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.
Winner at the Prix Charlemagne pour la Jeunesse européennee 2010
An investigation into modes of artistic and political production in contemporary Europe, through an investigation of work being produced in the locus of East and West twenty years after the Mauerfall in Berlin. Using Berlin as a prism, a series of texts and artworks by some of Europe’s finest practitioners are presented in a unique book-object that works through its own layout and design as a physical exhibition.
You Are Here
Martin John Callanan
Christophe Van Gerrewey
Edited by John Holten & Line Madsen Simenstad
Design by FUK laboratories TM
11 November, 2009
English (with Polish, German, Belarussian, Danish)
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.
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
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.
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.
Lev Manovich, Daniel Goddemeyer, Moritz Stefaner & Dominikus Baur
Martin John Callanan
Max Dovey & Manetta Berends
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.
4 September – 2 October 2015
Preview: Thursday 3 September 6 – 9pm
Auction launch: Thursday 17 September from 6pm GMT
Auction Ends: Friday 2 October at 9pm
Auction closing party: Friday 2 October 6 – 9pm
I’M Ten is a benefit auction and exhibition of over 150 emerging and established artists, brought together to celebrate IMT Gallery’s 10 year anniversary. All artworks will be auctioned off on Paddle8 at a starting price of £50 from the 17th of September – 2nd October 2015.
We are grateful to our I’M Ten nominators for their thoughtful artist selections. They include: Oreet Ashery (Artist), Stuart Brisley (Artist), Mark Doyle (Independent Art Consultant), Elisabetta Fabrizi (Curator, Tyneside Cinema), Kenneth Goldsmith (Poet and Founding Editor of UbuWeb), Sean Griffiths (Architect and Founder of FAT), Kelly Large (Curator, Zabludowicz Collection), Ana Ventura Miranda (Director, Arte Institute) and Aura Satz (Artist).
Since its opening as a non-profit gallery, IMT Gallery has built a reputation for its innovative site-specific installations as well as its championing of sound art and of artists working across media. The sale of works in I’M Ten, all of which have been kindly donated by participating artists, raises funds to continue to support IMT Gallery’s ambitious public and curatorial programming, as well as towards building new resources for supporting artists.
Follow the exhibition and auction on #IMTen2015
AAS, Larry Achiampong, Rupert Ackroyd, Thorbjørn Andersen, Daniela Antonelli, Sol Archer, Athanasios Argianas, Cristina Ataíde, Alex Baker, Alison Ballard, Darren Banks, Beagles and Ramsay, Felix Bernstein, Antoine Bertin, David Blandy, Aline Bouvy, Uma Breakdown, Nicholas Brooks, Harry Burke, David Burrows, Martin John Callanan, Sarah Carne, Marco Cazzella, Rómulo Celdrán, Adam Chodzko, Rachael Clewlow, Maia Conran, Cecilia Corrigan, John Cussans, Charles Danby, Matthew de Kersaint Giraudeau, Claire Dorsett, Luke Drozd, Graham Dunning, Simon Faithfull, Marcia Farquhar, Brian Fay, Joe Fletcher Orr, Beth Fox, Margarita Gluzberg, Katie Goodwin, Joe Graham, Oona Grimes, Tina Gverovic, Mark Harris, Joey Holder, Rowena Hughes, Helena Hunter, Atsuhide Ito, Mat Jenner, Sophie Jung, Nick Kennedy, Dean Kenning, Lotte Rose Kjær Skau, Kristen Kreider and James O’Leary, Kamil Kuskowski, Jessica Labatte, Dominique Lämmli, Rachel Lancaster, Sophia Le Fraga, Richard Squires, Sasha Litvintseva, Daniel Locke, Kevin Logan, Lynn Lu, Marcin Luczkowski, David Lytzhøft, Sally Madge, Martim Meirelles, Luke McCreadie, Aidan McNeill, Melanie Manchot, Harry Meadley, Lindsey Mendick, Rosa Menkman, Paulina Michnowska, Karen Mirza, Matt Moser-Clark, Harriet Murray, Idit Nathan, Natacha Nisic, Flore Nové-Josserand, Eva O’Leary, Aki Onda, 0rphan Drift, Tom O’Sullivan & Joanne Tatham, Miguel Palma, Maria Papadomanolaki, Mathew Parkin, Flora Parrott, Berry Patten, Isabel Pavão, Laura Pawela, Will Peck, Pil and Galia Kollectiv, Manuela Pimentel, Patricia Pinsker, Plastique Fantastique, Maeve Rendle, Hyun-Min Ryu, Andreas Rasmussen, Richard Rigg, Sam Risley Billingham, Florian Roithmayr, Caroline Rothstein, Giorgio Sadotti, Hannah Sawtell, Henrik Schrat, Erica Scourti, Dallas Seitz, Yinka Shonibare, Gordon Shrigley, Signal To Noise, DJ Simpson, Mark Scott-Wood, Thomas Skov, Amalie Smith, John Smith, Rob Smith, Evangelia Spiliopoulou, Marilia Stagkouraki, David Steans, Eva Stenam, Helen Stratford, NaoKo TakaHashi, Dafna Talmor, Vibeke Tandberg, Neil Taylor, Jennet Thomas, Thomson & Craigshead, John Timberlake, Emma Tod, Townley and Bradby, Suzanne Treister, Lorenzo Triburgo, Alexandra Urban, Pedro Valdez Cardoso, Markus Von Platen, Shen Xin, Tom White, Elizabeth Wright, Mark Peter Wright, Judith Zaugg, Eli Zafran, O Zhang
I Cannot Not Communicate, Martin John Callanan at Vitsœ New York: 14–19 May
33 Bond Street
New York NY 10012
T 1 917 675 6990
At Vitsœ we like to share the work of creative people. So when Berlin and UK-based artist (and Vitsœ customer), Martin John Callanan, asked to show a new piece for the first time at our New York shop, we were happy to oblige.
I Cannot Not Communicate, consists of the top 100 books recommended to Callanan by Amazon, based on everything he read and bought since the online retail giant first launched its recommendation algorithm over 15 years ago.
The event will take place during a busy time with New York design week and Frieze Art Fair New York occupying the city – all the more reason to take a moment to pause in comfort at our New York shop at 33 Bond Street.
To accompany the installation, Callanan has produced a pamphlet, including a text by Marialaura Ghidini. A limited number of copies are available free to visitors.
Martin John Callanan is an artist researching an individual’s place within systems. Recent solo exhibitions include Noshowspace, London, Horrach Moya, Palma and Or Gallery, Berlin. His work has been shown at White Cube, James Cohan Gallery, Whitechapel Gallery, International Film Festival Rotterdam, Whitstable Biennale and Imperial War Museum. He is recipient of the Philip Leverhulme Prize in Visual Art.
Die Zusammenarbeit mit kreativen Köpfen macht uns immer wieder Freude. Als uns der in Berlin und Großbritannien lebende Künstler (und Vitsœ Kunde) Martin John Callanan fragte, ob er seine neue Arbeit in unserem New Yorker Shop ausstellen könne, sagten wir ohne Zögern zu.
„I Cannot Not Communicate“ besteht aus den ersten 100 Büchern, die Callanan von Amazon vorgeschlagen wurden – basierend auf allem, was er gekauft und gelesen hatte, seit der Onlineshop-Gigant vor mehr als 15 Jahren seinen Algorithmus für Kaufempfehlungen einführte.
Die Ausstellung findet während der trubeligen Zeit der New York Design Week und der Kunstmesse Frieze statt – gönnen Sie sich eine kleine Auszeit von der Geschäftigkeit in unserem New Yorker Shop in der Bond Street 33.
Begleitend zur Ausstellung hat Callanan im Riso-Druckverfahren ein Pamphlet produziert, unter anderem mit einem Text von Marialaura Ghidini. Eine limitierte Auflage können geneigte Besucher kostenlos mitnehmen.
Martin John Callanan sucht nach individuellen Wegen im Kunstbetrieb. Seine jüngsten Solo-Ausstellungen fanden im Noshowspace, London, Horrach Moya, Palma und der Or Gallery, Berlin statt. Seine Werke wurden gezeigt von Institutionen wie White Cube, James Cohan Gallery, Whitechapel Gallery, International Film Festival Rotterdam, Whitstable Biennale und dem Imperial War Museum. Er ist ausgezeichnet worden mit dem Philip Leverhulme Prize für Bildende Kunst.
In his book “The Imaginary Museum” (1965), André Malraux asserted that in the reproductions of artworks published in books and exhibition catalogues we can find more significant artworks that could be seen in the largest museum of the world. Internet has exponentially expanded Malraux’s Imaginary Museum and provided us with unprecedented access to a myriad of artworks. In digital art, the complexity or ephemerality of many artworks makes it difficult to see them in an exhibition and therefore it is the video documentation created by the artists themselves that allows us to discover their works. Two selections of documentation videos present an overview of the many faces of digital art today.
Clara Boj y Diego Díaz
Marloes de Valk
Martin John Callanan
Curated by Pau Waelder
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 large survey book builds on the ZKM Karlsruhe exhibition tracing the multifaceted relationship between art, science and technology in Dutch landscape art around 1650. Long before digital satellite imagery, Dutch artists used modern systems of remote sensing. Their art works provide valuable insights into past exchanges of knowledge that anticipate the techniques of mapping used today.
Includes A Planetary Order.
Hardcover: 500 pages
Publisher: Hirmer (1 Dec. 2014)
Dimensions: 25.5 x 3.8 x 29.4 cm
24/7 will focus on the changing world & technology, and how the attention economy is affecting our lives, how we consume information and how it dominates not only our waking but also our sleeping moments. Our experience of time is mutating at the speed of light, due to the glass fibre and wireless networks that keep us entangled. How this affects our sense of reality now and its impact in the near future is one of the most important discussions in the world today.
In the late 1990s, when Google was barely one year old and was still a privately held company, its future CEO, Dr. Eric Schmidt was already articulating the context in which such a venture would flourish. Schmidt declared that the twenty-first century would be synonymous with what he called the ‘attention economy’, and that the dominant global corporations would be those that succeed in maximizing the number of ‘eyeballs’ they could consistently engage and control.
24/7 is focussed on stimulating discussion on this ‘attention economy’, the global thirst for information and the daily data consumption and mass synchronisation of work and leisure rhythms which are synonymous with this. We are working, communicating and consuming whenever and wherever we happen to be in the world. Divisions between night and day, between rest and work are gradually disappearing. Our experience of time is mutating at the speed of light, due to the glass fibre and wireless networks that keep us entangled.
Therefore 24/7 forces the audience to step out of the cinema, into hotels. A hotel is just like a cinema, a place where one checks in to step out of the daily routine. They are open 24/7 and strongly associated with our need for sleep. While examining the ever-changing world of the 21st Century, this programme challenges the traditional notion of a film ‘slot’ by raising the question of what we now class as a ‘normal duration’.
Made possible with support from the British Council Travel Grant Fund
The Routledge Companion to Remix Studies
Chapter 31, Of Re/appropriations, Gustavo Romano
Hardcover: 556 pages
Publisher: Routledge (26 Jan 2015)
Product Dimensions: 22.9 x 17.5 x 3.6 cm
23 January – 22 March 2015
Preview 22 January 2015 / 6-10pm
MK Gallery, 900 Midsummer Boulevard, Central Milton Keynes, MK9 3QA.
Admission is free
January 2015 MK Gallery presents How to Construct a Time Machine (23 January – 22 March 2015), an exhibition of over twenty-five historical and contemporary works that explore how artists play with media in innovative ways to transform our experience of time.
What is time? How do we order the past, the present, and the future? Why are artists interested in time? How is art a machine, vehicle, or device for exploring time? How is art a means by which time ‘travels’, and how does art permit us to travel in time? Consideration of these and other questions has provided the exhibition rationale for guest curator, Dr Marquard Smith, Head of Doctoral Studies/Research Leader in the School of Humanities at the Royal College of Art, London.
The show’s title is taken from an 1899 text by the avant-garde French writer, Alfred Jarry, written in direct response to H. G. Wells’ science fiction novel The Time Machine (1895). Wells invented and popularised a distinctively modern, fictional concept of time travel, with the time machine as a vehicle that could be operated ‘selectively’.Jarry’s response crafted a pseudo-scientific fiction that presents the time machine and time travel as an instance of ‘the science of imaginary solutions’.
Taking this idea of the time machine, time travel, and perhaps even time itself as an instance of ‘the science of imaginary solutions’, the exhibition is divided thematically across the galleries and includes works by John Cage, Martin John Callanan, Jim Campbell, Edgar Cleijne and Ellen Gallagher, Matt Collishaw, Ruth Ewan, Tehching Hsieh, the Lumière Brothers, Chris Marker, Kris Martin, Manfred Mohr, Melvin Moti, Nam June Paik, Katie Paterson, Elizabeth Price, The Otolith Group, Raqs Media Collective, Meekyoung Shin, Sun Ra, Thompson & Craighead, Mark Wallinger and Catherine Yass, amongst others.
Film work ranges from George Méliès’ A Trip to the Moon (1902), an iconic silent movie which follows a group of astronomers as they explore the moon, to Thomson & Craighead’s The Time Machine in alphabetical order (2010), a complete rendition of the 1960s film version of the Wells’ novella re-edited into alphabetical order.
Sculptural work includes Mark Wallinger’s Time and Relative Dimensions in Space (2001), an aluminium version of Dr Who’s ‘Tardis’ police box that simultaneously disappears into the space-time continuum and reflects its own surroundings, and Ruth Ewan’s We Could Have Been Anything That We Wanted to Be (2012), a decimal clock which divides the day into ten (rather than twenty-four) periods, echoing a bold 18th century French Republican attempt to redefine and rationalise the day.
The exhibition will be accompanied by a catalogue, designed by Herman Lelie, featuring an extended Introduction by the exhibition’s curator and a translation of Jarry’s How to Construct a Time Machine, together with essays by Dutch cultural theorist and video artist Mieke Bal and radical philosopher Peter Osborne. The exhibition will be supported by a range of related events including tours by the curator and artists, seminars, academic conferences, and film screenings.
Objectivity and Representative Practices chapter
Dr Chiara Ambrosio, UCL Department of Science and Technology Studies
Digitalization and computerization are now pervasive in science. This has deep consequences for our understanding of scientific knowledge and of the scientific process, and challenges longstanding assumptions and traditional frameworks of thinking of scientific knowledge. Digital media and computational processes challenge our conception of the way in which perception and cognition work in science, of the objectivity of science, and the nature of scientific objects. They bring about new relationships between science, art and other visual media, and new ways of practicing science and organizing scientific work, especially as new visual media are being adopted by science studies scholars in their own practice. This volume reflects on how scientists use images in the computerization age, and how digital technologies are affecting the study of science.
Hardcover: 292 pages
Publisher: Routledge (22 Oct 2014)
“Departure of All”, 2013, מסך LCD, מחשב ותוכנת מחשב,91.4×49.9×40 ס”מ
באדיבות האמן וגלריה James Cohan, ניו יורק/שנגחאי
האמן הבריטי הקונספטואליMartin John Callanan מושפע בעבודותיו ממערכות חברתיות ושלטוניות המעצבות את חיינו וחוקר את מקומו של הפרט בתוך המערכות האלה. לא אחת הוא מפנה בקשות מידע לשלטונות או לתאגידי ענק בינלאומיים, ואוסף הנתונים הרחב שהוא מפיק במחקריו משמש כבסיס לעבודותיו וכמראה המשקפת את העולם הרחב. בעבודה “Departure of All” (כל הטיסות היוצאות) נראה לוח טיסות המציג מידע חי על כל טיסה שממריאה מכל נמל תעופה בינלאומי בעולם בזמן תצוגתה של העבודה. המידע מתחלף על הלוח במהירות גבוהה, וההמתנה המוכרת מול לוח הטיסות בשדה התעופה מתחלפת בזרם מואץ ומסחרר של נתוני טיסות, המקבל תוקף מעצם הידיעה כי מדובר בטיסות אמיתיות הטסות ליעדים אמיתיים בזמן אמת. “בעבודה זו אני מתעניין במה שאינפורמציה זו מייצגת”, אומר האמן, “58 טיסות בכל דקה מייצגות כ־400,000 אנשים הממריאים לאוויר בחלקים שונים של העולם והוצאה של מאות מיליוני דולרים מדי רגע”. המידע, המופרד ממיקומו הטבעי על קיר שדה התעופה ומתחלף בקצב מסחרר, מייצר בעבודה סתירה פנימית, ומעורר שאלות על משמעותו. הצגת העבודה – שנראית כלוח טיסות לכל דבר – בתוך חלל של גלריה – שאף הוא בדומה לחלל שדה התעופה מתפקד כמרחב ניטרלי, זירה זמנית ומקום מעבר – עוטפת את העבודה בקשר הולם, טוענת אותה במשנה תוקף ומזמינה מחשבה על ההשפעה הפסיכולוגית של החוקיות והנהלים במקומות כאלה על המבקרים בהם.