The Space have published a curated collection of single screen videos by 12 artists at the Slade School of Fine Art, which demonstrates the broad range of approaches, techniques and experimentation explored by Slade students and recent Slade Alumni. This offers a unique opportunity to see a diverse collection of challenging, experimental work which would only previously have been available to those who had visited the Slade degree shows last year. Organised by Martin John Callanan.
Martin John Callanan of theÂ Slade School of Fine ArtÂ at University College London contacted the National Physical Laboratory (NPL) as he wanted to put together an exhibition featuring large images of the lowest denomination coins from around the world.
Petra Mildeova from NPL’s Advanced Engineered Materials Group demonstrated that full colour images could be taken using an infinite focus 3D optical microscope. Five coins were imaged (containing over 400 megapixels), allowing coins of less than 20 mm diameter to be printed as 1.2 m diameter images.
Martin John Callanan described the images as “really stunning” and is exhibiting them at the Galleria Horrach MoyÃ in Mallorca, Spain, in an exhibition entitled ‘The Fundamental Units‘ (referring to the smallest denomination of coins on display and not as a result of working with NPL, the home of fundamental constants in the UK). He now hopes to enhance his exhibition by imaging a further 161 coins, one from each of the other countries around the world that use them.
The images have attracted interest from the British Museum and were featured byÂ New ScientistÂ as their image of the day on 4 December 2012.
The mapping of large areas at very high resolution is becoming a more regular requirement. In fact, the capabilities of the microscope used to produce the images of the coins were barely stretched, as they were only in 2D. Using the Alicona Infinite Focus optical microscope NPL is able to acquire 3D datasets from large areas, which can be used to study worn surfaces on a gear, drill bit or metal punch and hence produce a detailed measurement of the volume of material lost by wear of the component. Such quantified volume measurements can then be used to determine the best material or operating practice for a given material grade.
Design and edit print newspaper Slade Postgraduate Research 2011 for the Slade School of Fine Art. Now online as a PDF.
To celebrate 15 years of ground breaking research in electronic media, the Slade Centre for Electronic Media in Fine Art (SCEMFA) will hold a 14 week exhibition, showing new works from eight internationally acclaimed artists: who use emerging practices to explore electronic and digital media, as both a source and material.
Martin John Callanan, 24 – 30 January
Thomson & Craighead, 2 – 13 February
Tim Head, 15 – 20 February
Simon Faithfull, 22 February – 6 March
Brighid Lowe, 8 – 13 March
Melanie Jackson, 15 – 20 March
Susan Collins, 23 March – 17 April
An exhibition that revolves every fortnight between each artist, acting as a showcase for the best of contemporary art in the UK, and highlighting the Sladeâ€™s pivotal role in the history, development and current research in the many varied forms of electronic media.
SCEMFA is a research group at the Slade School of Fine Art. SCEMFA opened in 1995 and for the past 15 years has provided the opportunity for leading artists to focus on research into Electronic Media and Fine Art, contributing to debate on a national and international level for events, exhibitions, broadcasts, collaborations and online.
Tuesday – Friday: 10 am – 5pm, Saturday & Sunday: noon – 5pm
North Lodge, University College London, Gower Street, WC1E 6BT
The Pin Board Project opens with Martin John Callanan. It is an attractive exhibit that makes so much sense right now. and it is so clear and frank and simple and has such a nice taste. This exhibit has no rubbish in it – it doesn’t have anything at all really. It is okay. We know it’s okay because Martin told us. We hope the work in this show will leave you alone more or less and only grab your mind. which is okay. But no experiences. we hate experiences in art. We prefer to experience things in real life.
Pin board project
space is everywhere
The Pin board project is organized by Angus Braithwaite, Benedict Drew, Rudolf Reiber and Julia Tcharfas who are reasonably modish and quite friendly group of artists. The project is currently situated in studio 5 at the Slade School of Fine Art, which is located on Gower Street in London. The Pin board constructed by Angus (and fucking beautifully I might add), was assembled from Benedict and Julia’s recycled art works and can quite seamlessly fit into any institution or space and can appear in almost any locations in the future. The exhibitions will alternate biweekly starting on Thursday, November 20. 2010, each show chosen by the artists that preceded it. Thus the project will curate itself really. and maybe have something new to offer each time, and maybe something interesting even.
Finally an art space that is like a momentary revelation one has passing something unexpected on the sidewalk. or a quick glance of the eye of a nice stranger. or a pleasant high. It is like everything radical that’s happened in New York in the 70’s and in other symbolic places. An encounter that you are not sure whether it is or isn’t a work of art and you want to steal it. and you can. because they are just ideas. And it doesn’t matter what you decide to do with your ideas. which you can just think about. or use. or throw away. And everything is always a reproduction including this text: which is like the one I read in an art magazine by Gregory Battcock. But I shouldn’t talk about that because I should focus on the art. and it’s okay in this case because it’s good art.
And another thing about this project is that perhaps it isn’t an art space but a space for ideas that are not intended to be any more than ideas. As such they are pretty much invisible. which in itself is a good idea. We’ve suspected. for some time now. that art perhaps can be integrated in our daily lives and now it is. Therefore there’s nothing that can be damaged and we don’t have to worry about lighting and hole filler.
Martin John Callanan is okay
Wednesday 24th November 2010 – Tuesday December 7th
Studio 5, Slade School of Fine Art, Gower St. London
Design and edit print book, Speed, Light, Time/Colour, Scale, Space: A Two-Part Programme Of Graduate Research for the Slade School of Fine Art. The book is now online as a PDF
A artista e professora britÃ¢nica Susan Collins Ã© uma das palestrantes do FÃ³rum Internacional A&T_Perspectivas CrÃticas em Arte e Tecnologia. Collins Ã© uma das principais artistas da Inglaterra a trabalhar em novas mÃdias. Ã‰ diretora do The Slade School of Fine Art, University College, Londres. Seus trabalhos se dÃ£o no espaÃ§o pÃºblico, galerias de arte e espaÃ§os on-line. Suas obras mais recentes empregam tÃ©cnicas de transmissÃ£o e networking para explorar o papel da ilusÃ£o e da crenÃ§a na construÃ§Ã£o de interpretaÃ§Ãµes da cultura digital. No dia 3 dezembro, ela apresenta a palestra Perspectivas crÃticas da produÃ§Ã£o britÃ¢nica, onde mostrarÃ¡ as principais tendÃªncias da mÃdia-arte no Reino Unido. Em uma breve entrevista, a artista nos fala de seu trabalho e da relaÃ§Ã£o entre vigilÃ¢ncia, tempo e espaÃ§o:
Em seus trabalhos mais recentes, vocÃª utiliza como forma de construÃ§Ã£o as tÃ©cnicas de transmissÃ£o, networking e real-time para representar a ilusÃ£o e a crenÃ§a nas tecnologias. Como vocÃª interpreta a influÃªncia dos meios digitais na relaÃ§Ã£o entre tempo e espaÃ§o?
A palavra digital estÃ¡ ligada a uma idÃ©ia de conectividade instantÃ¢nea ou ao â€œalways onâ€. Uma coisa que venho explorando em meu trabalho Ã© justamente o oposto dessa impressÃ£o. Trabalho algo que pode ser descrito como slow time, que tem uma relaÃ§Ã£o conceitual mais prÃ³xima ao movimento slow food. Isso significa que o â€œtempoâ€ se torna um elemento material tangÃvel em sua prÃ³pria evidÃªncia, que se darÃ¡ pelo processo de transmissÃ£o. A compressÃ£o dos dados durante a transmissÃ£o introduz artefatos prÃ³prios. No entanto, o mÃ©todo que desenvolvi, de transmitir um pixel por segundo para construir uma imagem durante o perÃodo de 24 horas, tambÃ©m nos oferece uma nova relaÃ§Ã£o visual entre o tempo e o espaÃ§o. Um exemplo Ã© o trabalho Glenlandia (2005), onde hÃ¡ a captura da imagem â€œarcoâ€ da Lua, enquanto essa passa pelo cÃ©u durante o entardecer. O acontecimento das mÃdias locativas (bem como o advento do Google Maps) tambÃ©m alterou nossa relaÃ§Ã£o com o espaÃ§o pelo uso do GPS, como no caso do artista britÃ¢nico Martin John Callanan, que em seu trabalho Location of I (2007-09), pedia ao pÃºblico que o localizasse em qualquer lugar do mundo dentro de um espaÃ§o de 1m.
Seus trabalhos tambÃ©m exploram indiretamente a questÃ£o da vigilÃ¢ncia na cultura digital. Como vocÃª analisa essa tendÃªncia cada vez mais crescente de uma vigilÃ¢ncia dentro da cultura digital e sua relaÃ§Ã£o com as artes?
Vigiar ou observar Ã© algo central para mim dentro de minha produÃ§Ã£o artÃstica. Isso Ã© algo que tanto as ciÃªncias quanto as artes tÃªm em comum: revelar as verdades ou modos de ver atravÃ©s da observaÃ§Ã£o ou escrutÃnio. HÃ¡ alguns anos, colaborei com a arquiteta Sarah Wigglesworth no projeto Classroom of the future, uma aula de ciÃªncias para crianÃ§as do primÃ¡rio. Uma das caracterÃsticas fundamentais das aulas era a de usar ferramentas de vigilÃ¢ncia, cada vez mais presentes nos mercado, e criar um sistema de observaÃ§Ã£o e registro da natureza e sua evoluÃ§Ã£o no tempo. Vigiar nÃ£o Ã© novidade para os artistas e nem apareceu com o surgimento das Webcams. Um exemplo Ã© o trabalho Empire (1964), de Andy Warhol, que foi apropriado por Wolfgang Staehle em Empire24/7 (1999)
Como vocÃª avalia a altual produÃ§Ã£o artÃstica britÃ¢nica? Quais sÃ£o as caracterÃsticas especÃficas dessa produÃ§Ã£o?
Como em todo paÃs, hÃ¡ um amplo espectro de prÃ¡ticas que torna difÃcil generalizar. No entanto, o que distingue a produÃ§Ã£o britÃ¢nica da Ãºltima dÃ©cada em diante Ã© o crescimento do mercado da arte, que levou a uma maior visibilidade para aqueles que trabalham com formas menos comerciais de produÃ§Ã£o artÃstica. Em termos de artistas trabalhando com novas mÃdias, existem aqueles que estÃ£o satisfeitos ao trabalhar em ambientes de pesquisas mais experimentais e especializados (hÃ¡ um crescente interesse por projetos em sci-arts); ao mesmo tempo, os artistas pertencentes ao mainstream passaram a incorporar as tecnologias emergentes do cotidiano, o que resultou em um ambiente mais eclÃ©tico e menos mediumspecific. Minha apresentaÃ§Ã£o Perspectivas crÃticas da produÃ§Ã£o britÃ¢nica, durante o FÃ³rum Internacional Arte e Tecnologia, serÃ¡ voltada para estes trabalhos que incorporaram o digital ou encontraram novas maneiras de materializar o digital para galerias ou espaÃ§os fÃsicos. Isso serÃ¡ exemplificado tanto no trabalho de artistas consolidados nas novas mÃdias como naqueles que nÃ£o se vÃªem trabalhando explicitamente dentro do domÃnio digital.
During The Placeâ€™s biennial Choreodrome research and development project for choreographers there will be three presentations given in the Robin Howard Dance Theatre on different aspects of creativity. The series involves theatre, performance and live artists working on the far edge of choreographic practice, and are designed to inspire new conversations about choreography, movement and performance. The seminars are open and free to all who wish to attend.
Martin John Callanan is an interdisciplinary artist whose work spans numerous mediums and engages both emerging and commonplace technology (http://greyisgood.eu). His work has included translating active communication data into music; freezing in time the earthâ€™s water system; tampering with banknotes; writing thousands of letters; capturing newspapers from around the world as they are published; taming wind onto the internet and broadcasting his precise physical location live for over two years.
Martin’s work is always decidedly deadpan and served with a dash of ennui. Some of his more well-known pieces include the ambient audio installation Sonification of You, the meta-news aggregator I Wanted to See All the News From Today and Text Trends, which abstracts the casual manner in which we receive, scan and process information and language on a daily basis.
Martin is currently Artist in Residence at UCL Environment Institute and Teaching Fellow at the Slade School of Fine Art UCL.
He will discuss the power of narrative and the role of performance and metaphor within his work. You will be asked to question whether the artist or audience is the real performer: where and when the performance really takes place.
The UCL Environment Institute, Slade School of Fine Art, and David & Charles Publishers invite you to an evening reception to celebrate
the unveiling of Martin John Callanan’s A Planetary Order (Terrestrial Cloud Globe)
and the publication of Richard Hamblyn’s Extraordinary Clouds
on Tuesday 30th June 2009, 6:30-9:00pm
at the Main Quadrangle, University College London, Gower Street, London WC1E 6BT