de perturbar conscientemente nuestra percepción de lo real; luego la fragilidad y variabilidad de los juicios formulados sobre las obras pueden ser todos distintos y, sin embargo, todos poseer la misma legitimidad. De todo esto trata esta colectiva: once artistas con piezas que van de la escultura, a la pintura, a la fotografía o al vídeo; repartidas por las distintas salas, con un diálogo entrecruzado.

Me siento fascinada ante las obras de Girbent, con sus escenas crípticas, en las que entremezcla el sentimiento y la experiencia. También por Montserrat Soto, con una pieza fotográfica que provoca una percepción en un marco realmente desconcertante. Martin John Callanan, con una propuesta conceptual que investiga al individuo dentro de su propio sistema. Carles Congost con un vídeo de lenguaje depurado y sutil, con una indagación visual, una condición extraña y evanescente que permite ver lo invisible. Vasco Araújo con una alegoría de la infructuosa búsqueda de la humanidad para la comprensión, fruto de su contacto con Samuel Beckett; Susy Gómez, siempre audaz con sus vestidos convertidos en corazas y el simbolismo de cotidianidad; Alejandro Vidal con su fotografía refinada pero a la vez violenta; Joana Vasconcelos con una pieza cerámica enfundada de crochet o Aníbal López con una composición pictórica hecha a partir de su propia sangre.

Una selección reflexiva y gratificante que permite relacionar y seguir un recorrido singular y coherente. El artista no tiene más intención que recoger la realidad, no revelar la verdad, porque nunca lo verdadero se ha convertido en falso.

Diario de Mallorca, Sociedad y Cultura

Les Belles Infidèles, Galeria Horrach Moya, 5 April – 1 June, 2014

Horrach Moya

Horrach Moya

Galeria Horrach Moya, 5 April – 1 June, 2014

The poetess or if one prefers… The aroma and the rumor II. 2013
Oil on canvas
235 x 160 cm

Joana Vasconcelos
Concha, 2013
Rafael Bordalo Pinheiro faience painted with ceramic
glaze, handmade cotton crochet
31 x 115 x 90 cm

Susy Gómez
Untitled. 265, 2006
Mixed media on printed image and
photographically enlarged on wood
240 x 180 cm

Montserrat Soto
Invasion-Sucesion 23. 2011
220 x 235 cm

Carles Congost
Easy Katz/ Bad Painting Series, 2013
Vídeo HD
6 min 22 sec

Vasco Araújo
Who Where, 2011
Instalation : Digital Photographs
140x140cm; 65x65cm; 20x140cm

A-153167 (Aníbal López)
Fluidos corporales. , 2012
Blood on watercolor paper.
56 x 76 cm

Alejandro Vidal
Tension and Release, 2013
Giclée print
160 x 120 cm

Martin John Callanan
I Wanted To See All The News From Today, 2013
Web based program collecting
front covers of newspapers from around the world. Digital Print.
22 x 220 cm

Susy Gómez
Tu Tienes Prioridad, 2010
Result of the action of melting an original
dress in lost wax technique. Aluminium.
Real dimensions. 150 x 60 x 70 cm

Whitstable Biennale 2014 artists announced

The 7th Whitstable Biennale 31 May to 15 June 2014

Rosa Ainley • The ARKA Group • Bronwen Buckeridge • Martin John Callanan • Collaborative Research Group • Louisa Fairclough • S Mark Gubb • Neil Henderson • Susannah Hewlett • Max Leonard Hitchings • Ben Judd • Fiona James • Una Knox • Hannah Lees • Samuel Levack and Jennifer Lewandowski • Rachel Lichtenstein • Force Majeure • Louisa Martin • Jeremy Millar • Katrina Palmer • Colin Priest • Abigail Reed • Kieren Reed • Rachel Reupke • Margaret Salmon • John Walter • Laura Wilson • Richard Wilson and Zatorski + Zatorski

Wars During My Lifetime, live broadcast

Wars During My Lifetime

whitstable biennale

A new work made for screen, Wars During My Lifetime, will be streamed live online Friday 28 March at 6pm Whitstable time.

Wars During My Lifetime collects together wars that have taken place all over the world during one individual’s lifetime. A fascinating list, the film makes no comment, but quietly brings the list to our attention. Many are wars we hear about on the radio on a daily basis, others are long since finished, or so small or distant they haven’t touched our consciousness.

Wars During My Lifetime is the first commission in a new collection of permanent works that can be viewed anywhere in the world but will have no physical presence and will exist exclusively on Whitstable Biennale’s new website.

Wars During My Lifetime will sit permanently on Whitstable’s Biennale’s new website from late April 2014.

Wars During My Lifetime has been commissioned by Whitstable Biennale.
Thanks to Nicola Harrison, Martin Barbour BBC, and BBC Political Programmes.

After a War, LIFT Festival 2014, Battersea Arts Center

After a War

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.

LIFT website

After A War schedule and info (PDF)

Mapping Spaces: Networks of Knowledge in the Landscape Art of the 17th Century, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

12 April – 13 July, 2014
An exhibition at the ZKM Museum of Contemporary Art
Opening: Fri, April 11, 2014, 7 p.m.

The ZKM throws new light on 17th century landscape painting. Comparable to modern satellite surveying (GPS), true to scale landscape representation is also indebted to the interdisciplinary exchange of knowledge: the alliance of geodesists, mathematicians, instrument makers and painters. Artists had designed modern surveying systems long before new media drew on images from outer space.

The exhibition Mapping Spaces examines, for the first time ever on this scale, the influence of early modern guide books in geography, the science of surveying and the construction of fortification on Dutch painting around 1650. The prelude to the project, developed at the University of Trier, is Pieter Snayers‘ large-format depiction of historical battle scenes, in which maps and landscape paintings are projected over one another so as to document the most recent developments in modern engineering, ballistics and the fortification construction.

Over 220 exhibits, among them paintings, surveying instruments, graphics devices, books, maps and globes drawn from the most important collections of works, such as from the Prado (Madrid), the Louvre (Paris), the Rijksmuseum (Amsterdam) or the Kunsthistorischen Museum (Vienna) testify to these new theses in pictorial science. The new mapping of an early modern area of knowledge is accompanied by contemporary works of art that thematize the influence of technological developments on our present-day perception of space.

Das ZKM wirft einen neuen Blick auf die Landschaftsmalerei des 17. Jahrhunderts. Vergleichbar der modernen Satellitenvermessung (GPS) verdankt sich auch die maßstäbliche Landschaftsaufnahme einem verzweigten Netzwerk des Wissens: der Allianz von Geodäten, Mathematikern, Instrumentenbauern und Malern. Lange bevor die Neuen Medien sich also digitaler Bilder aus dem All bedienten, entwarfen Künstler moderne Fernerkundungssysteme.

Die Ausstellung „Mapping Spaces“ untersucht erstmals in diesem Umfang den Einfluss frühneuzeitlicher Handbücher zur Geographie, der Vermessungskunde und dem Festungsbau auf die niederländische Malerei um 1650. Den Auftakt des an der Universität Trier entwickelten Projektes bilden die großformatigen Kriegspanoramen Pieter Snayers, in denen Karten und Landschaftsbilder übereinander projiziert werden, um die neuesten Errungenschaften des modernen Ingenieurwesens, der Ballistik und des Festungsbaus zu dokumentieren.

Mehr als 220 Exponate, darunter Gemälde, Messinstrumente, Zeichengeräte, Bücher, Karten und Globen aus den bedeutendsten Sammlungen der Welt wie dem Prado (Madrid), dem Louvre (Paris), dem Rijksmuseum (Amsterdam) oder dem Kunsthistorischen Museum (Wien) belegen diese neue, bildwissenschaftliche These. Die Neu-Kartierung eines frühneuzeitlichen Wissensraumes wird begleitet von zeitgenössischen Kunstwerken, die den Einfluss technologischer Entwicklungen auf unsere heutige Raumwahrnehmung thematisieren.

Look into the Net

Edith Russ Haus for Media Art
7 March – 21 April 2014

Opening: 06 March 2014, 19:00
Presstalk: 05 March 2014, 11:00 (Eva & Franco Mattes); Ivan Abreu; Amy Alexander; Marcel·lí Antúnez; Kim Asendorf; Lucas Bambozzi; Ryan Barone; Giselle Beiguelman; Amy Berk; Luther Blissett; Natalie Bookchin; Christophe Bruno; Maite Cajaraville; Martin John Callanan; Azahara Cerezo; Paolo Cirio; Arcángel Constantini; Vuk Cosic; Andy Cox; Critical Art Ensemble; Minerva Cuevas; Young-Hae Chang; Santiago Echeverry; Vadim Epstein; Evru; Fiambrera Obrera; Gonzalo Frasca; Belén Gache; Dora García; Daniel García Andújar; Gazira Babeli; Emilio Gomáriz; Ethan Ham; Luis Hernández Galván; Robin Hewlett; Steev Hise; Ricardo Iglesias; Daniel Jacoby; Sergi Jordá; Scott Kildall; Ben Kinsley; La Société Anonyme (José Luis Brea); Joan Leandre; Les Liens Invisibles; Olia Lialina; Rogelio López Cuenca; Iván Lozano; Alessandro Ludovico; Peter Luining; Fernando Llanos; Brian Mackern; Miltos Manetas; Rafael Marchetti; Iván Marino; Antonio Mendoza; Ricardo Miranda Zúñiga; Antoni Muntadas; Mark Napier; Eduardo Navas; Santiago Ortiz; Christian Oyarzún; Paolo Pedercini (Molleindustria); Raquel Rennó; Ricardo Barreto & Paula Perissinotto; Gustavo Romano; Benjamin Rosenbaum; Mario Santamaría; Santo_File (David Casacuberta & Marco Bellinzoni); Mark Shepard; Alexei Shulgin; Mark Skwarek; Darren Solomon; Stanza; Nathaniel Stern; Igor Stromajer; Taller d’Intangibles (Jaume Ferrer & David Gómez); Philipp W. Teister; The Electronic Disturbance Theater; The Yes Men; Thomson & Craighead; Eugenio Tisselli; Ubermorgen; Sander Veenhof; Elo Vega; Angie Waller.

The works shown in this exhibition of the internationally most relevant net artists belong to the collection of NETescopio, iniciated in 2008 and since then constantly developed by the Spanish Museum of Contemporary Art of Extremadura and Latin America – MEIAC, Badajoz. With NETescopio, the MEIAC is a pioneer in the availability of an Internet accessible art collection beyond the physical presence of the actual Museum. A selection of 120, partly no longer accessible, key works covers the panorama of net art production from the 1990s until today. This exhibition is in this sense a unique opportunity to gain an insight into the net art tendencies and their aesthetics. The main objective of the NETescopio archive, which makes also a historical classification of the collected works, is the preservation of the works, characterized by the incorporation of a large numbers of Spanish and Latin American net artists.

The curator Gustavo Romano has distinguished three strategies of artistic appropriation of the Internet with their various formats:

During the web´s early years the artists started to experiment with the new medium and dealt with the possibilities of interactivity, the use of interfaces and alternative browsers. It is in the first years of web art, which can be seen in this category, that show a greater radicalism with a stress on experimentation and the deconstruction of the medium.

The reuse of symbolic materials and artistic reactions to existing content play a key role in this work. In digital media information can be reproduced and manipulated, developing constant mutation. This poses in discourses to copy, original and authorship, as well as to owner and collector of net art. The artist’s role on the web is of a “redirector” of information.

These works refer to artistic intervention in a new public space, the “Internet”, which involve commonly used sites such as Wikipedia or Google Maps, which parody or subvert private pages, in order to undermine them through artistic contexts. Stealthily infiltration of the user’s computer or other computer systems is discussed here. The artist slips here into the role of spies, intruders and solitary flaneurs.

Edith Russ Haus

Wie funktioniert Echtzeit, und wie fühlt sie sich an?

Das Irre an der Zeit ist, dass sie trotz eines wissenschaftlichen Einheitssystems eine überaus subjektive, stets changierende Größe ist. Etwa die, auf die Martin John Callanan aufmerksam macht. Sieben Jahre hat er ein Programm entwickelt und es mit Datenleitungen verknüpft, um in Echtzeit weltweit alle abgehenden Flüge komprimiert zu visualisieren. Aber wer mag wohl im Flieger nach Dubai auf Platz E 12 sitzen? Wie schaut er aus? Wie dem Datenmeer Sinnvolles entnehmen? Und was würde es bringen, so lange, wie es vermutlich dauern würde? Überlegungen, die in wenigen Sekunden aufblitzen. Anders Katie Patersons Skulptur nur wenige Meter entfernt: ein Plattenspieler, der in Erdrotationsgeschwindigkeit Vivaldis “Vier Jahreszeiten” abspielt – eine Runde am Tag. Aber Moment: Nach innen verjüngen sich die Kreise. Verlangsamt sich das Gerät? Dehnt sich die Zeit? Zeit ist eben relativ.
Bis 15. Februar, Di-Sa 11-18 Uhr, Friedrichstr. 123


Art and the Internet, Joanne McNeill and Domenico Quaranta

art and internet

Location of I and I Wanted to See All the News From Today featured in the forthcoming book Art and the Internet by Joanne McNeill and Domenico Quaranta.

Art and the Internet is a much-needed visual survey of art influenced by, situated on and taking the subject of the internet over the last two and a half decades. From the early 1990s the internet has had multiple roles in art, not least in defining several new genres of practitioners, from early networked art to new forms of interactive and participatory works, but also because it is the great aggregator of all art, past and present. Art and the Internet examines the legacy of the internet on art, and, importantly, illuminates how artists and institutions are using it and why.

Black Dog Publishing, January 2014
Paperback, 240 pages, 300 b/w and colour ills, 280 x 230 mm
ISBN 9781907317989

A Planetary Order, Galerie Christian Ehrentraut, Berlin

A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin

A Planetary Order
Martin John Callanan, Rebecca Partridge, Katie Paterson
Galerie Christian Ehrentraut, Berlin
10 January – 15 February 2014

Download the exhibition publication (PDF)

A Planetary Order brings together three artists who, though working in very different media, all explore meta-narratives of time, landscape and systematic abstraction with a combination of sincerity and playfulness. The juxtaposition of painting, sculpture and new media works emphasises the conceptual concerns of the artists who also share a meticulous minimalist aesthetic. The works hover between seriousness and humour, the romantic and the rational, reduction and sublime scale, all within a dialogue which encompasses works made both with highly traditional means and the most current new media technology. The exhibition reflects a growing interest in a return to metaphysical themes, which though sincere, is not without critical distance and awareness of the comical.

The exhibition found its name in Martin John Callanan’s A Planetary Order (Terrestrial Cloud Globe) a 3D printed globe which, sitting directly on the gallery floor, on close inspection reveals the cloud cover of one single moment in time. This inconspicuous piece is in fact an ambitious ‘physical visualisation of real-time scientific data’ taken from cloud monitoring satellites overseen by NASA and the European Space Agency. Callanan’s transformation of data into artworks which articulate both the enormity of interconnected global systems and our place within them, continues with his most recent work, Departure of All; a flight departure board displaying the flight information for every international airport around the world. Running in real time, the speed of global transit creates a dizzying account of single moments. Katie Paterson provides a counterpoint to this overwhelm with her imperceptibly slow work, As The World Turns; a record player which, rotating at the speed of the earth, plays Vivaldi’s Four Seasons audible through headphones to only the most attentive listener. As with Callanan, Paterson’s artwork occupies a space far greater than the actual work- activating an imaginative space which is both metaphysical and comic; the record player suggesting the turning earth which we are able to look down upon. Along the long wall of the gallery hangs Notes on The Sea, a (diptych in twelve parts) the series of twelve minimal photorealist paintings calmly depicts fog veiled seascapes as polarities of night and day. In this work the archetypal romantic image enters into a contradiction with itself as it becomes part of a system. Playing with notions of duration, mathematic abstraction, and the possibility of painting a beautiful landscape, Partridge’s attempt to rationalize the epitomised romantic landscape is both meditative and absurd.


Martin John Callanan
1982, UK. Lives and works in Berlin and London

Martin John Callanan’s artwork has been exhibited and published internationally, he has recently been awarded the prestigious Philip Leverhulme Prize for outstanding research within visual arts. Recent solo exhibiitons include Departure of All, Noshowspace (UK) and Martin John Callanan, Horrach Moya (Spain). His work has been shown as part of Open Cube White Cube, (UK), Along Some Sympathetic Lines, Or Gallery (Germany), Es Baluard Modern and Contemporary Art Museum (Mallorca), Whitechapel Gallery (UK), Ars Electronic Centre (Austria), ISEA, Future,Everything, Riga Centre for New Media Culture (Latvia), Whitstable Biennale (UK),, and Imperial War Museum North (UK). Callanan graduated with an MFA from the Slade School of Fine Art, London in 2005, where he is currently Teaching Fellow in Fine Art Media.

Rebecca Partridge
1976, UK. Lives and works in Berlin and London

Rebecca Partridge gained an MA in Fine Art from the Royal Academy Schools, London in 2007, since which time she has been exhibiting internationally. Recent solo exhibitions include In The Daytime at Kunsthalle CCA Andratx (Spain), Cabinet Paintings at Newcastle University, (UK), as well as numerous international group exhibitions most recently Verstand und Gefühl, Landscape und der Zeitgenössiche Romantik at Springhornhof Neuenkirchen. In 2008 she was awarded a fellowship from Terra Foundation of American Art in Giverny (France). Other awarded residencies include the Sanskriti Foundation (New Dehli, India); Kunsthalle CCA (Spain); Nes residency (Iceland) and the TIPP Program for Contemporary Art (Hungary). She is currently working on several curatorial projects and is a Lecturer on both BA and MA Fine Art at West Dean College, UK.

Katie Paterson
1981, UK Lives and works in Berlin

Katie Paterson graduated from the Slade School of Fine Art, London in 2007. Paterson’s work is known internationally, recent solo exhibitions include In Another Time, Mead Gallery (University of Warwick, UK) Katie Paterson, Kettle’s Yard (Cambridge, UK) Inside This Desert, BAWAG Contemporary (Vienna) and 100 Billion Suns at Haunch of Venison (London). Her works have been exhibited in major exhibitions such as the Light Show at the Hayward Gallery (London); Dissident Futures, Yerba Buena Centre for the Arts (San Francisco); Light and Landscape at Storm King Art Centre (Hudson Valley, USA); Marking Time at MCA (Sydney) Continuum at James Cohan Gallery (New York) and Altermodern at Tate Britain (UK). She is represented in collections including the Guggenheim (New York) and Scottish National Gallery of Modern Art (Edinburgh).

Gallery info and plan PDF
Exhibition dossier
Download the exhibition publication (PDF)

Invited by at Motto Berlin, 24 October 2013

Invited by at Motto Berlin, 24 October 2013


Invited by Daniel Laufer. A Box of Editions made by Provinz
Presentation and film screening

Motto Berlin
7.30pm Thursday 24 October 2013 film program starts at 8pm.

Invited by Daniel Laufer” brings together a greater group of artists, who all contribute to a box of editions. The box is of A4-format (roughly 21 x 31 cm, Edition: 100) and contains contributions by 22 international artists. It comprises drawings, collages, copies, booklets, a DVD along with different printing techniques. The publication is conceived as a “magazine in a box”, yet it contains autonomous and representative artworks of the contributing artists.

Artists: Lutz Braun, Hanna Brandes, Martin John Callanan, Sunah Choi, Raphael Danke, Agathe Fleury, Nina Hoffmann, Adrian Hermanides, Hella Gerlach, Simone Gilges, Atalya Laufer, Daniel Laufer, Kalin Lindena, Alexandra Müller, Toony Navok, Martin Neumaier, Thomas Rentmeister, Annette Ruenzler, Roman Schramm, Gerda Scheepers, Hanna Schwarz, Viola Yesiltaç.

The presentation of the box is accompagnied by a film program with films by selected artists.

Certificate of Existence

Certificate of Existence

Certificate of Existence, 2013 is a unique work in series published to coincide with an exhibition of new and ongoing work by Martin John Callanan at noshowspace in October 2013.

Certificate of Existence is a self-portrait by the artist in the form of an original legal document that certifies that Martin John Callanan appeared before a notary on the 16th October 2013, identified himself as Martin John Callanan and was pronounced in existence at this time. The work is a unique legal document in a series of 20, differing by the time each document was witnessed.

Noshowspace at Multiplied Art Fair 2013

Martin John Callanan new edition at Multiplied Art Fair 2013

noshowspace was at Multiplied Contemporary Art in Editions Fair 2013 with a presentation of new editions and unique work in series by Martin John Callanan, Nicholas Muellner, Daniel Jackson and Caline Aoun, as well as exhibiting work by Alistair McClymont, Eddie Peake, Stefan Gec and Jamie Robinson.

 NEW EDITION by Martin John Callanan launched at Multiplied 2013

Martin John Callanan, Certificate of Existence, 2013
Martin John Callanan, Certificate of Existence, 2013. Unique in series of 20. Legal document with embossed stamp. Digital print 297 x 210 mm

Total passengers at the world’s 50 busiest airports in 2012, Art Licks magazine issue 13

Art Licks

Art Licks 13

For Issue 13 of Art Licks, alongside our regular writers, we have invited a selection of artists taking part in the Art Licks Weekend festival to contribute.

Includes writing and work from:
Mark Barker
Lucy Beech
Martin John Callanan
Erchen Chang
Patrick Coyle
Ben Eastham
Camilla Emson
Ian Giles
Ted Klonz
Lawrence Lek
Naomi Pearce
Ilaria Puri Purini
Tom Railton
Sophie Risner
Katie Schwab
Jack Strange
Liam Wright-Higgins

Buy the magazine online