ART.ZIP Issue 16

ANDREAS GURSKY 㸝䗞捘❏倛v〢晋倛㛇

BASQUIAT: BOOM FOR REAL 䊼倛㤇暵溫姻涸籖囘

VINYL FACTORY: HUB OF CREATIVE COLLABORATION 랱芢ⶽ䠑㣅䊨㜥

DIGITAL ART: A META-MORDEN VIEW 侷㶶谀遮⯋植➿鋕ꅿ

START FROM ZERO: PINGYAO INTERNATIONAL FILM FESTIVAL 䖰ꨪⴀ涮䎂麵㕜ꥸꨵ䕧㾝

SOUK, DERIVATIVES, SIMULATION: THE WORLD CREATED IN ART 䋑㜥ծ遥欰ծ亻⫸谀遮䨾䒊圓涸⚆歲

ISSUE 16, 2017 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

NEVER STOP MAKING GOODIDEAS BETTER XY COLLECTIVE STUDIO / LONDON BRANDING DESIGN w w w. x y c o l l e c t i v e . c o m

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ISSUE 16, 2017

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ANDREAS GURSKY 㸝䗞捘❏倛v〢晋倛㛇

BASQUIAT: BOOM FOR REAL 䊼倛㤇暵溫姻涸籖囘

VINYL FACTORY: HUB OF CREATIVE COLLABORATION 랱芢ⶽ䠑㣅䊨㜥

DIGITAL ART: A META-MORDEN VIEW 侷㶶谀遮⯋植➿鋕ꅿ

START FROM ZERO: PINGYAO INTERNATIONAL FILM FESTIVAL 䖰ꨪⴀ涮䎂麵㕜ꥸꨵ䕧㾝

SOUK, DERIVATIVES, SIMULATION: THE WORLD CREATED IN ART 䋑㜥ծ遥欰ծ亻⫸谀遮䨾䒊圓涸⚆歲

ISSUE 16, 2017 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100

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EDITOR’S NOTE âšşçŽĄăş•é“ƒ

THIS MAGAZINE LOOKS AMAZING #SINCE CREATIVE

In a sense, the history of humanity is a history of technology. Presumably, early humans had begun to take the

path unparalleled by other species the moment they learned to set a bonďŹ re. With the unceasing upgrading of technologies, human life has been transforming all the time.

In the wake of internal combustion engine and nuclear power, digital technology and network communication technology have the most disruptive power in modern times. They fundamentally change the way we relate

to life and the world, and consequently has thoroughly altered how we view ourselves as well as the world.

The emergence and popularization of new words like computer, mobile phone, Internet, Bitcoin and App not only make our life easier, but also transform everything around us, and art is no exception. In this issue, we bring together the digitalization trend in various art circles, followed by an exploration of how digital revolution plays a role in British art scenes through an investigation into the formulation and presentation of art as well as academic discussions and artists arguments about digital art. Hopefully this will reveal an art world of 0s and 1s to you.

➃겳朸朎ăž?〡厼ç??ä ‘çş?â™łâ˘ľé“žă˝ ĺƒ˝â™§éżˆçŒ°äŞŽćśŽăž?ă€ˇď˜šâ›łé?Şä–°âž˛ă¨Ľâžƒç—§â™§ĺŚ„⟎鼹ç?ŒćŠĄé˝Ąâ™§âľ ď˜šâ¤‘éŠŽâ™łâœŤâžƒâ›“䨞â&#x;ƒć?€âžƒ朸 莅杞♜㠚朸朎ăž?é¨&#x;ä–œď˜ˇâ śęŚ‘襽➃겳䨞äą?䳣朸çŒ°äŞŽćś¸â™śĺ€ŹâźŽç§šď˜šâžƒ겳朸揰ĺ´žâ›łă–ˆ朎揰襽矺㣔銟㖒朸éšśâť‹ď˜ˇ

ă–ˆâ°‰ć•Žĺ Ľă„¤ĺ‘?č…‹â›“ä–•ď˜šäž¸ăśśçŒ°äŞŽă„¤çŹŞçŞ„é¸’éŽ?äŞŽé Żćś¸ćśŽăž?ĺƒ˝éľœâžżĺ‰“â°¨ĺ‰¤ę˛ŽéŠźäš?朸çŒ°äŞŽä§­ĺ?“âœŤď˜šă¸?ä–°ĺ‰“ĺš€ăžľĺŚ„ä˝–éšśâœŤä§ŽâŚ› 莅揰ĺ´žă„¤âš†ć­˛ćś¸ęĄ â¤šď˜šâžƒâŚ›ćş?ä–Šč?ˆé­¨ă„¤âš†歲朸ĺ€°ä’­â›łćśŽćŹ°âœŤä—Łä? 朸ä˝–éšśď˜šę¨śčˆĄď˜śäŠ›ĺ Ľď˜śâœ˝č€˘çŹŞď˜śĺŤ˛ćšśä?¤ď˜ś"11瘞瘞ă ?é‘‚朸 â´€ć¤?ă„¤ĺ…œâżťâ™śâŤŚâŤŚĺƒ˝é›Š䧎⌛朸揰ĺ´žéšśä–¤ĺˆżâ¸ˆé°‹ë…źâ¤‘ä°Śď˜šâ›łă šĺ„˜겎éŠźčĄ˝ä§ŽâŚ›ăƒ°éťŠćś¸â™§â´—ď˜šč° é ŻćŽšć?­â›łâ™śâ˘żă˘Ťď˜ˇă–ˆé¸?ĺŠ?꧚é’&#x;

掚âšĽď˜šä§ŽâŚ›ăź&#x;ć?€ăŁ?ăšťäŒ&#x;⢾♧猺⴪ⴀć¤?ă–ˆč° é Żęą†ăš–âšĽćś¸ďšłäž¸ăśśâť‹ďš´ĺ€žâš›ă ˘ď˜šä–°č° é Żćś¸çŠ‰çą˝ä•Žä’­ď˜śăž?çˆšĺ€°ä’­ď˜śăˇ¸é ŻäąłéŽŁâ&#x;ƒâżťč° é ŻăšťăźŠäž¸ç„şč° é Żćś¸ć˜°é”¸âšĽâ˘ľâ™§ç“šäž¸ăśśâť‹ęŹ ă„?ĺƒ˝ăĽśâĄŚă–ˆč–Šă•œč° é Żęą†ăš–âšĽćśŽäł¸âĄ˛ćŹ˝ćś¸ď˜šăž?ć¤?ꨍ莅♧⛓ę&#x;Śćś¸č° é Żâš†ć­˛ď˜ˇ

)"33: -*6 ⡠ç•šĺ…‘

Innovative design always since creative. | hello@sincecreative.com

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ĺšłé?˘č¨­č¨ˆĺ?ŻäťĽć‹Żć•‘ä˝ çš„ ç”&#x;ĺ‘˝ ďź&#x;

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ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS ËŠ +BOVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X XFMMDPNFDPMMFDUJPO PSH

The exhibition covers corporate identity in the

Advertising pamphlet for Medomina, Geigy, c. 1960. Courtesy - Display, Graphic Design Collection (thisisdisplay.org)

Can Graphic Design Save Your Life?

5JQT 㟭饌爙

pharmaceutical industry, and considers how graphic

designers deliver clear healthcare instructions to consumers

and health opens at Wellcome Collection in September 2017. Comprising some 200 objects including hardhitting posters, ashing pharmacy signs, and digital

teaching aids, Can Graphic Design Save Your Life? considers the role of graphic

design in constructing and communicating healthcare messages around the world and shows how graphic design has been used to persuade, to inform and to empower.

through carefully designed colour coding systems, written instructions and pill packaging. The front-line response in

battling epidemics continues to be crucial in global health. Renaissance plague notices and Victorian quarantine bills are displayed alongside global public health campaigns

sparked by the emergence of HIV/AIDS in the 1980s and

Ebola and Zika in Africa and Brazil respectively in the last few years.

The exhibition considers the persuasive strategies employed in shaping public

The ďŹ nal part of the exhibition considers how graphic

the 1980s. It also reveals the imaginative educational approaches taken to

response. Inspired by a contemporary reimagining of Ken

perceptions around smoking, featuring luxuriant advertising campaigns from instruct us about our bodies, from 16th century anatomical pop-up books

to 21st century apps, through to comic books advocating safe sex. The role

that design plays in informing and orientating people in medicalised spaces is also explored. These include the use of brightly coloured design schemes

design can empower people and provoke an individual

Garland s First Things First manifesto (1964), this section

includes powerful campaigns focused on raising awareness of breast cancer, and other complex conditions.

in children s wards to transform the hospital experience and improve

patient wellbeing in settings traditionally considered to be intimidating and unpleasant.

痧♧âŚ?乳鎣䎂ꏗé?¤éŽ™čŽ…⨴ä? ⛓ę&#x;ŚęĄ ⤚朸ăŁ?ă˜—ăž?錒 ա䎂ꏗé?¤éŽ™ă€łâ&#x;ƒä­‘佚⥚朸揰ă„?ăŒ¨îšŽŐ¸ ăź&#x;倴 䎃 ĺ‰˘ă–ˆä&#x;ƒä? ä˝?询긭ę&#x;šä?Œď˜ˇé‘Şăž?éŒ’âť˝ę§ŒâœŤâşŤä­?ä˛ƒé´€ć…¨ć?™朸徳ăœĄď˜śę&#x;?旪朸谔ä?…垌 é’&#x;ㄤ䞸㜜❋朸䞆㡸ă?źĺ‹žă–ˆâ°‰éľœ â&#x;?ćš&#x;ă…ˇď˜šăž?ć¤?âœŤäŽ‚ęŹ—é?¤éŽ™ă–ˆâš†ć­˛ă ?ă–’ĺœ“ä’Šă„¤âŤ„äš…é ş 揰âĽƒ⨴âĽŒäœ‚ĺ€°ęŹ—朸⥲揽ď˜šâ&#x;ƒâżťă¸?㼜⥌é„„揽ĺ€´é“žĺ‰Şď˜śăš’âŤ„ă„¤é˘­ĺĽšď˜ˇ

é‘Şăž?éŒ’â›łĺˇ’čŚˆâœŤé†˘č°”é ¤ĺ™ 朸â&#x;ąĺ™ ä•Žé&#x;?é?¤éŽ™ď˜šäąłéŽŁäŽ‚ꏗé?¤éŽ™ 䌌㼜⥌⢪揽é?¤éŽ™ă–ˆč’€ä•™玥ç„şçŚşçŞĄď˜śĺ‰…ęŹ—é“žĺƒˆă„¤č°”âšˇâşŤé…¤â™ł 㠢國饼ç˝?âŤ„éťƒĺƒˆç„ˇćś¸ę„´ć´žâĽŒäœ‚ď˜ˇăž?éŒ’âšĽă šĺ„˜ăƒ„ć¤?朸韊剤俒 č° ä—‚čŽ‡ĺ„˜ĺŠ?朸泹ć°‹é¸’ćżźď˜śçŹž㢾âľ„â??ĺ„˜ĺŠ?朸ĺ˘žć°‹ĺ˛ ĺ‘Şâ&#x;ƒâżťă„¤ ä Śĺžąć°ťď˜śă™Şâ˝ˆäŹ˜ď˜śă?ąâ˝“ć°ťĺŤŹćšąęĄ ćś¸ăš’âŤ„é?¤éŽ™ď˜ˇ

鸒麕ă”?ęłƒ âš†ç§ äŽƒâžżâ&#x;ƒ⢾éžŽăş˘ćś¸ä‘žăƒ‡ăš’âŤ„ĺ´žâš›ď˜šé¸?âŚ?ăž?éŒ’éŽŁé”¸âœŤé˝Ąâ?‰ć?€ä’¸ăźŹâ°—ćťž㟊

ăž?錒朸ĺ‰“ä–•â™§éżˆâ´•ăź&#x;鎣锸䎂ꏗé?¤éŽ™㼜⥌颭âœŽâžƒâŚ›ĺĽšâ¸‚ă„¤ć…¨

ç§ ćś¸é?‘âś†ç”¨ë„“ĺ‰…âľŒ âš†ç§ ćś¸äĽ°ćŹ˝éŽżâ&#x;?âą„âľŒ⌸㟏ă¸žďˆŁäš?é ¤ć?€朸ć 掼ĺ‰…ď˜šćšĄćś¸ĺƒ˝äž†㟏âžƒâŚ›

âžżę…žă?–ć™?ĺŠĽă‰ŹćśŽď˜šé¸?éżˆâ´•ăź&#x;⺍ä­?ꆚ㟊䲿ë„ž㟊âœŒč‰’ćľ“ă„¤â°ŚâžŽ

ď‰šć‘łćś¸éŒšä™‚ç˝œ买揽朸âş˜é“žç˜źćŽœď˜ˇé‘Şăž?錒韊ăź&#x;ăž?â´€㢾ç??㺢剤ä&#x;?⍚⸂朸äž†č‚Źĺ€°ä’­ď˜šä–° ⚆

姝無㖒钢é™?č?ˆäŠšćś¸é­¨ë„“ď˜ˇăž?錒韊ăź&#x;ęĄ ĺ˛¤äŽ‚ęŹ—é?¤éŽ™ă–ˆę„´ć´žç‘ ę&#x;ŚâšĽć?€âžƒâŚ›âŤ„麨âĽŒäœ‚ă„¤ăźŹă ˘ 朸⥲揽ď˜šâşŤä­?ă–ˆ⯼ç•™氝䨟⚼⢪揽늍鞴ę˛?č’€朸é?¤éŽ™ĺ€°ĺ‘Şď˜šâ&#x;ƒâżťé¸’麕佖㊼齥â?‰âŤ„窥♳鄄钢 ć?€â&#x;‚âžƒâ™śă¸ž朸ę„´ć´žćŠ‡ăžŻâ˘ľéą˛éšść°ťâžƒă–ˆę„´ę¤Ž朸ë„“ë€żď˜šéźŠĺ‰¤ä˛żë„žâžŽâŚ›朸çŠˇçˆ¸ď˜ˇ

朎ă”?估ď˜ˇă€ŒâľŒč‚Ľâ¸ˆ貽朸ա掚⚥⛓䚊㚒鎊ո  朸♧âŚ?掚 ä—‚꧚氭氝é’˘é™?朸ĺ‰¤â¸‚ăš’âŤ„ď˜ˇ

Fritz Khan, El hombre como palacio industrial. Man as palace of industry. Credit Wellcome Library, London

Advertising pamphlet for Sterosan, Geigy, c. 1960. Courtesy - Display, Graphic Design Collection (thisisdisplay.org)

The ďŹ rst major exhibition exploring the relationship between graphic design

Basquiat ďŹ rst came to the media s attention in

塴斯弎牚çœ&#x;ć­Łçš„çš ćŚŽ

Al Diaz to graďŹƒti enigmatic statements across

Jean-Michel Basquiat, Untitled 1982, Museum Boijmans Van Beuningen, Studio Tromp, Rotterdam

Basquiat: Boom for Real

1978, when he teamed up with his classmate the city under the collective pseudonym

SAMOŠ (a contraction of same old, same old shit ). He collaborated with other artists, most famously with Andy Warhol, created murals and installations for notorious New York

nightclubs including the Mudd Club, Area

and Palladium, and in 1983 produced Beat

Bop , a classic hip hop record with K-Rob and Rammellzee.

Basquiat: Boom for Real is the ďŹ rst large-scale

Highlights of this Barbican s exhibition include

artist Jean-Michel Basquiat (1960-1988). One of

of exhibited work, made for Diego Cortez s

exhibition in the UK of the work of American

the most signiďŹ cant painters of the 20th century,

watershed group show New York / New Wave

Basquiat came of age in the late 1970s in the

at P.S.1 in February 1981. Fifteen works are

New York. By 1982, he had gained international

years, allowing visitors to understand how

post-punk underground art scene in downtown recognition and was the youngest ever artist to participate in Documenta 7 in Kassel. His

vibrant, raw imagery, abounding with fragments of bold capitalised text, oers insights into both his encyclopaedic interests and his experience as a young black artist with no formal training.

brought together for the ďŹ rst time in over 35 Basquiat so quickly won the admiration of fellow artists and critics.

5JQT 㟭饌爙 ăž?éŒ“ăœĽă–‘ď˜ť#BSCJDBO "S U (BMMFS Z 䊟卹肤谀 é ŽâšĽä—ą

ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS ËŠ +BOVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X CBSCJDBO PSH VL

Since his tragic death in 1988, Basquiat has had remarkably little exposure in the UK.

Bringing together an outstanding selection of more than 100 works, Basquiat: Boom for Real

focuses on the artist s relationship to music,

writing, performance, ďŹ lm and television, placing

him within the wider cultural context of the time.

ա䊟倛㤇暜溍姝朸çą—ĺ›™Ő¸ĺƒ˝çšĄă•œč° é Żăšťé›Š ç˘œâ´—ć™‹Ë™

䊟倛㤇 暜 î™¸ă–ˆč–Šă•œ朸ꝡ匄ăŁ?ă˜—ăž?éŒ’ď˜ˇäŠź

ĺ€›ă¤‡ćšśĺƒ˝âœłâź§âš†ç§ ĺ‰“ę…žéŠ´ćś¸ćŽĽăšťâ›“â™§ď˜ˇâžŽă–ˆ äŽƒâžż ä–•ĺŠ?秣ç§‰â™´ă™šćś¸ä–•ĺ‰ŚâŻ˜ă–’â™´č° é Żĺ­¨ă• âšĽä§­ę&#x;€ď˜ˇâľŒ

äŽƒď˜šâžŽäŠşčš?č€Ťă•œ꼚ď˜šĺƒ˝ç—§â™Źăž‚â˝“ă?ąć™‹äż’ćĄ?ăž?âšĽĺ‰“äŽƒé°‹

ćś¸č° é Żăšťď˜ˇâžŽćś¸é‹•éŒ?铃鎊âŻ?ć€?ĺ´žâ¸‚ď˜šçŁ§ćĄ‰ç˝œâ™śę§¨ęˇ‡ď˜šâ¸ˆ

姽 ĺŚ„äŠźĺŤ˛č‚Ľč° é ŻâšĽä—ąăź&#x;ăž?ⴀ䊟倛 㤇 暜随朰â&#x;?⥲ ă…ˇď˜šâłźęł?Ⰼ⥲ㅡ莅갉ĺ?żď˜śăť¨âĄ˛ď˜śé‚?ć€ľď˜śę¨śä•§ă„¤ę¨śé‹• ç˜žč° é Żę&#x;Œ겳⛓ę&#x;Śćś¸ęĄ â¤šď˜šäŞžâžŽä˝žâľŒâœŤĺˆżä‘žęĄ€朸ĺ„˜ âžżäż’âť‹é“ƒăžŻâšĽéšŽé ¤éŽŁé”¸ď˜ˇ

䊟倛㤇 ćšśă–ˆ 䎃ꝡ匄ć?€㯯ë„“ ä¨žęĄ ĺ˛¤ď˜šćŽšĺ„˜âžŽ ㄤ㠚㡸꣚晋˙霔â??č˜˜朸ă –⥲â&#x;ƒďšł4".0hďš´ć?€ă ?ď˜š

ă–ˆ秣秉ă ?ă–’ă?¤ë’Şç‰&#x;çŒ˝ćś¸ăš’éŽŠď˜ˇâžŽéźŠă„¤â°ŚâžŽč° é Żăšť ă –⥲éş•ď˜šâ°ŚâšĽĺ‰“ĺ‰¤ă ?朸ĺ‰¤ă¸žéś”Ë™ĺ°†ęŠ›ć™‹ď˜šéźŠć?€č??ă ? ĺƒťčĄ˝ćś¸ç§Łç§‰㢚çą?ĺ‰šď˜šâşŤä­?ç? ä—ž⼥ĺ?żéżˆď˜śă–’ăš–⼥ĺ?ż éżˆă„¤ä‹ŞäŹ˜ĺ€›ç‰&#x;⍚⼥ĺ?żéżˆď˜šâśžâĄ˛ă —掼ă„¤é…¤ç¸¨âĄ˛ă…ˇď˜ˇ

ă–ˆ äŽƒâžŽéźŠčŽ…, 3PCㄤ3BNNFMM[FF✞⥲âœŤ Őˇ#FBU #PQŐ¸ď˜šâ™§ä“šçŤ¤â°Šćś¸ă?Şă† ę°‰ĺ?żăˆ–ć™šď˜ˇ

â™łçƒąć™šâť‹朸磧ë„“ăŁ?㝨朸äż’ĺŠĽď˜šé›Š䧎⌛䖤â&#x;ƒćş?ⴀ➎齥朰

姽匄ăž?錒朸â?Žë&#x;Š⺍ä­?䊟倛㤇暜剓ĺ‚?ĺŠ?⥲ă…ˇćś¸éżˆâ´•

⥎č?ˆⰌ娌倴 äŽƒä–•ď˜šă–ˆč–Šă•œęĄ ĺ€´âžŽćś¸â™§â´—â¤‘äŽ™â›–ć?‚

䧢Ë™çŒ°ć™‹ćšśĺ€›ç˜źâˇ”朸çşˆăž?ա秣秉 ĺ€žĺľ ćƒ?ո䨞✞⥲

çŒ°ďˆŁĺ‰…ä’­ćś¸čŽ‡錹⿝ĺŠ˘ă€Œéş•姝é‹Šč° é Żäž†č‚Źćś¸âŚ?➃獤ĺ¨œď˜ˇ ➃锓鼹ď˜ˇ

ę…žć¤?ď˜šâž˛âĄ˛ćŽšâ´˛ĺƒ˝ć?€ äŽƒâœłĺ‰˘â&#x;¨ă–ˆ秣秉1 4 éśœ 朸ď˜ˇăž?錒掚⚼剤 â&#x;?ꅞ銴ăž?ă…ˇĺƒ˝ 䎃⢾ꝡĺŚ„éšŽé ¤ ăž?â´€ď˜šé¸?ăź&#x;ĺ‰¤â¸”ĺ€´éŒšç˝?ĺˆżăĽŞă–’ć¤šé?‘䊟倛㤇暜⥌â&#x;ƒ 㼜姽ä˜°é¸ ă–’飡ä–¤č° é Żăšťă šé ¤âżťäŞĄé?ąăšťćś¸é›™é?Şď˜ˇ

Jean-Michel Basquiat, Untitled (Pablo Picasso), 1984, Provate collection

Jean-Michel Basquiat painting, 1983, Photo copyright Roland Hagenberg

a partial reconstruction of Basquiat s ďŹ rst body

Jasper Johns, Flag, 1958. Encaustic on canvas. 105.1 x 154.9 cm. Private collection Š Jasper Johns / VAGA, New York / DACS, London 2017. Photo: Jamie Stukenberg Š The Wildenstein Plattner Institute, 2017

Jasper Johns: ‘Something Resembling Truth’ čłˆć–Żĺ&#x;š ç“Šć–Żďźš čż‘äźźçœ&#x;相䚋牊

The Royal Academy of Arts presents an exhibition of the Honorary Royal

Widely known for his iconic images of ags,

ďŹ rst comprehensive survey of the artist s work to be held in the UK in 40 years.

has occupied a central position in American

Academician, Jasper Johns. Jasper Johns: 'Something Resembling Truth' is the

The exhibition comprises over 150 works including sculpture, drawings and

prints, together with new work from the artist. Johns is recognised as one of the

most signiďŹ cant and inuential artists of the twentieth and twenty-ďŹ rst centuries and the exhibition will span over 60 years from his early career, right up to the

Jasper Johns, Target, 1961. Encaustic and collage on canvas. 167.6 x 167.6 cm. The Art Institute of Chicago Š Jasper Johns / VAGA, New York / DACS, London. Photo: Š 2017. The Art Institute of Chicago / Art Resource, NY / Scala, Florence

present time.

targets, numbers, maps and light bulbs, Johns contemporary art since his arrival in New York

in the 1950s. By 1955 his use of accessible and

familiar motifs established a new vocabulary in painting. Johns treatment of iconography and

the appropriation of objects and symbols made the familiar unfamiliar, achieving this through the distinctive, complex textures of his works. Through his ground-breaking paintings and

sculptures, Johns established a decisive new direction in an art world that had previously

5JQT 㟭饌爙

Jasper Johns: Something Resembling Truth

ăž?éŒ“ăœĽă–‘ď˜ť3PZBM "DBEFNZ PG "S U T 薉㕂朽㚝č°€ é Žăˇ¸ĺ‰š

been dominated by Abstract Expressionism.

reveals the continuities and changes that

have occurred over the past six decades, and

ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS 0DUPCFS ĺˆżă˘´âĽŒäœ‚ď˜ťX X X SPZBMBDBEFNZ PSH VL

the curiosity and experimentation that Johns continues to apply to his current practice. The exhibition is arranged thematically,

č–Šă•œćś˝ăšťçšĄé Żăˇ¸ĺ‰šăź&#x;ć?€ĺ›™éš˜朽㚝ꤎ㥌饟倛㛆˙抾倛莊鳾ăž?錒ա饟倛

motifs and techniques including his unique use

ďˆŁęŹ—朸ĺ”šć¤šď˜ˇé‘Şăž?錒ăź&#x;ăž?â´€⺍ä­?ꧨă?–ď˜śç˛­ćŽĽâ&#x;ƒâżťć™?掼⥲ă…ˇç˜ž随 â&#x;?

encompassing the full range of Johns materials, of encaustic (heated beeswax) and collage in

paintings, and the innovations he has achieved in sculpture and the graphic arts by expanding the possibilities of traditional media. The title

㛆˙抾ĺ€›îš‰éľœâĄ‚溍暹⛓ćš&#x;Ő¸ď˜ˇé¸?ĺƒ˝č–Šă•œ 䎃⢾ꝡ匄ć?€抾倛朸⥲ă…ˇéšŽé ¤

ա饟倛㛆˙抾ĺ€›îš‰éľœâĄ‚溍暹⛓ćš&#x;ո䳡çˆšâœŤéş•⿥â°™⟧äŽƒč° é Żâš†ć­˛é…­ćś¸éšś

塆鼹㨼âľŒĺ‰“ĺ€ž朸✞⥲鿪ăź&#x;ă–ˆăž?éŒ’âšĽăƒ„ć¤?ď˜ˇ

ăž?éŒ’ä­žć’‘âšşę˛—éšŽé ¤ç˜źăž?ď˜šâ˘żăĽśćŠľĺ€›䨞买揽朸ĺ‹ž俲ď˜śă•Źä•Žă„¤äŞŽäŠŤď˜šâ°ŚâšĽ

ç§ ĺ‰“ę…žéŠ´ď˜śĺ‰“â°¨ä•§ę° â¸‚ćś¸č° é Żăšťâ›“â™§ď˜šâžŽéş•⿥ 䎃朸✞⥲ď˜šä–°č° é ŻćŹ°

抾倛剓 ä‘žć?€âžƒ 濟朸âžż é‚?ă•ŹâŤšĺ‰¤ĺ ŤăśŠď˜śęŹśăśŠď˜śäž¸ăśśď˜śă–’ă•Źă„¤ć•šĺ˛™ď˜ˇč?ˆ

resembling truth, some sense of life, even of

âžŽäą°ćŹ˝ăˆ°äŠ›ă€łä–¤ćś¸ĺ‚ˆäŒ˘ă•ŹâŤšçŞ?ç˛­ćŽĽč° é ŻäŒ&#x;⢾âœŤĺ€žé“ƒéŽŠď˜ˇâžŽăźŠă•ŹâŤšéšŽé ¤

grace, to icker, at least, in the work.

ꥏâœŤęĄ ę’łäš?朸ĺ€žĺ€°ă ˘ď˜šâ™§ä˝–姽⾚䏄é&#x;?é‚?ć¤?âšşçş?깆깧朸㽡ęŹ—ď˜ˇ

ę…žéŠ´âĄ˛ă…ˇď˜šâ°ŚâšĽéźŠâşŤä­?Ⰼ剓倞朸⥲ă…ˇď˜ˇćŠľĺ€›é„„é’˘ć?€ĺƒ˝âœłâź§âżťâœłâź§â™§âš†

of the exhibition comes from a statement

by Johns in 2006: One hopes for something

äœŤćś¸ĺŒŒéŠŻéšśä–¤ęŁŤćŹ°ď˜ˇé¸’éş•ę&#x;šâśžäš?朸粭掼ㄤꧨă?–ď˜šćŠľĺ€›ă–ˆč° é Żâš†ć­˛âšĽę&#x;š

äŽƒâžżâ˘ľâľŒ秣ç§‰ä–•ď˜šâžŽâ¤‘ĺƒ˝çšĄă•œ掚âžżč° é Żćś¸âšĽä—ąâžƒćš&#x;ď˜ˇâľŒ äŽƒď˜š

č´–ć¤šď˜šăźŠćš&#x;ă…ˇă„¤ç—˜č´ŤéšŽé ¤äŽąćŹ˝ď˜šé¸’éş•⥲ă…ˇâšĽć Źćšśç˝œä—‚꧚朸犥ĺœ“ď˜šé›Šć“ż

韄莅朎ăž?ď˜šâ›łäłˇçˆšâœŤćŠľĺ€›â™§ćšŹă–ˆ⥲ă…ˇâšĽçŒĽä­°čĄ˝ăĽŞăŁźă„¤ăťœë€żćś¸ç¤śç‰&#x;ď˜ˇé‘Ş ⺍ä­?âžŽăźŠé€•ä•™ć Źćšśćś¸â˘ŞćŹ˝ĺ€°ĺ˛ ď˜šă–ˆ粭掼âšĽäą°ćŹ˝ä­¨éĄŚď˜šé¸’éş•䏪㝍⍄窥㯯

âž?〳腋äš?ă–ˆꧨă?–ă„¤ă•Źä•Žč° é ŻâšĽä¨žäą°ćŹ˝ćś¸âśžĺ€žĺ€°ĺ˛ ç˜žç˜žď˜ˇăž?錒朸垌겗⢾ č?ˆ抾倛 䎃朸♧â&#x;¨č€Ťĺƒˆîš‰ďšłâžƒâŚ›çą?ĺƒ˝ä‹žĺŠ†ĺ‰¤éľœâĄ‚溍暹⛓ćš&#x;朸㜸ă–ˆď˜š é‚?ć¤?揰ă„?ď˜šâŤ„麨âŽ›ę§‰ď˜šč?›ăźąă–ˆč° é ŻâĄ˛ă…ˇé…­č…‹ćŽ†â™´ă —âŻ•ć™š纡ďš´ď˜ˇ

ĺ?—äşžč—?čĄ“ć–‡ĺŒ–é …ç›Ž

ăž?éŒ“ăœĽă–‘ď˜ť.BODIFTUFS 削䗢倛暾

Corrections to the First Draft of History

South Asia Art and Culture Programme

5JQT 㟭饌爙

ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS

ĺˆżă˘´âĽŒäœ‚ď˜ťX X X OFXOPS UIBOETPVUI PSH

New North and South is a network of eleven

arts organisations from South Asia and the

North of England. The exhibitions and events will take place at the Whitworth, Manchester

Art Gallery, Manchester Museum, Museum of

Science and Industry and HOME. The three-year project aims to connect with diverse audiences on both continents that showcase the best

of contemporary art from Bangladesh, India, Pakistan, Sri Lanka and the UK.

2017 programme highlights include the Whitworth to present

25 February 2018) at the Whitworth and throughout Whitworth

Neha Choksi, Waqas Khan, Mehreen Murtaza, Hetain Patel,

movement. The exhibition includes new commissions inspired

work of South Asian Modernists 1953-63; Solo exhibitions from Time Symposium Mexico

Raqs Media Collective: Twilight Language (30 September 2017 ‒

the ďŹ rst major UK exhibition by Raqs Media Collective and the

Risham Syed and a one-o performance lecture by Tentative

Collective at Manchester Art Gallery; 48hr one-o performance by Nikhil Chopra at the Museum of Science and Industry; Solo

show and interventions at Manchester Museum by Reena Saini Kallat.

Park explores the history of Surage and the birth of the labour by Manchester s industrial heritage. In the Collective s own

words, unravel worlds, make questions, haunt memorials, and

follow the tangled threads of how histories and ways of thinking about emancipation intersect.

é Żă•°ë„“3BRT㯯넓㟭犉朸ꝡâŚ?č–Šă•œăŁ?ăž?ď˜šâ&#x;ƒâżťçşˆăž? ա⽂â??ć¤?âžżâšşçş? î™¸Ő¸îšŠĺ‰‹ä—Łĺ€›ćšśçšĄé Żę¸­čŽŠ

éłľćś¸č° é Żăšťă§šă† Ë™ă‹ŽâŻ˜č—Śď˜śćŞłâ˝“ĺ€›Ë™â˝“ä›¸ď˜śéĽ&#x;ꨎ䛸˙

ç? 晋ă??äŠ&#x;ď˜śéĽ&#x;ę°žË™ä‹Şćšść™‹ď˜śćŚ°ăźżéŁ“çş?ä—žâŚ?ăž?â&#x;ƒâżťč°

This September Manchester s cultural institutions

âž›äŽƒâ›°ĺ‰˘ď˜šĺ‰‹ä—Łĺ€›ćšśćś¸äż’âť‹ĺ Ľĺœ“ăź&#x;éľ”⢾㢾⥙⪂ⴀ朸⽂â??ㄤ⽂â??é…“č–Šă•œč°

Asian descent in a celebration of shared heritage and

猺⴪朸ăž?éŒ’ă„¤é‚?ć€ľď˜ˇâ§Šâ˝Ťä?žď˜śäŠźă›‡ĺ€›ă—žă„¤ä–•⢾朸ăˇ†â¸ˆäŹ˜ă•œ䧭ç”¨â™Źâź§éš‹äŽƒâ›“

welcome leading South Asian and British artists of South historic connections through a series of exhibitions and

é Żăšťď˜šć?€âœŤäŁ”ç‰?䕚姽â°&#x;剤朸éź?援ă„¤ĺ¨œă€ˇĺš‡ĺ˝‚ď˜šă ?ĺ Ľĺœ“ăž‚ĺ„˜ĺ‰šă–ˆďˆŁă™šăž?ę&#x;šâ™§

꼚ď˜šâ°”ăŁ?ăž?錒ăź&#x;ăƒ„ć¤?ďˆŁĺ€žâš›â°¨ĺ‰¤ę&#x;šâśžäš?朸⥲ă…ˇď˜šç˝œę&#x;šä?Œä’­â™łéźŠĺ‰ščŽŠéłľĺˆżâ¸ˆ

é Żă•°ë„“é‘‘ë€żăź­çŠ‰朸♧匄äš?é‚?怾é—?ä? îšŠçŒ°ăˇ¸čŽ…äŠ¨ĺ™ â˝ˆćš&#x;긭⚼㽳éĽ&#x;Ë™ă‹Žĺ…œäŹ˜朸 ăź­ĺ„˜â™§ĺŚ„äš?é‚?怾剋 ä—Łĺ€›ćšśâ˝ˆćš&#x;긭ď˜šć­‹挰㍍Ë™â˝“čŹ ćšśäŒ&#x;⢾朸âŚ?➃ăž?錒 ă„¤č° é Żâž?â°…ď˜ˇ

㢾垺朸갉ĺ?żď˜śę¨śä•§ă„¤é‚?怾çœ?暥ď˜šéź?é”žéŒšćťžë„“ë€żéžŽăş˘ćś¸â˝‚â??äż’âť‹ď˜ˇ

Őˇ3BRT㯯ë„“ăź­çŠ‰îš‰ĺ‡„âŻ•é“ƒŐ¸î™ˇ 䎃 剢 ĺ‚ˆč?›

exhibitions present both new and seminal works, while a

倞⽂âť?ďš´ĺƒ˝ć­‹⟧♧âŚ?⽂â??ㄤ薊呔貽âť?éżˆćś¸č° é Żĺ Ľĺœ“䨞犉䧭朸珪çŞ„ď˜ˇăž?

倛Ⱇ㕨Ⰹ乳鎣韇莊弚朸ĺ¨œă€ˇă„¤äŠ¨âžƒéşŒâš›朸é’˛ćŹ°ď˜ˇ

opening weekend invited audiences to experience a wealth

긭ď˜śçŒ°ăˇ¸čŽ…äŠ¨ĺ™ â˝ˆćš&#x;긭ㄤ)0.&äż’âť‹âšĽä—ąď˜ˇé¸?âŚ?ć?€ĺŠ?â™˛äŽƒ朸갪暥ĺ‚Œă–ˆć?€â°?

performances across the city. Marking the 70th anniversary

of the creation of India, Pakistan and later Bangladesh, eight wider programme of music, ďŹ lm and performances for the of South Asian culture.

éŒ’ă„¤ĺ´žâš›ăœĽă–’â´•â´˝ă–ˆä&#x;ƒćšśĺ°†ĺ€›çšĄé Żę¸­ď˜śĺ‰‹ä—Łĺ€›ćšśçšĄé Żę¸­ď˜šĺ‰‹ä—Łĺ€›ćšśâ˝ˆćš&#x;

ăŁ?ĺ´Ž朸â™śă šéŒšćťžä’Šç”¨č€˘ç˛Żď˜šăž?爚⢾č?ˆăˇ†â¸ˆäŹ˜ă•œď˜śâ˝Ťä?žď˜śäŠźă›‡ĺ€›ă—žď˜śĺ€›é…­č˛˝ ⽓â&#x;ƒâżťč–Šă•œĺ‰“⪂ⴀ朸掚âžżč° é ŻâĄ˛ă…ˇď˜ˇ

䎃 剢 ĺ‚ˆî™¸ăź&#x;ă–ˆä&#x;ƒćšśĺ°†ĺ€›çšĄé Żę¸­ă„¤ä&#x;ƒćšśĺ°†

Ⰼ⚼韊⺍ä­?âœŤă€Œĺ‰‹ä—Łĺ€› ćšśäŠ¨ĺ™ ă‰ŹćśŽćś¸ďˆŁ 倞㨽鎡

⥲ă…ˇď˜ˇ3BRT㯯넓㟭犉铞䳡ę&#x;šâš†ć­˛ď˜šâśžé?¤ă‰?ę˛—ď˜š ă–ˆ ç§ ä™‚çƒľä–§ ä–‘ď˜šâ´•ĺ?€â?œ ę?Ť çłź 粕 朸é?‘佞 ĺ¨œ 〡 莅䙟 é¨&#x;ď˜ˇďš´

Raqs Media Collective, 2017, Sitting at the desk and alcove where Karl Marx and Fredrich Engels worked at Chetham s in 1845

䎃朸갪暥â?Žë&#x;Š⺍ä­?ä&#x;ƒćšśĺ°†ĺ€›çšĄé Żę¸­ćś¸â˝Ťä?žč°

Nadja Michael as Salome Royal Opera House, London, 2008 ROH Š Robbie Jack - Corbis. Corbis Entertainmen. Getty Images

Opera: Passion, Power and Politics

ć­ŒĺŠ‡ďźšćż€ćƒ…ă€ ćŹŠĺŠ›ĺ’Œć”żć˛ť The Victoria and Albert Museum, in collaboration with the Royal Opera House, creates a vivid and immersive journey through nearly 400 years of opera, exploring its passion, power and politics.

Opera: Passion, Power and Politics is the only

exhibition ever to explore opera on a grand scale, it Barbara Hannigan in Written on Skin. Director Katie Mitchell, designer Vicki Mortimer Š 2012 ROH Stephen Cummiskey

immerses visitors in some key moments of the history of European opera from its roots in Renaissance Italy

to its present-day form, by focusing on seven operatic premieres in seven cities. It reveals how opera brings together multiple art forms to create a multi-sensory

work of art, and show how social, political, artistic and economic factors interact with great moments in the

history of opera to tell a story of Europe over hundreds of years.

5JQT 㟭饌爙

é‘Şăž?錒ăź&#x;ăž?ⴀ錄麕 â&#x;?ćš&#x;ă…ˇď˜šă šĺ„˜â›łĺ‰¤ĺ§?âˇœé‚?

ăž?éŒ“ăœĽă–‘ď˜ť7 " .VTFVN 珞㢴âľ„â??莄꣚晋⠭暾⽇ćš&#x;긏

ä‹’ë‰“âŻ˜ 䎃朸աč›?ĺ?żçšĄŐ¸ä¨žâĄ˛ćś¸ĺ‰Şęˇ‡é?¤éŽ™îšŠä Ś

ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS ËŠ 'FCSVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X WBN BD VL

More than 300 extraordinary objects are shown alongside digital footage of compelling opera performances. Objects on display include Salvador Dali s costume design for Peter Brook s 1949 production of Salome; Music in the

Tuileries Gardens by Edouard Manet, a masterpiece of modernist painting contextualising Wagner s modern approach to music in 1860s Paris; the

ć€ľćś¸ä•§ć™šäš…ä˝žď˜ˇăž?ㅡ⺍ä­?čŽ?晋檳㢾Ë™麨âľ„ć?€ä•šä–¤Ë™ ä—ž čž Ë™ęź›㣞朸աĺ‹­â&#x;ťâš—ꅽ蔅㕨갉ĺ?żĺ‰šŐ¸ď˜šé¸? ĺƒ˝ ➎

äŽƒâžżĺ€´äŠźëžŤäą°ćŹ˝ćŞłĺ‘”ç§?ć¤?âžżę°‰ĺ?żć¤šä™‚✞⥲朸 ć¤?âžżâšşçş?粭掼⪂⥲询倴갉ĺ?żĺ¨œă€ˇä˝?询긭朸㪎晋 痧朸ա䭭䋒ĺ?“ո➲陗ꝡăœĽâ°—â°&#x;ĺ§?âˇœŐˇć˘ľé şâŻĽćś¸â¸ˆ

âą’ո⍌㜸朸â°?ĺŠĽĺˆźé™—â›“â™§îšŠ äŽƒçżąä•šä–¤ăœ„ꝡ怾 ćś¸č ąĺ€›ă??çŒ°çŹž㣟朸⯓ę?ľĺ§?âˇœŐˇă¨—匲ĺ€›âŻ˜ç°–朸ë?‹âŻ˜

术ăŁ—âžƒո➲㨼饝俲⛳ăź&#x;ꅞ倞䞎椚⚛ꝡĺŚ„ă–ˆâ¤œçš?倛 ⛓㢍ăž?â´€ď˜ˇ

original score of Verdi s Nabucco from the Archivio Storico Ricordi in Milan;

ăž?錒朸â™ŹăœĽă™šä‹‘ꝡ怾⺍ä­?㪎㽳倛Ղ褑暜ꯂ晋

č–Šă•œçŹž㢾âľ„â??ă„¤ęŁšć™‹â ­ćšśâ˝ˆćš&#x;긭ㄤ朽㚝ĺ§?âˇœę¤Žă –⥲â°&#x;ă šé?¤

di Poppea. Original material from the 1934 St Petersburg premiere of

աꅽç§?晋㢾ո  珞⛳ç§?Ő‚čœ“äŠ&#x;ćšśćś¸ŐˇéĄĽâ¸ˆ

Őˇĺ§?âˇœîš‰ć…¨äž•ď˜śĺĽšâ¸‚ă„¤ä˝&#x;ĺą›Ő¸ď˜šä–°âšĽäąłç¨‹âœŤĺ§?âˇœâšĽćś¸ć…¨äž•ď˜śĺĽš

displayed outside Russia for the ďŹ rst time.

éŽ™âœŤâ™§âŚ?늍崞朸ď˜śĺ°?ĺľśä’­ćś¸ď˜śĺ žé¨—âœŤéľœ 䎃朸ĺ§?âˇœĺ¨œă€ˇăž?錒 ⸂ㄤä˝&#x;ĺą›â™˛âŻ‹ç¨‡ď˜ˇ

é‘Şăž?éŒ’ĺƒ˝ĺ¨œă€ˇâ™łăˆ”â™§â™§âŚ?â&#x;ƒĺ§?âˇœć?€âšşę˛—朸ăŁ?ă˜—ăž?éŒ’ď˜šă¸?çżš

ć?‹â™Źä? 㙚䋑朸â™ŹăœĽĺ§?âˇœꝡć€ľď˜šé›ŠéŒšç˝?ç‘­ĺ”Žă–ˆĺ§˜ĺ´Žĺ§?âˇœĺ¨œă€ˇćśŽ

and one of two surviving scores from the ďŹ rst public opera L incoronazione Shostakovich s avant-garde Lady Macbeth of Mtsensk is reunited and

The seven cities and premieres are: Venice - Monteverdi s L incoronazione di

Poppea, 1642; London - Handel s Rinaldo, 1711; Vienna - Mozart s Le nozze

di Figaro, 1786; Milan - Verdi s Nabucco, 1842; Paris - Wagner s Tannhäuser,

ăž?朸ă ?âŚ?ę…žéŠ´ĺ„˜ĺŠ?é…­ď˜šä–°äż’č° ä—‚čŽ‡朎ăž?âľŒ掚âžżď˜ˇă¸?ăž?çˆšâœŤĺ§?

1861; Dresden - Strauss Salome, 1905; St Petersburg - Shostakovich s Lady

çˆ˘ĺ‰šď˜śä˝&#x;ĺą›ď˜śč° é Żă„¤çŤ¤ć†˜ă””ç¨‡ĺƒ˝ăĽśâĄŚä•§ę° ĺ§?âˇœă€ˇâ™łĺ‰“â¨€ăŁ?朸

headphones, dynamically changing as you explore the cities and objects, to

âˇœĺƒ˝ăĽśâĄŚçŠĄă –㢾ç??č° é Żä•Žä’­â˘ľâśžé¸¤ă˘ľä Žă¸˝ćś¸č° é ŻâĄ˛ă…ˇď˜šâ&#x;ƒâżť ćž–ę&#x;Śď˜šä–°ç˝œ⢪ä–¤ĺ§?âˇœä–¤â&#x;ƒ霤é“žĺ§˜ĺ´ŽäŽ™ćś°äŽƒ朸ĺ¨œă€ˇď˜ˇ

Macbeth of Mtsensk, 1934. World-leading opera performances are played via create an evocative and fully immersive sound experience.

éś”ćś¸Őˇć˘ľé şâŻĽćś¸â¸ˆâą’Ő¸î™ˇ â§?äžšŐ‚â?Łä—žć™‹朸

çš?朸㭜狲ո  î™¸îšŠç˘œ貽Ő‚㪎晋痧朸ա䭭䋒ĺ?“Ő¸

  䊟랍Ղ檳ĺ‘”ç§?朸ա㇍é&#x;?挹ո   䗞 稥倛갞Ղ倛暜⚪倛朸աč›?ĺ?żçšĄŐ¸  翹䕚䖤 ăœ„Ő‚č ąĺ€›ă??çŒ°çŹž㣟朸ա㨗匲ĺ€›âŻ˜ç°–朸ë?‹âŻ˜术㣗

âžƒŐ¸  î™¸ď˜ˇâĄšă€łâ&#x;ƒé¸’éş•çžŽĺ ĽĺŚ‡颣⚆歲ꝡ㞅♧䭸 朸ĺ§?âˇœé‚?ć€ľď˜šęŚ‘襽⥚錚ćş?厼ä? 㙚䋑ㄤăž?ă…ˇď˜šę°‰ĺ?ż

鿪ĺ‰šĺ‰¤ä¨Ąâˇœäš?ă–’éšśâť‹ď˜šâśžé¸¤â´€â™§ç??ĺľśĺ°?䒭朸耍갉 ë„“ë€żď˜ˇ

ա䊯č“‡Ë™äł“ĺŒĄŐ¸ăž?éŒ’âť˝ę§ŒâœŤ â&#x;?⥲ă…ˇď˜šéˇ†彸âœŤ 㼠㢾援朸č€ˇĺ™ 揰ĺˇ†âšĽćś¸ęĄ ę’łĺ„˜ĺŠ?ď˜šâşŤä­?㼠ă–ˆ

Tove Jansson (1914-2001)

äŽƒâžżćś¸ă€ŒéŚ„ć¤?ăťœâšşçş?ä•§ę° 朸粭掼ď˜ś

äŽƒâžżćś¸äŹ„é&#x;?⥲ă…ˇď˜śé•žâľžäš?朸⿞䨞ć 掼ㄤ剅㟓é?¤

ć‰˜čŠ™ ć?šć?ž

éŽ™ď˜šâš›ďˆŁęŹ—ăž?çˆšâœŤă¨—ă…•朸ĺ‚?ĺŠ?虋㕏ㄤ鸎抇掼➲ ç?łď˜ˇ

é¸?匄ăž?錒韊剚ăž?â´€äł“ĺŒĄćś¸č?ˆ掼⍚ď˜śę´?兞ㄤꏆćš&#x; 掼ď˜šâ°ŚâšĽé?Şă˘ľä–°ĺŠ˘ă–ˆč–Šă•œăž?â´€ď˜ˇäł“ĺŒĄâ™§ćšŹé‹•č?ˆ

äŠšĺƒ˝â™§ ⥙掼㚝ď˜šă–ˆâ°Śč° é ŻćŹ°ĺˇ†朸痧♧ âŚ?⟧䎃

é…­ď˜šăĽ ✞⥲âœŤç??겳㢾ä–¤ë ‡âžƒ朸äł„掼ď˜šă¸?⌛ęł?爚 âœŤäł“ĺŒĄäž’⥲äž’ć?€čŽ…㛚寚⿞㟊ä¨žć˜°ď˜śĺ˛ éŠŻĺ€›âšşçş?

ㄤ噲弚⚺çş?朸䢀ä?žď˜ˇäł“ĺŒĄă–ˆä¨žć˜°ĺŠ?ę&#x;Śâ¤‘ę&#x;š㨼äš‹ 㝨ă¨—ĺƒˆ朸佌âœ˛ď˜šé¸?âŚ?ć 掼ä•Žé&#x;?犥ă –âœŤăĽ éş•âžƒ朸

č° é ŻăŁ”â´•čŽ…ĺ´Šĺ†ąćś¸äż’ç˜˜ď˜ˇă–ˆ➲ć™?㕏剅䳄掼朸ăž? çˆšâšĽéŒšćťžă€łâ&#x;ƒéšŽâ™§ĺ§żâœŤé?‘ă¨—ĺƒˆę´?ćƒ?朸鼹ĺ˝‚ď˜ˇ

The Dulwich Picture Gallery presents the ďŹ rst major UK retrospective of work by one of

the most celebrated illustrators of the 20th century, Tove Jansson (1914-2001). Known

internationally as the creator of the Moomin

Tove Jansson, Illustration for the book Comet in Moominland, 1946, wash and indian ink, 15,8 x 15,8 cm, Moomin Museum, Tampere Art Museum Moominvalley Collection. Photo: Finnish National Gallery / Hannu Aaltonen.

ć?€âœŤé›Šâ°—杞ꅞ倞钢é™?é¸?⥙㢾äŠžă˘ľč° ćś¸č° é Żăšťď˜š

continues to stretch across generations,

Jansson s wider outputs of graphic illustration

and painting are relatively unseen outside her

5JQT 㟭饌爙

home country of Finland.

ăž?éŒ“ăœĽă–‘ď˜ť%VMXJDI 1JDUVSF (BMMFS Z 麧âľ„㣟掼ä?¤

Tove Jansson brings together 150 works to

ĺˆżă˘´âĽŒäœ‚ď˜ťX X X EVMXJDIQJDUVSFHBMMFS Z PSH VL

reintroduce Jansson as an artist of exceptional

ăž?éŒ“ĺ„—ę&#x;Śď˜ť 0DUPCFS ËŠ +BOVBS Z

breadth and talent, tracing the key stages of her proliďŹ c career including her surrealist-

inspired paintings of the 1930s and abstract work of the 60s, her satirical anti-war

cartoons and book jacket designs, as well as

The exhibition opens with Jansson s self-portraits,

the Moomin characters and original comic

been seen before in the UK. She always considered

a comprehensive display of early sketches for strips.

landscapes, and still-lifes, many of which have never herself primarily a painter. During her ďŹ rst decades

as an artist, Jansson produced an astonishing variety of illustrations which reveal Jansson s boldness and staunch opposition to war, fascism, and

麨âľ„㣟掼ä?¤ć?€âœłâź§âš†ç§ 剓襽ă ?朸äł„掼㚝⛓♧䊯㣗˙

äł“ĺŒĄčŽŠéłľâœŤâ°Śă–ˆč–Šă•œ朸ꝡ匄ăŁ?ă˜—ă”?ęłƒăž?ա䊯㣗˙䳓

ĺŒĄî™ˇ î™¸Ő¸ď˜ˇäł“ĺŒĄă””ć?€✞⥲ă¨—ĺƒˆé¸?âŚ?ę´?ꏖ䞸 âžżâžƒ朸ć 掼ä•Žé&#x;?ă„¤ĺ‰…çĄƒç˝œâ?§éš˜âš†ć­˛ď˜šăťœ꼚♳㼠朸✞ ⥲韊ĺś?âżťâľŒäŽ‚ęŹ—äł„掼ă„¤ĺą˜掼ď˜šć?­ç˝œă¸?âŚ›ă–ˆäł“ĺŒĄćś¸ç‰? ă•œč“¸č˛˝â›“㢍暹㟊âš›ĺŠ˘ă€ŒâľŒęĄ ĺ˛¤ď˜ˇ

totalitarianism. The Moomin characters brought

together Jansson s gifts as an artist with her uency as a writer. Jansson began writing stories about the Moomin during the war. A display of original book illustrations provides an insight into the genesis of the Moomin phenomenon.

Tove Jansson, Smoking Girl (Self-Portrait), 1940, Private Collection. Photo: Finnish National Gallery / Yehia Eweis. ŠMoomin Characters

Tove Jansson in her studio ŠPer Olov Jansson

characters and books, a phenomenon which

special pictorial and thematic characteristics of CĂŠzanne's portraiture,

奞尚䚋肖ĺƒ?

versions of the same subject. The chronological development of CĂŠzanne's portraiture is considered, with an examination of the

Self Portrait in a Bowler Hat, 1885-86 by Paul CĂŠzanne Ny Carlsberg Glyptotek, Copenhagen. Photo: Ole Haupt

CĂŠzanne Portraits

including his creation of complementary pairs and multiple

changes that occurred with respect to his style and method, and his understanding of resemblance and identity. The exhibition

also discusses the extent to which particular sitters inected the characteristics and development of his practice.

Works included in the exhibition range from Cezanne's remarkable

portraits of his Uncle Dominique, dating from the 1860s, through to his ďŹ nal portraits of Vallier, who helped CĂŠzanne in his garden and 5JQT 㟭饌爙

The National Portrait Gallery is to stage the ďŹ rst

ăž?éŒ“ăœĽă–‘ď˜ť/BUJPOBM 1PS USBJU (BMMFS Zč–‰ă•œă•œăšťč °âŤ¸ćŽĽä?¤

CĂŠzanne. This major new exhibition, CĂŠzanne

ăž?éŒ“ĺ„—ę&#x;Śď˜ť 0DUPCFS 'FCSVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X OQH PSH VL

studio, made shortly before the artist's death in 1906.

exhibition devoted entirely to portraits by Paul

CÊzanne is widely understood to be one of the most inuential

Portraits, brings together for the ďŹ rst time over 50

Impressionist, his unique method of building form with colour,

of CĂŠzanne's portraits from collections across the world.

Portraits previously unseen in the UK include the

artists of the nineteenth century. Generally categorised as a Postand his analytical approach to nature inuenced the art of Cubists, Fauvists, and successive generations of avant-garde artists. Both Matisse and Picasso called CÊzanne the father of us all.'

artist's arresting Self Portrait in a Bowler Hat(1885-

6). Also on UK display for the ďŹ rst time since the

1930s is Boy in a Red Waistcoat(1888-90), one of a identiďŹ ed as Michelangelo de Rosa, and Madame

CĂŠzanne in a Yellow Chair (1888-90) last exhibited

in London in 1936 and 1939 respectively.

âĽƒçš?Ë™ă?ąăźżî™ˇ ♧揰⚼掼麕秉 äŒ´č ą

Paul CĂŠzanne (1839-1906) painted almost 200

ăźżâ›“č ąâŤšŐ¸äąłç¨‹âœŤâ°Śč ąâŤšćŽĽćś¸ç˛­ćŽĽćšśä—šâżťâšşę˛—ćšś

portraits during his career, including 26 of himself and 29 of his wife. CĂŠzanne Portraits explores the

⍚掼ď˜šâ°ŚâšĽč?ˆ掼⍚ äŒ´ď˜šâ°ŚăŁ—âžƒ朸掼⍚ äŒ´ď˜ˇŐˇă?ą

ä—šď˜šâşŤä­?âžŽä¨žâśžćś¸âœ˝é…˘č’€ä•™ď˜šâ&#x;ƒ⿝㟊ă šâŚ?⚺겗朸㢾 ć™?ĺŠĽâśžâĄ˛ď˜ˇé¸’éş•㝤é‹•ă?ąăźżč° é Żę´?ĺ‘”ă„¤âśžâĄ˛ĺ€°ĺ˛ 朸

éšśâť‹ď˜šâ&#x;ƒâżťâžŽăźŠćšąâŤšäš?ㄤ♧č?žäš?朸椚é?‘ď˜šé‘Şăž?錒

ă”?ęłƒâœŤă?ąăźżč ąâŤšč° é Żćś¸ĺ„˜ę&#x;Śäš?朎ăž?ď˜ˇăž?錒韊鎣锸

âœŤâ™§â?‰ĺž¸ćšśă–ˆâ™§ăš 玑ä?žâ™łä•§ę° âœŤă?ąăźżč° é ŻăťœéŠ?朸 暜蒀ㄤ朎ăž?ď˜ˇ č–Šă•œă•œăšťč ąâŤšćŽĽ ä?¤ăź&#x;莊 鳾ꝡâŚ?âĽƒçš?Ë™ă?ąăźżč ąâŤšăž?ď˜ˇé¸?

âŚ?ă ?ć?€Őˇă?ąăźżâ›“č ąâŤšŐ¸ćś¸ăŁ?ă˜—ăž?錒ăź&#x;ăž?â´€⢾č?ˆďˆŁâš†歲朸 随 䌴ă?ąăźżâśžâĄ˛ćś¸č ąâŤšćŽĽď˜ˇ

é‘Şăž?錒ăž?â´€âœŤâ›“âľšä–°ĺŠ˘ă–ˆč–Šă•œăž?â´€朸աă•Šę°Ľç‹˛äŒ¨č?ˆ掼

⍚ո î™¸îšŠă šĺ„˜ď˜šâ›łĺ‰¤ äŽƒâžżä–•ă˝ ĺŠ˘ĺ‰Žă–ˆč–Šă•œ ăž?â´€朸աç‘­ç§‹č’€ęź›ć­Œ朸歑㡛ո î™¸ď˜šé¸?ĺƒ˝ă?ąăźżć?€ â™§é­¨čĄ˝ä ‘ăŁ?⾄剪ꡇ朸ć­‘ꍭ䎃䨞⥲朸猺⴪掼⥲â›“â™§ď˜šçŤ¤éş•

éłşé’˘ď˜šé¸?⥙歑ꍭäŽƒĺƒ˝ç˘œę&#x;šĺ‰˝ă›‡çš?˙䗞˙çš?čŽ?韊剤ĺ‚?ă–ˆ

äŽƒă„¤ äŽƒĺ‰Žĺ€´â§?äžšăž?ⴀ麕朸ա랔喹♳朸ă?ąăźżăŁ— âžƒŐ¸  î™¸ď˜ˇ

é‘Şăž?錒ăž?ㅡ⺍ä­?ă?ąăźż äŽƒâžżć?€â°Śă€ˆă€ˆ㢾ç˘œ㽳âŻ˜ 粭é†˘ćś¸â´€č’€č ąâŤšćŽĽď˜šâľŒ 䎃ă?ąăźżĺ¨Śâľšâ™śâ›‰ć?€ă•¨ ♨ㄤ掼㚔⸔䊛檳ꅽ晋䨞⥲朸⥲ă…ˇď˜ˇ

ă?ąăźżé„„ ä‘žĺ˛Œé’˘ ć?€ĺƒ˝âź§â›°âš†ç§ 剓剤䕧 ę° â¸‚朸掼㚝 â›“â™§ď˜ˇâ™§č?›é’˘ć?€âžŽĺƒ˝ä–•⽍é&#x;?崣掼㚝ď˜šâ°ŚćŹ˝č’€ă?–ä•Ž â&#x;ƒ⿝揽â´•ĺ?€ĺ€°ĺ˛ 䲞粭č?ˆć?­ćś¸ć Źćšśĺ€°ĺ˛ ä•§ę° âœŤç”¨ë„“

ĺ´Łď˜śę…żćĄŠĺ´Łâżťä–•âš†朸ćťž㢾⾚ę?ľč° é Żăšťď˜ˇęź›裌倛ㄤ掗 ⸈程鿪䪞ă?ąăźżç?–⥲ďšłć¤?âžżç˛­ćŽĽâ›“ć˜żďš´ď˜ˇ

Madame CĂŠzanne in a Yellow Chair, 1888-90 by Paul CĂŠzanne Wilson L. Mead Fund, 1948.54, The Art Institute of Chicago

Boy in a Red Waistcoat, 1888-90 by Paul CĂŠzanne National Gallery of Art, Washington. Collection of Mr. and Mrs. Paul Mellon, in Honor of the 50th Anniversary of the National Gallery of Art, 1995.47.5

series of paintings of a young man in Italian clothes

â™śĺƒ˝ä—łć?­ćś¸ĺ€žé‹…é?‘ď˜ˇé¸’éş•â?€ăŁ?⚺겗ç‰&#x;çżą 넓ㄤ䏄é&#x;?ď˜šé‘Şăž?éŒ’ç ‡ç‘–âœŤëžąď˜śćśŻă„¤ćŠŤç˛­ćŽĽ 朸ă€Ľâ™§ęą†ăš–ď˜šâżśç?–ćŠŤč’€ä•™ç˛­ĺ˛ ď˜ˇ

ć¤?㜸剓ĺ‚?买揽ćŠŤč’€ĺž¸äşźĺľĽę§¨ćŽĽĺ˛ 朸銯倰

喎色靑白皪畍

č° é Żă…ˇé’˛ćŹ°ĺ€´âšĽâš†ç§ ď˜šé¸?ĺƒ˝â™§ç??ⴀ倴贓铇 䊞✞鸤朸⥲ă…ˇď˜šćšĄćś¸ć?€âœŤâ¨žâľŒë€?ꤑ䗹⚼朸

꧚ä™‚ď˜šâ¨žâľŒä—ąć?‚ĺ€žęż†ď˜ˇä–° âš†ç§ éĽąď˜šč° é Ż 㚝⌛㽠鸒麕✞⥲랹术稇䲞⿥ç‘łç śćŽĽâĄ˛âšş ę˛—ă„¤ĺœ“ă•Źä¨žä˛żâ´€朸äŽ‹ä¨žď˜ˇ

â›“ä–•ď˜šéŚŠ⢾錊㢾朸种抍蒀掼⥲ㅡ鄄⥲ć?€ć Ź ç”¨ćś¸č° é Żă…ˇâ˘ľâśžâĄ˛ď˜ˇäŽ™âŚ?âš†ç§ â&#x;ƒ⢾ď˜šč° é Ż

This autumn, the National Gallery presents a journey

ăšťâŚ›ă–ˆ粭掼⚼鸒麕垸â&#x;Źç€–ꧨ朸㢍錚⢾階

through a world of shadow and light: Monochrome:

é ¤č?ˆ䧎äŽ‹ä¨žď˜šă šĺ„˜čŽ…ć™?掼ď˜śäź˘ä•§ă„¤ę¨śä•§ćś¸

Painting in Black and White. With more than ďŹ fty

倞朎ăž?ćšąâœ˝ç•šć˜°ď˜ˇă šĺžşă–’ď˜šäŹ„é&#x;?ㄤ酤縨č°

painted objects created over 700 years, it is a radical

é Żăšťâ™§ćšŹéżŞé„„ëžąćśŻä¨žď‰šä’¸ď˜ˇćŽšč° é ŻăšťâŚ›äŠş

new look at what happens when artists cast aside the

獤č…‹ęŚ‘ä ‘⢪揽â&#x;¤âĄŚâ™§ç??〳腋朸č’€é”…ĺ„˜ď˜šč’€

colour spectrum and focus on the visual power of

ä•™朸ĺś‹ăŁ&#x;âżžç˝œĺ‰šĺˆżâ&#x;‚➃ęŠ?ë ‡䧴朎âžƒĺš€ćş ď˜ˇ

black, white, and everything in between.

Paintings and drawings by Old Masters such as Jan van Eyck, Albrecht DĂźrer, Rembrandt van Rijn, and JeanAuguste-Dominique Ingres appear alongside works by some of the most exciting contemporary artists

working today including Gerhard Richter, Chuck Close, Bridget Riley, and an immersive light installation by

5JQT 㟭饌爙 ăž?éŒ“ăœĽă–‘ď˜ť/BUJPOBM (BMMFS Zč–‰ă•œă•œ㚝掼ä?¤

ăž?éŒ“ĺ„—ę&#x;Śď˜ť 0DUPCFS 'FCSVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X OBUJPOBMHBMMFS Z PSH VL

Olafur Eliasson.

Monochrome reveals fresh insights into the use of

The earliest surviving works of Western art made in grisaille

ďŹ ve themes Sacred subjects, Studying light and shade,

to eliminate distractions, and focus the mind. From the 15th

colour as a choice rather than a necessity. Through

An artistic aesthetic, Challenging other media and

Abstraction, Monochrome addresses a dierent aspect

of painting in black, white and grey, also known as grisaille.

âž›äŽƒçŒ¨ăŁ”ď˜šă•œ㚝掼ä?¤äŒ&#x;⢾âœŤâ™§ăœĽé¸’ä–ƒâŻ•ä•§âš†歲朸ĺ ‡çŽ‘Őˇă‹˛

č’€îš‰ëžąćśŻç˛­ćŽĽŐ¸ď˜ˇâť˝çżšâœŤâ?€⟧䎙â&#x;?钲揰倴 㢾䎃⾚朸⥲ă…ˇď˜š é¸?錍ĺ ‡çŽ‘ăź&#x;â&#x;ƒâ™§âŚ?ďˆŁĺ€žď˜śâľšé şćś¸éŒŹä?žćş?ä–Šč° é ŻăšťâŚ›ä–°äŹšĺ”łč’€

é™—ď˜šâľŒę§ŒâšĽĺ€´ëžąćśŻćś¸é‹•éŒ?é źäššď˜šâ&#x;ƒâżťâž?倴â°?蒀⛓ę&#x;Śćś¸â&#x;¤âĄŚă€ł č…‹ď˜ˇ

ĺ‚?ĺŠ?朸ăŁ?äŒŒâŚ›㼜äł“Ë™çœ•Ë™č’•âŻ˜ď˜śâš“âš—ď˜śâ§?⸽剽ㄤ㸞呔晋朸ĺą˜掼

⿝稇䲞⥲ă…ˇăź&#x;莅掚♴剓崞鏪朸掚âžżč° é Żăšťćś¸âĄ˛ă…ˇâ™§ă šăž?â´€ď˜š Ⰼ⚼⺍ä­?ĺ‘”ă† ä—žË™ę…˝ä‹žćšśď˜śĺ?†âŻ˜Ë™âŻ˜峍ĺ€›ď˜śä‹’ę…˝ăŁźćšśË™éŁ…âľ„朸 ⥲ă…ˇď˜šâ&#x;ƒ⿝㤚äŹ˜çŹžć™‹Ë™ă™Şâľ„â??ĺŒĄćś¸ĺ°?ĺľśä’­ć•šâŻ•é…¤ç¸¨ď˜ˇ

were created in the Middle Ages for devotional purposes,

century onward artists made drawings in black and white to work through challenges posed by their subjects and compositions.

Increasingly, paintings in grisaille were made as independent works of art, complete unto themselves. For centuries artists have challenged themselves to mimic the appearance of stone sculpture in painting, to compete with new

developments in printmaking, photography and ďŹ lm.

Abstract and installation artists have always been drawn to black and white. When artists have ready access to every possible hue, the absence of colour can be all the more shocking or thought-provoking.

Stained Glass Panel with Quarries and a Female Head, about 1320-4, Paris Grisaille glass with silver stain, 59.5 x 39 cm, Š Victoria and Albert Museum, London

Domenico Ghirlandaio or workshop of Andrea del Verrocchio,Drapery Study (possibly study for Saint Matthew and an Angel), about 1477, Brown and black wash heightened with white on brown linen, 26.2 x 17.1 cm, Š Kupferstichkabinett. Staatliche Museen zu Berlin / Photo: JÜrg P. Anders

Monochrome: Painting in Black and White

ę˛—ĺ‹žď˜śâŻ•ä•§ç ‡ç‘–ď˜śč° é Żăť¤çšĄď˜śäŽ‹ä¨žâ°ŚâžŽăŻŻ

Jan van Eyck, The Annunciation Diptych (The Archangel Gabriel; The Virgin Mary), about 1433‒5, Oil on panel, left wing 38.8 Ă— 23.2 cm, right wing 39 Ă— 24 cm, Š Museo Thyssen-Bornemisza. Madrid

ա㋲蒀ո⍄麨âœŤäŞžę˛?č’€朸⢪揽⥲ć?€éź‡äšľç˝œ

Reclining Nude, 1919, Oil on canvas, 724 x 1165 mm, Museum of Modern Art, New York

Modigliani čŽŤčżŞé‡Œé˜żĺ°ź

Tate Modern stages the most comprehensive Jeanne HĂŠbutern, 1919, Medium Oil paint on canvas, 914 x 730 mm, The Metropolitan Museum of Art, New York

Modigliani exhibition ever held in the UK, bringing together a dazzling range of his iconic portraits,

sculptures and the largest ever group of nudes to be

shown in this country. Including almost 100 works, the exhibition Modigliani re-evaluates this familiar ďŹ gure,

looking afresh at the experimentation that shaped his

career and made Modigliani one of the greatest artists of the twentieth century.

A section devoted to Modigliani s nudes is a major highlight. In these striking canvases Modigliani

invented shocking new compositions that modernised

5JQT 㟭饌爙

largest group ever seen in the UK, with paintings

ăž?éŒ“ăœĽă–‘ď˜ť5BUF .PEFSO 岲ćšľć¤?âžżçš é Žę¸Ź

ďŹ gurative painting. A group of 10 nudes will be the

including Seated Nudeďźˆ1917and Reclining Nude

ďźˆ1919.

ăž?éŒ“ĺ„—ę&#x;Śď˜ť /PWFNCFS ËŠ "QSJM ĺˆżă˘´âĽŒäœ‚ď˜ťX X X UBUF PSH VL

The exhibition begins with the artist s arrival in Paris, exploring the creative environments and elements of popular culture that were

central to his life and work. Inspired by the art of Paul CĂŠzanne, Henri

Toulouse-Lautrec and Pablo Picasso, Modigliani began to experiment 岲ćšść¤?âžżçšĄé Żę¸­čŽŠéłľâœŤč–Šă•œé´ťâž›ĺ‰“ďˆŁęŹ—朸čœ“éś”ę…˝ęŁš㽳⥲ă…ˇăž? Őˇčœ“éś”ę…˝ęŁš㽳ոď˜šăž?â´€朸⥲ㅡ⺍ä­?Ⰼ剓Ⱘ垌é’&#x;äš?ćś¸č ąâŤšćŽĽď˜ś

ꧨă?–âżťč–Šă•œé´ťâž›ĺ‰“ăŁ?鋊垸朸醗넓掼⍚ď˜ˇé¸?匄ăž?錒ăž?ⴀ秉

and develop his own distinctive visual language. The exhibition is also reconsidered the role of women in Modigliani s practice,

particularly an important ďŹ gure -poet and writer Beatrice Hastings.

â&#x;?⥲ă…ˇď˜šę…žĺ€žé?ąâ ŽâœŤé¸?⥙ć?€âžƒć“żäœŤćś¸č° é Żăšťď˜šćŹ˝ďˆŁĺ€ž朸倰䒭

The exhibition concludes with some of Modigliani s best-known

ĺ™ ď˜šâš›⢪➎䧭ć?€âœłâź§âš†ç§ 剓⨀ăŁ?ćś¸č° é Żăšťâ›“â™§ď˜ˇ

much-needed ďŹ nancial and emotional support during his turbulent

ćş?ä–ŠâžŽä¨žäą°ćŹ˝ćś¸ăťœë€żäŠ›ĺ˛ ď˜šç˝œ姝ĺƒ˝é¸?â?‰äŠ›ĺ˛ ä§­ă˝ âœŤâžŽćś¸âœ˛ é‘Şăž?錒â&#x;ƒč° é ŻăšťâľŒ麨䊟랍ć?€鼹ë&#x;Šď˜šäąłéŽŁâœŤăźŠâ°ŚćŹ°ĺ´žă„¤âĄ˛ă…ˇéĽą âľŒę…žéŠ´ä•§ę° 朸✞ĺ€žćŠ‡ăžŻă„¤ĺ´Šé ¤äż’âť‹âŻ‹ç¨‡ď˜ˇă€ŒâĽƒçš?Ë™ă?ąăźżď˜śâ?Ł

âľ„Ë™ä—žË™ă•Źćš–č˜˜ çš?ćšśâ´ŞâŻ˜ă„¤ä‹Şä‹’峍Ë™ćŽ—â¸ˆç¨‹朸ă‰ŹćśŽď˜ščœ“éś”ę…˝

꣚㽳ę&#x;š㨼ăťœë€żâš›ä•Ž䧭č?ˆäŠšć Źćšśćś¸é‹•éŒ?é“ƒéŽŠď˜ˇé‘Şăž?éŒ’â›łę…žĺ€ž㝤 é‹•âœŤčœ“éś”ę…˝ęŁšă˝łč° é ŻăťœéŠ?⚼朸ăĽ?äš?éŒŹč’€ď˜šă˝?â°Śĺƒ˝â°ŚâšĽâ™§âĄ™ ꅞ銴ăĽ?äš?Ő‚é‘˜âžƒă„¤âĄ˛ăšťç„—睟窣Ë™ĺľłĺ€›â™¨ĺ€›ď˜ˇ

depictions of his closest circle. Friends and lovers provided him with life while also serving as models. Jeanne HĂŠbuterne, the mother of

Modigliani s child and one of the most important women in his life. When Modigliani died in 1920 from tubercular meningitis, Jeanne

tragically committed suicide. Tate Modern brings together several

searching portraits of her from Modgliani s ďŹ nal years, which depict her in a range of guises from young girl to mother.

čœ“éś”ę…˝ęŁš㽳朸醗넓掼⍚ĺƒ˝ĺŠĽĺŚ„ăž?â´€朸ę…žęą§ä¨Ąď˜ˇă–ˆé¸?â?‰â&#x;‚ âžƒë ‡掯朸⥲ă…ˇâ™łď˜ščœ“éś”ę…˝ęŁš㽳朎ĺƒˆâœŤďˆŁĺ€ž朸ĺœ“ă•Źĺ˛ ď˜šâš›

⢪Ⱘé&#x;?粭掼ä–¤â&#x;ƒć¤?âžżâť‹ď˜ˇâ°&#x;剤⺍ä­?ա㗂㪨醗넓⍚ ո ㄤա⌭ăި醗넓⍚ î™¸Ő¸ă–ˆâ°‰朸⟧䌴醗넓⥲ㅡ鄄ăž?â´€ď˜š é¸?ĺƒ˝ĺ¨œă€ˇâ™łč–Šă•œăž?â´€é‘Şč° é ŻăšťâĄ˛ă…ˇĺ‰“㢾朸â™§ĺŚ„ď˜ˇ

ăž?錒朸犥ĺ‹˛éżˆâ´•ăź&#x;ăž?â´€éżˆâ´•čœ“éś”ę…˝ęŁš㽳䲞粭魨韚ĺ‰“é‹ˇéľœ

朸➃ćš&#x;⥲ă…ˇď˜ˇâžŽćś¸ĺ‰Śâżźă„¤ä Śâžƒă–ˆâžŽâš›ćššâ™śă¸ž朸揰崞⚼çŞ? âœŽâžŽçŤ¤ć†˜ă„¤äž•ä Žâ™łćś¸ä˝…ä­°ď˜šă šĺ„˜âżśĺƒ˝âžŽćś¸ĺž¸ćšśď˜ˇâ°ŚâšĽćŁ‡

㧚˙éĽ&#x;ä‹’ćšśă˝łĺƒ˝čœ“éś”ę…˝ęŁš㽳㡛㜊朸卢é‹ˇď˜šă šĺ„˜â›łĺƒ˝âžŽćŹ° 崞⚼剓ꅞ銴朸ăĽ?äš?â›“â™§ď˜ˇćŽš äŽƒčœ“éś”ę…˝ęŁš㽳娌倴犥ĺ‘? äš?čˆĄčŠ™ć‹¨ĺ„˜ď˜šćŁ‡ă§šâ›łä?˛ä˘”ă–’éź‡äšľâœŤč?ˆ媚ď˜ˇĺ˛˛ćšść¤?âžżçšĄé Ż 긭ăž?â´€âœŤčœ“éś”ę…˝ęŁš㽳剓䖕娔剢ꅽâ&#x;ƒ㼠ć?€➲ă˜—ä¨žç˛­ćś¸č ą

⍚ď˜šćŽĽęŹ—âšĽâžŽä¨žäą°ćŹ˝ćś¸ęĽťćťšĺ˛ ăź&#x;㼠é…¤ĺ‹˛ä§­äŽƒé°‹ăźąăĽ?ㄤ卢 鋡朸䕎é&#x;?ď˜ˇ

Andreas Gursky, Amazon, 2016, Š Andreas Gursky/DACS, 2017. Courtesy: Sprßth Magers

Andreas Gursky

厉垡çƒˆäşžć–Ż ĺ?¤çˆžć–Żĺ&#x;ş The Hayward Gallery stages the ďŹ rst major retrospective in a

UK institution of the work of acclaimed German photographer Andreas Gursky, Bahrain I, 2005, Š Andreas Gursky/DACS, 2017.,Courtesy: Sprßth Magers

Andreas Gursky (Germany, 1955). Widely regarded as one

of the most signiďŹ cant photographers of our time, Gursky

is known for his large-scale, often spectacular pictures that

portray emblematic sites and scenes of the global economy and contemporary life.

The exhibition Andreas Gursky will feature approximately 60

to the vast distribution centre shown in Amazon (2016), and from the sea of

é‘Ş ăž? 錒 ăž? â´€âœŤ č° é Ż ăšť 剓 襽 ă ? 朸 ⥲ ă…ˇď˜š

the boundaries of the medium. Gursky s art is driven by an

eerily empty display shelves in Prada II(1997) his images provide a sweeping

č˜&#x;幎 **ո î™¸ď˜śŐˇ 錄 秚ç‰&#x; 䀼 äął

through to his most recent work, which continues to push interest, and insight, into forms of collective existence and includes depictions of massive man-made structures and

encyclopedia of life.

of our faith in the factual veracity of images. As he has remarked, today, reality can only be shown by constructing it .

ĺş ă?źŐ¸î™ˇ â&#x;ƒâżťŐˇâ?€â™§ă•œ꼚⚪âš›çœ?*7Ő¸

 î™¸ď˜ˇâžŽćś¸âĄ˛ă…ˇçŤ¤äŒ˘äą°ćŹ˝ë‘ˇćž›é‹• éŒŹď˜šďŠľăŁ?朸ć’‘ 晚㽯äŒ´âŤš  ă˜— 粭 掼 ♧垺 ęŠ?

äš&#x;ď˜šâ°ŚâšĽĺ‰¤ăŁ?ꆀ礜無䯲äŻ?âľŒ朸稣çœ?ď˜šç˝œĺˆż â&#x;‚âžƒë ‡掯朸ĺƒ˝ď˜šé¸?â?‰稣çœ?ć?‚â™§â˘żă˘ŤéżŞĺƒ˝ĺš˘ ĺ… 㟊ć?‹朸ď˜ˇ

Often employing a bird s-eye perspective, these large-format

ă˜—ę‚‚éĄŠâšĽä—ąď˜šâą„âľŒŐˇ â´•**ď˜šę§ąč€˘Ő¸  

an abundance of precisely captured details, all of which are uncannily in focus.

ä—žă•œ襽ă ?䟢ä•§äŒŒă¸žä—žć?™â??倛˙〢晋倛㛇朸ꝡâŚ?č–Šă•œăŁ?ă˜—ă”?ęłƒăž?ăź&#x;ă–ˆĺľł

â?œĺƒ’䨞ď˜šâľŒŐˇâ??ęź›麽ո  ⚼ăž?爚朸ăŁ?

⚼缍ĺ?“蒀䎂⭆饊ćš&#x;朸徳ĺł•ď˜šâą„âľŒŐˇĺ…œäŹ˜麨 **Ő¸  ⚼â&#x;‚âžƒĺš€ä ŽăŁźćŽŻćś¸ç‘ ç‘ 㼜⛳朸

饊ĺ?şď˜šâžŽćś¸âĄ˛ă…ˇĺƒ˝ăźŠä§ŽâŚ›ĺ„˜âžżćś¸ďˆŁĺ…žä’­é‹• éŒ?鎚ę?—ď˜ˇ

将䗞掼ä?¤čŽŠéłľď˜ˇă€˘ć™‹ĺ€›ă›‡é„„ä‘žĺ˛Œé’˘ć?€ĺƒ˝ä§ŽâŚ›ĺ„˜âžżĺ‰“ę…žéŠ´ćś¸äź˘ä•§äŒŒâ›“

éľœäŽƒ⢾ď˜šă€˘ć™‹ĺ€›ă›‡ăťœë€żäš?朸㕏⍚贖椚倰䒭

ㄤ掚➿揰崞朸垌é’&#x;äš?ăœĽĺ…žă„¤ăœĽĺ…žď˜ˇ

â?‰ăťœë€żé›ŠâžŽĺ‰¤ĺˆżăĽŞćś¸ĺ€°ĺ˛ ⢾䲿â´€č?ˆäŠšă‚?

â™§ď˜šâ&#x;ƒâžŽăŁ?é‹Šĺž¸ćś¸ď˜śăĄ­éŒš朸ă•Źć™šç˝œč€‚ă ?ď˜šâžŽćś¸äź˘ä•§âĄ˛ă…ˇä˛žç˛­âœŤâš†歲獤ć†˜ é‘Şăž?錒ăź&#x;ăž?ⴀ〢晋倛㛇 ⥎äŒ´ĺ™˛â°¨ę&#x;šâśžäš?ä ‘çş?朸䟢ä•§âĄ˛ă…ˇď˜šä–° 䎃

âžżâľŒć¤?ă–ˆ朸✞⥲鿪â™§ćšŹă–ˆä˛€âš›䟢ä•§ćś¸ć­˛ęŁłď˜ˇă€˘ć™‹ĺ€›ă›‡č° é Żćś¸ë€?⚛⸂ꆀ

⢾ĺ˝‚ĺ€´âžŽăźŠę§Œë„“㜸ă–ˆä•Žä’­ćś¸čŽ‡錹ă„¤ĺłŻäœŤď˜šâžŽćś¸č° é Żä˛žäˇŽâœŤăŁ?ă˜—âžƒ鸤犥

ĺœ“ď˜šâ&#x;ƒâżťă–ˆ㢚çą?ĺ‰šď˜śäŠ¨ä‘–ď˜śç•šäŞŽăœĽă„¤ä‘žęĄ€ĺ…žéŒšâšĽăŁ?ę†€çżšę§Œ朸âžƒçşˆď˜ˇĺ§ťăĽś ➎䨞铞朸îš‰ďšłä§Žă€Ťéˇ†ĺŽ â™§âŚ?暥垌揰ĺ´ž朸朰çŒ°ďˆŁĺ‰…ď˜ˇďš´

â&#x;‚âžŽâśžâĄ˛â´€â™śăźąďšłč´Ąĺœ“䟢ä•§ďš´ćś¸âĄ˛ă…ˇď˜šé¸? ç˝œâ™śęŞŤćś¸é˘śćŻ ď˜šé¸?ç??é˘śćŻ ę†š㟊朸â¤‘ĺƒ˝ä§ŽâŚ›

㟊ä•§âŤšćşŤăťœäš?朸âĽŒä™‚ď˜ˇĺ§ťăĽśâžŽä¨žé“žď˜šă–ˆâž› ăŁ”ď˜šďšłă€Ťĺ‰¤é¸’éş•ĺœ“ä’Šď˜šäŠžč…‹ăž?爚ć¤?ăťœďš´ď˜ˇ

Andreas Gursky, Bahrain I, 2005, Š Andreas Gursky/DACS, 2017. Courtesy: Sprßth Magers

ä–°Őˇč“?â¸ˆă†Ľâ?œĺƒ’䨞***Ő¸  ㋥뇀朸肆䋑

pictures‒which rival the scale of monumental paintings‒boast

ĺˆżă˘´âĽŒäœ‚ď˜ťX X X TPVUICBOLDFOUSF DP VL

create examples of ďŹ ctional photography, extending his implicit questioning

⺍ ä­?ա䊟 ëžŤď˜šč¤‘ä‹Ş ç§? 倛ո î™¸ď˜śŐˇ č&#x;›

known works including Paris, Montparnasse (1993), Rhine II

(1999/2015), Kamiokande (2007), and May Day IV (2000/2014).

ăž?éŒ“ĺ„—ę&#x;Śď˜ť +BOVBS Z ËŠ "QSJM

visual record of our age.

In recent years, Gursky s experiments in manipulating images have led him to

The exhibition includes some of the artist s most well-

ăž?éŒ“ăœĽă–‘ď˜ť)BZ XBSE (BMMFS Z 徳将䗞掼ä?¤

candy-coloured budget items featured in of 99 Cent II, Diptych (2001) to the

huge gatherings of people in nightclubs, factories, arenas, and vast landscapes. As he has stated: I only pursue one goal: the

5JQT 㟭饌爙

From the frenzied stock exchange seen in Chicago Board of Trade III (2009)

of the artist s ground-breaking photographs, from the 1980s

Thomas Ruff: Photographs 1979–2017

Alfredo Jaar: The Garden of Good and Evil

27 September 2017 ‒ 21 January 2018 Whitechapel Gallery

14 October 2017‒8 April 2018 Yorkshire Sculpture Park

Dalí / Duchamp Royal Academy of Arts 7 October 2017 ‒ 3 January 2018

Rose Wylie 29 November 2017 ‒ 4 February 2018 Serpentine Sackler Gallery

Red Star Over Russia: A Revolution in Visual Culture 1905-55

Everything At Once October ‒ December 2017 Lisson Gallery x The Vinyl Factory

8 November 2017 ‒ 18 February 2018 Tate Modern

Soutine’s Portraits: Cooks, Waiters and Bellboys

Drawn in Colour: Degas from the Burrell 20 Septembr 2017 ‒ 1 April 2018 National Gallery

19 October 2017 ‒ 21 January 2018 Courtauld Gallery

Ferrari: Under the Skin 15 November 2017 15 April 2018 Design museum

Scythians: warriors of ancient Siberia

14 September 2017 ‒ 14 January 2018 British Museum

DIGITAL ART: A META-MODERN VIEW?

⯋植➿鋕ꅿ馄植➿鋕ꅿ䖔植➿鋕ꅿ

5&95 #: 乊俒 /*-4 +&"/ 㽲晋倛˙し䛸 53"/4-"5&% #: 缺陼  $"* 46%0/( 詍豣匌

In June 2015, renowned new media art curator, Christiane Paul

䎃 剢濼そ倞㯯넓谁遯瘼㾝➃⯘ꅽ倛裦㸞˙⥃繏㼩շ侸㶶谁遯ո

of this fundamental book, not only gives evidence of how rich

շ侸㶶谁遯ո涸痧♲晝雊䧮⦛♶⫦溏ⵌ✫齡❉〳腋鄄垦硹捀侸㶶谁

re-edited her book Digital Art for the third time. The new edition the practices potentially labelled as digital art are, but it also indicates the constant need for new theoretical tools. In the

introduction, Paul explains that the term digital art has become

an umbrella for such a broad range of artistic works and practices that it simply cannot encompass a uniformed set of aesthetics. If the term digital art seems so elusive in describing a specific set

of practices, one might wonder why we would choose it as the

♧剅鹎遤✫痧♲妄⥜鎎⡲捀锸鶤侸㶶谁遯㛇劥㉏겗涸♧鿈ꅾ銴衽⡲ 遯涸谁遯㻜驏剤㢵랃鞮㺢ず儘❠䭸ⴀ✫倞椚锸䊨Ⱘ涸꨾宠彂彂♶ 倬㖈䒸锸鿈ⴕ⥃繏鍑ꅼ✫侸㶶谁遯鸏⦐そ珖涸⢪欽㸐䊺竤䧭

捀♧⦐㓭䭍滞㢵谁遯⡲ㅷㄤ㻜驏涸窡珖鸏❉⡲ㅷ鿪搂岁欽♧㤛窡♧

涸繡㷸禺窡⢵鹎遤娝겳⛳鏪⡹剚㉏傂搭侸㶶谁遯♧鑂搂岁彋焷

䲾鶤厥珏暶㹁涸谁遯㻜驏齡랃䧮⦛捀➊랃鼩銴䪾㸐⡲捀劥劍涸⚺겗 ヤ

editorial line of this issue?

Ⱖ㻜䪾侸㶶谁遯鼇⡲劥劍㼠겗僽ⴀ倴Ⰽ럊罌䣂Ⱖ♧㔔捀侸㶶谁

The idea of selecting digital art as a special feature is twofold.

瑠꟦莅鎙皿堥涸歲箁涸㻜驏Ⱖ妄醢⡲鸏♧劍侸㶶谁遯㽠僽䋞劆

First, it is precisely the nature and capacity of the term to

be able to include such a broad variety of practices, which

ubiquitously blur the boundaries between the gallery space and the computer. The idea is also to acknowledge and embrace the paradoxes within all the works that can be classified as digital

art. Our ambition for this issue is to generate a fruitful, playful,

and dynamic set of conversations between curators, artists and collectives. Therefore practices embracing the term digital art

will coexist alongside critical views of the term. Curator Hannah

Redler, for example, who has been interviewed for this issue, will explain why the term digital art might be too deterministic. By

遯鸏⦐嚌䙂腋㣁㓭䭍㥶姽㢵垺⻋涸谁遯㻜驏⺫䭍✫齡❉垸祎✫殥䐤

䪭钢⚛䱺「鸏❉䨾閗侸㶶谁遯酭䨾⺫わ涸ぐ珏濨湽䧮⦛䋞劆鸏♧

劍腋莅湱ꡠ瘼㾝➃谁遯㹻鼩剤谁遯㕰넓涮欰鞮㺢剤馱⿶Ⱘ崞⸂涸㼩 鑨㔔姽劥劍䲿ⵌ涸♶⫦⫦僽侸㶶谁遯㻜驏鼩⺫䭍✫㼩侸㶶谁 遯鸏♧珖閗涸䪡ⴼ嫲㥶铞劥劍ꅷ鏞涸瘼㾝➃恎㫫˙榰䗞⹗㽠剚鍑

ꅼ捀⡦侸㶶谁遯♧鑂剚䌟剤麕㢵涸焷㹁䚍䠑㄂Ⱖ妄⠶ꦑ猰䪮涸 涮欰莅佅䭰侸㶶谁遯剤✫倞涸わ纏鸏⦐珖閗⛳䎙⛖䧭捀✫厥珏 㹒鎊侸㶶谁遯鸏⦐珖閗剤䠑㖒넓植衽Ⰽ倰꬗涸䠑격Ⱖ♧㼩猰䪮

暶殯䚍涸ꅾ倞ꡠ岤Ⱖ✳歋倴鑪珖閗劥魨剤衽暶㹁涸娜〷わ纏鸒

麕㻤鋕殹♴谁遯㻜驏ㄤ麕䖃谁遯莅猰㷸䪮遯⛓꟦涸ꦡ猽耢粯䖰罜椚 鍑殹♴涸谁遯㻜驏

Lynn Hershman Leeson, Seduction of a Cyborg, 1994, DVD with sound, still image, 6.48mins, ZKM Collection © (2015) ZKM Center for Art and Media, Karlsruhe, © Lynn Hershman Leeson

侷㶶谀遮

referring to the technology that supports it, digital art takes on a new meaning

é¸?â›łĺƒ˝ć?€âžŠëžƒ䧎⌛寚㚠éŠ´ă–ˆďšłäž¸ăśśč° é Żďš´é¸?âŚ?窥ç?–â™´ď˜š

In 2012, Art Historian Claire Bishop wrote for Artforum with a famous essay

ĺ… ă–’é‚?ĺƒˆ⥌ć?€䞸㜜âť‹ă–’ä™źç˝Œă„¤éŒšćş?ď˜ˇç˝œé¸?âŚ?ă”ŽăžŻď˜šă””ć?€

to pay new attention to the speciďŹ cities of the technology but also, with its

äž¸ăśśč° é Żćś¸ĺ¨œă€ˇâŻ“ë€?ď˜ˇăĽśĺ?“倞㯯ë„“ďš´âš›ĺ°?剤㼜Ⰼă ?ăśś

nature, and overlooks the digital revolution and its impact on everyday life.

ăž?â´€朸 č?› 䎃掚âžżâĄ˛ă…ˇâšĽâżžĺƒŚćś¸â¤‘ĺƒ˝é¸?ç??ă”ŽăžŻď˜š

and appears almost as a statement. The term deliberately crystallises a will

historical undertone, a will to understand contemporary practices by looking at the subterranean relations that connects them to previous incarnations of art and technology.

This is why it has been decided to, under the umbrella of digital art, map out

齥ĺžşä“˝é”…çŒ°äŞŽćś¸ćšśćŽŻäš?ď˜šç˝œă€Ťĺƒ˝â™§ĺŞŻç€Šĺ†žćś¸ăš çş?朸é‘¨ď˜š

齥ëž†ď˜šă¸?â¤‘ç˜žĺ€´ĺ°?ĺ‰¤é“žĺƒˆ⥌â&#x;ƒä§­ă˝ äŞŽé Żâ›“ďšłĺ€žďš´ď˜ˇä§ŽâŚ›ă€ł â&#x;ƒäŞžäž¸ăśśč° é Żćş?䧭ĺƒ˝â™§âŚ?ĺ‘Ľĺ?şď˜šă¸?䪭é’˘âš›ď‰šă€ŠâœŤéş•ä–ƒč° é Żă„¤äŞŽé Żćś¸çŠĄĺ…Şď˜šâĄŽă–ˆ掚âžżé“ƒăžŻâ™´ď˜šâ˝żĺ°?剤㠢Ⰼč?ž䞣ď˜ˇ

the practices which are engaging with digital technology, and to reect on the

ć?€âœŤĺˆżĺš€â°…㖒乳鎣é¸?âŚ?ă‰?ę˛—ď˜šé¸?♧ĺŠ?㟠겗酭䧎⌛锞⢾㤚

emphasis o the speciďŹ cities of the technology to a more temporal deďŹ nition,

é¨&#x; ո朸ꝡäŒ?ç˜źăž?âžƒď˜ˇé¸?âŚ?ăž?éŒ’čŽŠéłľĺ€´ćśŻäž†

historical precedents of digital art. If new media, in its denomination, shifts the

the term does not clarify what constitutes the newness of the technology. One can see digital art as a framework, which acknowledges and absorbs previous embodiments of art and technology, but which nonetheless inscribes it in a contemporary context.

To explore this question further, one of the features of the issue is the interview of Omar Kholeif, curator in chief of the Electronic Superhighway (2016-1966)

exhibition held at the Whitechapel Gallery. This ambitious show sets a historical survey of proto and post-internet art, in a process of curatorial analepsis. This issue and the exhibition itself looks at digital art, as it is re-deďŹ ned by both

today s economical context and yesterday s experiments with computers. The

non-didactic yet critical space that the curators of the exhibition have managed to create is worth examining. Yet, their exhibition seems to have received

ć§ˆË™âŻ˜ꨎăŁ—äąşă€Œ䧎⌛朸买é?žď˜ˇâŻ˜ꨎăŁ—ĺƒ˝ăž?錒աꨜ㜊ë„žé¸ â°— ă›”掼ä?¤ď˜šăźŠĺ‚?ĺŠ?âœ˝č€˘çŹŞč° é Żâżťä–•âœ˝č€˘çŹŞč° é ŻéšŽé ¤âœŤĺ¨œă€ˇ

ă”?ęłƒčŽ…é”…ĺ?†ď˜ˇĺŠĽĺŠ?꧚é’&#x;⚺겗ㄤ♳霤ăž?錒鿪ă–ˆ㝤鋕䊺鄄㼜 âž›獤ć†˜é“ƒăžŻă„¤éş•⿥ꨜčˆĄăťœë€żę…žĺ€žăš çş?朸ďšłäž¸ăśśč° é Żďš´ď˜ˇ

ç˜źăž?➃✞鸤âœŤâ™§âŚ?ĺ°?ĺ‰¤é“žäž†č’€ä•™ď˜śâĄŽâżśĺ™˛â°¨äŞĄâ´źä ‘ă„‚朸 ç‘ ę&#x;Śď˜ˇć?­ç˝œď˜šč° é Żăź ăšťâŚ›㟊倴鑪ăž?錒朸é?ąâ­†⽿â´•䧭âœŤâ°?

âŚ?ĺ™˛ç•Žď˜ˇäž¸ăśśăŻŻë„“ć¤šé”¸ăšťęź›âĽœË™㺢âš—ć?€Őˇă‰ŞäŠźŐ¸ę§šé’&#x;äš‹㝨

âœŤăž?é?ąď˜šâ&#x;ƒĺ™˛â°¨é•žâľž朸倰䒭ć?€ç˜źăž?âžƒâ¨žâœŤâ™§âŚ?⺍ă‚? ĺ“­ 饌㥌朸䭸â˝‚äŠ›âą ď˜ˇăĽśĺ?“é“žď˜šâžŽäŞĄé?ąé‘Şăž?朸➲ă””ĺƒ˝â°Śçˇ„â›˜

ăˇ¸é Żĺ˝‹ç„ˇäš?ď˜šâ&#x;ƒâżťéź?ć€ŞâœŤĺŽĽâ?‰č° é Żăšťď˜šĺŤ˛ăĽśęŁšꨎ闒˙莞晋

ę†„ď˜šé˝Ąëžƒă”?估⛳é?Şĺƒ˝îš‰é‘Şăž?ă€Ťĺƒ˝ä–°ćŽšâž›ćž–äœ‚č ?障朸珪窄 ćŠ‡ăžŻé…­éź‡ă€ŠâœŤâ™§âŚ?ďšłăž“ä?Œä¨”ă•Źďš´ ď˜šé›ŠéŒšç˝?潓潓麕⿥莅ć¤?ă–ˆ ćś¸äž¸ăśśč° é Żď˜ˇ

polarised reviews from experts in the ďŹ eld; as is evidenced by digital media

â™śç›˜ĺƒ˝âĄ˛ć?€ç˜źăž?䎂č?ŠéźŠĺƒ˝ç ‡ç‘–äŠ¨â°¨ď˜šé¸?âŚ?ăž?錒鿪〳â&#x;ƒćş?

an ironic guide in which he spells out 11 tips for curators. If the author criticises

嚢ĺ… ă–’é‚?ĺƒˆâœŤď˜šé‘Şăž?朸ä ‘ă•Źâ›“â™§ď˜šâ¤‘ĺƒ˝äŞžé˝Ąâ?‰猞糟♜嚢揊

theorist Mathew Fuller and his critique for Mute. The author wrote his review as the exhibition Electronic Superhighway for its lack of scholarly accuracy and

omitting certain artists, such as Alexei Shulgin, one response could be that the show takes a screen capture of past and present practices alike, as found in today s irregular online environment.

The show could be read as an example of the epistemological limitations of the internet, both as a curating platform and as a research tool. After the interview with Omar Kholeif, it becomes clear that one of the intentions for the show

was to include those entangled and at times contradictory online concerns

as a way of reecting the relationship between art and network technologies. Fuller also starts his critique by pointing at how, as the exhibition unfolds, the inverse pyramid of art shown becomes smaller and the rooms get emptier as less work stands in for more art . Perhaps, as the works shown towards

䧭ĺƒ˝ăž?ć¤?㔔暜珪钢濟㽡ꣳ朸♧âŚ?眕⢿ď˜ˇčŽ…âŻ˜ꨎ㣗朸é?žé”“

č?›ĺ‰¤ĺ„˜âœ˝ćšąćż¨ćš˝ćś¸çŹŞçŞ„ä ‘é‹…ă“­ä­?階⢾ď˜šâ˘Şâ›“䧭ć?€䧎⌛⿞ ä™źč° é Żă„¤çŹŞçŞ„äŞŽé ŻęĄ â¤š朸♧ç??ĺ€°ĺ˛ ď˜ˇăş˘âš—ă–ˆâžŽäŞĄâ´źćś¸â™§ ę&#x;š㨼â›łä˛żâ´€âœŤď˜šęŚ‘襽ăž?錒朸ăž?ę&#x;šď˜šďšłăž?éŒ’ćś¸č° é ŻâĄ˛ă…ˇâŤšâŚ?

â™˛éŒŹâ™§ĺžşéŚŠ⢾éŚŠăź­ď˜šä¨źę&#x;ŚéŚŠ⢾éŚŠç‘ ď˜šă””ć?€éŚŠ⢾錊㟹朸⥲

coined.

MutualArt.com, writer Natalie Hegert provides a complementary perspective by underlining that, despite the fact that digital has become more central to contemporary ďŹ ne art practices, we are still struggling to articulate what it

means to think and see digitally. This is a struggle that is rendered more diďŹƒcult by the ever-changing nature of the digital landscape. The contemporary

pieces from 2000 to 2016 displayed at Electronic Superhighway reect this

éŒ?â¤‘ĺƒ˝ď˜šćŽšâžżč° é Żćś¸ä‹’ăž?ĺƒ˝âź§â´•ă”Žę¨ˆ朸ď˜šĺŠĽé‘ŞćŹ°ä˝Şćś¸ĺ„˜ ę&#x;Śéş•ć‡?ă?źä˝ŞäĽ°âš›ĺ°?ĺ‰¤ă–ˆç˜źăž?âšĽéĽąâĄ˛ćŹ˝ď˜šç˝œâĽŒäœ‚朸ĺ˛Œć†­â›ł ĺŠ˘ä–¤âľŒč´–ć¤šď˜ˇé¸?ç??ăž?éŒ’â™łéżˆâ´•ę…ˇćŹ˝ď˜šă šĺ„˜â›łé„„㺢⚗䭸ⴀ

朸ďšłęŚ‘ĺ Ľĺž¸ä’­ďš´ď˜šă€łâ&#x;ƒé„„ćş?䧭ĺƒ˝ä–•ă””ćšśçŹŞĺ€°ä’­ćś¸â™§âŚ?ćšś

ä–„ď˜ˇç„ˇăťœď˜šăĽśćŽ—ă˘šĺ…œă„¤ăŁ?é şË™ă‹Žĺ€›âľ„ćšśă–ˆ 䎃䨞é“ž朸ď˜š ă–ˆâ™§âŚ?㕠粕襽âžƒäŠ¨âľ–ă…ˇę…žĺ€žé“ƒăžŻâť‹ă„¤ę…žĺ€žâ˘ŞćŹ˝ćś¸č° é Żăťœ éŠ?ăŁ?ćŠ‡ăžŻâ™´ď˜šâž˛âśžäš?ㄤ⥲ç˝?é­¨â&#x;¨äŠşçŤ¤ĺƒ˝éş•⿥朸錚ë&#x;ŠâœŤď˜ˇ

㟊ďšłäž¸ăśśč° é Żďš´â™§é‘‚朸ꅞ倞⢪揽â›łĺƒ˝ć?€âœŤčŽ…䖕㔔暜珪 č° é Żďš´ĺšŒä™‚äŹ˜ę&#x;šé¨…ę¨†ď˜šâš›ä–°ĺšŒä™‚â™łäŞžä–•ă””ćšśçŹŞč° é Żä¨žéŠ´

寚é„­ćś¸ĺŒŒéŠŻćş?䧭ĺƒ˝ĺ¨œă€ˇä’‚çłľă„¤ä•§ę° 朸♧ç??ĺ€°ĺ˛ ď˜ˇâ°¨ë„“

⢾é“žď˜šĺŠĽĺŠ?âšşę˛—ä ‘ĺŚ?äŽ‹ä¨žä–•ă””ćšśçŹŞč° é Żä&#x;?ĺ˛ âšĽćś¸ćšąăźŠâšş

çş?ď˜ˇç—§â™§âžżćś¸çŹŞçŞ„č° é ŻăšťäŤ’䏊㯯넓暜掯äš?é¸?ç??éŒšä™‚ď˜šĺ§ť ăĽśč° é Żă€ˇăˇ¸ăšťâĄŚă?ąâľ„䊯ă–ˆŐˇč° é Żâ›“ä–•Ő¸âšĽé?‘ę…źćś¸é˝Ąĺžşď˜š ꅡ揽門㢾꧚âœĽć?‚äŽ¸ćś¸č° é ŻăťœéŠ?ă€ŠâžżâœŤă¸?ď˜ˇâĄŽĺƒ˝ď˜šé¸?é…­ę…ˇ

揽ďšłäž¸ăśśč° é Żďš´ćś¸ĺŻšăš âľąĺƒ˝éŠ´ăŽ˛é‘‘ă–ˆ掚âžżč° é ŻăťœéŠ?朸â°‰ éżˆĺ&#x; ç”¨ä­¸ă ˘ĺžŚď˜šä˛żâ´€â™§âŚ?㢾垺䎂č?Šď˜šă–ˆé¸?é…­ď˜šé“ƒéŽŠ朸⢪揽

⥲ć?€â™§ç??㯯âž?ď˜šĺƒ˝ç¨&#x;ĺ‘?ĺ€´ĺš€â°…âœŤé?‘䞸㜜㕏兞犉䧭䧭â´•朸 ă›‡ç‡Šâ™łćś¸ď˜ˇăť¤é‹•âž›ăŁ”䧎⌛⥌â&#x;ƒć¤šé?‘♧âŚ?䞸㜜㕏⍚腋㣠ä ‘

ä­¸âžŠëž†ď˜šâ¤‘ĺƒ˝ä§ŽâŚ›ä‹žĺŠ†ăźŠäž¸ăśśč° é Żćś¸ćš&#x;颜❋ㄤ⿞ćš&#x;颜âť‹

éş•çŽ‘éšŽé ¤ĺš€â°…ć¤šé?‘ď˜ˇä¨žé–—âżžćš&#x;颜âť‹ď˜šĺƒ˝é¸’éş•ä–°ĺž¸äşźçŚşçŞĄ âľŒ玥ç„şéş•çŽ‘ăťœć¤?朸ď˜ˇâĄŽĺƒ˝ď˜šé¸?âŚ?麕玑韊ĺƒ˝ăś¸ă–ˆćš&#x;颜âť‹ď˜š

⽰⢪ĺƒ˝ĺ‰“ä—‚꧚朸玥玑犥ĺœ“â›łĺƒ˝ăś¸ĺ€´â™§âŚ?ăťœë„“ďšłć¸ąăśŠďš´â›“

â°‰ď˜šç˝œé¸?â?‰犥ĺœ“â›“䨞â&#x;ƒ㜸ă–ˆď˜šâ›łéźŠĺƒ˝é¸’éş•âžżé‚? ㄤ 朸ꨜ 彂ę&#x;šęĄ ćś¸éšśâť‹ăťœć¤?朸ď˜ˇé“žâľŒä? ď˜šä§ŽâŚ›朸ç”¨ăœĽď˜šă˝ ĺƒ˝éŠ´ă–ˆč° é Żă„¤äŞŽé ŻăťœéŠ?⚼ꅞ倞䒊用ăš?넓ㄤ⚺넓朸㟊é‘¨ď˜ˇ

朸♧âŚ?겗ć?€Őˇă””ćšśçŹŞâ›“ä–•č° é Żćś¸éş‰䨥ď˜śĺĽšâ¸‚ă„¤ĺ?żéŚąŐ¸ćś¸

ă€ˇă„¤äŞŽé Żă€ˇâ™łâ°¨ĺ‰¤ĺžŚé’&#x;äš?朸ĺ„˜âľ ď˜ˇăĽśĺ?“é“ž术䞆㛔朸갼㞾 掼ä?¤ĺ‰¤é§ˆăŁ ćś¸č° é Żă…ˇăž?â´€ç‘ ę&#x;Śď˜šé˝Ąëž†ă–ˆéŒšćş?ç˝?ęŹ—âľšď˜šé¸? â?‰⥲ă…ˇă–ˆĺšŒä™‚â™łâ¤‘č…‹㣠ĺˆżâ¸ˆëŠŤĺ´žď˜šă¸?⌛襆â&#x;żćś¸äŞŽé Żä§´é?Ş

韊〳â&#x;ƒçŞ?ă¸?⌛äŒ&#x;⢾♧ë&#x;Šä§ƒčŽ?朸孾äœ‚ď˜šé¸¤ä§­âŻ˜č&#x;›ć™‹Ë™ćŽ—㢚 ĺ…œ䨞é–—朸掚âžżč° é ŻâšĽćś¸ďšłäž¸ăśśâ´•é„­ďš´ď˜ˇ

䞸㜜朸犥ĺœ“ď˜šâ°ŚĺŠĽé˘śâ˝żĺƒ˝ĺž¸äşźćś¸ď˜šâš›âš‚ä™?é‹•âœŤäž¸ăśśęŹ ă„?

that contributes to the digital divide in contemporary art that Claire Bishop has

contemporary art practices. In her well observed review of the exhibition for

äŽƒâžżî™¸ćś¸âĄ˛ă…ˇäŠşçŤ¤é„„ä˝?⥲â˝ˆćš&#x;긭询ă…ˇď˜šâ°&#x;ă š䧭ć?€č° é Ż

嚢ĺ˜˝ă–’ꥪę…źď˜ˇâ›łé?Şď˜šă–ˆăž?錒č?†éľœ犥ĺ‹˛éżˆâ´•î™ˇéŠźčŚˆ ď˜ś ㄤ

of art and technology. If the ratio of space/artwork in the upper galleries of the viewer, their technological obsolescence might tint them with a nostalgic hue

gains an aesthetic of its own and becomes available for a nostalgic re-use in

é¸?â?‰⥲ă…ˇďˆŁéżŞé„„ä˝žă–ˆ掼ä?¤ćś¸â™§č´Ťăž?ä‘źď˜šé¸?çŞ?錚ćş?ç˝?ćś¸ä Ž

䧎⌛䲿â´€ď˜šďšłäž¸ăśśč° é Żďš´ă˝ ĺƒ˝ĺ€ž朸ę–?깧ď˜ˇä§ŽâŚ›â›“䨞â&#x;ƒ揽⯕

ă–ˆ äŽƒď˜šč° é Żĺ¨œă€ˇăˇ¸ăšťâŻ˜č&#x;›ć™‹Ë™ćŽ—ă˘šĺ…œć?€Őˇč° é Żé”¸ă ˘Ő¸

Whitechapel Gallery might allow the pieces to conceptually breathe for the

In her article she describes how once a medium has become obsolete, it

äž¸ăśśĺľ ćƒ?㢾éšśćś¸ĺŠĽé˘śď˜šéšśä–¤ĺˆżâ¸ˆä—‚꧚ď˜ˇŐˇäž¸ăśśë„žé¸ â°—é¨&#x;Ő¸

ㅡ腋㣠䧭ć?€âžżé‚?ďš´ď˜šç˝œé¸?ç??ć¤?é&#x;?âżśĺƒ˝ăĽśâĄŚćŹ´ćŹ°ćś¸â˝żĺ°?剤

the end of the exhibition (covering the 60s 70s and 80s) have already been

established as museum pieces, as identiďŹ able moments in the common history

on why contemporary art despite being digital in structure is analogue in

㝨âœŤâ™§çœ?剤ă ?朸äż’ç•Žď˜šé”“é”¸âľŒć?€âžŠëž†掚âžżč° é Żę§Şć?­ĺ‰¤čĄ˝ ⿝Ⰼ㟊ĺ‚ˆäŒ˘ćś¸ä•§ę° ď˜ˇă–ˆ㼠朸äż’ç•Žé…­ď˜šăĽ 䲞霤âœŤéş•ĺ„˜朸㯯

ë„“ăĽśâĄŚć ˝ä–¤č?ˆ魨朸皥㡸ď˜šâš›ă–ˆ掚âžżč° é ŻăťœéŠ?⚼鄄掚⥲䧃

čŽ?䊛媯ꅞ倞⢪揽ď˜ˇç˝œ⥲㚝㍍ă??蛂˙銯呔暜㝨⥲朸♧çœ?噲 â°¨éŒšăťŒâ¸‚朸äż’ç•Žé…­ď˜šâ›łä˛żâ´€â™§âŚ?é…˘âŻ?äš?朸錚ë&#x;Šď˜šâ˝°ę§Şć?­

䞸㜜䊺獤䧭ć?€掚âžżč° é ŻăťœéŠ?朸âšĽä—ąď˜šâĄŽ䧎âŚ›âŁœčŽ?ć?‚ĺ˛ ĺš˘

㡸ꌥăŒˆď˜šä ‘ă–ˆ äŽƒę…žĺ€žăž?劆䕎䒭⚺çş?ď˜ˇĺ‚?ă–ˆäŽƒâ´˛6$ĺ‰šé™žâ™łď˜šâşŤä­?č° é Żć¤šé”¸äž†äą‡âŻ˜ĺ€›â™¨Ë™ĺ€›ă??â˝“ç˘œć™‹ă–ˆâ°‰朸 㟭犉䲿â´€ď˜šę§Şć?­ĺ°Žăş‘âœŤä–Žę&#x;€ĺ„˜ę&#x;Śď˜šâĄŽĺƒ˝ä•Žä’­âšşçş?䧴é?Şâ§Š

䖤⹄匄㝤é‹•ď˜šă šĺ„˜ď˜šâžŽâŚ›ä’¸ćŹ˝ä? 㚠倛㛇朸⥲ă…ˇé“žĺƒˆď˜šä•Ž ä’­âšşçş?č…‹㣠ë„“ć¤?嚀⾠朸çˆ˘ĺ‰šă„¤ä˝&#x;ĺą›éŒšë&#x;Šď˜ˇă›‡ĺ€´ĺ§˝ď˜šĺŠĽĺŠ? ⚺겗鸒麕㝤é‹•朸éŒŹä?žď˜šéŒšăťŒéŒšë&#x;Šă„¤ĺ´ŠçŽ‘ĺƒ˝ăĽśâĄŚé„„é‹•éŒ?âť‹

ăƒ„ć¤?朸ď˜ˇč–Šă•œč° é ŻăšťäŠŻęź›ĺ–€ă„¤âŻ˜ꨎëžąä—ž朸é‹•éŒ?é•žâľž⥲ă…ˇ â¤‘ĺƒ˝â™§â˘żď˜ˇă šĺ„˜ď˜šâ§Šä–¤ĺ˛¤ä ‘朸ĺƒ˝ď˜šă–ˆաꨜ㜊ë„žé¸ â°—é¨&#x;ո꣥

äŒ&#x;朸ĺ‰…âšĽď˜šĺ‰¤â°?çœ?äż’ç•Žâ›łĺƒ˝ęĄ ĺ€´é‹•éŒ?ć¤?é&#x;?朸ď˜ˇâ°ŚâšĽâ›“â™§ď˜š ⚛䢀䕧⍚é—?äŒŒč’•ëœŠâ˝“Ë™äŠźć™‹ĺ–€䲿ę„ éšĄç˝?卌âŚ?䞸㜜㕏⍚

鿪ĺƒ˝â™§âŚ?⍚ç¨‡ďš´ď˜ˇç˝œč–Šă•œč° é Żăšťă„¤âĄ˛ăšťĺ‘”äŹ˜ă¨—Ë™ă† â&#x;żä—ž âľąä­¸â´€ďšłâŤšç¨‡çşˆ⢪䖤䧎⌛〳â&#x;ƒ顴éş•ăž“ä?Œď˜šç•€ă–ˆę–?깧䨞č´–

朸⥙縨ďš´ď˜šé¸?⢪䖤䧎⌛䚊ĺ‰¤ă˘ľę…žé‹•éŒŹď˜ˇă””姽ď˜šâŤšç¨‡䧭âœŤé“ƒ

éŽŠď˜šâ˘Şä–¤éŒšćťžč…‹㣠階Ⰵ㢾㞾ć¤?ăťœď˜šä¨žâ&#x;ƒď˜šä§ŽâŚ›éź‡䚾岤ꅞ⍚ 稇朸⥲揽ď˜šé›ŠéšĄç˝?乳程鋕éŒ?ă„¤ĺ€°ĺ˛ 朸㢾ę…žéŒŹä?žď˜ˇ

Installation View of Electronic Superhighway at Whitechapel Gallery

Nam June Paik, Internet Dream, 1994, Video sculpture, 287x380x80cm, ZKM Collection Š (2008) ZKM Center for Art and Media Karlsruhe, photo: ONUK (Berhard Schmitt) Š Nam June Paik Estate

䲞粭齥â?‰čŽ…䞸㜜çŒ°äŞŽćśŽćŹ°ęĄ â¤šćś¸č° é ŻăťœéŠ?ď˜šâš›ă”?ęłƒ齥â?‰

struggle, for they are all contained within the first room of the gallery, giving

here to pay attention to the pixel as a way of letting

by definition the filter of time hasn t played its role in curation, and where the

different approaches.

the viewer a sense of the difficulty in curating contemporary fine art, where

the reader explore multiple points of views and

overflow of information has yet to be processed. This randomness at play in

some parts of the exhibition and pinned down by Mathew Fuller, can be seen

The current context of media theory and art

David Joselit remarked in 2012, originality and authorship are bygone ideas in

digital or the post-human, and consequently the

as a characteristic of the post-internet approach. Indeed, as both Bishop and

criticism revolves around concepts of the post-

departure from the visuals they imply. If this is true,

appropriation of artefacts.

then this issue sets up a dialogue between the

ubiquity of digital technology in the everyday and

The re-appropriation of the term digital art is also a way of taking some

a new form of medium specificity or, as Rosalind

distance away from the term post-internet art and to conceptually see a set of

Krauss called it, technical support (2010: 37). The

continuations and influences where post-internet art advocates ruptures. More

commodification of online information, that one

specifically, this special issue aims at challenging the relativism embodied in the

witnesses in today s cognitive capitalism and the

notion of post-internet art. The notion of medium specificity was rejected by

experience economy, invites a displacement of her

the first generation of net-artists and has been substituted by various forms of

concept of technical support into another field.

discursiveness in art practices, as explained by art historian Davis Joselit in After

Art. However, the decision to adopt the term digital art, here, is an attempt to

One of the reasons that accounts for the digital

a hybrid platform where the use of language as a medium is anchored into

the traditional resistance of digital art to be

set a few pointers within the realm of contemporary practices, and to propose

divide, described by Claire Bishop, also lies in

a deep understanding of what constitutes a digital image. Thinking back

commercialised and to fall under conditions of

to an understanding of what a digital image can signify today is a wish to

spectatorship set up by art institutions. As Bishop

gain a deeper comprehension of both the processes of materialisation and

remarks, the potential endless multiplication

dematerialisation at play in digital art. Dematerialisation is a process of shifting

of the digital images goes against the notion

from analogue systems to coding. There is, however, still some materialisation,

of rarity crucial to the commercialisation of an

as even the most sophisticated java script structures are locked in a physical

artwork. The architecture of the web in net art

box and their existence is thanks to a variation of electrical switches symbolised

challenges traditional ideas of what an artwork

in zeros and ones. In the end, the position adopted here is an attempt to re-

visually represents. Yet, it is striking to observe

that within Electronic Superhighway, many of the

establish a dialogue between the object and the subject in art and technology

recent examples of works selected are embodied in

practices.

traditional medium, be it photograph, painting, or

sculpture. What does it say about post-internet art? Is

Digital art then is proposed as a new lens. The optical metaphor is intended

here as a way of re-envisioning what formalism can be in 2016. At a conference held earlier this year at UCL, titled Playing Games, Power and Pleasure in Art

殹♴㢵㯯넓椚锸ㄤ谁遯䪡鐱涸铃㞯㕠粕衽䖕侸㶶䧴罏䖕

㥶卓䭭䖕㔔暶笪谁遯⢵铞⿶僽䙦랆㔐✲ヤ䖕㔔暶笪谁遯僽♶僽䭸谁遯㹻란ⵄ㖒䖰

pointed out that the notion of formalism, which has been dismissed for a while,

卓溫僽鸏垺齡랆劥劍꧹钟鏤用涸⤑僽傈䌢侸㶶䪮遯兜

넓♳鸏僽♶僽♧珏䖰Ⰹ鿈仠✥侸㶶谁遯㉂噠⻋涸⨞岁䫈䧴僽谁遯莅猰䪮㻜뀿⚥䗱

After the Internet, a panel with professor of art theory Kerstin Stakemeier,

was perhaps worth examining again, and citing Kandinsky s work, formalism

had the capacity to embed poignant social and political ideas. Accordingly, this issue will observe the ways in which ideas and processes are visually conveyed. We examine the visual irony at play in the work of British artists Thomson &

Craighead for one example. It is worth noticing that, in the book accompanying Electronic Superhighway s exhibition, two essays are concerned with visual

phenomena. One of them, by lecturer in moving image Erika Balsom, reminds the reader that every digital image is a pixel (44:2016). According to British

artist and writer Graham Harwood, clusters of pixels enable us to dive through our screens and stand in the position occupied by the lens (Harwood, 2008:

215) and as such allows a multiplicity of viewpoints. Thus, the pixel becomes

language, allowing the viewer to enter a multi-layered reality, hence the choice

➃겳嚌䙂穡卓⤑僽黇ꨆ✫椚锸ㄤ䪡ⴼꦡわ涸㕬兞㥶

麒䚍ㄤ㯯넓暶殯䚍倞䕎䒭⿶䧴罏繏蛏楧˙⯘⹪窣䨾珖 涸䪮遯佅䭰⛓꟦涸㼩鑨㖈箁⥌䜂涸㉂ㅷ⻋鸏珏

䧮⦛殹♴湡漾涸钢濼须劥⚺纏ㄤ넓뀿竤憘⚥涸鹎玑ㄎ ㋎衽⯘⹪窣䨾閗涸䪮遯佅䭰嚌䙂鹎ⰅⵌⰦ➮걆㚖

門㥶ꨶ舡谁遯⛓겳涸㖒倰⦶欽瘼殜搭䖕䪾㸐麌欽ⵌ厥⦐ꦑ儘〳鄄谁遯䋑㜥嶋顥涸㯯

涸䖕糒罏⦛荈격痘ざ谁遯䋑㜥꨾宠涸倰䒭շꨶ㶩넞鸠Ⱇ騟ո雊➃錏䖤剤馱涸㖒倰㖈 倴㸐⡂⛖㖈鸏Ⰽ珏用㜥꟦䴸仗㸐㤮㹁✫倞㯯넓谁遯涸㛇瀖㖈鸏酭♧❉⟃䖃谁遯 㻜驏⚥剤ⵄ〳㕬涸걆㚖彗鹎✫刿㣐涸㣔㖒䖰罜Ꟛ㉬✫兜⿻⻋ㄤ㉂噠⻋涸鹎玑鸏酭 䧴鏪㽠僽腋㣁䪪ⵌ⯋植➿䚍涸㖒倰

post-internet art a situation where the artist astutely borrows tactics from, for instance, computer art and applies them to a medium ready to be consumed by the art market? Is this a way of disrupting the

commodification of digital art from within? Or is one witnessing the heirs of, for instance E.A.T., willingly complying with the demands of the art market? One of the interesting things about Electronic

Superhighway is the way in which it seems to

殗㢚兜䨾閗涸侸㶶ⴕ鄭瑖Ⱖ⾲㔔⛓♧⛳㖈倴⫄窡

oscillate between these two positions. It represents a

ⵖ㥠钢捀侸㶶䕧⫹悴㖈涸搂侸䗂ⵖ〳腋ㄤ谁遯ㅷ㉂

where a selection of what used to be a rather niche

涸㼩倴侸㶶谁遯㉂噠⻋鄄谁遯堥圓ⷔ㹁錚溏哭⟝涸䫼

噠⻋涸ꅾ銴哭⟝Ղ獺緄䚍Ղ僽胝麥罜꼦涸谁遯笪 畀涸䒊鏤䮋䨞✫谁遯ㅷ鋕錏邍麨涸⫄窡錚럊⡎僽곏

罜僒鋅涸շꨶ㶩넞鸠Ⱇ騟ո♳鼇ⴀ涸鏪㢵鵜劍涸⡲ㅷꅷ

欽涸➠僽⫄窡涸㯯넓♶盘僽伢䕧粭殥鼩僽ꧨ㝖鸏

cornerstone in the representation of new media art, field of art practices has developed a broader reach and as such started a process of popularisation and commercialisation. This, is perhaps where metamodernity can be found.

Aristarkh Chernyshev, Loading, 2007, Custom LED Panel, 50x6cm, Courtesy the artist and XL Gallery, Moscow © Aristarkh Chernyshev

a context where practices revolve around the re-contextualisation and re-

*/5&37*&8&% "/% 5&95 #: äą°é?žâżşäšŠäż’ /*-4 +&"/ 㽲晋倛˙㠗䛸 53"/4-"5&% #: 矺陟  .*$)&--& :6 ⥎㟭äœŁ +": $)6/ $)*&) -"* éŁ†ęž™ĺŒŠ *."(&4 $0635&4: 0' ă•­ć™™䲿âŁ˜  $"330-- '-&5$)&3 ("--&3: ⽓峍晋 ä’źč&#x;šä—˘ćŽĽä?¤ 1)050(3"1)&% #: 䟥䕧  4:/%* )6"/( 랓撎匇

Jon Thomson and Alison Craighead work across video, sound, sculpture,

installation and online space, using technology as a means to reformulate fundamental human questions for contemporary times. Through

sensitive appropriation of images, texts, and data from online sources, the artists produce generous, lyrical works that both exercise the dramatic conventions of cinema and examine the changing socio-political

㋎䛸˙埔㨗喀ㄤ蒕蛂喀˙ꨎ呔랹䗞朸✞⥲騗錊䕧⍚耍갉

ꧨă?–î™—é…¤ç¸¨ă„¤çŽ â™łç‘ ę&#x;Śď˜šâžŽâŚ›䚲ĺ€´âľ„ćŹ˝äŞŽé Żď˜šâ˘Şâ›“⥲ć?€â™§ç??

ę…žĺ€žé‘Łę…źćŽšâž›âžƒ겳㛇劼ă‰?겗朸䊛媯ď˜ˇé¸’éş•ăź&#x;ă–ˆçŽ ćś¸ă•ŹâŤšî™—äż’

ăśśî™—䞸äş™ă„¤â°ŚâžŽéĄťĺ˝‚éšŽé ¤ä˝ľęŒ´ćś¸äŽąćŹ˝ď˜šč° é Żăšťâśžé¸¤â´€éžŽâžŠćś¸

䍉䞕⥲ă…ˇď˜šĺ‚‚éşŒ揽âœŤę¨śä•§é“ƒéŽŠ朸䨥âˇœäš?ď˜šă šĺ„˜âżśĺ˘žé‹•âœŤâĽŒäœ‚

ĺ„˜âžżçˆ˘ĺ‰šä˝&#x;ĺą›犥ĺœ“朸éšśâť‹ď˜ˇă–ˆâžŽâŚ›朸⥲ă…ˇâšĽď˜šĺ„˜ę&#x;Śä§­âœŤę§¨ă?–

structures of the Information Age. In their works, time is treated with

㚝䊛♳朸➲勞俲ď˜šâ™śĺ€Źé„„ꧨćĽƒď˜šé„„ę™?鸤ď˜šé„„ę…žă?–ď˜ˇ

remodelled.

é¸?ăźŠč° é ŻäľŠĺ˘‚âśžä’ŠâœŤč…‹č?ˆ䧎揰䧭朸é‹•éŒ?âżťę°‰ĺ?żçŚşçŞĄď˜šâľ„揽ꌑ

a sculptor s mentality, as a pliable quantity that can be moulded and

The duo create generative visual and musical systems that employ chance operations as a means to cut loose from the conďŹ nes of traditional

ĺ Ľćś¸äš˝âĄ˛ĺ€°ä’­äť—č†¨âŤ„窥äžƒâœ˛ćś¸ă˝ˇęŁłď˜šăź&#x;ć“żäœŤâ›“âœ˛ç¸¨â°…ĺ€ž朸铃

ăžŻćŽšâšĽď˜šé›ŠéŒšç˝?㟊äŠşćżźçŠĄĺœ“âżťäž•ăžŻćŹ´ćŹ°ďˆŁĺ€ž朸é?‘éšĄď˜ˇâžŽâŚ›朸

⥲ă…ˇĺž¸äşźâœŤďˆŁć¤•é¸’âĽŒ猺窥âšĽä˝…ę¨†ç śçƒąćś¸ĺ?şĺœ“ď˜šäąłç¨‹襽é¸?â?‰猺

Thomson & Craighead. Photographed by Syndi Huang.

THOMSON & CRAIGHEAD: TIMESCALES AND POETRY MACHINES ĺź”ă¨–ĺ•żčŽ„âŻ˜ꨭĺ‘”ëžąä—žď˜ť ĺ„—ę&#x;Śă ˘ä?žčŽ„é‘—ĺ§?ĺ ¤ă?ź

ART.ZIP: The show presents a lot of new works, have they been conceived especially for Party Booby Trap?

"35 ;*1é¸?匄ăž?éŒ’ăƒ„ć¤?âœŤâ™śăźąĺ€ž⥲ă…ˇď˜šă¸?âŚ›ĺƒ˝ćšśâ´˝ć?€

that we d be doing this exhibition since last autumn. Although one of the

ę&#x;š㨼䧎⌛㽠濟麼 銴鳾é¸?匄 ăž? éŒ’ď˜ˇâĄŽ Ⰼ⚼♧ â&#x;?⥲ă…ˇ Ő‚

JT: A lot of the works were made especially for the show, because we ve known works, A Temporary Index, is part of an extended research based project, which is called Nuclear Culture. Dr Ele Carpenter, at Goldsmiths, is overseeing a large

project that looks at the ways in which our legacy nuclear culture is embedded within the art world, but also within sociological frameworks. It is a vastly interdisciplinary project and we are one small part of this.

Thomson & Craighead, A Temporary Index, 2016.

spectre of humanity is always present in the machine, even as a disappearance. The pair expose the concealed politics of cyber-interaction, giving tactile form to the multitude of anonymous disembodied voices inhabiting the internet. The encounter with these ghosts is what drives the poetics of the artists

practice: the viewer seeing themselves within the work, their experiences mirrored, reframed, and made strange.

Thomson & Craighead apply a diverse range of conceptual tactics, evoking 1960s systems art, 1970s structuralist ďŹ lm-making, the intellectual rigour of

early Minimalism, and the compositional constraints of the inuential Oulipo literature group. This intentional shifting of form and approach is vital to

Thomson & Craighead s practice; art-making as a scavenger hunt for meaning in a landscape of constant change, or as Italo Calvino said, A classic is a book that has never ďŹ nished saying what it has to say.

Presented an engaging and successful show at Carroll/Fletcher, the duo sat

down with us to talk about some of the intentions behind Party Booby Trap and what it means to work with streams of data in contemporary art.

é¸?â?‰ďšłäŽ–ꍙ朸♜ĺŠ?ç˝œéş‚ë€?âš›čĄ˝č° é Żăšťćś¸é‘˜ä ‘ăťœéŠ?ď˜šç˝œ

éŒšćťžâľąă–ˆ⥲ㅡ酭ćş?é‹…č?ˆäŠšď˜šč?ˆ魨朸獤ĺ¨œâ›łé„„ĺƒŚć’‘ď˜šé„„ę…ž

ă?–ď˜šâš›éšśä–¤ęŁŤćŹ°ď˜ˇ

up creating a form of monument, but also an unimaginable representation of a self.

ART.ZIP: It is really interesting to see how the works displayed are like a set of pointers displayed in the gallery space, they are evocative without telling the viewer what to think, but rather what to consider. Are you thinking in term of accessibility when you re in the process of making the work? AC: Common Era is a series of crayon drawings that have a collection of

ĺź”ă¨—ĺ–€ă„¤âŻ˜ꨎ呔랹䗞买揽㢾ç??錚䙂â?œ繽朸äŠ›ĺ˛ ď˜šé›Šâžƒä&#x;?

statements or predictions of when the world will end. In a way, we see it very

ĺŠ?噲ç&#x;Śâšşçş?朸ă“‚é˜Œď˜šéźŠĺ‰¤ć?Śâ¸‚ĺ˛šć‚´ă–ˆäż’㡸䊨䑖朸犉㠖ꣳ

we re showing 16 predictions for the end of the world and by just pitting them

鼹 äŽƒâžżćś¸çŚşçŞĄč° é Żď˜š äŽƒâžżćś¸çŠĄĺœ“âšşçş?ꨜä•§ď˜šĺ‚?

âľ–ć¤šä™‚ď˜ˇé¸?ç??âľ ä ‘鹲äł–ä•Žä’­čŽ…ĺ€°ĺ˛ 㟊➎⌛朸ăťœéŠ?ă˝?ć?€

ę…žéŠ´ď˜ˇâžŽâŚ›㽠⍚嚢麼ăŁ—â™§ĺžşă–ˆâ™śâ¨˘éšśäŽ‘朸ĺ…žéŒšé…­äŻ˛äŻ?ä ‘

çş?ď˜šä§´ç˝?䒸揽â&#x;ťă??çš?˙⽓晋珞開朸é‘¨â˘ľé“žîš‰ďšłçŤ¤â°ŠăĽśâą ď˜š

much like a documentary. We imagine documentary to be a ďŹ lm, but actually against one another you start to see the dates that have passed and the ones that are very into the future. It s an interesting gaze.

㍔㍔麼⢾ď˜šă€Šâ›“â™śćšˆď˜ˇďš´

JT: They start to act on each other. You can see there are false statements; you

ă–ˆâ˝“峍晋 ä’źč&#x;›ä—ŁćŽĽä?¤ćŽĽä?¤ä§­â¸†čŽŠéłľâœŤç—§âœłĺŚ„âŚ?ăž?ա崣㟊

on each other we re hoping that it opens up the form, the idea of making a

é‘ ꨎոď˜šĺź”ă¨—ĺ–€čŽ…âŻ˜ꨎĺ‘”ëžąä—žęŚ‘ă—‚ă–ˆĺ€žď˜ščŽ…䧎⌛冹锓ăž? 錒čƒ?ä–•朸ä&#x;?ĺ˛ â&#x;ƒ⿝掚âžżč° é Żé…­â˘ŞćŹ˝äž¸äş™崊✞⥲朸ä ‘çş?ď˜ˇ

♜㠚朸ĺ€°ä’­éŒšĺş ĺ„˜ę&#x;Śď˜šéŒšćş?â™§ăź­ĺŞŻĺ„˜ę&#x;Śé…­ćś¸â&#x;ƒâżťĺˆżëĽ”ăŁ? ĺ„˜ę&#x;Śĺ‘Ľĺ?şé…­ćś¸ďšłĺ„˜ę&#x;Śďš´ď˜ˇ

â­šâŚ?㜜卢朸➃겳㛇㔔犉➿é‚?âœŤâ™§âŚ?ć Źç”¨ćś¸âžƒď˜ˇę§Şć?­ă€Ť

years it took for the human genome to be sequenced for the ďŹ rst time. We end

â™śĺƒ˝ćšŹäąşćś¸ęł?ć¤?ď˜ˇĺź”ă¨—ĺ–€ă„¤âŻ˜ꨎ呔랹䗞䳡çˆšâœŤçŹŞçŞ„â?œĺ´Š

➲㜊ĺ‘?朸⥲ă…ˇé”“é”¸ćś¸ĺƒ˝ă¸ŞăŁ?朸ĺ„˜ę&#x;ŚçŽ°ä?žď˜šç˝œęťťĺŽ?⥲ă…ˇ

that s 3.2 billion letters. Although it is the representation of one person, to

trigger videos and create what we call poetry machine. It reects upon the 13

⚼悴询朸ä˝&#x;ĺą›ď˜šé˝Ąâ?‰âœ˝č€˘çŹŞâ™łćś¸âźŁă ?č€Ťę°‰éšśä–¤ă€łé‹…ď˜ˇčŽ…

ă€Ťĺƒ˝âżŽčŽ…âœŤâ°ŚâšĽâ™§ăź­éżˆâ&#x;¨ćś¸ç ‡ç‘–ď˜ˇ

+5⥲ㅡա犥䊟ո䊺獤鄄ăž?çˆšéş•â™˛ĺŚ„âœŤď˜šă¸?䪞䧎⌛äŒ&#x;éšŽâœŤ

becomes an unimaginably long data set. We use that as a score and then to

systems on human relations to time and space. For Thomson & Craighead, the

é ŻčŽ…çˆ˘ĺ‰š㡸ď˜ˇă¸?ĺƒ˝â™§âŚ?뼔ăŁ?朸騗㡸çŒ°ç ‡ç‘–éŽ™âˇ”ď˜šç˝œ䧎⌛

JT: Stutterer, which we have shown three times, takes ourselves into a huge

actually see the nuclear time describing the whole of the genome it suddenly

global communication systems while also exploring the implications of these

ă˜—ç ‡ç‘–갪暥ď˜šé¸?âŚ?갪暥乳程朸ĺƒ˝âž˛ăśŠĺ‘?äż’âť‹㼜⥌応â°…č°

ա劣⚆ո⾹ĺƒ˝éŽŁé”¸ĺ„˜ę&#x;Śćś¸ćšˆ깧Ő‚âš†ć­˛ĺŠŁĺ‚ˆď˜ˇä§ŽâŚ›é‘‘襽揽

stream of text, which is the human genome. It represents an individual person,

窥㟊➃겳čŽ…ĺ„˜ę&#x;Śď˜śčŽ…ç‘ ę&#x;Śćś¸ęĄ ⤚䨞äŒ&#x;⢾朸ä•§ę° ď˜ˇăźŠĺź”ă¨—

â´•ď˜ˇ é¸?âŚ?é“­ę˛—ĺƒ˝ę†„❠㡸ꤎ朸蒕晋˙⽓č§?暜䭸㟏朸♧âŚ?ăŁ?

maybe the Apocalypse perfume is talking about the end of time, the end of

ways. There are small sections of time and then big pictures of time.

ĺ–€ă„¤âŻ˜ꨎ呔랹䗞⢾é“žď˜šĺ Ľă?źçą?ĺƒ˝äŒ&#x;ĺ‰¤âžƒäš?朸éżˆâ´•ď˜šâ­˝ç›˜

Őˇĺ†žĺ„˜朸ç¨‹ä’¸Ő¸Ő‚ĺƒ˝Őˇâž˛ăśŠĺ‘?äż’âť‹Ő¸ç ‡ç‘–é“­ę˛—朸â™§éżˆ

"$䧎é’˘ć?€é¸?匄ăž?éŒ’ĺˆżăťŤä‘ž朸âšşę˛—ĺƒ˝ęĄ ĺ€´ĺ„˜ę&#x;Śćś¸ď˜ˇĺ‰¤ęĄ

the world. We are trying to look at the hubris of thinking about time in dierent

structures and situations. These works mimic the fragmented frameworks of

+5é?Şă˘ľâĄ˛ă…ˇĺƒ˝ćšśâ´˝ć?€é¸?匄ăž?錒䨞✞⥲朸ď˜šä–°âżĄäŽƒçŒ¨ăŁ”

AC: I think that the really broad themes of the show are about dealing with

time. The nuclear counters are talking about really massive timescales and then

narrative, re-contextualising the familiar to allow for new readings of known

ա崣㟊é‘ ꨎո䨞✞⥲朸ăŒ¨îšŽ

♧âŚ?ć?‚卲뼔ăŁ?朸äż’ĺŠĽé…­ď˜šâ›łă˝ ĺƒ˝âžƒ겳ă›‡ă””çŠ‰ď˜ˇé¸?âŚ?剤襽

âžżé‚?âœŤâ™§âŚ?âžƒď˜šâĄŽ䪞é¸?âŚ?㛇㔔犉揽ĺ„˜ę&#x;Śćś¸ĺ€°ä’­â˘ľăƒ„ć¤?朸

é‘¨ă˝ éšśä§­âœŤâ™§âŚ?ć?‚ĺ˛ ä&#x;?⍚Ⰼę&#x;€ä?ž朸䞸⴪ď˜ˇä§ŽâŚ›âľ„揽é¸?âŚ? 䞸⴪⥲ć?€ĺ?żé™—ď˜šâ˘ľé?¸ćśŽä•§âŤšćś¸äš…ä˝žď˜šâ°?ç˝?朸犥ă –䧭ć?€âœŤ 䧎⌛䨞✞鸤朸ďšłé‘˜ĺ§?ĺ Ľă?źďš´ď˜ˇŐˇçŠĄäŠźŐ¸ä™źç¨‹âœŤęťˇĺŚ„䧭⸆乖

â´Şâžƒ겳㛇㔔犉䨞č”…饼朸ĺ„˜ę&#x;Śîš‰⟧â™˛äŽƒď˜ˇŐˇçŠĄäŠźŐ¸ă˝ ⍚♧ä? ç§ ä™‚çƒľď˜šç§ ä™‚襽ĺ„˜ę&#x;Śď˜šâĄŽă šĺ„˜ă¸?â›łĺƒ˝ăźŠâ™§âŚ?➃朸䲞粭ď˜šă€Ť ĺƒ˝é¸?ç??䲞粭ę¨ˆâ&#x;ƒä&#x;?⍚ď˜ˇ

"35 ;*1é¸?匄ăž?錒朸⥲ă…ˇę¤Ťâ´Şĺ€°ä’­ä–Žĺ‰¤éŚąď˜šâŤšâ™§çŠ‰çŠ‰

ĺžŚçˆšâ™§ĺžşăƒ„ć¤?ă–ˆ掼ä?¤ćś¸ă ?č´–ď˜ˇâĄ˛ă…ˇâ›“䨞â&#x;ƒč…‹ä’¸éĽąâ°&#x;ë’Šâš›

â™śĺƒ˝ăƒ‡é?°éŒšç˝?ä™źç˝ŒâžŠëžƒď˜šç˝œĺƒ˝ćş?⥲âžŠëžƒď˜ˇâĄšâŚ›ă–ˆ✞⥲朸 ĺ„˜⌏ĺ‰šç˝ŒäŁ‚⥲ㅡ朸〳隥äš?ăŒ¨îšŽ

"$ Őˇâ°—âŻ‹Ő¸ĺƒ˝é€•ç˜˜掼⥲ă…ˇď˜šâ™łęŹ—ę§Œă –âœŤâ™§çŚşâ´ŞęĄ ĺ€´âš†ć­˛ĺŠŁ ĺ‚ˆ朸㚒鎊䧴갸éŽŠď˜ˇă–ˆĺŽĽç??玑ä?žâ™łâ˘ľé“žď˜šă¸?㽠⍚ĺƒ˝ç§ ę?—晚

â™§ĺžşď˜šç§ ę?—晚估é‘Şĺƒ˝ę¨śä•§â™§ĺžşćś¸ď˜šâĄŽĺƒ˝ä§ŽâŚ›ăƒ„ć¤?朸ă€Ťĺƒ˝ âŚ?âš†ć­˛ĺŠŁĺ‚ˆ朸갸éŽŠď˜šäŞžă¸?⌛♧âŚ?âŚ?âš›â´Şäą–ä˝žď˜šâĄšĺ‰š朎 ć¤?ă¸?âŚ›ĺƒ˝âœ˝ćšąăźŠç”¨ćś¸ď˜šĺ‰¤â?‰ę°¸éŽŠ䲿⿝朸ĺŠŁĺ‚ˆĺ„˜ę&#x;ŚäŠşçŤ¤éş•

⿥ď˜šĺ‰¤â?‰韊ă–ˆĺŠ˘â˘ľď˜ˇä§ŽéŒ?ä–¤ćş?襽é¸?â?‰㟊卲ă„¤ćż¨ćš˝ä–Žĺ‰¤ä ‘ ä™źăƒ¤ď˜ˇ

can see that there are statements that we can t really contemplate. In acting

+5ă¸?⌛⛓ę&#x;Śćšąâœ˝éĽąčĄ˝âĄ˛ćŹ˝ď˜ˇă””ć?€⥚〳â&#x;ƒćş?âľŒ齥â?‰ę?Ťé“?

prediction in the ďŹ rst place, because it seems to me to be a hubristic tendency

鸒麕é¸?â?‰ę°¸éŽŠăž?ę&#x;šéŽŁé”¸ď˜šćş?ćş?䧎âŚ›ĺƒ˝é˝Ąëžƒ朸ćœ&#x;㼟ď˜šĺ´žă–ˆ

when we all live in a universe we have no control over. So making a prediction of a world s end is an act trying to take control. Seeing them operating in that way refers to religion and refers to science.

朸갸éŽŠď˜šâĄšă€łâ&#x;ƒćş?âľŒ齥â?‰䧎⌛ć?‚ĺ˛ ĺƒˆ术朸ăš’éŽŠď˜ˇä§ŽâŚ›ä‹žĺŠ†

♧âŚ?ĺ‘?劼ć?‚ĺ˛ äąžâľ–朸㸙㸿é…­ď˜ˇć?‚é”¸ĺƒ˝ă¸ťäž†韊ĺƒ˝çŒ°ăˇ¸âĄ˛â´€ ę°¸éŽŠď˜šé¸?鿪ĺƒ˝é‘‘ă•Źă¤žä–¤äąžâľ–ĺĽš朸♧âŚ?é ¤ć?€ď˜ˇ

When you ask the question about the space that the work creates, it s very

ęĄ ĺ€´âĄšă‰?âľŒ朸✞⥲ç‘ ę&#x;Śď˜šä§ŽâŚ›é’˘ć?€ęŹŒäŒ˘ę…žéŠ´ď˜ˇä§ŽâŚ›â™śĺ‰š

making something that proselytising. Rather, we re trying to create spaces that

ĺˆżę˛Šä ‘ć–Š鸤ç‘ ę&#x;Śé›ŠéŒšç˝?éšŽé ¤äŞĄâ´źâżŽčŽ…ď˜šâĄŽĺƒ˝ä§ŽâŚ›â›łâ™śĺƒ˝

important to us, critically, that we make work that s not too didactic, not

might allow for critical engagement, but we don t see ourselves outside of that. We see ourselves, in an anthropological sense, participant observers. I think

Untitled (balloon work) is very much like that, because we re trying to make

quite spectral connections with warfare and how it impedes on our psyche collectively. How we collectively live in a constant state of denial.

縨魨âœ˛ă˘Ťćś¸ď˜ˇä§ŽâŚ›ĺˆżâŤšĺƒ˝â™§âŚ?⿎čŽ…ă˜—朸éŒšăťŒç˝?ď˜šä–°âžƒ겳 㡸朸éŒŹä?ž⢾ćş?ä–Šăƒ°ă• 朸â™§â´—ď˜ˇä§Žä&#x;?孾椕⥲ă…ˇŐˇć?‚겗ոă˝

ĺƒ˝é˝Ąĺžşćś¸ď˜šä§ŽâŚ›é‘‘ă•Źé›Šé¸?âŚ?⥲ă…ˇčŽ…ä¨žć˜°ćŹ´ćŹ°â™§ç??č€˘ç˛Żď˜š

ćş?ćş?ä¨žć˜°ä™Śëžƒä•§ę° ę§Œë„“ä—ąć¤š朸ď˜šä§ŽâŚ›ä™Śëžƒă–ˆâ™§âŚ?國噲や 㚠朸ćœœä˘€â™´â°&#x;č´–ď˜ˇ

AC: We all know we re at war at the moment, but it s very easy to tune out of it.

"$䧎⌛鿪濟麼âš†ć­˛â™łéźŠĺ‰¤ä¨žć˜°ćś¸ćśŽćŹ°ď˜šâĄŽ䧎⌛çą?ĺƒ˝ä–Ž

bursting sounds so like anti-aircraft trials.

㽠⍚ĺƒ˝ęŁˆç‘ ć€ľçŽťď˜ˇ

We re thinking that somehow watching those balloons and the noise of them

ăş‚ĺƒ’䪞ă¸?ăž“čŞŒäąˆď˜ˇé˝Ąâ?‰ĺ­ľć¤•朸ć—™ç śâ&#x;ƒâżťă¸?⌛朎â´€朸耍갉

JT: It is the act of those women popping balloons after a corporate balloon

+5é¸?âŚ?⥲ă…ˇĺƒ˝ä•§âŤščŽ…ć¤?ăœĽćšąçŠĄă –朸♧âŚ?⥲ă…ˇď˜ˇé‹•ęą˝é…­

inscribed with the names of the military actions: Dessert Storm , Urgent

朸孾椕⾹⽍ĺ‰¤éŽŞâœ˛é ¤âš›朸ă ?ç?–îš‰ďšłĺ°Şć Šę´?ĺ‡?ďš´ď˜šďšłćœ&#x;ĺ‡?ä™­

drop, in the video work, combined with the balloons in the gallery space

Fury . The names are so romantic. They re heroic, they re propaganda, they re

idealistic. The way in which all of that horror is mediated to us is interesting and how we ritualise things.

AC: We re trying to look at the language of war. JT: But in a way that s very open-ended.

ART.ZIP: The works presented for Party Booby Trap seem to have a sense of wit in them. Humour has always been present in your practice; do you think that in this instance, humour plays an even more important role? AC: I think there s satire in many of the works and there is, I hope, humour because we don t want our gaze to be cruel. We want it to say: we are

part of this . The title of the exhibition, Party Booby Trap, gives a clue to the uncomfortableness. The title is a palindrome, it can be read both ways and there s an uncomfortableness using the term booby. JT: It gets a lot of hits online, I can tell you that. AC: We put an image of the show on Flickr with the name of the show, using the word booby we had 12 000 hits in 24hrs without us doing anything.

JT: That s the Internet, but I think humour is critically important to us and also satire. Underlying a lot of the works that we are making is that idea of the

architecture of language, space and time and the way we perceive the world.

朸ăĽ?㥌âŚ›ĺƒ˝ă–ˆâ°—ă €čŽŠéłľĺ´žâš›ä–•ăź&#x;ĺ­ľć¤•âľžç śď˜šç˝œ掼ä?¤ć¤?ăœĽ ćŠĄďš´ç˜žç˜žď˜šé˝Ąâ?‰ă ?ăśśĺƒ˝é˝Ąëžƒćś¸ĺľ ć ď˜ˇă¸?âŚ›ĺƒ˝č–Šę§†âšşçş?ä’­

朸ď˜šă¸?âŚ›ĺƒ˝ć’ťâš›ä’­ćś¸ď˜šă¸?âŚ›ĺƒ˝ć¤šä&#x;?âšşçş?朸ď˜ˇé˝Ąâ?‰ć—™ç śäŒ&#x;⢾

朸䛌䧌çą?ĺƒ˝ç‘łć?­ćśŽćŹ°ď˜šç˝œ䧎⌛çą?č…‹ä—?㌍ă–’䪞é¸?ç??䛌䧌鹲 âť‹ć?€é‹…䢍♜䚓朸âœ˛äž•ď˜ˇĺ§ťăĽśâžƒâŚ›㟊ä–Šä¨žć˜°ćś¸ä˘€ä?žď˜ˇ "$䧎âŚ›é‘‘ă•ŹéŒšăťŒé¸?â?‰ęĄ ĺ€´ä¨žć˜°ćś¸é“ƒéŽŠď˜ˇ +5䖰厼ç??玑ä?žâ™łâ˘ľé“žď˜šä§ŽéŒ?ä–¤é˝Ąĺƒ˝ę&#x;šä˝žä’­ćś¸ď˜šä§ŽâŚ›ă–ˆ éŒšăťŒď˜ˇ

"35 ;*1ăž?錒ա崣㟊é‘ ꨎո⚼朸⥲ㅡ鿪âŻ?ć€?čĄ˝ĺ Ľĺ…°é’

é•œď˜ˇäŽ–ëžżçŤ¤äŒ˘â´€ć¤?ă–ˆ⥚âŚ›ćś¸č° é ŻăťœéŠ?é…­ď˜šâĄšâŚ›éŒ?ä–¤ă–ˆé¸? âŚ?⥲ă…ˇćŽšâšĽď˜šäŽ–ëžżĺƒ˝â™śĺƒ˝ĺˆżę…žéŠ´îšŽ

"$䧎éŒ?ä–¤é?Şă˘ľâĄ˛ă…ˇéżŞäŒ&#x;ĺ‰¤é•žâľžä ‘ă„‚朸ď˜šâĄŽă šĺ„˜â›łĺ‰¤äŽ–

ëžżď˜šă””ć?€䧎䋞劆䧎⌛朸岤é‹•éšśä–¤â™śé˝Ąëžƒ劍ä—žď˜ˇä§ŽâŚ›ä&#x;?é“ž 朸ĺƒ˝ď˜šďšłä§ŽâŚ›â›łé­¨ă–ˆâ°ŚâšĽďš´ď˜ˇăž?錒朸垌겗ա崣㟊é‘ ꨎոĺ†? ä­¸âœŤé¸?ç??â™śă¸žď˜ˇę˛—暥ĺƒ˝ă”?äż’朸ä•Žä’­ 갍襽éšĄä§´éˇ 襽éšĄéżŞĺƒ˝ 䧭ç”¨ćś¸ď˜šç˝œâš‚揽ďšłç—?街 ✌䨟ďš´é¸?âŚ?ăśśćťšĺ‰šé›Šâžƒĺ‰¤ç??♜莞

something a little bit funny their guard comes down a bit and perhaps the

+5⥎é¸?â?‰č´Ąäşźâš†歲朸⿞ęşˆă–ˆăťœë„“âš†ć­˛â›łă šĺžşé“žä–¤é¸’ď˜š

language is a good place to play with those. Also with humour, if people ďŹ nd work can communicate a little bit more directly. It can be a strategic device.

ART.ZIP: You ve always worked with streams of data, how has the evolution in the ways in which information is circulated shaped your practice?

麨âľŒâœŤ 㢾ĺŚ„ď˜ˇ

templates and structures.

ę&#x;Śď˜śĺ„˜ę&#x;ŚéźŠĺ‰¤âš†ć­˛éŒš朸ä’Šĺœ“ď˜ˇä§ŽâŚ›獤äŒ˘ăť¤é‹•齥â?‰ä’Šĺœ“ㄤ

⛳é?Şă€łâ&#x;ƒé„„é‹•ć?€â™§ç??ç˜źćŽœă‚…ď˜ˇ

"$䧎⌛朸ä•§âŤšâĄ˛ă…ˇŐˇç—§â™§âžƒç?–Ő¸ćšśâ´˝ä˛żâżťâœŤé¸?ç??âŚ?➃

took from a website called The Experience Project where people put a limited number of characters looking for people who feel the same I hate Mondays , I love soldiers and they re looking for like-minded people to create those

communities with that particular interest. It becomes this kind of hypnotic work.

éŠ´ď˜šé•žâľžâ›łĺƒ˝ď˜ˇä§ŽâŚ›é?Şă˘ľâĄ˛ă…ˇćś¸ä&#x;?ĺ˛ éżŞĺƒ˝ă›‡ĺ€´é“ƒéŽŠď˜śç‘

JT: We ve described it as a cinematic plateau stage, because you always arrive

犥ĺœ“ď˜ˇâœ˝č€˘çŹŞĺƒ˝â™§âŚ?ä–Ž㼪朸⢿㜊⢾é‚?ć¤?㼜⥌âľ„揽垸ă?†ă„¤

really meaningful or it can be quite jarring or meaningless. As viewers, we are

犥ĺœ“⢾äŞŒĺˆźâĽŒäœ‚朸ď˜ˇ

é?Şé¸’麕䎖랿〳â&#x;ƒé›Š⥲ă…ˇčŽ…éŒšç˝?朸â?œĺ´ŠĺˆżćšŹäąşâ™§â?‰ď˜ˇäŽ–ëžż

person centred. We have a video of a house, which is constantly in a process of burning down but never burns down. It cut through inter-titles that we

â™łď˜šďšłCPPCZďš´é¸?âŚ?ęĄ ę’łăśśé›Š䧎⌛朸ë&#x;Š䚚楧ă–ˆ ăź­ĺ„˜â°‰

ă–’ď˜šăĽśĺ?“âžƒâŚ›朎ć¤?ĺ‰¤éŚąćś¸âœ˛ćš&#x;ď˜šâžŽâŚ›ă˝ ĺ‰šä˝žâ™´ä§ŻâŞ”ä—ąď˜šâ›ł

"35 ;*1⥚⌛獤äŒ˘éşŒ揽䞸äş™崊⢾éšŽé ¤âśžâĄ˛ď˜šâĽŒäœ‚âŤ„äš…

+5⥎珪♳ë&#x;Š䚚楧䖎넞㉇ " $䧎 ⌛ 」 ĺƒ˝ 䪞 ♧ ä“š ăž? 錒 ć’‘ 晚ㄤ 垌 겗 朎 ⥑ âľŒ ' M J D L S

⥚ćş?ď˜šćš&#x;椚äš?ď˜śď‰šä’¸â¸‚ď˜śé“ƒéŽŠé¸?â?‰鿪ĺƒ˝ă€łâ&#x;ƒ䪞梖朸ď˜ˇă šĺžş

AC: I guess, The First Person, comes very much about a change in focus

through status updates, about media becoming very narcissistic and very

+5é¸?ă˝ ĺƒ˝âœ˝č€˘çŹŞď˜šâĄŽ ĺƒ˝ä§Žä&#x;?䎖랿㟊䧎⌛⢾铞暜ⴽꅞ

AC: Facebook, Google, the browser‌

"$îš‰čŒ ĺ‰…ď˜śé?˝ĺ§?ď˜ść‡łéŒ’ă?źç˜žď˜žď˜žî™ˇéżŞĺƒ˝ďšłä?˛âŻ’ďš´î™¸ď˜ˇ

ĺ‰Şćś¸ä ŽéŒ?ď˜ˇ

We often interrogate those architectures and structures. The Internet is a

very good example of how we understand that information is distorted by

JT: But that feeds back into the physical world as well, physics, gravity and

in the middle and it never ends. I think using randomness in that work can be left in that almost liminal space.

朸éšśęŹ ĺƒ˝ăĽśâĄŚä•§ę° ⥚⌛朸ăťœéŠ?朸

ćœœä˘€ĺˆżĺ€ž朸éšśâť‹ď˜šăŻŻâž?éšśä–¤č?ˆä§—ㄤč?ˆ䧎ć?€âšĽä—ąď˜ˇé‹•ęą˝é…­ 朸䨟㜊贖倴♧âŚ?姝ă–ˆé„„ć•Žć•Żď˜śâĄŽ⽿⿜ĺŽ•éť‡â™śĺ‰šé„„ć•ŻĺŤ†ĺŠƒ

ćšˆ朸ćœœä˘€ď˜ˇä•§ć™šç‘­äł„襽♧â?‰éş•ăœĽăśśä?Œď˜šé¸?â?‰ăśśä?Œä–°â™§âŚ? 〭ա獤뀿갪暥ո朸珪畀♳䲿《朸ď˜šă–ˆé¸?âŚ?珪ç•€â™łď˜šâžƒâŚ›ă€ł

â&#x;ƒă–ˆꣳ㚠㜜䞸â°‰朎âĄ‘â™§ă€Łé‘¨ď˜šâ˘żăĽśďšłä§Žä›śéš‹â™§ďš´ď˜šďšłä§Žä Ś

㥌ⰼďš´ç˜žç˜žď˜šć?­ä–•ä˜‹ă š麼ă –朸âžƒă˝ ă€łâ&#x;ƒę†š㟊é¸?〣暜㚠朸 é‘¨éšŽé ¤ćŽ†éŽŠéšŽç˝œ援揰階♧姿朸â?œĺ´Šď˜ˇä§ŽâŚ›ă˝ ĺƒ˝çŠĄă –âœŤé¸? âŚ?çƒąć™šä•§âŤšă„¤äż’ăśśď˜šçł’ç˝œ✞⥲âœŤé¸?âŚ?Ⱘ剤⪜溭㿂äš?朸⥲ ă…ˇď˜ˇ

Thomson & Craighead, Stutterer, 2014

Thomson & Craighead, Stutterer, 2014

䪞⥲ă…ˇâ¨žä–¤ä–Žé“žäž†ä’­ćś¸ď˜šâ›łâ™śĺ‰šĺƒ˝â¨‹ęąƒ朸ď˜ˇćšąâżžă–’ď˜šä§ŽâŚ›

AC: I think we see a change towards a worship of the self with social

media and the work is looking at those kinds of ďŹ rst person statements. JT: The Internet is a good example of how things have changed. We

started making work when the web began to attract attention. In the

early 90s it was a very dierent space, it was very idealistic. Anybody could

AC: I thought it was quite exciting actually, a little bit like the

çş?ď˜šä§´ç˝?â›łĺ‰¤ă€łč…‹é›Šâžƒâ™śă¸ž䧴ç˝?éŒ?䖤受ć?‚ä ‘çş?ď˜ˇâĄ˛ć?€éŒšç˝?ď˜š

and I ve never seen before and they ve done a brilliant job. If

âľŒâšĽę&#x;Śéżˆâ´•ď˜šĺ°?ĺ‰¤çŠĄă˝ľď˜ˇä§Žä&#x;?ă–ˆ⥲ă…ˇâšĽéşŒ揽ęŚ‘ĺ Ľäš?ĺ‰šä–Žĺ‰¤ä ‘ 䧎âŚ›é„„ćŽ†ă–ˆâœŤę ŹęŁłćś¸ç‘ ę&#x;Śé…­ď˜ˇ

"$䧎âŚ›é‹…é˜ŽčĄ˝çˆ˘â?œ㯯넓⚼č?ˆ䧎äƒŞäŹşćś¸éą˛éšśď˜ˇé¸?âŚ?⥲ă…ˇă˝ ĺƒ˝

Royal Academy s Summer Exhibition, it was like a salon hang

ART.ZIP: You arre also educators, what is the most challenging when you work with young practitioners?

you ever said to me we d do a salon hang of media works, I

they grew up with the Internet and with computers. It s just a very

would say that couldn t work.

錚ćş?é¸?ç?? 痧♧➃ç?– 朸朎揰ď˜ˇ

JT: The work they ve included is a good piece from my point

mall as Internet.

+5îš‰âœ˝č€˘çŹŞĺƒ˝ăž?ć¤?âœ˛ćš&#x;㼜⥌éšśéź„朸♧âŚ?㼪⢿㜊ď˜ˇćŽšâœ˝č€˘çŹŞę&#x;š

in and of itself. What sits around the work becomes its own

ART.ZIP: Your work has recently been exhibited in Electronic Superhighway, how do you approach this type of conversation?

ĺƒ˝â™§âŚ?ćšśâ´˝â™śâ™§ĺžşćś¸ç‘ ę&#x;Śď˜šă¸?ĺƒ˝ć¤šä&#x;?âšşçş?朸ď˜ˇâ&#x;¤âĄŚâžƒ鿪〳â&#x;ƒ

make a web page, everyone was writing their own utopia and how it

would change the world, capitalism will fall, and now we have a shopping

AC: I think it was really exciting to be exhibited in that exhibition. JT: We were quite surprised to be on the ground oor.

AC: We thought we d be with the slightly more senior people, on the top

oor, so we were actually happy to be included among the young artists. JT: A show like Electronic Superhighway is quite hard to talk about

because it s a sort of landmark survey exhibition and the catalogue is

quite interesting I think. The exhibition is an explosion of stu and it s quite instructive actually.

㨼ă€ŒâľŒęĄ ĺ˛¤ćś¸ĺ„˜⌏䧎⌛⤑ę&#x;š㨼✞⥲ď˜ˇă–ˆ äŽƒâžżĺ‚?ĺŠ?ď˜šâœ˝č€˘çŹŞ

of view, because it has a kind of autonomy and can operate context.

âśžä’Š珪갤ď˜šâ&#x;¤âĄŚâžƒ鿪〳â&#x;ƒĺ‰…㝨➎⌛č?ˆäŠšćś¸ć?ŚäŠŻé˝Śď˜šăĽśâĄŚä˝–éšś

AC: I m very pleased, we were talking with Emily [Butler] one

ăŁ?朸飑ćš&#x;ă‰‚ăœĽďš´ď˜ˇ

in front of our work More Songs of Innocence and of

âš†ć­˛ď˜šăĽśâĄŚĺś‹垧饝劼⚺çş?ç˜žç˜žď˜šâĄŽć¤?ă–ˆď˜šâœ˝č€˘çŹŞă˝ ĺƒ˝â™§âŚ?

of the curators, we had people singing karaoke everyday

dierent way and a very natural way, it isn t a political decision

to work with video rather than paint, it s just, well, these are the

materials we have to hand. It s really exciting that they don t see

boundaries in the same way as was when I was 19. I had to ďŹ ght to get into a computer department and the ďŹ ne art tutors thought I was crazy. Now of course that wouldn t happen in the same way.

[1] Thomson and Craighead were exhibiting London Wall (2015) and

Horizon (2015) at Big Bang Data.

Experience. It s lovely to Google it and see online people

"35 ;*1⥚⌛朸⥲ă…ˇă–ˆաꨜ㜊ë„žé¸ â°—é¨&#x;ո⚼â? 剤ăž?çˆšď˜šâĄš

performing your work for you.

"$îš‰č…‹ă–ˆé¸?âŚ?ăž?éŒ’â™łăž?爚䧎⌛朸⥲ㅡ雊䧎⌛⟧â´•čŽ‡ăĽ…ď˜ˇ

JT: It was a fascinating show, quite interesting at the time as

+5îš‰ç˝œâš‚⥲ă…ˇă–ˆâ™§ĺžœăž?ä‘źăž?爚雊䧎âŚ›ä ŽâľŒ⟧â´•ë ‡é?„ď˜ˇ

House, which is quite an interesting comparison. It wasn t an

âŚ›ĺƒ˝ä™Śëžƒăž?ę&#x;šéŽŁé”¸ćś¸ăƒ¤îšŽ

AC: Being in the studio with young artists is really exciting because

well, because there was also Big Bang Data [1]at Somerset

art show in the same sense, but still interesting to see these dierent angles.

"$䧎⌛â&#x;ƒć?€䧎⌛剚莅玖ä—?䎃ę&#x;€â™§ë&#x;Šćś¸č° é Żăšťâ™§â˘˜ăž?çˆšă–ˆ갼㞾朸ăž?ä‘źď˜ˇä§Ž ⌛䖎ę&#x;šä—ąč…‹ă„¤äŽƒé°‹č° é ŻăšťâŚ›â™§éĽąăž?çˆšď˜ˇ

+5⍚աꨜ㜊ë„žé¸ â°—é¨&#x;Ő¸é¸?垺朸ăž?éŒ’ä–Žę¨ˆ⿥éŽŁé”¸ď˜šă””ć?€ă¸?ĺƒ˝â™§âŚ?垌疊䒭朸锅 ĺ?†ăž?éŒ’ď˜šćŽĽâą â›łęŹŒäŒ˘ĺ‰¤ä ‘ä™źď˜ˇăž?éŒ’ĺŠĽé­¨ă˝ ä–Ž⺍ä­?âœŤä–Ž㢾â™śă šä•Žä’­ćś¸âĄ˛ă…ˇď˜šâ°Ś ăťœäŻ†Ⱘ䭸ä’¸äš?朸ď˜ˇ

"$䧎éŒ?ä–¤äŻ†é›Šâžƒć…¨âš›朸ď˜šĺ‰¤ë&#x;ŠâŤšćś˝ăšťč° é Żăˇ¸ĺ‰š朸㢚㡎ăž?ď˜šĺ‰¤ë&#x;Š⍚尪ëĽŒăž?ď˜š ä–Ž㢾⥲ㅡ䧎⛓⾚鿪ĺ°?ćş?é‹…éş•ď˜šâĄ˛ă…ˇéżŞä–Žĺ•?ď˜ˇă–ˆé¸?âŚ?ăž?éŒ’â›“âľšď˜šăĽśĺ?“ĺ‰¤âžƒé¨ˆ䧎 é“žâ&#x;ƒĺ°ŞëĽŒăž?朸䕎䒭⢾ăž?çˆšĺ€ž㯯ë„“⥲ă…ˇď˜šä§Žč‚Ľăš ĺ‰šé“žâ™śă€łč…‹ď˜ˇ

+5䧎âŚ?➃éŒ?ä–¤ăž?éŒ’ä–Žâ™śę?Ťď˜šĺŤŚâ™§â&#x;?⥲ㅡ鿪剤č?ˆĺą›äš?ď˜šâĄ˛ă…ˇă€łâ&#x;ƒč?ˆäŠšćśŽč€Ťćś¸ ă šĺ„˜ď˜šâ°ŚâžŽčŽ…â›“â™§éĽąăž?â´€朸⥲ㅡ⾹⿜ć?€➲⢾朸⥲ă…ˇâśžé¸¤âœŤĺ€ž朸é“ƒăžŻď˜ˇ

"$ăž?éŒ’â°ŚâšĽâ™§âĄ™ç˜źăž?âžƒč’•ç˘œëœŠË™äŠźćšśâš—ăƒ‡é?°ä§ŽâŚ›ď˜šĺŤŚăŁ”鿪ĺ‰¤éŒšćťžă–ˆ䧎⌛

朸⥲ă…ˇŐˇĺˆżă˘ľç§ŤćşŤë„“ë€żćś¸ĺ§?ո⾚ăˆ–â˝“äŹ˜0,ď˜šä§ŽćşŤćś¸ä–Žę&#x;šä—ąď˜ˇé¸’éş•é?˝ĺ§?〳â&#x;ƒ äľƒç¨‹âš›ćş?âľŒéŒšćťžć?€䧎⌛é‚?ć€ľä ŽéŒ?溍朸ä–Ž㼪ď˜ˇ

+5é¸?ĺƒ˝âŚ?ä–Žĺ•?朸ăž?éŒ’ď˜šĺ‰¤éŚąćś¸ĺƒ˝ď˜ščŽ?ëžżă?ąćšśăš¨äŠ´â™śă˘ľă–ˆă šâ™§ĺ„˜ę&#x;Śâ›łčŽŠéłľâœŤ

ęĄ ĺ€´âœ˝č€˘çŹŞäž¸äş™朸ăž?錒ա䞸äş™ăŁ?ć—™ćŒžŐ¸ď˜šé¸?â°?âŚ?ăž?錒朸㟊卲ćšśâ´˝ĺ‰¤ä ‘ä™źď˜ˇ ա䞸äş™ăŁ?ć—™ćŒžŐ¸â™śĺƒ˝č° é Żăž?éŒ’ď˜šâĄŽĺƒ˝ä–°â™śă šéŒŹä?žéŒšćş?é¸?â?‰ĺ‚ˆäŒ˘ćś¸çŹŞçŞ„䞸äş™ ĺƒ˝ä–Žĺ‰¤ä ‘ä™źćś¸ď˜ˇ

"35 ;*1⥚⌛â°?⥙鿪ĺƒ˝äž†č‚ŹäŠ¨âĄ˛ç˝?ď˜šâĄšâŚ›éŒ?ä–¤ă„¤äŽƒé°‹č° é Żăšťâ™§éĽąäŠ¨âĄ˛ĺ‰“ ăŁ?朸äŽ‹ä¨žĺƒ˝âžŠëžƒîšŽ

"$îš‰čŽ…äŽƒé°‹č° é Żăšťâ™§éĽąă–ˆäŠ¨âĄ˛ăš”ĺƒ˝ä–Žĺ•?朸ď˜šă””ć?€âœ˝č€˘çŹŞă„¤ę¨śčˆĄâ śęŚ‘襽➎⌛

䧭ę&#x;€ď˜šä¨žâ&#x;ƒâžŽâŚ›朸ăťœéŠ?ĺ€°ä’­ă„¤ä§ŽâŚ›â™śâ™§ĺžşď˜šâžŽâŚ›â›łĺƒ˝ä–Žč?ˆć?­ă–’剚韇䚾鋕깽

ç˝œâ™śĺƒ˝ç˛­ćŽĽď˜šâš›â™śĺƒ˝âžŠëžƒä˝&#x;ĺą›䪽䚾ď˜šă€Ťĺƒ˝é¸?â?‰ç¨‡ĺ‹ž鿪ĺƒ˝ć¤?䧭朸ď˜šéżŞĺƒ˝âžŽâŚ›ęŚ‘ äŠ›ă€łâżťćś¸ď˜ˇé›Šä§Žä ŽâľŒë„žčŽ‡朸ĺƒ˝âžŽâŚ›â™śĺ‰š⍚䧎 ĺ¨”ĺ„˜齥垺剤襽é¸?垺齥垺朸㽡

ꣳäš?ď˜ˇćŽšĺ„˜朸䧎éŠ´ä–Žč‘žę¨ˆäŠžč…‹ć˜°ă€ŠéšŽâ°…ꨜčˆĄçŚşď˜šä§Žćś¸č° é ŻçŚşăźŹäŒŒ掚ĺ„˜éŒ?ä–¤ 䧎č‚Ľăš ĺƒ˝ćł‡âœŤď˜ˇćŽšć?­ď˜šć¤?ă–ˆă šĺžşćś¸äž•幣♜剚⹄朎揰âœŤď˜ˇ

Thomson & Craighead, Common Era XV, 2016

Thomson & Craighead, Six Years of Mondays, 2014

+5䧎⌛䪞ă¸?䲞霤ć?€ꨜ䕧䒭朸넞➲ĺŠ?ď˜šă””ć?€⥚厕靇」腋ćş?

*/5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒  +&4$ #6/:"3% ⪁銯˙劥꧈䗞 53"/4-"5&% #: 缺陼  $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘  3"/%0. */5&3/"5*0/"- 貼涬㕜ꥸ

Collaborative studio rAndom International are most famous for their

3BJO 3PPNշꨎ㾋ո僽S"OEPN *OUFSOBUJPOBM貽涬㕜ꥹ剓ⴀそ涸

Barbican in London and subsequently at MoMA in New York, Yuz

ⴀ錚滞⦛捀⛓⫙⦝ꦑ䖕⿶㖈秣秉涸植➿谁遯⽈暟긭.P."

Rain Room installation. This work enchanted viewers first at the

Museum in Shanghai and LACMA in Los Angeles. Led by duo Florian Ortkrass and Hannes Koch, the team blend science and art in their investigations of the relationship between man and machine. The viewer, or rather participant, has an emphasized role in the work.

These extraordinary works are unleashed upon the world ready and yearning for human interaction.

酤縨⡲ㅷ鸏⦐⡲ㅷ껷⯓㖈⧍侚涸䊼嫲肥谁遯⚥䗱#BSCJDBO㾝

♳嵳涸⡮䗞罇繡遯긭ㄤ峫勒熘谁遯⽈暟긭-"$."㾝ⴀ貽

涬㕜ꥹ䊨⡲㹔歋'MPSJBO 0SULSBTTㄤ)BOOFT ,PDIⰍ➃걆ꌊ涸 ➮⦛涸⡲ㅷ輑ざ✫猰㷸ㄤ谁遯䱳鎣➃莅堥㐼⛓꟦涸ꡠ⤚錚滞

䧴罏铞⿮莅罏㖈➮⦛涸⡲ㅷ⚥剤衽莊駈鰋ꅾ涸㖒⡙➮⦛鸏❉ ꬌⳝ涸⡲ㅷ䜄㥪钲欰㖈鸏垺♧珏胝兞♴⽰䧮⦛涸⚆歲㼩倴➃ 겳涸✽⹛傂Ⱘ⪔✫哭⟝⿶⯏怏✫庯劆

As well as continuing to tour Rain Room, the studio are planning

ꤑ✫䊣㔐㾝ⴀ酤縨⡲ㅷշꨎ㾋ո鑪㕰넓䊨⡲㹔鼩㖈鹎遤♧⦐

Harvard, enabled by Le Laboratoire. One of these is Study for Fifteen

㖒갪湡鸏⦐갪湡僽歋殹➿谁遯鏤鎙⚥䗱-F -BCPSBUPJSF暽걧涸

ever-bolder works partially informed by their recent residency at

Points, which explores how little visual information is needed for the human brain to perceive a human form.

刿㣐苠涸鎙ⷔ鸏⦐鎙ⷔ涸ⶾ⡲⢵彂倴➮⦛鵜劍㖈ㆁ⡱㣐㷸涸꽏

殹⚥⤑⺫䭍✫倞⡲ㅷշ⼧❀럊灇瑖4UVEZ GPS 'JGUFFO 1PJOUTո 䱳程涸僽➃겳㣐舡㖈鳺钢➃넓㘗䢀儘䨾꨾銴涸鋕錏⥌䜂剓㼭⧩

Visiting their main studio at The Old Warehouse in London, we

䧮⦛⢵ⵌ✫貽涬㕜ꥹ㖈⧍侚涸䊨⡲㹔5IF 0ME 8BSFIPVTFㄤ

by different audiences, and also the terms like digital art in the

涸ず儘䧮⦛⛳鎣锸✫㖈馊⢵馊尝剤㓂呔歲㹁涸殹➿騗㷸猰㻜

discussed the success of Rain Room and how it s approached

contemporary landscape towards less restrictive interdisciplinary practices.

➮⦛䱳鎣շꨎ㾋ո涸䧭⸆⟃⿻♶ず涸錚滞僽䙦랆溏䖊鸏⟝⡲ㅷ 驏⚥門㥶侸㶶谁遯鸏❉嚌䙂涸㉏겗

Rain Room (2015) ，150 Square Metres，Exhibited at Yuz Musuem, Shanghai courtesy of Yuz Foundation and VW China Photography by Delia Keller

RANDOM INTERNATIONAL 貼涬㕜ꥸ

ART.ZIP: You're most well known for the incredible Rain Room installation. Do you consider this your signature work? Do you still work with it or is it considered done and move on to the next work?

"35 ;*1îš‰Őˇę¨Žăž‹Ő¸ĺƒ˝âĄšâŚ›ĺ‰“ä‘žć?€âžƒ濟朸⥲ă…ˇď˜ˇâĄšéŒ?ä–¤ă¸?

practice, but it's just one of the works. We wouldn't have, in our wildest dreams,

é¸?âŚ?⥲ă…ˇâŁœčŽ?ĺƒ˝ä–Žĺ‰¤éŚąćś¸ď˜šâž ć?­ĺƒ˝ă–ˆâ™śĺ€ŹćśŽăž?掚âšĽď˜šă¸?

RI: Far from putting it to one side, it's still very interesting and current within the expected that sort of persistent public reaction to it. It is also, still to this day,

not really guided by that. If anything, then we're picky about when and how

interesting bits in it that's in development, we've got four more to make and we're actively involved in every single one and they all will have permanent

homes. We're actively involved in making and ďŹ nding those homes. I don't see it as a done and dusted thing.

Each time Rain Room goes to a dierent country, it s dierent.

ART.ZIP: Your works use installation in order to study collective behaviour. Are the reactions that the Chinese audience had dierent to the ones experienced elsewhere?

to take that into account. There was a very dierent collective behaviour, how people experience the work and themselves. It was 1 or 2 people at a time in

LACMA and there were 15 or 20 people at a time, moving as a chunk in China. It's the dierent deďŹ nitions of personal space.

♧âŚ?ĺ?ĽâźŚď˜šă–ˆâ™§ä? ăź­ăż‹â™łď˜ˇé˝ĄâŻĽĺ‰¤ë&#x;Š⍚âĽœ麼ę¤Žď˜ˇă–ˆĺ‰“ä–•â™§

individually, had pieces in exhibitions. We thought: "why don't we join forces?" That's when we came up with the name, because we were doing all dierent things, plus we were very intrigued by the word random. There's no direct

translation into German, or there is a translation but it usually has a negative connotation. We went to do our Masters degree at the Royal College of Art,

again working in several projects, both at the college and externally, together. We ďŹ nished the RCA and we incorporated the studio in 2005.

It started out as this collective umbrella. We did our ďŹ rst actual Random project,

3*䧎⌛ äŽƒă–ˆä‹’ë‰“â°‰ć™‹ăŁ?㡸é’˘é™?ď˜šé˝Ąĺƒ˝ęŹ’éľœ役č›?朸 âŚ?㡸äŽƒď˜šä§ŽâŚ›ă ?č?ˆ鿪ĺ‰¤âĄ˛ă…ˇâżŽâ¸ˆăž?éŒ’ď˜ˇä§ŽâŚ›ä&#x;?ć?€âžŠëž†

䲿â´€éŠ´ĺŽ ď˜ˇé¸?âŚ?⥲ㅡ韊剤♧â?‰ĺ‰¤éŚąćś¸ĺ€°ęŹ—ă–ˆ朎ăž?âšĽď˜šă¸?䊺 獤䖰➲⢾朸♧âŚ?ć™?劼朎ăž?âľŒă”‹âŚ?ć™?ĺŠĽď˜šä§ŽâŚ›ă–ˆ卌âŚ?酤縨

⥲ㅡ♳鿪ç?Žĺ™˛âżŽčŽ…ď˜šä‹žĺŠ†ă¸?⌛ăź&#x;⢾鿪剤♧âŚ?č…‹㣠厕⛉ăž?

爚朸ç‘ ę&#x;Śď˜ˇä¨žâ&#x;ƒ䧎âŚ›ă–ˆç?Žĺ™˛é†˘âĄ˛ćś¸ă šĺ„˜ď˜šâ›łă–ˆâ¸—⸂ć?€ă¸? ⌛䪪♧âŚ?ďšłăšťďš´ď˜ˇä¨žâ&#x;ƒ䧎♜钢ć?€Őˇę¨Žăž‹Ő¸é¸?âŚ?⥲ㅡ䊺獤䗣 ä? 㸤䧭⚛鄄䝆縨â™§ĺ€žď˜ˇ

աꨎ㞋ո卌âľŒâ™§âŚ?♜㠚朸ă•œăšťď˜šă¸?鿪ĺƒ˝â™śâ™§ĺžşćś¸ď˜ˇ

That becomes manifest in Rain Room. I think the way people use it and

experience it here reects that. Here [London] you like to be in it alone and have it for yourself. That's not a thing in China.

Initially we were thinking of one person in the Rain Room. If we had a dierent

朸ď˜ˇâšĽă•œéŒšćťž㟊姽朸⿞估ă„¤â°ŚâžŽă•œăšťéŒšćťž朸⿞估剤➊랆 3*îš‰ĺƒ˝ćś¸ď˜šĺ‰¤ęŹŒäŒ˘â™śă š朸ă–’ĺ€°ď˜ˇăĽśĺ?“䧎⌛ćş?ćş?Ⱘ넓朸ꨎ

ăž‹ďš´é ¤ć?€ĺ€°ä’­ď˜šâšĽă•œéŒšćťž朸ë„žăş™ä?ž⿎莅ㄤâ§?äžš䧴ç˝?秣秉 éŒšćťžĺƒ˝ęŹŒäŒ˘â™śă š朸ď˜ˇă–ˆ秣秉ㄤâ§?äžšď˜šé¸?ĺƒ˝â™§ç??âŚ?ë„“ë„“ë€żď˜š

ĺƒ˝ă‹˛ć Źćś¸ď˜šç˝œă–ˆâšĽă•œď˜šâžƒâŚ›äŒ˘äŒ˘ĺƒ˝â™˛â?€䧭çşˆ朸ď˜š č?› ➃ â™§çŠ‰éšŽâ°…ď˜šâžŽâŚ›â™§éĽąĺ´žâš›ď˜šä–ƒä–ƒ㟏č?žďšłę¨Žăž‹ďš´â™§âźąćś¸ç‘ ę&#x;Ś 鿪â™śďšłâ™´ę¨Žďš´ď˜ˇä§Žâ™śĺ‰šé“žă¸?麏čƒ?âœŤä§ŽâŚ›➲⢾朸ĺœ“ä&#x;?ď˜šâĄŽ䧎

âŚ›ă–ˆĺŠ˘â˘ľâśžâĄ˛ćś¸ĺ„˜⌏剚䪞é¸?âŚ?ă””ç¨‡ç˝ŒäŁ‚ă–ˆâ°‰ď˜ˇé¸?ç??ę§Œë„“

é ¤ć?€溍朸ĺƒ˝é›Š䧎âŚ›ä ŽâľŒä ‘㢍朸ď˜šéŒšćťž㟊倴⥲ㅡㄤč?ˆ魨朸 ë„“ë€żâ›łĺƒ˝â™śă š朸ď˜ˇă–ˆ峍ĺ‹’ç†˜č° é Żâ˝ˆćš&#x;긭ď˜šďšłę¨Žăž‹ďš´é…­ä–ƒä–ƒ

♧匄」剤♧â°?âŚ?éŒšćťžď˜šâĄŽĺƒ˝ă–ˆâšĽă•œď˜šâ™§ĺŚ„ă˝ ĺ‰¤ 䧴ç˝? ă ?éŒšćťžéšŽâ°…ď˜šä§­çşˆ犥꼙㖒ç?ľâš›ď˜ˇ

é¸?â›łâżžĺƒŚâœŤâ™śă šâžƒçşˆ㟊倴âŚ?âžƒç‘ ę&#x;Śćś¸ăš çş?ĺ‰¤ä¨žâ™śă šď˜ˇ é¸?♧ë&#x;Šă–ˆďšłę¨Žăž‹ďš´é…­ćŽŻäŒ˘ç‘łâ´€ď˜ˇâžƒâŚ›⢪揽ㄤ넓뀿ă¸?朸倰䒭

ĺ Ľďš´é¸?âŚ?é‘‚ęŹŒäŒ˘ä ŽčŽ‡錹ď˜ˇé¸?âŚ?é‘‚ĺ°?éłľĺ˛ ćšŹäąşçźşé™źä§­ä—žäż’ď˜š

We would have probably made a completely dierent work. I wouldn't argue

ăž‹ďš´é…­ď˜šâ?§ă€ŒâŚ?âžƒčŽ…⥲ă…ˇćś¸âœ˝âš›ď˜ˇâĄŽă–ˆâšĽă•œď˜šâžƒâŚ›âĄ‚â›–âš›

â™§éĽąă–ˆćś˝ăšťč° é Żăˇ¸ę¤Žä˝™éšĄç„š㥌㡸âĄ™ď˜šă–ˆäŽ™âŚ?갪暥♳⹄匄

when thinking of new work, that experience is deďŹ nitely something that will

âŚ?ă ?ăśśď˜šă””ć?€䧎⌛⨞朸ĺƒ˝â™śă š朸ĺŒŒéŠŻď˜šâą„â¸ˆâ™łä§ŽâŚ›㟊ꌑ 㽠皿〳â&#x;ƒâš‰ä“˝çźşé™źď˜šă¸?é¸’äŒ˘â›łĺ‰¤é žęŹ—朸ă‚?çş?ď˜ˇä§ŽâŚ›ä–•⢾ ă –⥲ď˜šé¸?⺍ä­?âœŤĺ?Ľâ°‰ĺ?Ľă˘Ťćś¸ę°ŞćšĄď˜ˇä§ŽâŚ›ć ˝ä–¤âœŤăˇ¸âĄ™ä–•ă–ˆ 䎃姝ä’­é?˝âą 䧭ç”¨âœŤäŠ¨âĄ˛ăš”ď˜ˇ

ďšłč˛˝ćśŹă•œ꼚♧ę&#x;š㨼㽠剤â°&#x;ă šë„“朸ä ‘ă„‚ď˜ˇä§ŽâŚ›ă–ˆ 䎃

but there our complementary skills and interests really became something

⥲➃ă ?çş?朸⥲ă…ˇď˜ˇă–ˆ姽â›“âľšď˜šä§ŽâŚ›ă€Ťĺƒ˝ă–ˆă ?č?ˆ朸갪暥♳㠖

bigger and more focused.

ă¸?朸䧭â¸†ď˜šä§ŽâŚ›č…‹㣠ĺ‰¤é§ˆăŁ ćś¸çĄ ç„şăźŠăž?â´€朸ĺ„˜ę&#x;Śă„¤ĺ€°ä’­

cultural background, we would have thought of it dierently.

♜♧鼹㠖⥲ăƒ¤îšŽďš´ă˝ ă–ˆ齥ĺ„˜⌏䧎⌛ä&#x;?âľŒâœŤďšłč˛˝ćśŹă•œ꼚ďš´é¸?

where we worked together under that name, at the Valencia Biennale in 2003. We had already been working together on our respective individual projects,

âľŒ䧎âŚ›ď˜ˇăĽśĺ?“é“ž溍朸ĺ‰¤âžŠëž†ä•§ę° 朸é‘¨ď˜šâ›łă€Ťâ™śéş•ĺƒ˝ă””ć?€

â™śă šăŒ¨îšŽ

say it deďŹ ed the purpose, but I think next time we will set it up a little dierently

here near Winsor, on a hill. It was a bit like a monastery. In the last year we,

é¸?âŚ?⥲ㅡ剤é¸?랃䭰⛉朸ć”¨äž•ď˜ˇă¸?朸ă€Œ姚éľ”ä?žâš›ĺ°?剤䕧ę°

dierent from London or New York. In New York and London it was all about the 15 people, switching o half of the Rain Room by moving collectively. I wouldn't

RI: We met at Brunel University in 1998, at one of their campuses west of

ă€Ťĺƒ˝ä§ŽâŚ›é–€㢾⥲ㅡ⚼朸♧âŚ?ď˜ˇä§ŽâŚ›ä–°â˘ľĺ°?剤ä&#x;?éş•â°—ćťž㟊

"35 ;*1⥚⌛朸⥲ă…ˇĺƒ˝â&#x;ƒé…¤ç¸¨ćś¸ä•Žä’­â˘ľç ‡ç‘–ę§Œë„“é ¤ć?€

individual experience, solitude. In China, people went in large groups, of 10 or

"35 ;*1îš‰ďšłč˛˝ćśŹă•œ꼚ďš´ĺƒ˝ăĽśâĄŚćŹ´ćŹ°ćś¸

3*銴铞䧎⌛䊺獤䪞é¸?âŚ?⥲ă…ˇä˝žă–ˆâ™§éźšâœŤé˝ĄéźŠć?€ĺ„˜ăźżĺ‚?ď˜š

RI: There was a strong dierence yes. If you want to go into the speciďŹ c Rain Room behaviour, the high-density population behaviour in China is very

ART.ZIP: How did rAndom International start?

ĺƒ˝é¸?âŚ?⥲ă…ˇäŠşçŤ¤ă¸¤ä§­âœŤď˜šĺ§ťă–ˆéšŽâ°…â™´â™§âŚ?⥲ㅡ朸✞⥲

檳â§?銯â??꧹䎃ăž?â™łćś¸âĄ˛ă…ˇĺƒ˝ç—§â™§âŚ?â&#x;ƒďšłč˛˝ćśŹă•œ꼚ďš´ć?€âśž ⥲ď˜šâĄŽä–°é˝Ąĺ„˜鼹ď˜šä§ŽâŚ›ă–ˆäŞŽé Żă„¤čŽ‡錹â™łćś¸âœ˝é…˘äŠžéšśä–¤éŚŠ ⢾錊㢾ď˜śéŚŠ⢾éŚŠę§ŒâšĽď˜ˇ

that Rain Room doesn't work in China. I think going forward, which is interesting

ë„“ć¤?âœŤé¸?♧ë&#x;Šď˜ˇă–ˆ<â§?äžš>é¸?é…­ď˜šâžƒâŚ›ĺˆżă‹?姚ă‹˛ć Źä–Šă–ˆďšłę¨Ž ĺ°?剤é¸?ç??ä&#x;?ĺ˛ ď˜ˇ

remain.

♧ę&#x;š㨼ď˜šä§ŽâŚ›朸é?¤ä&#x;?ă˝ ĺƒ˝ďšłę¨Žăž‹ďš´é…­ĺŤŚĺŚ„ă€Ťä–Šâ™§âŚ?âžƒď˜ˇăĽś

ART.ZIP: For your project Study for Fifteen Points, will it exist on a larger scale? Your previous work engages more with the audience, does Study for Fifteen Points just move automatically?

ç˝ŒäŁ‚âœŤď˜ˇ

RI: At the moment, yes. It's very much what it says: A Study for Fifteen Points.

There's a much larger work, a human sized work in production, which is going to be presented publicly at Menlow Park at PACE. This study and also our research

ĺ?“䧎âŚ›â™śĺƒ˝ĺ‰¤é¸?垺朸俒❋čƒ?ĺ…žď˜šä§ŽâŚ›â™§ę&#x;š㨼㽠♜剚é¸?랆

䧎⌛䧴é?Şă˝ 剚 ✞⥲â´€㸤ďˆŁâ™śâ™§ĺžşćś¸âĄ˛ă…ˇď˜ˇä§Žâ™śĺ‰šć˜°é´„

Őˇę¨Žăž‹Ő¸ă–ˆâšĽă•œĺƒ˝ă‚„čƒ?ꨆ⥲ă…ˇâž˛â˘ľćś¸ć¤šä™‚ď˜ˇâĄŽă–ˆĺŠ˘â˘ľä§Ž

âŚ›ĺœ“ä™źĺ€ž⥲ă…ˇćś¸ĺ„˜⌏ď˜šä§ŽâŚ›韊ĺƒ˝ĺ‰šâĽƒćŽ†é¸?ç??䓽锅âŚ?➃넓 ë€żćś¸ć¤šä™‚ď˜ˇ

Random International. Study for Fifteen Points / I 2016ďźŒMotors, custom driver electronics, customďźŒsoftware, aluminium, LEDs, computer 712 x 552 x 606 mm

we show it, we can aord that due to the public success of it. There are other

ĺƒ˝âĄšâŚ›朸âžżé‚?⥲ăŒ¨îšŽ⥚⌛韊ă–ˆä­°çłľé¨ˆéšŽé¸?âŚ?⥲ă…ˇăŒ¨îšŽ韊

and talks programme at Harvard at Le Lab is really serious. We

"35 ;*1⥚⌛朸⥲ㅡա⟧â?€ë&#x;Šç ‡ç‘–ո剚â&#x;ƒĺˆżăŁ?鋊垸朸䕎䒭ăž?â´€ăŒ¨îšŽ⥚

engagement, to what extent behavioural reactions are interesting

âš›âť‹éşŒé ¤ćś¸âĄ˛ă…ˇăŒ¨îšŽ

are studying to what extent we can open the sculptural up for

or boring, and to what extend we can implement the motion of the viewer and whether that's interesting. We're really actively

studying that, looking at the technical possibilities and, foremost, the conceptual implications. We don't always see the need for

interaction. I think our interpretation of the man/machine, viewer/ object, viewer/environment relationship is much broader. There's something powerful about the recognition of human motion

and there is something potentially powerful about recognising

yourself, but there's something potentially one-liner-ish about it

as well. We're gagging to make sense of it and it's not happening. The big one is going to go along 12-metre rails, it's not going to Swarm Study / IX Random International 2016, Photography by Jan Bitter

be a study anymore, and it will be exuberant.

You can even scramble the movement up and the brain works

hard to make sense of it, and in most cases can still see, that it's

still a human. We haven't even touched that at the moment, we have the Fifteen Points.

ART.ZIP: Digital art can be a dividing term, some people think it's too broad or outdated, whilst others think there is no digital art, digital is merely a tool to use. Some would see it as constrictive, but it's good to use such a decisive term to get passionate opinions. What's your view? RI: I think it cuts yourself short. By compartmentalising yourself,

you limit yourself. I ďŹ nd it very unhelpful and irrelevant. Previously, if you wanted to show stu that used digital or tech as art, you

were in a limited number of spaces, like Ars Electronica. Now it's not the same, with most people today, compartmentalising is really not a thing.

⌛⛓⾚朸⥲ă…ˇčŽ…éŒšćťž朸âœ˝âš›鯹ć?€ăş™â´—ď˜šé¸?匄朸ա⟧â?€ë&#x;Šç ‡ç‘–ո⍌⍌ĺƒ˝č?ˆ 3*îš‰ĺƒ˝ćś¸ď˜šćšĄâľšĺƒ˝é¸?ĺžşď˜ˇă˝ ĺƒ˝ăĽśăśśęŹ—䨞䲞霤朸⟧â?€ë&#x;Šç ‡ç‘–ď˜ˇä§ŽâŚ›ăź&#x;剚剤

ĺˆżăŁ?ă˜—朸ć™?ĺŠĽă–ˆé†˘âĄ˛ćŽšâšĽď˜šă¸?ăź&#x;莅溍➃♧č?›ăŁ?ăź­ă–ˆĺ‰‹çš?Ⱇ㕨朸⢆倛掼ä?¤

â°—ę&#x;šăž?â´€ď˜ˇä§ŽâŚ›ă–ˆă† ⥹ăŁ?㡸-F -BCéšŽé ¤âœŤęŹŒäŒ˘ă“‚č ?ćś¸ăˇ¸é Żç ‡ç‘–ă„¤ç ‡éŽŁ

ĺ‰šď˜ˇä§ŽâŚ›äąłéŽŁę§¨ă?–朸〳腋äš?ď˜šę§¨ă?–ă–ˆ⥌ç??玑ä?žâ™łă€łâ&#x;ƒčŽ…éŒšćťžéšŽé ¤âœ˝âš›ď˜š ă–ˆ⥌ç??玑ä?žâ™łćś¸ç?ľâš›é ¤ć?€㟊ĺ€´éŒšćťž⢾é“žĺƒ˝ĺ‰¤éŚąćś¸ä§´ĺƒ˝ć?‚çż?朸ď˜šă–ˆ⥌ç?? 玑ä?žâ™łä§ŽâŚ›ä’¸ăźŹéŒšćťž朸⿎莅腋雊➎⌛éŒ?ä–¤ĺ‰¤éŚąď˜ˇä§ŽâŚ›äąłéŽŁćś¸â™śă€Ťĺƒ˝äŞŽ

é Żâ™łćś¸ă€łč…‹äš?ď˜šĺˆżę…žéŠ´ćś¸ĺƒ˝éŒšä™‚â™łăĽśâĄŚăźŠéŒšç˝?援揰ä•§ę° ď˜ˇä§ŽâŚ›âš›â™śéŒ?ä–¤ ⿎čŽ…ä’­ćś¸âœ˝âš›ĺƒ˝ä—łę¨žćś¸ď˜ˇä§ŽâŚ›㟊ĺ€´âžƒčŽ…ĺ Ľă?źâ›“ę&#x;Śď˜śéŒšç˝?莅ćš&#x;넓⛓ę&#x;Śď˜śéŒš

ç˝?莅抇㞯⛓ę&#x;Śćś¸ęĄ ⤚朸ćş?ĺ˛ ĺƒ˝äĽ°é‘Şĺˆżä‘žęĄ€ď˜ˇé’˘é™?➃겳ĺ´žâš›朸➲椚⛳é?Ş č…‹㣠ĺˆżăĽŞă–’é’˘é™?č?ˆäŠšď˜šâ›łé?Şâ°ŚâšĽčąŞă‚?襽ęŹŒäŒ˘ę…žéŠ´ćś¸ä ‘çş?䧎⌛韊â™śćżźéşĽď˜š

âĄŽâ›łĺ‰¤ă€łč…‹ĺƒ˝äł„çŒ°äŠ§é•“ä’­ćś¸ç–Žäż˛ď˜ˇä§ŽâŚ›çą?ĺƒ˝ĺşŻĺŠ†âœŤé?‘č?ˆäŠšď˜šâĄŽ⽿çą?ĺƒ˝ć?‚

â¸†ç˝œ龌ď˜ˇŐˇâź§â?€ë&#x;Šç ‡ç‘–ո剚剤♧âŚ?ĺˆżăŁ?ă˜—朸ć™?ĺŠĽď˜šé…¤ç¸¨ĺ‰š幥襽 ç˘œ朸鎨 麼ďšłé ¤éĽĽďš´ď˜šâľŒĺ„˜⌏ă¸?ă˝ â™śĺƒ˝ă‹˛ă‹˛ćś¸âžƒë„“㡸睢âœŤď˜šă¸?剚⍚溍âžƒâ™§ĺžşâŻ?ć€?揰 ă„?â¸‚ď˜ˇ

ă–ˆĺŠ˘â˘ľď˜šâĄšćŹŠč?›ă€łâ&#x;ƒ䚽乞ă¸?朸ĺ´žâš›鎨é¨‹ď˜šć?­ä–•é›Šă¸?âŻ?ć€?ă ?ç??ä ‘çş?ď˜šâĄŽĺ‰“

ĺ‘?ĺŠĽćś¸ď˜šâĄšéźŠĺƒ˝ă€łâ&#x;ƒćş?â´€ă¸?ĺƒ˝ĺž¸äşźâžƒë„“ă˜—ä˘€朸ď˜ˇä§ŽâŚ›韊ĺ°?ę&#x;š㨼䪞é¸?âŚ?椚 䙂䒂ăž?ä–¤ĺˆżĺš€ď˜šä§ŽâŚ›暥⾚」剤剓ⴲ㨼朸ć™?劼ա⟧â?€ë&#x;Šç ‡ç‘–Ő¸ď˜ˇ

"35 ;*1îš‰ďšłäž¸ăśśč° é Żďš´ă€łâ&#x;ƒé“žĺƒ˝â´•ĺ¨‚䖎㓂ꅞ朸ç?–é–—ď˜šĺ‰¤â?‰âžƒé’˘ć?€é¸?âŚ?

é‘‚ăŁ–ç‘ ĺ˛Œď˜śăŁ–éş•ĺ„˜ď˜šĺ‰¤â?‰âžƒé’˘ć?€ĺ‘?劼ĺ°?ĺ‰¤ďšłäž¸ăśśč° é Żďš´é¸?ç??ĺŒŒéŠŻď˜šäž¸ăśś

ă€Ťĺƒ˝äŠ¨â°¨ď˜ˇéźŠĺ‰¤â?‰âžƒé’˘ć?€é¸?âŚ?é‘‚朸ă‚?çş?ĺƒ˝ć?ŽęĽłćś¸ď˜šâĄŽĺƒ˝â˘ŞćŹ˝é¸?ç??ęĄ ę’ł 㜜〳â&#x;ƒć…¨ćśŽĺˆżă˘ľĺ‰¤éŚąćś¸ä™źç˝Œď˜ˇâĄšăźŠĺ§˝ä™Śëž†ćş?

3*䧎éŒ?ä–¤é¸?ĺƒ˝âĄ˛ç˛łč?ˆç°„Ő‚⥚䪞č?ˆäŠšĺ¨?Ⰵ♧âŚ?ăź­ęą†ăš–ď˜šă˝ˇęŁłéĽąâ˘ľâœŤď˜ˇä§Ž é’˘ć?€é¸?ç??ă ?ç?–ĺƒ˝ä–Žć?‚渤ď˜śâš‚ć?‚ęĄ ç­?éŠ´ćś¸ď˜ˇă–ˆâ&#x;ƒâľšď˜šăĽśĺ?“⥚ä&#x;?䪞ĺś?⿝䞸㜜

There is appreciation and challenge. I think we make them do stu that they

ç??ä“šâ¸‚ĺƒ˝ďŠľăŁ?朸ď˜šćšśâ´˝ĺƒ˝ęŻ‚ä›¸ćś¸çŽĄčŽťď˜šâ&#x;ƒâżťă–ˆ⥲ă…ˇâľšéŒš

卲㼜"ST &MFDUSPOJDB 㤚ă–’âľ„朸äż’âť‹äž†č‚ŹçŒ°ăˇ¸ç ‡ç‘–ę¤Žď˜šăź ę&#x;Œä–°âœ˛ĺ€ž㯯ë„“

touches me, is the contrast: the purity and humbleness of the body and then

âłźęł?âœŤé¸?ç??⚛䢀㟊卲ď˜ˇé¸?ç??⚛ꏆ朸犥ă –溍ĺƒ˝éśľâžƒ朸♧

䧴çŒ°äŞŽćś¸ĺŒŒéŠŻâĄ˛ć?€č° é Żă…ˇăž?爚ⴀ⢾ď˜šâĄšč…‹âľ„揽朸ç‘ ę&#x;ŚĺŠĽâ˘ľă˝ ăž…ä­¸ă€łäž¸ď˜š č° é Żç ‡ç‘–ď˜šä’Šĺ€´ 䎃 ď˜ˇć¤?ă–ˆă˝ â™śâ™§ĺžşâœŤď˜šăźŠĺ€´ć¤?âž›ăŁ?㢾䞸➃⢾é“žď˜šé¸? ç??ĺ¨?겳受ć?‚ä ‘çş?ď˜ˇ

ART.ZIP: Most of the contemporary art we encounter is inter-disciplinary, with artists like yours, starting dialogues between dierent genres inside and outside of art. I know you've collaborated with dancers. What do you feel the beneďŹ ts are from bringing in outside collaborators?

"35 ;*1䧎⌛䨞é‹…âľŒ朸ăŁ?㢾䞸ć¤?âžżč° é ŻéżŞĺƒ˝é¨—㡸çŒ°ćś¸ď˜šă˝ ⍚⥚⌛♧

new. The idea always comes ďŹ rst. Working with dance and Wayne

ç˜žď˜šé¸?鿪雊䧎⌛âŻ?ć€?莇錹ď˜ˇäł–⥲ĺƒ˝ä§Žď˜šä§Žă¸¤ďˆŁâ™śćżźéşĽé‘Şä™Śëž†ę&#x;š㨼ď˜ˇé¸?⤑

RI: Every time we do something it's partially exciting because it's McGregor for example, we didn't really know anything about

contemporary dance. It's interesting how people use their body

as a material and what is involved in that, including remembering

ĺžşď˜šă–ˆč° é Żęą†ăš–â°‰㢍䒊用ă ?겳騗㡸çŒ°ćś¸ăźŠé‘¨ď˜ˇâĄšâŚ›â›łĺ‰Ž獤ㄤ莝骪怾㆞ ă –⥲éş•ď˜šé¸?ç??騗歲㠖⥲äŒ&#x;⢾âœŤâžŠëž†㼪贖

3*卌匄䧎⌛ę&#x;šă‰Źĺ€ž朸갪暥ď˜šĺ‰“â&#x;‚䧎âŚ›čŽ‡ăĽ…â™śäŠşćś¸ď˜šĺ‰¤éżˆâ´•➲ă””ĺƒ˝ć­‹ĺ€´

厼ç??倞ç??äš?ď˜ˇä&#x;?ĺ˛ ĺŽ•éť‡ĺƒ˝ĺ‰“ę…žéŠ´ćś¸ď˜ˇă„¤čŽťéŞŞăšťă –⥲ď˜šĺŤ˛ăĽśęŻ‚ä›¸Ë™ë?‹âŻ˜ĺ‘”

ꨎĺ‘”ď˜šâ™§ę&#x;š㨼ĺ„˜䧎âŚ›âš›â™śâœŤé?‘ć¤?âžżčŽťď˜ˇčŽťç˝?䙌垺⢪揽➎⌛朸魨ë„“⥲ć?€㯯

âž? ➲ĺ‹ž俲ď˜šâ&#x;ƒâżťé¸?Ⰼ⚼ĺś?âżťâľŒ朸ĺ€°ĺ€°ęŹ—ęŹ—ď˜šĺŤ˛ăĽść“żéŽšâ™§ăź­ĺ„˜朸玥čŽťç˜ž ĺƒ˝ĺ‰¤éŚąćś¸ă–’ĺ€°ď˜šâžƒâŚ›ä™Śëž†ä–°ćšąă š朸椚䙂ⴀ朎ď˜šĺ‰“ä–•㸤䧭â™śâ™§ĺžşćś¸âśžâĄ˛ď˜ˇ ă–ˆé¸?匄㠖⥲âšĽď˜šä§ŽâŚ›鿪㟊㟊ĺ€°ĺ‰¤âœŤĺˆżăĽŞćś¸âœŤé?‘âš›㡸ĺ‰šâœŤâœ˝ćšąĺŚ‡颣ď˜ˇ

an hour of choreography. I would have no idea how to start with

ă€Ľă˘Ťď˜šĺŚ‡颣ă„¤äŽ‹ä¨žĺƒ˝â™§âš›㜸ă–ˆ朸ď˜ˇä§Žä&#x;?ď˜šä§ŽâŚ›č‚Ľăš ĺ‰šé›ŠâžŽâŚ›â¨žâ™§â?‰âžŽâŚ›

do very dierent things. In the work, there's an appreciation that

ęą†ăš–ď˜ˇé›Š䧎éŒ?ä–¤é?¸âš›ĺ‰“ăŁ?朸ĺƒ˝â™§â?‰ä“˝ć?™朸⿞äŠ´ăźŠĺŤ˛îš‰âžƒë„“ĺ´žâš›朸种礊äš?

that. That is really interesting, how people use the same engine to goes both ways.

äŽ‚ĺ„˜â™śĺ‰šâ¨ž朸âœ˛äž•Ő‚âžŽâŚ›â›łâ™§ĺžşď˜ˇé¸?垺䧎⌛㽠腋â°&#x;ă šäąłéŽŁĺˆżć?€ä‘žęĄ€朸

ㄤ闉⟝äš?ď˜šĺ Ľă?źéşŒé ¤ćś¸ęŁłâľ–äš?ㄤ醳꧚äš?ď˜šéżŞĺƒ˝â™§ç??ďšłäŞŽé Żâ™łďš´ćś¸äŤ’é‚‚ď˜ˇé¸?

would normally not do and likewise. So that creates a fairly rich ground. What the restrained, but technically complex counterpart. That tension was great,

especially with the way that Wayne choreographs, but also with normal people in front of the piece, as an extension to his suggestions. It is something that is

really beautiful to watch. We wonder how it is that Wayne does what he does and how the dancers move like that do. I'm sure that some of that fuels this

fascination for the body or movement, which ultimately come out in the Study

for Fifteen Points or for what we're showing for PACE. I'm sure that will fuel back and we will see what kinds of possibilities arise from exposing that work to

choreography and what triggers that. It's a ping-pong through dierent time

frames or arches. Outside collaborators are really essential to the way we work. It s a bit like what we did in Harvard. We looked at how people work with

dierent things, the in-depth knowledge or interest they have. It all comes back to the human body. If it's within the ďŹ eld of robotics, then it's how can robots work next to humans without the humans getting in the way and hurt. With

every subject, you get a glimpse and get a dierent aspect of what it means to be human.

ćş?朸ĺ…œé¸’âžƒŐ‚é¸?â?‰ă–ˆéŒšćş?朸âžƒâ›łä§­ć?€âœŤâĄ˛ă…ˇćś¸â™§éżˆâ´•ď˜š

ä?Œď˜ˇä§ŽâŚ›â™śćżźéşĽęŻ‚ä›¸ĺƒ˝ăĽśâĄŚâ¨žâľŒ朸ď˜šâ›łâ™śćżźéşĽâ°ŚâžŽčŽťç˝? 䙌랆腋㼜姽čŽťâš›ď˜ˇä§Žä&#x;?é¸?âŚ?ă –⥲ć…¨ćśŽâœŤä§ŽâŚ›㟊ĺ€´âžƒë„“âżť â°Śĺ´žâš›朸霾ä™źď˜ščź‘â°…âœŤä§ŽâŚ›朸ա⟧â?€ë&#x;Šç ‡ç‘–Ő¸â&#x;ƒ⿝䧎⌛ăź&#x;

ă–ˆâ˘†ĺ€›掼ä?¤ăž?â´€朸⥲ă…ˇćŽšâšĽď˜ˇä§Žä&#x;?劢⢾⛳〳腋剚鸒麕玥 莝朸倰䒭⢾朎ăž?ա⟧â?€ë&#x;Šç ‡ç‘–Ő¸ď˜šâ˘ľćş?ćş?âľŒä? 剤䙌垺朸〳 č…‹äš?ď˜ˇé¸?垺朸騗歲㠖⥲éŚ„éŚŠâœŤĺ„˜ę&#x;Śă„¤ăˇ¸çŒ°ćś¸ęŁłâľ–ď˜šä¨žâ&#x;ƒ 㟊䧎⌛⢾é“žé¸?垺朸㠖⥲갪暥ä ‘çş?ęŹŒâł?ď˜ˇ

é¸?剤ë&#x;Š⍚䧎âŚ›ă–ˆă† ⥹朸갪暥ď˜ˇä§ŽâŚ›ç ‡ç‘–âžƒâŚ›ĺƒ˝ä™Śĺžş 階

é ¤ă ?ä’­äŠ¨âĄ˛ćś¸ď˜šâ&#x;ƒâżťâžŽâŚ›ĺ‰¤čĄ˝ä™Śĺžşćś¸ćżźé™?䧴莇錹ď˜ˇé¸?â?‰

ĺ¨?ĺ‘?犥ä? 韊ĺƒ˝ęĄ ĺ€´âžƒ朸ç ‡ç‘–ď˜ˇăĽśĺ?“é¸?çšżĺƒ˝ĺ Ľă?źâžƒ㡸朸깆

ăš–ď˜šé˝Ąä§ŽâŚ›ç ‡ç‘–朸估é‘Şĺƒ˝ĺ Ľă?źâžƒä™Śĺžşă„¤âžƒ겳â°&#x;č´–ď˜šăĽśâĄŚ č?ˆć­‹⢪揽⿜â™śĺ‰šă€ŒâľŒâŤŠăšłď˜ˇă–ˆ卌âŚ?é“­ę˛—é…­ď˜šä§ŽâŚ›鿪č…‹ç›˜ ⚼瓚é&#x;ľď˜šä–°ă€Ľâ™§âŚ?éŒŹä?žé’˘é™?⥌ć?€âžƒäš?ď˜ˇ

5&95 "/% *."(&4 #: 䚊俒莄 ă•­ć™™䲿âŁ˜  6 ,"/"% $)",3"#"35* ă˝? â˝“ç§œä—žË™ĺ?…âŻ˜äŹ˜äŠźčŁĽ 53"/4-"5&% #: 矺陟  +": $)6/ $)*&) -"* éŁ†ęž™ĺŒŠ .*$)&--& :6 ⥎㟭äœŁ

My studio is a place of clashes: imperfection and chaos in close proximity

䧎朸äŠ¨âĄ˛ăš”ĺƒ˝âŻ?ć€?ç„Ľä¸­ćś¸ă–’ĺ€°îš‰â™śă¸¤çšĄćś¸ď˜śĺš‹âœĽćś¸ď˜śćšąăźŠęľ?

resistance of physical materials gives rise to surprises, accidents, mistakes.

ë ‡ă‹?ď˜śä ‘㢍ㄤăŁ&#x;é“?ď˜ˇäž¸ç„şč´–ć¤šâ›łĺ‰šâ´€ć¤?佌꼝ď˜šă€Ťĺƒ˝äł–âœŤă€Ľâ™§ç??

to the comparatively ethereal praxis that is digital video-editing. The

In a dierent way, digital processes also present obstacles: corruptions in image data, or glitches that arise when pure data meets display medium - whether out-of-gamut colours on a web browser or a leaky cartridge

messing up an otherwise perfect inkjet print. For instance, in a recent

video, I used 3-D CGI, digital eects, electronic music, all that trendiness, but as I put it together I realised that the artefacts - dust, scratches,

printing errors - in my original black-and-white analogue photographs from Sicily resonated the most in this world of instant, perfect images, endlessly reproduced on screen after screen after screen.

庝朸ăťœéŠ?ď˜šâ˝°äž¸ç„şé‹•깽✊éą€ď˜ˇăźŠćš&#x;椚勞俲朸䍒䏊⿞ç˝œ鸤㽠âœŤ ĺ€°ä’­ď˜šăĽśîš‰ä•§âŤšĺ˘‚ĺ‘Şćś¸ä´ŚĺŤ†ď˜šâżśä§´ĺƒ˝ćŽšç§Ťäž¸äş™éş‚â™łăž?爚㯯âž?

䨞援揰朸ä•§âŤšäŽ äť ä§´ăŁ&#x;ęŤ™Ő‚éŠ´ëž†ĺƒ˝ć‡łéŒ’ă?źć?‚ĺ˛ éş¨âľŒč’€ăš–çœ•

ă• ď˜šéŠ´ëžƒă&#x;ŻĺŽ?応怪䨞鸤䧭朸䊧⽍ăŁ&#x;é“?ď˜ˇčŽŠâŚ?⢿㜊ď˜šă–ˆ䧎朸♧ âŚ?éľœĺŠ?é‹•깽⥲ă…ˇâšĽď˜šä§Žâ˘ŞćŹ˝âœŤę¨śčˆĄâ™˛çŹžâš›掼ď˜šäž¸ç„şćšśä˝Şď˜šę¨ś 㜊ę°‰ĺ?żç˜ž䨞ĺ‰¤ćŽšâľšĺ´Šé ¤ćś¸ĺ€°ä’­ď˜šâĄŽ掚䧎䪞é¸?â?‰鿪䲾ă –ă–ˆâ™§éĽą

朸ĺ„˜⌏ď˜šä§ŽäŠž朎ć¤?ď˜šé˝Ąâ?‰éş•⿥ă–ˆéŠŻéŠŻę…˝äƒ‹äŹ?䟢朸⍄窥랹术暹 晚朸➃鸤湚騋㞔çŁ?ď˜śâľ‰ćąščŽ…尣⽍ăŁ&#x;é“?䊞溍姝ă”?估âœŤăĽśâž›

ĺ˛Œć†­ćś¸â˝°ĺ„˜揰䧭朸㸤皥䕧⍚⚂ć?‚姺ćšˆă–’ă–ˆâ™§âŚ?乺♧âŚ?ăž“ä?Œ ⚼醳醢⿝ęł?ć¤?ď˜ˇ

Installation view of Derivative Work by U. Kanad Chakrabarti

SOUK, DERIVATIVES, SIMULATION: THE WORLD CREATED IN ART ä‹‘ăœĽŐŽé ĽćŹ°ŐŽäşťâŤ¸ď˜ť č°€é Žä¨žä’Šĺœ“朸⚆歲

At a deeper level, I also identify the studio with other sites close to my artistic

ĺˆżĺš€â°…⢾é“žď˜šä§ŽéŒ?ä–¤ä§Žćś¸äŠ¨âĄ˛ăš”ă„¤â°ŚâžŽăœĽä¨žŐ‚ꪍ㣔䋑

whether use or exchange, are bought and sold, with much noise and colour

ćś¸č° é Żä&#x;?ĺ˛ ď˜ˇă–ˆé¸?â?‰ă–’ĺ€°ď˜šć?‚é”¸ĺƒ˝â°¨ĺ‰¤â˘ŞćŹ˝â­†⧊韊ĺƒ˝â?œ

vision: souk, pescheria, trading desk. In all these places, things of value,

in the bargain. A vast hall ďŹ lled with Excel spreadsheets and ashing lights, an

investment bank s trading oor, not unlike Billingsgate or Tsukiji, was a charged site: smelling of sweat and cigarettes, ďŹ lthy, crowded with irascible characters

who barked into phones, the long cords of which snaked around like squid-ink spaghetti. Yet this is no longer: in the 1990s, one hollered trade orders down

to the Chicago Mercantile Exchange, where guys in bright jackets would buy order used to be scribbled on paper blotters , and passed to assistants to be typed into a computer. Today, most ďŹ nancial markets are entirely electronic, while bitcoin and blockchain apparently will revolutionise the essence of

money. Even the ďŹ sh-market has changed: my ďŹ shmonger now has an app that tracks his suppliers at sea and the soon-to-be-landed catch. Yet, as automation becomes ubiquitous, the individuals in the markets remain corporeal and

mortal. After all, the bit must still touch the stu of everyday life: steel, plastic, concrete, carpet, amber, rice.

äł–â­†⧊朸ćš&#x;ㅡ㖳腋ĺś?â°…éĄ é˘Şď˜šă–ˆă?żę°‰čŽ…č’€ä•™âšĽĺ€ ĺ ’ď˜ˇâ™§

âŚ?âŻ?ć€?é‚?呔莅ę&#x;?⯕敚朸äŤ?饝ę‹“é ¤ćś¸â?œĺƒ’ăŁ?ä‘źď˜ščŽ…â§?äžš朸 卲ĺ?Œĺ€›čŚˆćšśĺľłëŠŤä‹‘ăœĽä§´ĺŒŒâ?Šćś¸çœĄă–’ć€’ä‹‘ăœĽĺ°?➊랃â°?ĺžşď˜š

â›łĺƒ˝ĺ­ľĺ­¨ç­?ä“šćś¸ă–’ĺ€°îš‰ç‘ ĺ­ľâšĽăŁ°ę§ščĄ˝ĺŻ‚ĺŽ? ㄤ摳虋朸ă„‚

麼ď˜ščŽ…姝㟊襽ꨜ鑨Ղꨜé‘¨çŽ čş‹čš„čšťç˛•㼜ă&#x;Żëˆ´ë?łč?›Ő‚ć?‹ 鏒ă„?ă†łćś¸âžƒ亥ă–ˆâ™§ă?†⯼ď˜ˇć?­ç˝œć¤?ă–ˆčŽ…掚䎃ăŁ?â™śâ™§ĺžşîš‰ă–ˆ

äŽƒâžżď˜šâžƒâŚ›ă “ă‹“襽â?œĺƒ’㆞⢾âľŒč“?â¸ˆă†Ľă‰‚ĺ™ â?œĺƒ’䨞ď˜šă–ˆ齥 ⯼ç‘­čĄ˝ĺƒˆâ?ŽăŁ°âŻ˜朸➃姝ă–ˆč´–ć¤šĺ´žë„“é&#x;ŁęŚˇď˜śăž­ăšŹćš‹ꌡ莅皥 ă•œâ™˛âź§äŽƒĺŠ?ďšłę&#x;€ĺŠ?âŤˆâľšďš´ç˜žâ?œĺƒ’ď˜ˇâ?œĺƒ’朸䭸â&#x;‚éş•⿥é¸’äŒ˘é„„

㝨ă–ˆďšłď‰šă&#x;Żç§śďš´â™łď˜šâš›âš‚â?œć­‹â¸”䊛鹒ⰅꨜčˆĄď˜ˇâž›ĺ‚ˆď˜šă˘ľäž¸

朸ę†„čź‘ä‹‘ăœĽäŠşă¸¤ďˆŁę¨śăśŠâť‹ď˜šç˝œ卲ćšśä?¤čŽ…⟌ă?†ę•–ďš´ç˜žęł?ć?­ äŒ&#x;⢾âœŤę†„ę??ćś¸ęŹ ă„?äš?鹲éšśď˜ˇâ˝°â˘Şĺƒ˝ć€’ä‹‘ăœĽâ›łäŠşä˝–éšśîš‰䧎

ćšąć“żćś¸ëˆ´éĄ‹ć¤?ă–ˆâ›łćŹ˝äŠ›ĺ ĽäĽ°ćŹ˝çŽ‘ä’­éˇ†éŤ â°Śĺľłâ™łćś¸âŁ˜估 ă‰‚ď˜šâš›â˝°ĺ„˜濟麼ㆭâ?‰â˝°ăź&#x;č?†ä ˜朸ć€’ć ˝ď˜ˇć?­ç˝œď˜šćŽšč?ˆâš›âť‹ć?‚

䨞â™śă–ˆĺ„˜ď˜šä‹‘ăœĽâšĽćś¸ĺŤŚâŚ?âŚ?ë„“âž ć?­ĺƒ˝č ˜é­¨âš‚ĺ‰¤ęŁłćś¸ď˜ˇćŽ— ç•Œď˜šĺŤ˛ćšśĺ‰“çŠ…韊ĺƒ˝ĺ‰šäąşé?¸ć¤?ăťœ揰崞ę?ˆę˜Žď˜śă?–俲ď˜śĺŽ?ĺ˛&#x;ď˜ś ă–’ĺŹžď˜śćĽŠ梾ď˜śç˘œď˜ˇ

DERIVATIVES & INTEGRALS The dichotomy above, of physical studio and digital desk, of accident versus planning, leads me to another opposition. In both art and the market, I

é ĽćŹ°čŽ…䞎ă –

see creation as arising from a continual process of taking derivatives and

â™łéś¤ćś¸âœłâ´•㟊ç”¨ď˜šęĄ ĺ€´ăťœë„“äŠ¨âĄ˛ăš”čŽ…䞸ç„şĺ‘˛ęŹ—ď˜šęĄ ĺ€´ä ‘

French dierence, and both terms refer to an activity of perturbing a complex

ä‹‘ăœĽâ°?ç˝?âšĽď˜šä§ŽäŞžâśžé¸¤é‹•⥲♧ç??䭰糾㖒♜倏崣揰莅䞎ă –

integrating. What do I mean by that? Derivative is closely related to the

and reexive system, to ďŹ nd out how it reacts. By making hundreds of such perturbations, and noting the results, one forms an overall view, a map, of

the system s behaviour. Similarly, in the studio, the artist, faced with his/her unknowable creative process, is constantly trying things, often without a

conscious destination or objective. Add a bit of paint here, take some away

there, and most importantly, look at the result - and get others to look at it. This is a game of educated guesswork, guided mostly by intuition accumulated over the years.

of Germany, but why stop there, he s picking up Mesopotamia via Judaism,

䞎âŚ?ä—žă•œĺ¨œă€ˇäľŚâ´€⢾ď˜šâĄŽć?€âžŠëžƒ韊⨢ćŽ†ă–ˆ齥⯼îšŽâžŽĺ§ťă–ˆ

and intensely physical. Nothing 3-D printed, no Instagram, no UV-on-Mylar‌

朸ď˜śă›‡ĺŠĽćś¸čŽ…ĺ™˛ä?žćš&#x;颜朸äŠ¨âĄ˛ăš”ăťœéŠ?ç„Ľä¸­ä˛ľă –ă–ˆâ™§éĽąď˜ˇ

smashing that together with studio processes that are archaic, foundational,

Kiefer is, for me, notable for an ability to create a world within his paintings.

Artists produce or appropriate a set of symbols, practices, and movements,

朸éş•çŽ‘ď˜ˇä§Žä­¸ćś¸ĺƒ˝âžŠëžƒîšŽďšłĺ´ŁćŹ°ďš´ćšąćŽšäąşéľœĺ˛ äż’âšĽćś¸ďšłé Ľ

diverse in appearance, but somehow when they re done, people think it hangs

âš›ď˜šâš›岤Ⰵ♧ç??â°‰ă–ˆęĄ č€˘ă„¤é¸ŽéĄ?äš?ď˜ˇĺ˛¤ä ‘ď˜šä§Žé“ž朸â™śĺƒ˝ďšłâ™§

椚é?‘é¸?㤛猺窥㼜⥌⥲â´€⿞估ď˜ˇčŻ”ć­‹䞸朰匄é¸?ĺžşćś¸äť âš›âš›

mythical Greek serpent Ouroboros, turn on themselves, and re-deďŹ ne the very

掯ďš´ď˜šé¸?â°?鑂期䭸♧âŚ?ç§—âœĽé†łę§šâš‚Ⱘ⿞䙟äš?朸ĺ´žâš›ď˜šä ‘ă•Ź

鎚《犥ĺ?“ď˜šç˝œä•Ž䧭â™§ă¤›ęĄ ĺ€´é¸?ă¤›çŚşçŞĄé ¤ć?€朸ďˆŁĺ…žă•Źă„¤ă–’

ă•Źď˜ˇę˛łâĄ‚ă–’ď˜šă–ˆäŠ¨âĄ˛ăš”âšĽď˜šćŽšč° é ŻăšťęŹ—㟊➎䧴㼠劢濟朸✞

⥲éş•çŽ‘ď˜šâžŽâŚ›獤äŒ˘ĺƒ˝â™śäŒ&#x;ĺ‰¤ĺƒˆç„ˇä ‘ă•ŹčŽ…暥ĺžŚćś¸ď˜śä­°çłľă–’ éšŽé ¤ăŽ˛é‘‘ă„¤ăťœéŠ?ď˜ˇé¸?酭⸈♧â?‰ę˛?俲ď˜šé˝ĄéźšâżĄäąˆâ™§â?‰ď˜šĺ‰“ ę…žéŠ´ćś¸ĺƒ˝ďšłéŒšćş?犥ĺ?“㼜⥌ď˜šéźŠĺ‰¤é›Šâ´˝âžƒďšłéŒšćş?ďš´ď˜ˇé¸?ĺƒ˝â™§

together. In the most exciting cases, these freshly-created worlds, like the category of art .

ON SIMULATION

traders, have to bring together a vast amount of historical and practical

㟊卲朸ă€Ľâ™§ęą§âľąĺƒ˝äžŽă –ď˜ˇč° é Żăšťď˜ščŽ…ä‹‘ăœĽâ?œĺƒ’㆞朸䊨⥲

excited about simulating, on an ďŹ rst-generation Apple Macintosh, Ronald

present circumstances. Then do it again. And again, for as long as one can.

ă–ˆâ™§éĽąď˜šć¤š嚢饝俲朸č… çŞ„ď˜šâą„估揽âľŒ掚â™´ď˜ˇéš‹ç˝œä—‚㨼ď˜šćšˆ

sky that would shoot down Soviet ICBMs before they hit the U.S. Neither

Ⰼ㟊倴勞俲ď˜śéş•çŽ‘ď˜śč° é Żă€ˇď˜śâŚ?➃獤ë€żčŽ…č° é Żâš†ć­˛â›“㢍

capitalism had triumphed - and the 26-year bull market in art and debt really

For artists, this amounts to knowledge of materials, processes, art history,

personal experience and the world-outside-art. This process of assimilation is

fundamental to forming an aesthetic judgement. It certainly isn t the only way

of art-making, but it seems to me to be particularly applicable to contemporary, politically-engaged art. Even within, or perhaps especially within, painting, one must accumulate, process, and channel 2,000+ years of art history‌.

look at someone like Anselm Kiefer: here s a guy pulling in the entire history

⽍âľ˜

㟊䧎⢾é“žď˜šă›‡ä’źé›Šâžƒ濧暥朸➲ă””ĺƒ˝âžŽč…‹㣠ă–ˆâžŽćś¸ćŽĽâĄ˛é…­

consistency : some of the most interesting artists have work that is dramatically

A particular species of world-making that is relevant to my own practice is the

information, understand the context of that information, and apply it to

âžŽćś¸ăťœéŠ?ĺ°?剤 %䊧⽍ď˜šĺ°?剤*OTUBHSBNď˜šâ›łĺ°?剤67芣晚

imbuing them with an internal relationship, a coherence. Note, I don t say

㢍莅鎙掼⛓ę&#x;Śćś¸ăźŠĺŤ˛ď˜šăź&#x;䧎䒸㠢〼♧ç??㟊ç”¨ď˜ˇă–ˆč° é ŻčŽ…

ăœĽćżźé™?â&#x;¨ăśŠćś¸ćž¤ĺş 麉䨥ď˜šć­‹㢾䎃⢾ç?Ž稥朸暏éŒ?䨞ä’¸ăźŹď˜ˇ

At the other analogical extreme lies integration. Artists, like market

顴éş•ć&#x;”ăŁ–äž†é‹•éŒŹâ&#x;ƒä­Ťă€Š皥ç¨‹â™śéş¨ç˘œâ??äż’âť‹ď˜šăź&#x;é¸?â?‰ă€˘ç˝‰

äš?颜暹âĄ‚ď˜šä—łę°­ăź&#x;â™§äžŽâšŽčŽ…ĺ¨œă€ˇâżťăťœęĽšćšąęĄ ćś¸âĽŒäœ‚犥ă – ă€łč…‹ă–’â™§âą„ăŽ˛é‘‘ď˜ˇăźŠč° é Żăšťç˝œéŽŠď˜šé¸?â?‰ďšłâĽŒäœ‚ďš´ă˝ ç˜žă šĺ€´

朸çą?ë„“ćżźé™?ď˜ˇé¸?â?‰ćżźé™?朸ä˝?麕玑㟊倴䕎ă?–皥㡸ⴟĺ€Źĺƒ˝ ę…žéŠ´ćś¸ď˜ˇă¸?ç„ˇăťœâ™śĺƒ˝č° é ŻâśžâĄ˛ćś¸ăˆ”â™§ĺ€°ä’­ď˜šâĄŽ䧎é’˘ć?€㟊

computer simulation. I m dating myself here, but I remember getting really

č?žäš?♧â?‰ęŹŒäŒ˘ĺ‰¤éŚąćś¸č° é ŻăšťâĄ˛ă…ˇĺ‰¤čĄ˝ă ?ç??é‚?ꏗ♳ćş? 鼹⢾鿪♜暹ç?–朸âŻ‹ç¨‡ď˜šâĄŽĺƒ˝ćŽšä§­ă…ˇăž?爚ⴀ⢾朸ĺ„˜⌏ď˜šâžƒ

⌛⚛♜剚éŒ?ä–¤éşŹă„¤ď˜ˇé˝Ąâ?‰ĺ‰“ć…¨âš›âžƒä—ąćś¸ĺ‘Şâ˘żé…­ď˜šä§ŽâŚ›暥 ćźžâœŤé¸?â?‰ĺ€žă˜—ä˘€âš†ć­˛ď˜šć&#x;”㼜ä‹žčŒŁç‰&#x;é‘¨é…­ćś¸ęŒŠ㽾čˇ‘ď˜šč?ˆ䧎 卆垧朸ă šĺ„˜âżśč?ˆ䧎ę…žćŹ°ď˜šâ™§âą„ę…žĺ€žăš çş?ďšłč° é Żďš´ď˜ˇ

锸垸亟â&#x;ŹćşŤ

Reagan s Star Wars missile-defence system - a network of satellites in the

莅䧎č?ˆé­¨ăťœéŠ?ĺ‰¤ęĄ 朸♧ç??ćšśĺŠŒ朸⚆歲✞ä’Šĺ€°ä’­ĺƒ˝ę¨śčˆĄâ&#x;Ź

my simulation nor Star Wars itself ever got built: the USSR was already toast,

čˆĄä¨žć€ľçł‹ćś¸ęĄ ĺ€´çš?ç§?䗞˙ꅽĺ‘?朸աĺƒ¤ć¤•ăŁ?䨞ո酭朸꾳䔞

hit its stride.

倴ä˝&#x;ĺą›âž?â°…朸掚âžżč° é ŻăťœéŠ?暜ⴽ㤉佪ď˜ˇâ˝°â˘Şĺƒ˝ď˜šä§´ç˝?é“ž

At university in the 1990s, I started looking at how to visualise ďŹ nancial data

â°?⟪䎃â&#x;ƒâ™łćś¸č° é Żă€ˇď˜žď˜žćş?ćş?㸞ă?ąă¨—˙㛇䒟é¸?⪨â ’䪞

then just becoming available in academia and Wall Street. This was still on

ćšśâ´˝ĺƒ˝ç˛­ćŽĽęą†ăš–ď˜šč° é Żăšťä—łę°­ç?Ž稥ď˜śćśŽăž?ď˜śâš›ĺ”šć¤šéŚ„éş•

✞鸤♧âŚ?âš†ć­˛ď˜ˇč° é ŻăšťâśžâĄ˛ä§´äŽąćŹ˝â™§çŚşâ´Şç—˜č´Ťď˜śăťœéŠ?ď˜śéşŒ

comprising millions of data points, using high-speed computer graphics -

溍ď˜ˇĺ‰¤ë&#x;Šâ™śăŁ–ç„ˇăš äŽƒâ&#x;¨ď˜šâĄŽ䧎âž éŽšä–¤ćŽšĺ„˜ç—§â™§âžżčą­ĺ?“ꨜ ęŁˆç‹ĄçŚşçŞĄŐ‚â™§ă¤›ęŁˆç‹Ąčą¤çŹžă™Şĺ´Ž꼚䔞麼꾳䔞銔䚚皥ă•œĺŠĽ ă•źćś¸é şĺƒ¤çŹŞçŞ„猺窥ď˜šä§ŽăźŠĺ€´é˝Ąäşźâ&#x;ŹäŠ›ĺ˛ 噲ć?€čŽ‡ăĽ…ď˜ˇć?‚锸 ĺƒ˝ä§Žćś¸äşźâ&#x;Źä§´ĺƒ¤ęĽšä¨žć˜°çŚşçŞĄä–°ĺŠ˘ĺ‰Ž溍姝ăťœć¤?㔔ć?€蹤珞

ă™Şçˆ˘ĺ‰šâšşçş?â°&#x;ă„¤ă•œč€˘ćš…äŠşçŤ¤é?‘ë„“ď˜šç˝œ饝劼⚺çş?âľąďˆŁęŹ—⚨

âľ„ď˜ˇćŹŠâš‚ď˜šč° é ŻčŽ…⌜饥猺窥⚼ę&#x;€麨 䎃⛓⛉朸暋䋑錊鼼 éŚŠę°Ťâľ„ď˜ˇ

Fictionalised website of the hedge fund : www.iodcapital.ch

Study for Fifteen Points, 2016: Motors, custom driver electronics, custom, software, aluminium, LEDs, computer 712 x 552 x 606 mm / Photography by Random International

and sell live hogs, dead cows, as well as the U.S. 30-year long bond . A trade

ăœĽď˜śëˆ´ä‹‘ăœĽď˜śâ?œĺƒ’䨞Ő‚ĺƒ˝č€˘ç˛Żă–ˆâ™§éĽąćś¸ď˜šă€Ťĺƒ˝ĺˆżäąşéľœ䧎

Sun SPARCstations running on the U.S. Defense Department s ARPANET, now

äŽƒâžżćŽšä§Žă–ˆăŁ?㡸ĺ„˜ď˜šä§Žę&#x;šă¨ĽęĄ ĺ˛¤ăĽśâĄŚâ˘ŞćŹ˝ë„žé¸ č´–ć¤š朸

Carlo simulation, a glamorous name suggesting strapless gowns and baccarat

墂呪鋕éŒ?âť‹ď˜šă¸?ꌑ⽰䧭ć?€ă–ˆăˇ¸é Żć­˛čŽ…čž ć™‹é łâšĽĺ…œéş’é„„⢪

recognised as the fore-runner of the Web. We used something called Monte-

tables, but really just a programme that would calculate how esoteric ďŹ nancial

derivatives would behave under thousands of dierent hypothetical scenarios, so-called states of the world . One adds up all the possible ways the future

could unfold, takes an average of the whole thing, and gets an estimate of what the present moment might be worth. Conceptually, and procedurally, this is an echo of the integration I mentioned earlier.

In my last major programming project, in 2009, I wrote a ray-tracer from scratch. Ray-tracing is critical in digital cinema, video games, and computer vision. As the term implies, this involves following each possible ray of light from lamp

ćŹ˝ćś¸äŞŽé Żď˜ˇćŽšĺ„˜皥ă•œă•œęŁˆéżˆ朸ë„žç˜žç ‡ç‘–éŽ™âˇ”縭珪é¨&#x;âž â&#x;“ 飅傝ꤿⰗ㠀䨞醢鸤朸㢾䊨贖椚ă?źď˜šâ˝°ć¤?ă–ˆ䨞濟朸âœ˝č€˘çŹŞ

⯓ë€?ď˜ˇä§ŽâŚ›⢪揽厼ç??é„„ç?–ć?€Őšč¤‘㖒⽓çš?Őşĺž¸äşźçŽ‘ä’­ď˜šâ°Śčž

ëœŠćś¸ă ?ç?–ĺ†?䭸ꪍ肖狲剪莅朰㚝ĺ?żé˘ťĺ‘˛ď˜šâĄŽăťœ꼚â™łă€Ťĺƒ˝â™§ âŚ?éşŒçšżçŽ‘ä’­ď˜šéŽ™çšżé†łę§šćś¸ę†„čź‘é ĽćŹ°ćŹ´ă…ˇăĽśâĄŚă–ˆ䞸â&#x;ƒ⟪鎙 朸⧺é“žăœĽĺ…žâšĽéşŒ鹲ď˜šâ›łă˝ ĺƒ˝ä¨žé–—朸՚⚆歲朸âš›ă ˘Őşď˜ˇâžƒâŚ› ă –éŽ™âœŤä¨žĺ‰¤ĺŠ˘â˘ľćś¸ă€łč…‹äš?ď˜šéŽ™çšżâ´€äŽ‚ă–łâ§Šď˜šéšŽç˝œé?ąâ ŽćŽšâľš

朸â­†⧊ď˜ˇéŒšä™‚â™łď˜šâ&#x;ƒâżťçŽ‘äŽ¸â™łď˜šéżŞă„Ž估âœŤä§Žă–ˆâ›“⾚䲿鼹朸 䞎ă –é¸?â™§ĺšŒä™‚ď˜ˇ

to object to camera, then averaging together all the light-beams to render a

äŽƒď˜šä§Žĺ‰¤â™§âŚ?ę…žăŁ?朸玥玑갪暥ď˜šä§ŽçŽĄăť¨âœŤâŻ•ĺ‹˛éˇ†éŤ

metal, paper, fabric, or blood reect, refract, and transmit light; what the nature

ęĄ ę’łď˜ˇęłƒă ?䙟çş?ď˜šă¸?éˇ†éŤ ĺŤŚéşĽćśŽč?ˆć•šĺ˝‚č?›ćš&#x;â&#x;?⛇č?›䟢⍚

scene. From a technical perspective, it is all about understanding materials: how

Installation view of Derivative Work by U. Kanad Chakrabarti

ꨜčˆĄă•Źç˛­éşŒ⥲猺窥ăź&#x;齥â?‰ć…Žç°ŽâœŤäž¸â&#x;ƒč ?鎙朸䞸äş™â›“é żçŤ¤

of light itself is; where shadows come from. Yet, are these not the fundamental pre-occupations of still-life painting? What Chardin and Morandi did with eye

and hand, we now do in silicon: as in markets, so in painting, digital supersedes analogue. Yet I suspect something is thereby lost‌

Anyway, what s interesting to me about the examples above is this idea that

one can model the real world of external objects and phenomena. Curiously, the contemporary philosopher Nick Bostrom thinks about the theoretical

possibility that all of us, collectively, are part of a giant universe-scale simulation created by our distant descendants, a so-called post-human civilisation.

THE COLLECTOR’S WORLD The notion of a created-world was something I explored in my installation

Derivative Work, a pun connecting the ďŹ nancial term with the cheaply-copied artwork. I was thinking of a hedge-fund manager s oďŹƒce, perhaps situated above the Nobu on Berkeley Square, whose responsibilities are suďŹƒciently

light to give him time to collect a great deal of art. Thus I ordered in copies

çŽ‘ä’­ď˜ˇâŻ•ĺ‹˛éˇ†éŤ ă–ˆ䞸ç„şä•§ę¤Žď˜śę¨ść˘–čŽ…ꨜčˆĄç˜ž朎ăž?⚼噲Ⰼ

ĺ Ľćś¸ă€łč…‹âŻ•ĺ‹˛ď˜šć?­ä–•ă–łâť‹䨞ĺ‰¤âŻ•ĺ‹˛ç˝œăƒ„ć¤?♧âŚ?ăœĽĺ…žď˜ˇä–°

äŞŽé Żćś¸éŒŹä?ž⢾ćş?ď˜šę…žéŠ´ćś¸ĺƒ˝ć¤šé?‘ĺ‹ž俲îš‰ę†„ăż‚ď˜śç§śä“šď˜śçą˝ćš&#x;

䧴é ŽĺˇŠ㼜⥌⿞ăź™ď˜śäŤ”ăź™čŽ…äŤ?㟙⯕⯕朸ĺŠĽé˘śĺƒ˝âžŠëžƒîšŠä•§ăśŠ ä–°âĄŚç˝œ⢾ď˜ˇć?­ç˝œď˜šę¨ˆ麼é¸?â?‰㟊倴ꏆćš&#x;粭掼㽠â™śę…žéŠ´ăŒ¨îšŽ

掚䎃â°?⥙ꏆćš&#x;ăŁ?äŒŒă˘šć™‹âš¸čŽ…čœ“貽éś”â&#x;ƒâ°ŚćťščŽ…䊛䨞⨞朸 âœ˛ď˜šâ›łă˝ ĺƒ˝ä§ŽâŚ›ć¤?ă–ˆ揽ç‚Š䨞⨞朸姝㼜ă šă–ˆä‹‘ăœĽçŚşçŞĄâ™§ č?›ď˜šă–ˆ粭掼âšĽâ›łĺƒ˝ď˜šäž¸âĄ™ă€ŠâžżâœŤę˛łĺŤ˛äŞŽé Żď˜ˇć?­ç˝œď˜šä§Žćž¤ä&#x;? 厼â?‰âœ˛ćš&#x;⽿ă””姽ç˝œâš“ăŁ&#x;âœŤď˜žď˜ž

ć?‚é”¸ăĽśâĄŚď˜šęĄ ĺ€´â™łéś¤ä¨žä˛żćś¸â˘żăśŠâšĽď˜šăźŠä§Žç˝œéŽŠĺ‰¤éŚąćś¸ĺƒ˝ď˜š

âžƒâŚ›č…‹㣠ă?–鸤â´€㢍éżˆćš&#x;â&#x;?莅ć¤?é&#x;?朸՚溍ăťœŐşâš†ć­˛ď˜ˇâ&#x;‚➃㼪 㣟朸ĺƒ˝ď˜šćŽšâžżă†šăˇ¸ăšťă˝łâŻ˜Ë™â˝ˆĺ€›ćšśçš?㨗㔔姽ä&#x;?â´€âœŤâ™§ç??〳

č…‹Ő‚䨞ĺ‰¤ćś¸ä§ŽâŚ›ď˜šéżŞĺƒ˝ć­‹䧎⌛麜靇朸ä–•é…“䨞醢鸤朸㼜 㸙㸿č?›ĺľžćˆ‡朸亟⍚âšĽćś¸â™§éżˆâ´•ď˜šä¨žé–—朸ďšłä–•âžƒ겳ďš´äż’ĺƒˆď˜ˇ

询㚝朸⚆歲

of paintings by Raphael and On Kawara, and made loose re-interpretations of

ęĄ ĺ€´âśžä’Šâš†ć­˛é¸?♧錚ë&#x;Šď˜šă–ˆä§Žćś¸Őˇé ĽćŹ°âĄ˛ă…ˇŐ¸é…¤ç¸¨âšĽĺ‰Žé„„

Breuer chair were 4-metre-high screenshots of desktops and spreadsheets,

â¸Œé˘śč° é Żâ&#x;ŹâąŽă…ˇď˜ˇä§ŽćŽšĺ„˜ä&#x;?âľŒâœŤâ™§âŚ?䚽⥲㟊尣㛇ꆄ朸獤

early Richard Serra and late Franz West. On the wall opposite a faux Marcel

while online, one could visit the ďŹ ctionalised website of the hedge fund (www. iodcapital.ch).

There is lots of boring theory about institutional critique, appropriation art, etc. I could bring to bear here, but really the work, for me, went back to my initial point in this essay: how do rough, painterly, corporeal things come together with perfect, corporate, digital images?

Did it work? I have no idea - but what was interesting was how viewers reacted - some basically threw up and walked out. Many however spent more than

äąłç‘–éş•ď˜ˇâĄ˛ă…ˇă ?ç?–ĺƒ˝â™§éşĽę§ąęĄ é“ƒď˜šĺ‚‚ĺƒ˝ę†„čź‘揽é“ƒď˜šâżśä­¸ă ˘

ć¤šéłľâ°—ăš”ď˜šä§´é?Şă˝ ä? čĄ†ĺ€´â ­âŻ˜âľ„ä‘žăœĽćś¸/PCVĺ‚ˆĺŠĽęˇ­ä‘ź

â›“â™łď˜šâŻ?駈朸ę…ˇâŻ•é§ˆâ&#x;ƒé›ŠâžŽĺ‰¤ĺ„˜ę&#x;ŚâżĄä˝?ę§ŒăĽŞćś¸č° é Żă…ˇď˜ˇ

ĺ€´ĺƒ˝ď˜šä§ŽéŽŽé†˘âœŤäŹ˜čžŠć™‹čŽ…ĺąŽ➲役朸â&#x;Źé†˘ćŽĽâĄ˛ď˜šâš›âš‚磧ćŽœ é†˘âĄ˛âœŤć¤šĺ?†Ë™ă?ąäŹ˜ĺ‚?ĺŠ?čŽ…ä’źĺ‰˝č˜˜Ë™ęŻ‚ĺ€›ćšśĺ„ťĺŠ?ćś¸č° é Żă…ˇď˜ˇ

ă–ˆâ™§ä“šâ&#x;Źęź›ĺ§†ć™‹Ë™ä‹’뉓瞳喹㜊㟊ꏗ朸ć™˜â™łäąŚâ™łé§ˆĺ‰¤ă”‹ç˘œ ë„ž朸ꨜčˆĄä¨”ăž“ă•Źć™šď˜šéżŞĺƒ˝ę¨śčˆĄĺ‘˛ęŹ—čŽ…éŽ™çšżé‚?ĺ‘”âžŠëžƒ朸ď˜š

錚ç˝?⛳〳â&#x;ƒă–ˆçŽ ♳é?žă‰?é¸?âŚ?㟊尣㛇ꆄ朸败ĺœ“珪ç•€ XXX JPEDBQJUBM DI ď˜ˇ

ć¤?ă–ˆĺ‰¤é?Şă˘ľęĄ 倴넓⾖䪥ⴟď˜śäŽąćŹ˝č° é Żç˜ž朸ć?‚çż?ć¤šé”¸ď˜ˇä§Ž

half an hour in the installation, thumbing through

documents, watching the video, going up close to

the blown-up screens. I could time it because I was

〳â&#x;ƒă–ˆé¸?é…­çš?â´Şé?Şă˘ľď˜šâĄŽ㟊䧎ç˝œéŽŠď˜šă”?âľŒé¸?äż’ç•Ž朸剓ⴲ朸ă‰?겗齥â?‰磧缴朸ď˜śäŠ› 粭朸ď˜śăťœë„“朸ćš&#x;ㅡ㼜⥌腋莅㸤皥朸ď˜śäžŽă –朸ď˜śäž¸âĄ™朸䕧⍚犥㠖

also doing a performance in there - dressed in a suit,

é¸?垺朸犥㠖腋㣠䧭â¸†ăŒ¨îšŽ䧎â™śćżźéşĽď˜ˇâĄŽĺ‰¤éŚąćś¸ĺƒ˝éŒšç˝?朸ă”?估ď˜šĺ‰¤â?‰âžƒĺ‘?劼㟊ă¸?ă?“

big ip-chart. I chatted to some of the visitors, about

âš‚鼼éľœ稣ćş?é¸?â?‰ä˝žăŁ?âœŤćś¸ăž“ä?Œä¨”ă•Źď˜ˇä§Žâ›“䨞â&#x;ƒă€łâ&#x;ƒéŽ™çšżĺ„˜ę&#x;Śď˜šĺƒ˝ă””ć?€䧎â›łă–ˆć¤?ăœĽ

writing banking formulas, commodity prices, etc. on a the ďŹ nancial crisis, the carpets of Isfahan, and the

nauseating smell of rubber from my Serra-derivatives.

On two mornings when I came into the space, I would ďŹ nd people had written things on the ip-chart -

judging by what they wrote and the cider cans, they

had a small party. To me, this deďŹ ned the installation

as a success - viewers, some and others repelled, found a space with which they could actively engage.

⛓â&#x;ƒë˘™ď˜šć?­ç˝œâ›łĺ‰¤é?Şă˘ľâžƒč”…âœŤéŚ„éş•âźąăź­ĺ„˜ă–ˆé¸?âŚ?é…¤ç¸¨â™łď˜šçźşę —äż’â&#x;?ď˜śéŒšćş?é‹•ęą˝ď˜šâš› éšŽé ¤é ¤ć?€é‚?ć€ľŐ‚éŠŻé…¤ęŹ 㞡朸䧎ă–ˆâ™§ă?†ăŁ?ă˜—术ĺŒ˘â™łĺ‰…㝨ă ?ç??ę‹“é ¤â°—ä’­ď˜śă‰‚ă…ˇâ­†ĺ‘”

ç˜žç˜žď˜ˇä§ŽćŹŠč?›ă„¤éŒšćťžçż?ę†„čź‘â˝­ĺ Ľď˜śâ&#x;ťĺ€›ĺ˛ ç¸‚ă–’ĺŹžď˜šâ&#x;ƒâżťä–°ä§Žćś¸ă?ąäŹ˜â&#x;ŹâąŽ⥲ㅡ⍄⢾ 朸齥肆â&#x;‚➃ă?˛ä—ąćś¸ĺ ŞčŠŁă„‚ç˜žç˜žď˜ˇä§Žĺ‰Ž獤剤â°?âŚ?ĺ‚?ĺ…’朎ć¤?ăž?éŒ’ç‘ ę&#x;ŚćśŽćŹ°âœŤéšśâť‹ď˜šĺ‘?

äş™术ĺŒ˘â™łćś¸ďšłćŽ†éŽŠďš´ă„¤ă–’â™łćś¸čą­ĺ?“ę‚‹硜ď˜šä§Žćž¤éŒšćťž估é‘Şă–ˆé¸?é…­éłľâœŤâ™§âŚ?㟭崣㟊ď˜ˇ 㟊䧎⢾é“žď˜šé¸?ä ‘ă„‚čĄ˝ä§Žćś¸č° é Żé…¤ç¸¨ęąƒć?€䧭â¸†ď˜šă˝ 鸎齥â?‰â™śă‹?姚䧎朸⥲ă…ˇćś¸éŒšćťž鿪 ă–ˆé¸?é…­äŞŞâľŒâœŤâ™§âŚ?ä–¤â&#x;ƒç?Žĺ™˛âżŽčŽ…âž?â°…朸ç‘ ę&#x;Śď˜ˇ

THIS THISISISBEING BEINGWRITTEN WRITTENON ONAADIGITAL DIGITALDEVICE DEVICE Barrier Barrier

捀⡦䭭衽し➮䧴鑨瘳涸갉坿➃腋嫲➮⦛欽ꨶ舡⡲坿涸ず⬌莅錚滞欴欰刿㢵涸魨넓✽⹛ヤ 捀⡦䭭衽し➮䧴鑨瘳涸갉坿➃腋嫲➮⦛欽ꨶ舡⡲坿涸ず⬌莅錚滞欴欰刿㢵涸魨넓✽⹛ヤ 厥❉侸焺⡲ㅷ僽ꥬ穪滚漌 羮労莅魨넓涸㾓ꥻ랆 厥❉侸焺⡲ㅷ僽ꥬ穪滚漌 羮労莅魨넓涸㾓ꥻ랆 䪭鯺衽侸焺繡㷸涸秫侸焺⡲ㅷ剚ⵖ鸤ꥬꟻ 䪭鯺衽侸焺繡㷸涸秫侸焺⡲ㅷ剚ⵖ鸤ꥬꟻ

Blend Blend AAcombination combinationofofdigital digitaland andanalogue analogueallows allowsthe thepotential potentialforforengagement. engagement . techniques andand technologies. Blend Blendtogether togetherdigital digitaland andanalogue a nalogue techniques technologies . Blend Blendtogether togetherdigital digitaland andanalogue analogueaesthetics. aesthetics .

幋幋

Bodies Bodies

垸亼莅侸㶶涸穡ざ捀❜✽ⶾ鸤✫〳腋 垸亼莅侸㶶涸穡ざ捀❜✽ⶾ鸤✫〳腋

Digital two bodies, Digitaland andanalogue analogueareare two bodies, two zones of potentiality. two zones of potentiality. These Thesebodies bodiesare arecapable capableofofaffecting affectingeach eachother otherand andofofbeing beingaffected. affected. These bodies are not static they can change and adapt. These bodies are not stati c they can change and adapt. Analogue Analogueis isnot notininthe thepast. past.Digital Digitalis isnot notpresent presentand andfuture. future.

幋ざ垸亼莅侸焺涸猰㷸莅䪮遯 幋ざ垸亼莅侸焺涸猰㷸莅䪮遯 幋ざ垸亼莅侸焺涸繡㷸 幋ざ垸亼莅侸焺涸繡㷸

넓넓 侸焺莅垸亼捀䨔搭Ⰽ넓 侸焺莅垸亼捀䨔搭Ⰽ넓 Ⰽ珏⯏怏悴⸂涸⼦㚖 Ⰽ珏⯏怏悴⸂涸⼦㚖

cyBorg cyBorg A cyborg is a space for potential, A cyborg is a space for potential, a fusion between digital and analogue, a fusion between digital and analogue, a space of affect. a space of affect. The space of the cyborg can combine any of the assets or aspects of digital or The space of the the other. cyborg can combine any of the assets or aspects of digital or analogue with analogue with the other. It’s not digital for the sake of digital. It’stime notand digital for the sake of digital. It’s effort, It’sa time not quickand fix effort, not a quick fix A cyborgian approach preserves as well as creates. cyborgianapproach approachengages. preserves as well as creates. AAcyborgian A cyborgian approach engages .

Digital/Analogue is not a helpful divide Digital/Analogue Digital is out of date is not a helpful divide Digital is out of date Digital is finite Digital finite Art is not is finite Art isartist not finite Digital - too restrictive Digital artist too restrictive Visual artist – too- restrictive Visual artist – too restrictive Ditch the finite Ditch the finite

鸏❉堥넓腋㣁湱✽䕧갠莅鄄㸐罏䕧갠 鸏❉堥넓腋㣁湱✽䕧갠莅鄄㸐罏䕧갠

鸏❉堥넓⚛ꬌꬆ䢀㸐⦛腋⿡⡲ⴀ佖隶莅黠䥰 鸏❉堥넓⚛ꬌꬆ䢀㸐⦛腋⿡⡲ⴀ佖隶莅黠䥰 垸亼⚛ꬌ㿂倴麕⿡侸焺⛳♶僽植㖈䧴劢⢵ 垸亼⚛ꬌ㿂倴麕⿡侸焺⛳♶僽植㖈䧴劢⢵

佖鸤➃ 佖鸤➃ 飓⽈呔 飓⽈呔

♧⦐佖鸤➃僽♧⦐悴⸂搂ꣳ涸瑠꟦ ♧⦐佖鸤➃僽♧⦐悴⸂搂ꣳ涸瑠꟦ 僽♧⦐侸焺莅垸亼涸ざ䧭ㅷ 僽♧⦐侸焺莅垸亼涸ざ䧭ㅷ ♧⦐䪭鯺✫⡲欽⸂涸瑠꟦ ♧⦐䪭鯺✫⡲欽⸂涸瑠꟦

佖鸤➃涸瑠꟦〳⟃穡ざ⟤⡦侸㶶䧴垸亼涸⮛⹴莅Ⱖ㸐倰꬗ 佖鸤➃涸瑠꟦〳⟃穡ざ⟤⡦侸㶶䧴垸亼涸⮛⹴莅Ⱖ㸐倰꬗ 鸏⚛ꬌ僽捀✫侸焺罜侸焺 鸏⚛ꬌ僽捀✫侸焺罜侸焺 鸏僽儘꟦莅礶⸂ 鸏僽儘꟦莅礶⸂ 罜ꬌ鸠䨞鸠对 罜ꬌ鸠䨞鸠对

侸焺垸亼㻜ꬌ♧⦐剤佪涸⼦ⴕ 侸焺垸亼㻜ꬌ♧⦐剤佪涸⼦ⴕ

♧⦐堥唒⻋涸鸁䖜傂腋殆㶸❠〳ⶾ鸤 ♧⦐堥唒⻋涸鸁䖜傂腋殆㶸❠〳ⶾ鸤

侸焺僽剤ꣳ涸 侸焺僽剤ꣳ涸

♧⦐堥唒⻋涸鸁䖜雊➃⿮莅 ♧⦐堥唒⻋涸鸁䖜雊➃⿮莅

侸焺僽麕儘涸 侸焺僽麕儘涸

谁遯♶僽剤ꣳ涸 谁遯♶僽剤ꣳ涸

侸焺谁遯㹻㣖麕㽷ꣳ 侸焺谁遯㹻㣖麕㽷ꣳ

鋕錏谁遯㹻㣖麕㽷ꣳ 鋕錏谁遯㹻㣖麕㽷ꣳ 䪾剤ꣳ䬚Ꟛゅ 䪾剤ꣳ䬚Ꟛゅ

5)*4 *4 #&*/( 83*55&/ 0/ %*(*5"- %&7*$&

♧⟝鄄㸤侸㶶⻋涸⡲ㅷ剚㼟㸐荈䊹莅錚罏⛓꟦ꥬ♧䏠㿋 ♧⟝鄄㸤侸㶶⻋涸⡲ㅷ剚㼟㸐荈䊹莅錚罏⛓꟦ꥬ♧䏠㿋

剅倴侷焺鏤⪓♳

ꥻꥻ

803, #: ⡲ㅷ  +&4$ #6/:"3% ⪁銯劥v꧈䗞 53"/4-"5&% #: 缺陼  401)*& (60 鿓疭螨

AAfully fullydigitalized digitalizedwork workcreates createsdistance distancebetween betweenartwork artworkand andviewer. viewer. Why Whydoes doesa musician a musicianwith witha guitar a guitarorormicrophone microphonegain gainmore morebodily bodilyengagement engagement from the viewer than a musician with a laptop? from the viewer than a musician with a laptop? Are digital works a barrier toto the eyes, ears and the body? Arecertain certain digital works a barrier the eyes, ears and the body? Works Worksthat thathave havefull fulldigital digitaltechnology technologyand anda digital a digitalaesthetic aestheticcreate createdistance. distance.

剅倴侷焺鏤⪓♳ 剅倴侷焺鏤⪓♳

Cao Fei, La Town, 2014 (production still).

CAO FEI: DAYDREAM, GAMES AND VIRTUAL REALITY 剆俥ď˜ť 术ĺ‚ˆăŁ…ŐŽéşˆä¨ čŽ„č´ äşťć¤?ăťœ

5&95 #: 䚊俒  $)3*4 #&33: é†?ę&#x;š挰 ;)"/ 96)6" ĺťłĺ‚’čž&#x; 53"/4-"5&% "/% &%*5&% #: çźşé™źâżşçŽ é°ż  "/(&- $)6/ ç?“äż’㍹ *."(&4 $0635&4: 0' ă•­ć™™䲿âŁ˜  7*5".*/ $3&"5*7& 41"$& $"0 '&* 珞➭ă„?č°€é Žç‘&#x;ę&#x;Śâżşĺ‰†俥

Cao Fei was born and raised in Guangzhou, the Southern Gateway to China s reform and opening up process that began in the 1980s, introducing the

market economy to China and turning the country into a major international

trading nation. Her art has always focused on the relations between ordinary people and various issues in Chinese society, including youth culture,

urbanization, risk society, the impact of the Internet, globalisation and more. She combines keen observation with elements drawn from popular culture, ranging from street culture, to performance, virtual reality, video games,

animation, toys and Hollywood zombie movies, creating playful yet critical artworks.

Cao has been an active artist since graduating from university. Several of

her early works, such as Chain Reaction (2000), the Hip Hop Series (2003),

and Cosplayers (2004), present Chinese young people bringing the digital

virtual world into oine real life, They are dramatic, performative and highly distinctive. . In the U-thèque collective, together with Ou Ning and Huang

Weikai, Cao made the documentary video San Yuan Li in 2003. This marks a

shift to broader her focus from concerns about the vicissitudes of the younger generation to the society and humanity in general. In Whose Utopia? (2006),

剆俢揰ę&#x;€ĺ€´âšĽă•œä˝–ęŹ ę&#x;šä˝žďšłâ˝‚ăŁ?ę&#x;Œďš´ă™šä‹‘ä‘žäŠ?ď˜ˇâ°Śč° é Ż

ăťœéŠ?ä­°çłľęĄ é?˝ĺ‚ˆäŒ˘âŚ?ë„“čŽ…âšĽă•œçˆ˘ĺ‰š朸ďšłéżŞä‹‘âť‹ďš´ď˜śďšłęŤ­äŽƒ

äż’âť‹ďš´ď˜śďšłę´?ęŚ–çˆ˘ĺ‰šďš´ď˜śďšłâœ˝č€˘çŹŞę…žĺœ“ďš´ă„¤ďšłďˆŁć¤•âť‹ďš´ç˜žé‘¨

ę˛—ď˜šăĽ â&#x;ƒ佾ęŒ´ćś¸éŒšăťŒâ¸‚犥ă –ĺ´Šé ¤äż’âť‹îš‰ä–°é łęą§äż’âť‹ď˜śčŽťč?Š

âˇœď˜śč´Ąäşźâžƒ揰ď˜śę¨ść˘–ď˜śč?˛â˘ľćś¸âš›掼ď˜ść˘–â°¨âľŒ㼪č&#x;›ă?¸âŹżăž?ꨜ

ä•§ď˜šâśžâĄ˛â´€ĺ‚‚ĺ‰¤éş‰ä¨Ąä ŽâżśâŻ?ć€?䪥ⴟäš?ćś¸č° é ŻâĄ˛ă…ˇď˜ˇ

ä–°ăŁ?㡸ĺ„˜âžżĺ‰†俢㽠ę&#x;š㨼âœŤä•§âŤšâśžâĄ˛ď˜ˇăĽ 朸äŽ™éżˆĺ‚?ĺŠ?⥲

ㅡ㼜աꕖո î™¸ď˜śă?Şă† 猺⴪⥲ㅡㄤâ&#x;ƒ$PTQMBZé‚?ć¤?⚼

ă•œäŽƒé°‹â™§âžżä–°äž¸ç„şč´Ąäşźâš†ć­˛âšĽéĽĽâ°…溍ăťœ揰ĺ´ž朸աéŒŹč’€Ő¸

 î™¸ď˜šéżŞäŒ&#x;剤䓽ć?™朸䨥âˇœď˜śé‚?怾ㄤâŚ?âžƒč’€ä•™ď˜ˇä–°â&#x;ƒ

玔䕧剚ă ?çş?剆俢čŽ…ĺ§˜ăťžď˜śëž”â¨€⳯ă –⥲✞⥲朸ա♲⯋ꅽո

ę&#x;š㨼ď˜šĺ‰†俢朸✞⥲ä–°ęĄ 岤ꍭäŽƒâ™§âžżćś¸éśľäžľď˜śéŹ’âš›

ă„¤âżžäŤ’ď˜šéą˛ă ˘âœŤăźŠçˆ˘ĺ‰šă„¤âžƒäš?ĺˆżĺš€ăžľćś¸ęĄ ä§ƒď˜ˇăĽ â&#x;ƒ䞎ë„“

朸㸪éŒšéŒŹä?ž⿥éŒšăťŒ䲞粭âœŤćŁ&#x;â™˛éŒŹă˘Ťâ˘ľäŠ¨ć¤šä&#x;?莅ć¤?ăťœę&#x;Śćś¸

äŠ´é¨…ď˜šâĄ˛ă…ˇŐˇé“Şćś¸ć?ŚäŠŻé˝ŚŐ¸î™ˇ ę&#x;šă‰ŹâœŤâ&#x;ƒč° é ŻčŽ…çˆ˘ĺ‰š

ę&#x;Śâ™§ç??倞朸ĺ˝˜é¸’ĺ€°ä’­ď˜ˇŐˇä§Ž ę–?ո î™¸ă„¤Őˇâžƒĺ­—ă™šăťĄŐ¸

 î™¸ĺƒ˝ĺ‰†俢朸✞⥲ä–°âŁœ䊯çˆ˘ĺ‰šć¤?ăťœéŒšăťŒď˜šéą˛ă ˘

č´Ąäşźć¤?ăťœ朸âžżé‚?⥲ď˜ˇŐˇä§Ž ę–?ո鸒麕â&#x;ƒçŽ ♳麉䨥ďšąç—§âœłâžƒ

she observes and depicts migrant workers in the Pearl River Delta area and

the gap between their dreams and reality. I.Mirror (2007) and RMB City (2007 - 2011) reect Cao s source of inspiration turning from social reality to virtual reality. Constructing an avatar ̜ China Tracy ‒ in the online game Second

Life, I.Mirror (2007) explores the problems faced by not only China but also the world under globalisation: identity issues, ethics and understanding virtual reality in the digital age.

After becoming a mother, Cao Fei discovered a new link between her own

interests and popular culture from her child s favourite cartoon. East Winds

(2011) records the journey of a Chinese-manufactured East Wind-brand truck,

which has the smiling face of Thomas the Tank Engine tied to its grill. It barrels across urban highways to deliver refuse from a construction site in the city

揰ďš˛ĺœ“ä’Š朸败亟éŒŹč’€ďšłâšĽă•œçťźéŠŻďš´äąłéŽŁďˆŁć¤•âť‹â™´âšĽă•œă„¤âš†

ART.ZIP: Why is the narrative of La Town in French?

"35 ;*1⥚ăŁ?éżˆâ´•朸⥲ă…ˇéżŞĺƒ˝ęĄ ĺ€´âšĽă•œ䧴âšĽă•œ朸ćšśăš

亟溍ăťœ朸椚é?‘ď˜ˇ

'exotic' atmosphere that contradicts that in the image itself. Also, the narrative

ć?­ë„žę˜Žĺƒ˝âšĽă•œ朸ď˜šâĄŽâ›łĺ‰¤ä–Ž㢾垌é’&#x;ĺƒ˝č–Šäż’朸ď˜ˇâĄšâĄ‚â›–â›ł

ć­˛â°&#x;㠚ꏗ㟊朸ă‰?겗魨â&#x;¨é’˘ćżźď˜śäž¸ăśśĺ„˜âžżćś¸â§?椚⿝㟊败 䧭ć?€卢鋡⛓䖕朸剆俢䖰㡛㜊ă‹?ä Śćś¸â˝“é¸’䪪âľŒĺ´Šé ¤äż’âť‹čŽ…

㼠čŽ‡éŚąä ŚăĽŞćś¸çŠĄă –ë&#x;Šîš‰ŐˇĺŒŒę´?ո â&#x;ƒç§ ę?—晚朸ä•Žä’­

♜靇朸劢⢾⛓㖒ę&#x;šâľŒâœŤă˜?ă–ŁăœĽî™ˇă™ľč˘ąéş•⿥â›“ă–’î™¸ď˜ˇć?€

La Town and our own reality today.

ꝝ庌䊟ă?ąć™‹č° é Żâ˝ˆĺ‰š✞⥲朸աĺ?żčŽ? 㕏倞ո î™¸îš‰ă–ˆęťť

庌㖒垌抇椕饏ĺƒ’ä‘žăœĽăŁ?ĺžœ㢍ç”¨ęŹ—â™łď˜šďŠľăŁ?朸-&%ęł?çˆšăž“

䚅佞襽â°”⟧äŽƒâžżé˝Ąâ?‰䧎⌛瞎擿腋鑏朸ꨜ㜊麉䨥âľ–⥲朸耍

⯕酤縨⚛掼ď˜šęŹ—㟊é&#x;?ä–„ꝝ庌朰äŽƒçą—ĺ›™朸珞㢾âľ„â??庌ď˜šă˘š

Hong Kong 2015: playing on the LED façade of the International Commerce

剓ĺ‚?朸败亟ć¤?ăťœć˘–Ⱘ朸ĺ¨œă€ˇă€łâ&#x;ƒéˇ†彸âľŒă”‹ćś°äŽƒ⾚朸ä—?ç°Ž

Pac Man and Tetris. In front of the Victoria Harbour, a symbol of Hong Kong s

century of prosperity, the huge screen with a Pac-Man lighting up the night sky seems to devour dreams.

The history of virtual reality toys can be traced back 400 years, because

the doll's house can be understood as the ďŹ rst toy of this kind for children.

Starting in 2014, Cao Fei constructed a utopian/dystopian city called La Town with miniature models she shopped from Taobao, the Chinese equivalent of

Amazon. Museums exist side by side with ooded railway platforms, crumbling McDonald's, slums, a vulgar fountain with a statue of Venus, violence, murder

and looting, as well as sunny beaches somewhere in the outskirts and beautiful scenery. Accompanied by rousing music, this stop-motion ďŹ lm depicts the

history and fate of a ďŹ ctional city, reecting the reality of many countries and

ĺž¸ă˜—㪳㪳ăž‹ď˜ˇ äŽƒĺ‰†俢â&#x;ƒéŁ‘č?ˆĺ¸Œăź‚â™łćś¸éƒœćŁ‡ĺž¸ă˜—é‹ˇäŠ›

ĺœ“ä’ŠâœŤć?ŚäŠŻé˝Śă™šä‹‘Őˇ-B 5PXOո î™¸ď˜šâ™§âŚ?â°?噲㙚䋑

çšĄé Żę¸­ď˜śĺšŽĺŽ?朸ç•€č?Šď˜śç śäž 朸ë?‹掚⚪ď˜śéĄ‡ĺ­—⟌ď˜śçŁ§â¤şćś¸çŹž

ç§?倛㑑幎ď˜śĺ‡?â¸‚ď˜śé–‘媚ď˜śäľťäąŻčŽ…éž&#x;㢍厼贖朸ꤿâŻ•ĺľłćŠ‚ď˜śč‘ť

é´‡皥ĺ…žâ°&#x;㜸ď˜šă–ˆé˛›ęĽ‘朸ĺ?żč€ŤâšĽé¸?çŠ‰ĺž¸ă˜—ă„¤â&#x;ƒ姽âľ–⥲朸ăš

呔䕧晚䲞粭♧ä? č´Ąĺœ“ă™šä‹‘朸ĺ¨œă€ˇčŽ…ă„?éşŒď˜šć?­ç˝œď˜šă¸?䜄䜄

ĺƒ˝ďˆŁć¤•é?Şă˘ľă•œä?žă„¤ă™šä‹‘朸溍ăťœ㝨ć’‘ď˜ˇé¸?ä—?簎㙚䋑铇ć?­čŽ…

⍄窥éƒœćŁ‡ĺž¸ă˜—㪳㪳ăž‹ĺœ“ä’Š朸齥âŚ?椚ä&#x;?ăšťă•¨ćšąâżĄćŹŠéť‡ď˜šä§Ž

⌛朸çˆ˘ĺ‰šęŹ—㟊ďˆŁć¤•âť‹ă„¤ë„žä?ž饝劼⚺çş?朎ăž?䨞äŒ&#x;⢾朸ç??ç??

ă‰?ę˛—ć…Žç°Žăš ĺ‘”ă–ˆé¸? 㢾â´•ę—ťćś¸ä•§ć™šé…†ď˜šä˛żę„ 䧎⌛ꏗ㟊朸

ĺƒ˝â™§âŚ?â°&#x;ă šćś¸â˝­ĺ Ľď˜ˇ

麉䨥ď˜śćśŻĺ‚ˆăŁ†ď˜śäŽ‘ä&#x;?ď˜śč´Ąĺœ“čŽ…ć¤?ăťœç˜žâŻ‹ç¨‡â™§ćšŹéĄ?瑭剆俢朸

✞⥲ď˜šâž›ăŁ”âšĽă•œă„¤ďˆŁć¤•朸çˆ˘ĺ‰šă‰?겗ㄤä˝&#x;獤ă–’é —䲿âŁ˜çŞ?ăĽ

éžŽăş˘ćś¸ç¨‡ĺ‹žď˜ˇĺ‰†俢䪞㼠㟊ĺ„˜âžżćś¸ä™źç˝Œé¸’éş•㼠朸⥲ㅡ䲞粭

disaster. The ďŹ lm shuttles us back and forth between the global microcosm of

ART.ZIP: Most of your work is clearly Chinese in setting, and it s about China or speciďŹ c places in China. In La Town, the high-speed train is Chinese, but there are plenty of signs in English. You seem to be moving towards a sort of generic, global space. Is that right? Why? CF: La Town is a work of total ďŹ ction. The world is post-apocalyptic. There is no La Town in the world but according to the myth I have created, it is a town

that has existed in many dierent parts of the world in many dierent time

ă–’ĺ€°ď˜šĺ‰¤čĄ˝ä–Ž嚢ĺ… 朸âšĽă•œčƒ?ĺ…žď˜ˇâĄŽă–ˆŐˇ-B 5PXOŐ¸âšĽď˜šę§Ş

ă–ˆĺŠŠ襽♧ç??éĄ?鸒朸ď˜šâš†歲朸ç‘ ę&#x;ŚćśŽăž?ď˜šĺƒ˝é¸?ĺžşăŒ¨îšŽć?€âžŠ ëž†ăƒ¤îšŽ

$'ա-B 5PXOŐ¸ĺƒ˝â™§â&#x;?种ăż‚č´Ąĺœ“朸⥲ă…ˇď˜šĺœ“ä’ŠâœŤâ™§âŚ?ä–•

ă‰Źçˆšę?—âš†ć­˛ď˜ˇâš†ć­˛â™łâš›â™śćşŤĺ‰¤-B 5PXOé¸?âŚ?ă–’ĺ€°ď˜šâĄŽă–ˆ䧎 ✞鸤朸ç‰&#x;é‘¨ä˝Śâœ˛âšĽď˜šăĽ 㜸ă–ˆĺ€´âš†ć­˛ă ?ă–’ă ?âŚ?äŽƒâžżď˜ˇé“ž术

âœŤă˝ ĺƒ˝ä§Žčź‘ă –âœŤé?Şă˘ľâ™śă šäŽƒâžżâ™śă šäż’❋⚼朸ă ?ç??ĺž¸ă˜—ď˜š

䨞â&#x;ƒă–ˆé…†ęŹ—傂剤颪ꝝč‰?朸ä—žă•œéŚ„ä‹‘ď˜śë?‹掚⚪ď˜śâ™§ăšťĺ§ťă–ˆ ä˝žĺƒŚŐˇęľ?ո朸âˇœę¤Žď˜šâ›łĺ‰¤čŽ?ăŁ”ë”­ăœ„é…­ćś¸ăź­äŤľë”­âžƒă‘‘幎ď˜śçżą

é’˛ç˝‰âžƒă„¤âžŽćś¸ę¨”ĺ&#x;šď˜šéźŠĺ‰¤âšĽă•œ朸ë„žę˜Žď˜ˇé¸?ĺƒ˝â™§âŚ?č?ˆâ¸”ꡭ

äż’âť‹ă–’äŒ&#x;ď˜šâĄšă€łâ&#x;ƒă–ˆă šâ™§âŚ?♜㣖ăŁ?朸抇䕎ꡭč?Šâ™łć ˝ă€Šĺ‚ˆ 劼㥽㠀朸ă šĺ„˜ď˜šă ?âľŒçš?㸢ĺź”â&#x;ƒâżťä‘žĺŒŒë&#x;Šä—ąď˜ˇ

"35 ;*1îš‰ă–ˆŐˇâžƒĺ­—ă™šăťĄŐ¸âšĽď˜šâĄšă–ˆéş‰䨥ç—§âœłâžƒ揰é…­ä’Šĺœ“ âœŤâ™§ä? 䎑ä&#x;?ă™šä‹‘ď˜šç˝œé¸?ĺŚ„ă–ˆŐˇ-B 5PXOŐ¸âšĽâĄšâ˘ŞćŹ˝ĺž¸ă˜—ď˜š 梖Ⱘ鎌ă„¤ć˘–â°¨ćŠĄéŽŚâ˘ľä’ŠçœĄă€Ľâ™§ä? 䎑ä&#x;?朸ă™šä‹‘ď˜ˇâĄšă€łâ&#x;ƒé¨ˆ

䧎⌛铞铞é¸?â?‰ç‘ ę&#x;ŚăĽśâĄŚď‰šä’¸âĄšď˜šç˝œ⥚é¸?ĺŚ„éź‡äšľâœŤĺž¸ă˜—ă„¤

ăź­âžƒâŠ‘朸➲ă””ĺƒ˝âžŠëž†ăŒ¨ Őˇ-B 5PXOոㄤ〼♧â&#x;?éľœĺŠ?⥲ ㅡաꍂո酭鿪剤♧ç??ĺŠŁĺ‚ˆă„¤â˝°ăź&#x;ĺ‰¤ć‹…ę¨ˆ朎揰朸孾孨ď˜šâ°Ś ⚼ա-B 5PXOո卲աęŤ‚Ő¸éŠ´ăźąâœŤäŽ™â´•ć˘–ă„‚ď˜ˇâĄšă–ˆäşŒä—ąâžŠëž† ăŒ¨îšŽ

$'ա-B 5PXOŐ¸ĺƒ˝ä§ŽäŹ?䟢աꍂո朸é…˘âŻ?ď˜ˇďˆŁć¤•獤ć†˜é‚?顎 ä–•朸ĺ„˜ę&#x;Śă˝ 㼪卲ĺƒ˝éšŽâ°…âœŤâąşĺąŽĺŠ?ď˜šäžŽâŚ?çˆ˘ĺ‰šçşˆë„“鿪ĺƒ˝äŞŞ ♜襽âť?朸ćœœ幣ď˜ščŽ…éśľăŁ&#x;ă–ˆęŞ“ęŤ‚âšĽć?‚掯ď˜ˇä¨žĺ‰¤čŽ…ęŞ“ĺ‰¤ęĄ 朸 ĺ´Šé ¤äż’âť‹ă„¤ę¨śä•§âšĽâ›łçą?ĺƒ˝ä”Ľć 襽â™§č‚†ä›Œä§Œď˜šä§ŽâĄ˛ć?€â™§âŚ?

č° é Żăšťä§´âŚ?âžƒă˝ ĺƒ˝ă–ˆé¸?♧ç??â™śă¸žâ›“âšĽâ˘ľâśžâĄ˛ćś¸ď˜ˇâ˘ŞćŹ˝ĺž¸ ă˜—čŽ…âžƒâŠ‘ă€łâ&#x;ƒäť—č†¨ă–ˆć¤?ăťœ揰崞⚼äŹ?䟢朸ꣳâľ–ď˜šä§Žă€łâ&#x;ƒäť—

ä’šă ?ç??ăœĽĺ…žď˜ˇâŤšă–ˆŐˇ-B 5PXOո朸✞⥲âšĽď˜šäŹ?äź˘çšĄé Żę¸­ćś¸ ä&#x;?ĺ˛ ĺƒ˝ĺ‰“ä–•äŠžâ´€ć¤?朸ď˜šć?­ä–•䧎âŚ›äŠžă„¤ă¤šę¨ŽË™čŽ“âžƒî™ˇă–ˆâť?â?Š

cities around the world. A far cry from the ideal home constructed in the

â´€⢾ď˜šçŤ¤éş• 䎃朸✞⥲揰ĺˇ†ĺˆżâ¸ˆ顴ä—Łď˜ˇ

and high level of capitalist development are captured in this miniature city

ç—§â°™ăž‚čž é“ƒé‹•âŤšč° é Żçœ?ăź&#x;č€˘ă –č–Šă•œꨜä•§âźżĺ‰šďšąăťœë€żăœĽďš˛

"35 ;*1⥚䧭ę&#x;€ĺ€´ä‘žĺŒŒď˜š äŽƒâžżâ´˛ę&#x;š㨼ď˜šä‘žäŠ?â™§ćšŹĺƒ˝

麉䨥ďš´ă”?ęłƒä•§ăž?ď˜šâ&#x;ƒ㼠䎃ę&#x;ŚâśžâĄ˛ćś¸âşŤä­?Őˇ-B

î™ˇę¤Ťâ¸›ę§†ď˜śĺ“€ę‰Łé°œď˜śĺ?Œâ™§ĺ?Œď˜śä–›ă—žî™¸ď˜śĺ§˜ăťžă„¤çŽ”ä•§ĺ‰šď˜śâ˝ˆ

traditional doll's house, but the various social problems caused by globalisation video of forty minutes, reminding us that what we are facing is a common crisis.

Elements such as games, daydreams, fantasies, ďŹ ction and reality run through

갪暥ㄤâ§?äžšăŁ?㡸ă•œ楏㡸ꤎ翚ć?‹ĺ‰†俢ď˜ščŽŠéłľďšłĺ‰†俢îš‰â™§ăœĽ

5PXOŐ¸ç˜žâ°”éżˆä•§âŤšâĄ˛ă…ˇâž?稲㼠朸ä•§âŤšč° é ŻčŽ…✞⥲䙟ćƒ?ď˜ˇ

Cao Fei s creative practice. The social problems and the political and economic

"35 ;*1ć?€âžŠëž†⥲ă…ˇŐˇ-B 5PXOŐ¸âšĽćś¸äžƒ霤ĺƒ˝â&#x;ƒĺ˛ 铃ăž?

illustrates her thought about of the era through her artworks, which have

$'ꝡâŻ“ĺƒ˝ĺ˛ é“ƒ朸铃锅䖎㼪č ƒď˜šč…‹âľ–⥲ⴀㄤ䕧⍚⛓ę&#x;Śâżž

landscape of China and the world are fertile sources of her inspiration. She become ever more incisive after her twenty year-long artistic career.

Working together with the Experimenta programme of the British Film Institute and King s College London, the sixth Chinese Visual Festival (CVF) focuses

on Cao Fei. CVF is pleased to present Cao Fei: It s a Game , a retrospective screening of eight of the artist s moving image works from 2000-2015, to introduce her video art and creative trend to British audiences.

ę&#x;š朸

䊴ⴀ厼ç??ㄤ㕏⍚ć?‚ęĄ ćś¸ďšłćŽŻă•œäž•é”…ďš´ď˜ˇ Őˇ-B 5PXOո⚼朸 䞃霤⿎ç˝ŒâœŤę¨śä•§Őˇä‘žäƒ‹â›“ä§—ո朸âˇœĺŠĽď˜šćŽšäŽƒä‘žäƒ‹➲㜊䔞旙

ćŒžé&#x;?ä–„朸ĺŠŁĺ‚ˆă•Źĺ…žď˜šâ™§ćšŹä’‚â ˝âľŒĺŠ˘â˘ľâ™śă€łćżźćś¸-B 5PXOď˜š ç˝œĺƒ“ĺ‚ˆ朸ďšłĺŠŁĺ‚ˆďš´ď˜šäŠşçŤ¤ä§­ć?€âœŤĺ‚ˆäŒ˘ć‹…ę¨ˆď˜šç‘­ĺ”Žĺ€´ć?‚é”¸ĺƒ˝ č´Ąĺœ“朸ďˆŁć¤•ä—?ç°Žĺ…žéŒš朸-B 5PXO韊ĺƒ˝ä§ŽâŚ›朸ć¤?ăťœď˜ˇ

朸ä—žă•œçĄƒä’ŠçœĄäŒŒî™¸âŚśâ˘ľâ™§ä? â˝ˆćš&#x;긭ĺž¸ă˜—ď˜ˇ

â˝‚âšĽă•œâŻ“ę?ľč° é Żĺ´ž鏪朸âšĽä—ąď˜šăĽś äŽƒâžżăŁ?㽾é&#x;?䊨⥲犉 晋éĽ&#x;倛剅ä?…ď˜śä–•⢾朸éŒšăťŒçˆ˘î™ˇč„Œ㠢⾚ď˜śçť€㜊⨴ç˜žâžƒî™¸ď˜śę?—

⍚㽡î™ˇĺŠŤâ¸ˆď˜śę¤ŤâŁ’ď˜śĺ€°ć¨?î™¸ď˜śëž”éźšç•€î™ˇä–›ă—žď˜śëž”ăź­ë•ƒî™¸ď˜šâľŒ

ç?”ĺ„˘ď˜śăƒ°ĺż„ç˜žď˜šé¸?匄ć?€#'*䧎⌛㠖⥲ç˜źâˇ”âœŤŐˇä•§âŤšćŁ&#x;♲ éŒŹŐ¸ă‹˛âŻ‹ď˜šé¸’éş•⥲ă…ˇăźŠč–Šă•œéŒšćťžâž?稲 äŽƒâžżĺŠŁč?› 䎃깧♧ âŚ?⟧äŽƒĺ´ž鏪ĺ€´ä‘žĺŒŒ朸é¸?â?‰č° é Żăšťď˜ˇé¸?â?‰ć Źç”¨âŻ“

ę?ľč° é Żçşˆë„“ď˜śč° é ŻăšťčŽ…⥚⛓ę&#x;Śĺ‰¤âžŠëž†ĺžşćś¸âœ˝âš›ă„¤ćšąâœ˝ä•§ ę° îšŽ

$'䑞äŠ?ď˜šâ™§âŚ?靇ꨆ俒❋莅ä˝&#x;幛⚼䗹朸㙚䋑暹㟊倴âť?倰 ä“˝âš´ćś¸č° é Żĺ™ ä˘€⢾ćş?ď˜šęł?ä–¤é˝Ąëž†éźšçŽ”âť‹ď˜šć?‚锸鋊垸䧴䖰 ĺ™ ćś¸č° é Żăšťä§´ă•°ë„“ĺ Ľĺœ“ď˜šâĄŽć­‹姽⽿揰朎ⴀ♧ç??ć Źç”¨ćś¸ëˆƒ ⸂揰ćžĄď˜śč?ˆćş ď˜śâ°¨ĺ‰¤ć Źćšśćś¸č° é Żé“ƒéŽŠă„¤éŒšăťŒ㟊é&#x;?ď˜ˇ

Can Fei, Hip Hop: Guangzhou, 2003 (production still).

synchronized to sound piece references iconic images from 1980s video games

In the ďŹ lm, Hiroshima Mon Amour, a nuclear bomb in Hiroshima signiďŹ es

doomsday. This image is extended to La Town, an unknown city of the future,

where what was once perceived as doomsday has become an everyday

ç‘ âšĽăž“ä?Œę&#x;?âš›襽ăŁ?朸ďšąă ?éž?âžƒďš˛éş‰䨥㠾ă‘ƒâœŤăŁ†ä&#x;?ď˜ˇ

Centre (ICC)Ěśthe tallest skyscraper in Hong Kong Ěś a large-scale animation

of La Town is adapted from the screenplay of the ďŹ lm, Hiroshima Mon Amour.

鎚ę?—âœŤâ™§é°˜䊧äŞ?䧭č–Šă•œ襽ă ?âš›掼ä•Žé&#x;?䊯ꟛ倛㟭报鎌朸

ă•œ援ďšłĺŒŒę´?晌⽓鎌朸ĺ ‡çŽ‘îš‰ä–°ă™šä‹‘獤ć†˜ćšśâźŚćś¸ä’ŠçœĄäŠ¨ă–’

(somewhere in the near future) to a dump at the city s edge (somewhere the

past is buried). Same Old, Brand New (2015) was commissioned for the Art Basel

CF: The ďŹ rst thing is that the sound of French is nice. It creates an irrelevant

periods. Literally, I combined models from many dierent cultures and time

periods. I mixed them all together. So there is a German supermarket that has a deal on bratwurst; a McDonald s; the movie theater playing Gone with the

ăŁ?㽾é&#x;?䧭㆞㢾䞸ĺƒ˝ä§Žć˜żĺŤ˘ äŽƒâžżćś¸ăˇ¸ćŹ°ď˜šç˝œä–Ž㢾Ⰼ➎䎃

Claus with his sleigh; and a high-speed train. This is the space of buet culture:

ă“­ä­?âœŤäžŽâŚ?ćŁ&#x;â™˛éŒŹč° é ŻćŹ°ä˘€ď˜šă€łâ&#x;ƒä&#x;?⍚㼜㠚♧âŚ?ăšťĺ œâ°‰

Wind; the famous fountain from Nuremberg, The Little Gooseman ; Santa

you can have sushi, a bowl of borscht and Cantonese-style dim sum all in one meal on one small table.

ART.ZIP: In RMB City you built a kind of fantasy city in Second Life. This time (in La Town) you are using maquettes and toy cars and trains to build another fantasy city. Can you tell us about why you ďŹ nd these spaces fascinating? And why did you want to work with these maquettes and models this time? In both La Town and your other recent work, Haze and Fog, there is a sense of doom and impending disaster. In fact, La Town is less playful than even Haze and Fog. What s worrying you so much?

é°‹č° é Żăšťĺƒ˝ăŁ?㡸ă š㡸ď˜śăˇ¸ä“?㧜ď˜šé¸?âŚ?♜ăŁ?朸珪⽿䎙⛖

éżˆ朸⍄䪭ď˜šćśŽęƒ‹ď˜šéżŞă›‡ĺ€´ćŁ&#x;â™˛éŒŹé¸?랆♧âŚ?ć Źćšśćś¸ă•źăĄ?⽂ 倰⥲ć?€é¸?âŚ?ă•œ㚝朸韚歲ď˜śĺ¨œă€ˇâ™łćœˆ縢ç˝?朸崊佞㖒ㄤĺ‚?ĺŠ?

ęŹ ă„?朸朎ĺ˝‚ă–’î™¸ď˜šâŁ˜çŞ?ă–ˆé¸?é…†ć?€䞸â™śă˘ľćś¸č° é Żăšťä—łâ™śă€ł 硄朸äż’âť‹ä™źç˝Œç‘ ę&#x;Śď˜ˇ

㼜ĺ?“âť?ĺ€°ĺƒ˝äż’âť‹é‘¨é“ƒĺĽš朸âšĽä—ąď˜šé˝Ąëž†ćŁ&#x;â™˛éŒŹč° é Żăšťćś¸âĄ˛ ă…ˇéżŞă–ˆĺŽĽç??玑ä?žč?ˆć?­ă”?éźšâœŤé¸?â?‰âšĽä—ąâť‹äžƒ霤朸꼝ç‡˜î™ˇč°

é ŻâšĽë„“ć¤?ć?€â&#x;ƒâŚ?ë„“朸ä“˝äœ˛ăźŠäŤ’âšĽä—ąćś¸ä“˝âš´î™¸ď˜šâ&#x;ƒĺŽĽç??ĺˆż

㣔ć?­ď˜śćşŤăťœď˜śĺ…°äš?朸ď˜śĺˆżć?€ę&#x;šä˝žäš?朸é“ƒăžŻâž?â°…㟊ć¤?ăťœćś¸ä Ž ćżźď˜ˇ

CF: La Town (2014) is my next step after Haze and Fog (2013). Our era after the

"35 ;*1⥚ äŽƒâľšă–ˆä‘žäŠ?ĺ„˜ĺŠ?朸✞⥲〳â&#x;ƒćş?ⴀ剤䖎

way forward, and it is just like being lost in a haze. A kind of horror and fear

鼼㠢ĺƒˆęł?ĺ‰¤âœŤä–Ž㢾â™śă šćś¸ęĄ ĺ˛¤ď˜šăĽśŐˇęŤ‚Ő¸é…­ é¸?âŚ?㖒玔朸

global economic recession is like entering an ice age. Society cannot ďŹ nd a

permeates most pop culture or ďŹ lms that feature fog. To me, it is this situation,

full of uncertainty, that I, as an artist or an individual, am basing my practice in. Maquettes and models remove the limits of real life shooting. I can play with

dierent scenes. For example, when I was working on La Town (2014), the idea of ďŹ lming a museum setting came out at the end, and so we went to Buro Ole Scheeren to borrow the museum model.

ART.ZIP: Guangdong is the region where you grew up. Since early 1990s, Guangzhou has been the centre of avant-garde art in South China: with groups ranging from Big Tail Elephants (Chen Shaoxiong, Liang Juhui, Lin Yilin, and Xu Tan), Ou Ning s U-thèque, Borges Libreria, Observation Society (Hu Xiangqian, Anthony Yung Tsz Kin etc), and Video Bureau (Zhu Jia, Chen Tong, Fang Lu), to Huang Bian Station (Xu Tan, Huang Xiaopeng), as well as individual artists such as Qin Jin and Zhou Tao. This time for Experimenta at the BFI Southbank, we are co-curating the Pulse of the Pearl River Delta session to introducing these artists to British audiences. What are the interactions and mutual inuences between you and these independent avant-garde groups and artists? CF: Guangzhou is a long way from the centre of the art market, both

culturally and politically. In relative isolation, no matter how big or small the

organisations or artist groups are, they were born with a dierent kind of charm - independent, dynamic, self-reective and unique in their artistic language and their stance towards their observed subjects.

The members of Big Tail Elephants are mostly students of my parents (both of

whom taught at the Guangzhou Academy of Fine Arts) and born in the 1980s. Many young artists were my classmates, or came after me at the academy.

㢾â˝‚âšĽă•œä˝–ęŹ ę&#x;šä˝ž朸尣䚚ă„¤ćąšé¨‹ď˜šâĄŽ⥚侌âľŒâť?â?Šä–•⥲ă…ˇ

鹲障㟊⥚朸✞⥲é¨&#x;ä–œď˜šä™źçŹžĺ€°ä’­ď˜šç˝ŒäŁ‚ă„¤éŽŁé”¸ă‰?겗朸ę…ž ë&#x;Šĺ‰¤ä™Śĺžşćś¸ä•§ę° 

This circle is not big, but somehow it encapsulates the whole art world of the

濟⚼㟌䪪倞朸〳腋äš?ď˜ˇăĽśĺ?“铞ա铪朸ć?ŚäŠŻé˝ŚŐ¸ĺƒ˝ăźŠâ™§ç??ć­‹

were once exiled to and revolutions began, the Pearl River Delta is its unique

莅攨劆朸乳㟌 齥랆ա-B 5PXOŐ¸ĺŠŁĺ‚ˆâ›“ä–•朸ꅞ揰 â&#x;ŹâĄąé›Š

Pearl River Delta region. On the southern boundaries of China, where criminals culture that has shaped all of the artists from there. If the north of the country

is the cultural power centre, then art in the Pearl River Delta naturally avoid the restrictions that go with such a hierarchical situation and perceive reality in a more open, natural, sincere and insightful way.

ă„¤ĺƒˆâ?Žćś¸ä—ąŐ¸âżžĺƒŚčŽ…㼠ă šĺ„˜âžżćś¸âŻ“ę?ľä•§âŤšč° é Żă–ˆâ˝‚âšĽă•œ朸

are isolation and loneliness in all this rapid consumption, as well as insecurity and depression. Haze and Fog (2013), RMB City (2007 - 2011) and La Town

㝥ո✞⥲ĺ„˜ę&#x;Śé¨—ä?žĺ‰“ę&#x;€î™ˇ î™¸îšŠâ°ŚĺŚ„ď˜šă–ˆç‘ ę&#x;ŚçŹžä?ž

â™łď˜šă¸?⌛鿪čŽ…ä’ŠçœĄăœĽăš–ď˜śçˆ˘ĺ‰šç‘ ę&#x;Śĺ‰¤ęĄ ď˜šć?‚é”¸ĺƒ˝Őˇâžƒĺ­—ă™š 㝥ոă–ˆďšąç—§âœłâžƒ揰败亟⚆歲䒊鸤朸䞸㜜㙚䋑 ď˜šéźŠĺƒ˝ć­‹

 朸ăťœë„“ä’ŠçœĄĺž¸ă˜—çŠ‰ă –䧭朸ĺŠŁĺ‚ˆâš†ć­˛Őˇ-B 5PXOŐ¸ď˜šäŤˆ 韊ĺƒ˝ŐˇęŤ‚Ő¸âť?â?Šć¤?âžżâť‹㟭⟌朸ĺŽ?ĺ˛&#x;ę?ˆç˜˘ĺš‹âł–ă•źď˜šéżŞä”Ľć 襽厼ç??♜無ⴗ朸č?ˆ暹濨暽ď˜šč´ĄäşźčŽ…溍ăťœâ›“ę&#x;Śâœ˝ć?€éšść?‹îšŠ

ç˝œă–ˆ䧎âŚ?âžƒăžľęŹ—ď˜šé¸?â?‰äŽƒ䧎獤ĺ¨œâœŤă­śăŞ&#x;ă„¤ćŹ°č‚Źď˜šâĄ˛ć?€â°?

ă ?㡛㜊朸卢é‹ˇď˜šĺ„˜âŻ•âĄ‚â›–ĺ‰¤ä¨žä˝ž玣ď˜šâĄŽâžƒ揰朸ĺąŽĺ´Šď˜šäŞžä Ž ă€Œâ¸‚ę…žĺ€žĺ°Łâľ˜ď˜šâš›䏪㝍âœŤĺąŽäŽŻď˜ˇ

"35 ;*1é¸?âŚ?ă‰?ę˛—ĺƒ˝ęĄ ĺ€´č´Ąäşźć¤?ăťœ朸ď˜šä–°âĄšćś¸âĄ˛ă…ˇăĽś Őˇâžƒĺ­—ă™šăťĄŐ¸ă„¤Őˇ-B 5PXOŐ¸ç˜žĺ‰¤é?Şă˘ľč´ĄäşźčŽ…ć¤?ăťœ朸耢

粯ď˜šâĄšä™Śëž†ćş?ä–ŠâžƒâŚ›çŽ â™łçŽ â™´ćś¸ę§ąę…žé­¨â&#x;¨ď˜šă–ˆ珪♳朸⧺ ęŹ—ç˜žć¤?é&#x;?

$'é¸?âŚ?ć­‹ć?‚䞸剪⚥ă?źä˝…丑朸珪ĺ‘”âš†ć­˛ď˜šĺ‚‚ä—‚âľ–⢾č?ˆ溍

ăťœâš†歲朸â­†⧊éŒšă„¤âžƒ겳ëžąĺ†?éŒŹčĄ†ď˜šâ›łçŞ?âœŽâśžä’ŠâŚ?➃䎑ä&#x;?

⡔䕧⍚ćŁ&#x;â™˛éŒŹďš´ă‹˛âŻ‹ď˜ˇç¤śéź‡ꤍ⸛꧆աę´?ĺ…ž Ő¸ď˜śĺ§˜ăťžď˜śĺ‰†

俢ď˜śëž”â¨€⳯աâ™˛âŻ‹ę…˝Ő¸ď˜šč„Œ㠢⾚աčŻ?ĺ Ťęľ?ęľ?Ő¸ď˜šăƒ°ĺż„Őˇ Ő¸ď˜š ç?”ĺ„˘Őˇâœłâź§â›°äŽƒâ°”âŚ?ĺ‰˘ę¨Ťâ›°ăŁ”Ő¸ă„¤ëž”ăź­ë•ƒա䧎朸齥겎秋蒀朸 朎ăž?ď˜ˇ

space, they are depict architecture and social space. This is true of RMB City - a

䖰⯓ę?ľč° é ŻâľŒ掚âžżäž¸ç„şâĄ˛ă…ˇç˜žâ™śă š겳ă˜—é¨—ć­˛ä•§âŤšč° é Żď˜šé¸’

the end of the world -- La Town; -- and Haze and Fog - the modern concrete

ä•§âŤšď˜śâŻ“ę?ľă„¤ăťœë€żę¨śä•§ç ‡ç‘–朸剢ä?žä˝žĺƒŚę&#x;€ĺŠ?갪暥îš‰ç ‡ç‘–çœ•ă• éş•ăž?ĺƒŚď˜śç˜źăž?âžƒď˜śăˇ¸ç˝?ď˜śč° é Żăšťćś¸â?œĺ´Šé—?ä? äąłéŽŁä•§âŤšď˜śę¨śä•§ čŽ…č° é Żćś¸â°‰ă–ˆč€˘ç˛Żă„¤ă ?ç??ć‚´ă–ˆă€łč…‹äš?ď˜ˇ

blurring between the real and virtual world. For me, these have been the years of marriage, having babies and being a mother of two. Time seems to have

slowed down, yet the current of the river of life is bringing out new sensibilities.

ART.ZIP: This following question is about virtual reality: In your works such as RMB City and La Town, the virtual world and reality are connected in many ways. What do you think of people s double identities online and oine, and the phenomena of online personas? CF: Second Life is an online would supported by numerous internet servers,

EXPERIMENTA AT THE BFI SOUTHBANK In 2016, May s Experimenta of BFI includes It s a Game

and Pulse of Pearl River Delta co-curated by Cao Fei

and Zhan Xuhua. The latter features video art works by Chinese artist Chen Shaoxiong s Landscape-2 (1996),

Ou Ning, Cao Fei, Huang Weikai s San Yuan Li (2003), Hu

Xiangqian s Blue Flags Waving (2006), Zhou Tao s 1, 2, 3, 4

(2007-2008), Qin Jin s Nine Days, Eight Months and Twenty

copying the values of the real world, with the dark side of human nature, yet

Nine Years (2009), and Huang Xiaopeng s My Red and

become my window on the virtual world and an important cross-cultural

art development of Canton area.

with the close relationship of the virtual and the real but also the tearing up of

BFI s Experimenta (formerly Essential Experiments)

way to feel the happiness and sorrow of this age - and to ďŹ nd new ways in the

use the moving image to change the way we think of

also making it possible for individuals to create their fantasies. RMB City has

experiment. We are facing a new assemblage of individuality and the world

the original relationship. To be part of this live, on site and in person is the only unknown.

If Whose Utopia? (2006) is an exploration of the fantasies of and hopes for

넓莅⚆歲⛓ę&#x;Śĺ€ž朸翚㠖败亟ㄤć¤?ăťœâ›“ę&#x;Śćś¸ä”Ľă –ď˜ščŽ?剤

be rebirth after doomsday ‒ where we turn to the narrative of dystopia in

äŠžč…‹ä Žćżźé¸?âŚ?ĺ„˜âžżćś¸ĺ?żčŽ…湼ď˜šâš›ă–ˆé¸?âŚ?âŻ?ć€?♜無㚠朸劢

system in La Town.

ęĄ çŚşćś¸ä¸˜é„­î™¸ď˜šäŤ?魨倴é¸?â?‰ďšłć¤?ăœĽďš´ ď˜šä§­ć?€ă¸?⌛朸♧ⴕ㜊ď˜š

麉䨥ďš´ă”?ęłƒä•§ăž?㢍ď˜šĺ‰†俢čŽ…ĺť´ĺ‚’čž ă –⥲ć?€č–Šă•œꨜä•§âźżĺ‰šç˜ź

ďšłăťœë€żăœĽďš´ă–ˆč–Šă•œꨜä•§âźżĺ‰šâ˝‚ä ˜âšĽä—ąčŽŠéłľ ăź é?˝ĺ€´č° é Żç?ľâš›

I made in Beijing - after I left my hometown of Guangzhou in 2006. In terms of

朸ă€łč…‹ď˜šć­‹姽ď˜šŐˇâžƒĺ­—ă™šăťĄŐ¸ä§­ć?€âœŤä§Žă–ˆč´Ąäşźâš†歲朸éŒšăťŒ ç’­ď˜šâ™§âŚ?ęŹŒäŒ˘ę…žéŠ´ćś¸é¨—äż’âť‹ăťœë€żăœĽď˜ˇä§ŽâŚ›âž›ăŁ”姝ꏗč?†âŚ?

䎃 ĺ‰˘ćś¸č–Šă•œꨜä•§âźżĺ‰šďšłăťœë€żăœĽďš´ę°ŞćšĄę¤‘ďšłĺ‰†俢îš‰â™§ăœĽ

(2014) could be seen as marking a watershed. In terms of time, these are works

housing compound in Beijing permeated with a vague sense of paradox and a

倰䧎朸ⴀ揰ă–’ä‘žäŠ?ç?ľăž€âť?â?Šä–•朸✞⥲ď˜šâ°ŚâšĽâ&#x;ƒŐˇâžƒĺ­—㙚

ăĄ?䄜朸♧ç??ă”?估ď˜ˇ

resources and no one relates to the land emotionally. We are all outsiders. There

CF: Beijing Ěś Insecurity. As a city of immigrants, people compete for the

â™śă¸žâšĽď˜šäŤˆéž?âšĽćŹ´ćŹ°ćś¸ę¨†äž•ăˇ‘ć Źâ›“ä Žď˜ˇŐˇęŤ‚Ő¸ď˜śŐˇâžƒĺ­—ă™š

♧âŚ?â´•ĺŽ?ä‰šď˜šä–°ĺ„˜ę&#x;ŚçŹžä?žď˜šă¸?âŚ›ĺƒ˝ä§Ž äŽƒę¨†ę&#x;šâšĽă•œâ˝‚

齌ո⥲ㅡ朸䭥ă‰?ă€Łä’­ďš´âľŒ㟊ă–ˆŐˇ-B 5PXOŐ¸âšĽďˆŁć¤•猺窥

#'* ďšąăťœë€żăœĽďš˛ę°ŞćšĄ

'digital city' in Second Life s virtual space; the 1:87 maquette designed to depict

㝥ոㄤա-B 5PXOŐ¸é¸?♲犉⥲ㅡ〳â&#x;ƒčŽ…姽⾚⥲ㅡ⛓ę&#x;ŚĺŤ˛âĄ˛

➃⿥ä–ƒâżžć?ŚäŠŻé˝Śä’­ćś¸äžƒâœ˛âšĽď˜šâ›łâ˝°ĺƒ˝ä–°â›“⾚ա铪朸ć?ŚäŠŻ

ART.ZIP: The impact of the reform and opening up policy in South China appears often in your works created in Guangzhou before 2006. But after your relocation to Beijing, your works have been more diverse, as seen in Haze and Fog. How has this geopolitical transformation inuenced your creative path, way of thinking, and the key issues to consider and discuss?

$'îš‰â™śă¸žďˆŁä Žď˜śç?ľĺ­—ă™šä‹‘ď˜śâžƒâŚ›依㤞ă ?ç??饝ĺ˝‚ď˜śĺ°?ĺ‰¤âžƒ㟊 é¸?âŚ?ă•źă–’ćŹ´ćŹ°ä Žäž•ď˜śéżŞĺƒ˝ćŽŻę€€ăš?ď˜śâžƒă–ˆă ?ç??ä˜°é¸ ĺś‹饼ㄤ

ďˆŁć¤•âť‹饝ĺŠĽę•–ĺ“­â™´é„„ă şäŤˆď˜śęŁłâľ–朸ć?ŚäŠŻé˝Śę˛Šĺ…žâšĽăźŠäŽ‘ä&#x;?

utopia under the constraints of globalized capital, La Town (2014) would

response to all the questions Whose Utopia? asked and collapse of the global

Bright Heart (2011) to showcases the avant-garde video

screens ďŹ lms by artists from around the world that ďŹ lm and how it functions. The monthly programme is accompanied by talks involving the artists. These artists work in a variety of formats and styles to investigate not only the subject but the very medium itself, whether digital or celluloid, to challenge the distinction between form and content and to inspire us to new interpretations of our world and its construction through images.

Installation view of Electronic Superhighway at Whitechapel Gallery

INTERVIEW WITH OMAR KHOLEIF ON ELECTRONIC SUPERHIGHWAY (2016-1966)

㤸ęź›ć™‹â€˘âŻ˜č&#x;šăŁ—é?žé”’ď˜ť ա꨾㜊錄秸ë„žé¸&#x;â°–é¨&#x; Ő¸ */5&37*&8&% "/% 5&95 #: äą°é?žâżşäšŠäż’  /*-4 +&"/ 㽲晋倛v㠗䛸 401)*& (60 鿓疭螨 53"/4-"5&% #: 矺陟  +04)6" (0/( ëĽžâ›“âŻˆ )"33: -*6 ⡠ç•šĺ…‘ *."(&4 $0635&4: 0' ă•­ć™™䲿âŁ˜  8)*5&$)"1&- ("--&3: 术äž…ă›”掼ä?¤

Electronic Superhighway (2016-1966) at the Whitechapel Gallery is a recap

ă–ˆ术䞆㛔掼ä?¤ăž?â´€朸աꨜ㜊錄秚ë„žé¸ â°—é¨&#x; Ő¸ĺƒ˝

together multimedia works including painting, video, sculpture, and

éŒ’çżšę§ŒâœŤć­‹ ⥎âĄ™č° é ŻăšťâśžâĄ˛ćś¸ă˘ľç??㯯ë„“ä•Žä’­ćś¸âĄ˛ă…ˇď˜š

of the history of Internet art from 1966 to the present day. The show brings photography by over 70 artists to illustrate how network and computer technologies expand the deďŹ nition of art. As a survey show, Electronic

Superhighway encompasses the dierent art forms as technologically

contingent to the diverse debates that net artists positioned in relation to socio-political environments both online and oine.

㟊 䎃â&#x;ƒ⢾朸âœ˝č€˘çŹŞč° é Żă€ˇćś¸â™§ĺŚ„ç&#x;ŚéŠ´ă”?ęłƒď˜ˇé¸?匄ăž? ⺍ä­?粭掼ď˜śé‹•ęą˝ď˜śę§¨ă?–ă„¤äź˘ä•§ď˜šăž?çˆšâœŤçŹŞçŞ„ă„¤ę¨śčˆĄçŒ°äŞŽĺƒ˝

㼜⥌äť?ăž?č° é Żăš çş?朸ď˜ˇâĄ˛ć?€â™§ĺŚ„é”…ç ‡ä’­ćś¸ăž?éŒ’ď˜šŐˇę¨śăśŠ 錄秚ë„žé¸ â°—é¨&#x;Ő¸ĺˇ’čŚˆâœŤă ?ç??č° é Żä•Žä’­ď˜šă˝ 㼜ă šçŒ°äŞŽćś¸ćś°

ăšťć˜°ë’Šâ™§ĺžşď˜šçŹŞçŞ„č° é ŻăšťâŚ›䪞č?ˆäŠšă šĺ„˜縨魨ĺ€´ă–ˆçŽ ă„¤ę¨† çŽ ćś¸çˆ˘ĺ‰šä˝&#x;ĺą›ćŠ‡ăžŻâ›“âšĽď˜ˇ

The interview with the curator Omar Kholeif reveals his curatorial strategies in

é¸?ĺŚ„čŽ…ç˜źăž?➃㤚ęź›ć™‹Ë™âŻ˜č&#x;›ăŁ—朸é?žé”“顴ꪍâœŤâžŽďšłéˇ ĺ„˜ĺ ‡

behind his visual negotiation between the virtual and the physical inside the

éŒ?⛓ę&#x;Śćś¸ęĄ â¤šď˜šâ&#x;ƒâżťâžŽăźŠęĄ ĺ€´âœ˝č€˘çŹŞč° é Żĺ­—âšşâť‹ă‰?겗朸

presenting the exhibition in the way of traveling back in time , the rationale gallery space, as well as his insight upon issues around democratisation of Internet art as he put together the varied kinds with dierent discourses.

é ¤ďš´ä’­ćś¸ăž?éŒ’ç˜źćŽœď˜šâžŽă–ˆč´–ć¤šăž?éŒ’ç‘ ę&#x;Śâ°‰č´Ąäşźă„¤ćš&#x;椚鋕 ćş?ĺ˛ ď˜ˇ

ART.ZIP: What is the genesis of this project?

"35 ;*1é¸?匄ăž?錒朸⢾ëĽŒ⿥č… ĺƒ˝ä™Śĺžşćś¸îšŽ

very speciďŹ cally to do with the history of the Whitechapel as a museum of ďŹ rsts.

ę&#x;Œ䲿â´€⢾é—?é—?术䞆㛔掼ä?¤âĄ˛ć?€âŻ“ë€żâ˝ˆćš&#x;긭朸ĺ¨œă€ˇď˜ˇćśŻäž†

OK: Up until a couple of months ago, I proposed the exhibition as something

Opened in 1901, it often gives artists, from Robert Rauschenberg, to Frida Kahlo, and Jackson Pollock their ďŹ rst solo show as well as lots of artists who have

engaged with new media, from Bruce Nauman, to Bill Viola, and to Chris Marker.

㛔✞用倴 äŽƒď˜šă¸?♧暏ć?€é?Şă˘ľâŻ“ę?ľč° é ŻăšťčŽŠ鳾ꝡ匄âŚ? ăž?ď˜šâ˘żăĽśçš?⠭暜˙⚪ć­?â ­ď˜śä’źę…˝éş¨Ë™â˝“峍ď˜śâŞ‚âŻ˜éş˝Ë™ĺ˛š峍

âŻ˜ď˜šéźŠĺ‰¤é?Şă˘ľâľ„揽倞㯯ë„“âśžâĄ˛ćś¸č° é Żăšťď˜šăĽśä‹’ë‰“ĺ€›Ë™挧 ĺ‰‹ď˜śĺŤ˛ć™‹Ë™çŹžĺ§˜äŹ˜ă„¤âŻ˜ę…˝ĺ€›Ë™ęź›âŻ˜ć™‹ç˜žď˜ˇ

moment were. I ve been invested in the history of the Internet speciďŹ cally and

ĺ€´ĺƒ˝ä§Žę&#x;š㨼ä™źç˝Œ齥â?‰ćšśĺŠŒĺ„˜ĺŠ?剓霗ⴗ朸éŽŁé”¸ä§´ć˜°é”¸ĺƒ˝âžŠ

to that. I was very excited to think about the possibility of creating a framework

é ŻčŽ‡鼹莅ă¸?⛓ę&#x;Śćś¸ęĄ â¤šď˜ˇä§Žä&#x;?ăŽ˛é‘‘ä’Šĺœ“â™§âŚ?ĺ‘Ľĺ?şď˜šâ&#x;ƒĺ¨œ

thinking about the context by which contemporary art has emerged in relation that would historically examine and locate those practices.

ëžƒď˜ˇä§Žâ™§ćšŹăź 岤âœ˝č€˘çŹŞĺ¨œă€ˇćś¸ç ‡ç‘–ď˜šâš›â™§ćšŹä™źç˝Œ掚âžżč° ă€ˇéŒŹä?ž⢾增鋕ㄤ䎕乥é¸?â?‰č° é ŻăťœéŠ?朸⢾ĺ˝‚ď˜ˇ

So I proposed the exhibition with those in mind and as it developed over a

ă””姽ď˜šä§ŽäŒ&#x;襽é¸?垺朸椚䙂ę&#x;š㨼ç˜źâˇ”é¸?匄ăž?éŒ’ď˜šä–°ĺœ“ä™źâľŒ

that was very speciďŹ cally about the digital but it really became a show much

⥎剓䖕ă¸?éšśä§­âœŤâ™§âŚ?粭é†˘âœ˝č€˘çŹŞĺ¨œă€ˇćś¸ăž?éŒ’ď˜šâœ˝č€˘çŹŞäŞŽ

number of years, the form started to take shape. It started of being a show

more about mapping the history of the Internet and thinking about networked technologies as opposed to purely about the digital, over the digital, and the composite part of that narrative and history.

I also wanted to think about the genesis of these movementsĚś very

speciďŹ cally about experiments in art and technology in 1966, which was this

event that happened one year before the ARPANET when Internet became a

concept, to computer-generated drawings, to the replacing of the hand with the machine, to early interactive art. As we moved into the present thinking

about the new aesthetic that had emerged in those digital spaces, we see that

䧭ă˜—獤ĺ¨œâœŤäž¸äŽƒâ›“â›‰ď˜ˇăž?錒朸꧜ä•Žĺƒ˝ăź ę&#x;Œę†š㟊䞸ç„şćś¸ď˜š é Żä–°čŽ…种礊朸䞸ç„şăźŠç”¨ď˜šâľŒéŚ„éŚŠ䞸ç„şĺŠĽé­¨ď˜šéźŠéšśä§­âœŤäžƒ 霤ă„¤ĺ¨œă€ˇćś¸çŠ‰䧭éżˆâ´•ď˜ˇ

䧎韊ä&#x;?乳程♧â?‰éşŒâš›朸鼹ĺ˝‚Ő‚ćšśâ´˝ĺƒ˝ äŽƒč° é ŻčŽ…çŒ°

䪎犥ă –朸ăťœë€żď˜šé¸?â?‰朎揰ă–ˆęŁšä‹ŞçŹŞćś¸âľšâ™§äŽƒď˜šâ›“ä–•äŠžâ´€

ć¤?âœŤâœ˝č€˘çŹŞćś¸ĺšŒä™‚ď˜šę¨śčˆĄçŽ‘äŽ¸ćŹ°ä§­ă•ŹâŤšď˜šĺ Ľă?źĺ‰?âžżäŠ›äŠ¨ď˜ś ĺ‚?ĺŠ?â?œâœ˝č° é Żç˜žç˜žď˜ˇćŽšä§ŽâŚ›ç•€ă–ˆ掚âž›朸ç”¨ăœĽâ˘ľä™źç˝Œ齥â?‰ 朎ăž?č?ˆ䞸ç„şç‘ ę&#x;Śćś¸ĺ€ž皥㡸ĺ„˜ď˜šä§ŽâŚ›ĺ‰š朎ć¤?䞸ç„şç‘ ę&#x;Śĺ‚?䊺 čź‘â°…ć¤?ăťœ揰ĺ´žâ›“âšĽď˜ˇ

ďŹ nally the digital spaces transfer into real world.

ăŁ?ꆀ朸粭掼ㄤꧨă?–㟊é¸?ç??ç­?ä“šä ŽâĄ˛â´€âœŤă”?估ď˜ˇä§Žă„¤ç˜źăž?

There are a lot of paintings and sculptures that look at those tensions. I worked

äŹ˜Ë™ĺ…œć™‹âŻ˜ĺ€›韊ĺ‰¤ĺľłćŚąË™ęĄ€âŻ˜â§?♧鼹㠖⥲ď˜šâžŽâŚ›鿪çŞ?é¸?âŚ?

with a curatorial advisory committee of four people: Ed Halter, Erika Bolsom,

Sarah Perks, Heather Corcoran, each brought dierent expertise and I started with a very long list of over 200 artists and started to discuss who the key

ďŹ gures were, what the key works were and how they would spatially speak to

ęłƒă‰?㨽㆞剚朸ă”‹âžƒîš‰ă™Şä—žË™ă† ć™‹ćšśď˜śč’•ëœŠâ˝“Ë™梯ć™‹ĺŒĄď˜śč›?

갪暥äŒ&#x;⢾âœŤâ™śă š朸㟠ĺ™ ćżźé™?ď˜ˇâ™§ę&#x;š㨼䧎剤♧â&#x;¨éŚ„éş• ă ?č° é Żăšťćś¸ĺš˘ă‹˛ď˜šć?­ä–•䧎⌛ę&#x;š㨼鎣锸ㆭâ?‰ĺƒ˝ęĄ ę’łćś¸âžƒćš&#x; ă„¤âĄ˛ă…ˇď˜šâ&#x;ƒâżťă¸?âŚ›ă–ˆç‘ ę&#x;Śé…­ăĽśâĄŚăƒ„ć¤?é¸?ĺ“­ä˝Śâœ˛çŽ ď˜ˇ

the story.

掚ăž?éŒ’ä˜°ä§­ă˜—朸ĺ„˜⌏ď˜šä§ŽĺŻšăš 揽âŚ?䞃朸ĺ€°ä’­â˘ľăƒ„ć¤?ď˜šä–°

As the show started to come together, I decided very speciďŹ cally to run it

ä•§ę° âœŤä˝Śâœ˛ćś¸ćśŽăž?ĺ€°ă ˘ď˜ˇä§Žĺ°?剤韇䚾⍄窥朸ĺ¨œă€ˇäžƒ霤é¨&#x;

backwards, to start in the present and the rational behind that had to do with thinking about how the history of the Internet is one that skews conventions.

It is of so many innovations and diagonal criss-crossings that I thought, rather

than a traditional historical route, was to start with the visual kind of cacophony of the present and then move back in time.

ART.ZIP: Is it not also maybe a wish to start with the technologies that might be the most familiar to the viewers, as a way of engaging them in a dierent way? OK: In some ways it is about that idea of the immediacy of the media. Thinking

ć¤?ă–ˆ掚â™´ćś¸č° é Żę&#x;š㨼é—?鼹ď˜ˇă””ć?€姝ĺƒ˝âœ˝č€˘çŹŞćś¸ćśŽăž?ĺ¨œă€ˇ

çŽ ď˜šç˝œĺƒ˝äą°ćŹ˝ăŁ?ꆀ朸✞倞ㄤâ?œę?Ťćś¸ĺ€°ä’­ď˜šâ™§ę&#x;š㨼éšŽé ¤ďšąăŽ• ꧚朸鋕éŒ?ăƒ„ć¤?ď˜šâą„䢊䢊ă”?彸ĺ¨œă€ˇď˜ˇ

"35 ;*1齥剚♜剚⛳䋞劆鸒 éş•éŒšç˝?ĺ‰“ć“żäœŤćś¸çŒ°äŞŽę&#x;š 㨼ď˜šćŹ˝â´˝ĺžşćś¸ĺ€°ä’­â˘ľë ˝âş‘⿎莅

0,îš‰ă–ˆĺŽĽç??玑ä?žâ™łé¸?âŚ?ăž?éŒ’ĺƒ˝čĄ˝ę…žĺ€´é‚?ć¤?㯯ë„“朸⽰ĺ„˜ äš?ď˜ˇćšśâ´˝ĺƒ˝é¸?â?‰çŒ°äŞŽčŽ…âšşę˛—ćś¸ęĄ č€˘äš?ď˜šä–°*OTUBHSBNâľŒ

1IPUPTIPQď˜šćŹŠč?›ĺƒ˝â˝“äŹ˜0,ď˜šé¸?â?‰âœ˛ćš&#x;鿪剚㋎鼹éŒšćťž朸 â°&#x;ë’Šď˜šçŞ?➎⌛♧âŚ?椚é?‘⥲ă…ˇčƒ?䖕錚䙂朸â´—â°…ë&#x;Šď˜šé¸?⛳姝 ĺƒ˝ä§Žä‹žĺŠ†朸佪ĺ?“ď˜ˇ

speciďŹ cally about the idea of the relevance of those technologies,

ă šĺ„˜ď˜šä§Žâ›łęŹŒäŒ˘ĺ˛¤ę…žäžŽâŚ?ăž?éŒ’ç‘ ę&#x;Śćś¸âĄ‘㽡ď˜šé¸’éş•粭掼ㄤꧨă?–⥲ă…ˇ

of things that will automatically click to the viewer and give them

卲㼜ď˜šéŠŻâľ„â??Ë™ć Žĺ…œ갞朸ęŚ‘ĺ Ľę&#x;Ľçż?粭掼䭞ć¤šé“žĺƒ˝â™§â&#x;?çˆ˘â?œ㯯ë„“⥲

from Instagram to Photoshop, to even Karaoke as the very kind

an access point, or an entry point, was certainly something I was thinking about.

I ve also been trying to be more critical of that space, and so I

brought in a lot of paintings and sculptures that really seek to

朸ăž?çˆšď˜šä§Žä‹žĺŠ†č…‹㣠㟊掚â™´ćś¸çŒ°äŞŽăž?ę&#x;šâ™§ç??ă“‚č ?朸éŽŁé”¸ă„¤ĺ˘žé‹•ď˜ˇ ă…ˇď˜šă””ć?€㼠ꨞéŠ´ă„¤â´˝âžƒâ™§ćšŹăźŠé‘¨âš›ă šĺ„˜éšŽé ¤â˝°ĺ„˜粭掼ď˜ˇâ™śéş•㼠⥲ ㅡ朸㯯âž?âž ć?­ĺƒ˝ç˛­ćŽĽď˜šç˝œâš‚㼠â›łĺƒ˝â™§âĄ™卲鯹⍄窥朸掼㚝ď˜ˇä¨žâ&#x;ƒ䧎

ă šĺ„˜ă–ˆ揽䧎é’˘ć?€朸♧ç??ęŹŒäŒ˘é‹Š朸éŒŹä?ž⿥錚ćş?♧â?‰ćş?âĄ‚ć“żäœŤćś¸ăŻŻâž? ă„¤ç‘ ę&#x;Śď˜ˇ

critique or examine those very contemporary technologies. For

"35 ;*1é¸?匄ăž?éŒ’âšĽéźŠăž?â´€âœŤä–Ž㢾â&#x;ƒâœ˝č€˘çŹŞć?€✞⥲㯯âž?朸珪窄

social media artwork because they are painted live as she was

縨倴ăž?ă Žâ›“â™łď˜šâĄšă€łâ&#x;ƒé”“é”“ęĄ ĺ€´é¸?ç??败亟莅ćš&#x;颜ĺšŒä™‚â›“ę&#x;Śćś¸č´–椚

example, Celia Hampton s chat random paintings is arguably a

trying to hold these conversations. But her medium is painting and she is a very traditional painter. So at the same time I am looking

at these familiar media or spaces, from what I believe to be a fairly unconventional perspective.

č° é Żăšťď˜šâĄšăź&#x;➎⌛朸⥲ㅡ鸒麕ćš&#x;颜âť‹朸䊛媯鹲äł–䧭䊧⽍朸㕏晚䎇 ăŒ¨îšŽ

0,䧎ä&#x;?ä–°ĺ¨œă€ˇćś¸éŒŹä?ž⢾é“žé¸?ĺƒ˝é?Şă˘ľă˘ľăŻŻë„“č° é ŻăšťęĄ ä—ąćś¸ęĄ ę’łă‰?

ę˛—ď˜šćšśâ´˝ĺƒ˝é˝Ąâ?‰âœ˝č€˘çŹŞčŽ‡鼹ä–•ç˝œâ´€ć¤?ćś¸č° é Żăšťď˜ˇĺŤ˛ăĽśď˜šâ™§ćšŹăś¸ă–ˆ襽 ♧âŚ?ĺ¨œă€ˇă‰?ę˛—ď˜šă˝ ĺƒ˝ăĽśâĄŚč´–ć¤šă›‡ĺ€´ć‡łéŒ’ă?źăž?爚朸⥲ă…ˇă–ˆ掼ä?¤ç‘ ę&#x;Ś âšĽăƒ„ć¤?佪ĺ?“朸䊴掯ă‰?ę˛—ď˜ˇ

Celia Hempton, Aldo and Jesi, Albania, 16th August, 2014. 2014. Oil on Canvas, 30 x 25 cm, Courtesy Southard Reid, London Š Celia Hempton

So I started thinking what the urgent discussions or debates of that speciďŹ c

0,暏âľŒăž?錒ę&#x;šä?Œ朸䞸ĺ‰˘âľšď˜šä§ŽäŠž䲿陞䪞é¸?匄ăž?錒ăź

ART.ZIP: There are many Internet artists in the show based their work upon the Internet, but you physicalise them to digital print, to attached photographs on the wall. Can you speak a bit more about this engagement between the physical and the virtual?

ă–ˆ䧎朸čˆĄĺľłé…­â™§ćšŹăś¸ă–ˆ襽é¸?垺♧âŚ?ę…žéŠ´ćś¸é™žę˛—ď˜šă˝?â°Śĺƒ˝

and especially who emerged after the advent of the World Wide Web. For

掚⥚䊧⽍é¸?â&#x;?⥲ă…ˇĺ„˜ď˜šăťœ꼚♳剤䞸朰âŚ?败亟朸ă•Źăžľď˜šäŠ§

OK: I think that it is a key concern historically for artists who work with media, example, there has always been a historical tension between representing

Olia Lialina, My Boyfriend Came Back from the War, 1996, Net Art ‒ screenshot, Courtesy the artist Š Olia Lialina

鸒朸ë„“ĺ‰šď˜ˇä§ŽăŽ˛é‘‘襽⨞朸âœ˛äž•ăťœ꼚â™łĺƒ˝ęĄ ĺ€´é˝Ąâ?‰ęŹ—㟊é¸? â?‰ă‰?ę˛—ç˝œ⥲â´€âżžäĽ°ćś¸č° é Żăšťď˜šĺŤ˛ăĽśâ˘†äŹ˜ćšśË™çŒ°ćšśč&#x;›ćšśćś¸ 掼⥲㽠⢪揽âœŤă›‡ĺ€´ďšł1IPUPTIPQć­˛ęŹ—ďš´â™łćś¸ęŹŒäŒ˘é‹Šç˜˜âľ˜ď˜ˇ â˝Ťĺ Ľę¨žéŠ´ćšśăš ă–’⢾ă”?䊧⽍Ő‚㼠ç„ˇăťœä&#x;?âœŤä–Žă˘ľęĄ ĺ€´äž¸ç„ş ă•ŹâŤšćś¸â™śă šé˘śä Žćś¸ä˝Şĺ?“ď˜ˇ

There was a very critical concern that was always in the back of my

ă šĺžşćś¸ď˜šćŠľË™äŹ˜ăŁ—â›łĺƒ˝é¸?ëžƒç˝ŒäŁ‚é†˘âĄ˛ %䊧⽍ć¤?➿깧⍚猺

commissioning and working with artists online. The thing that I tried to do was

çŒ°äŞŽćś¸ĺ€°ä’­ęŹŒäŒ˘â™śă š㟌äŒ˘Ő‚㨼çŠ…ç˝ŒäŁ‚ăťœë„“朸䕎䒭ㄤ皥

mind, particularly because of my own experience working in institutions,

to really think about artists who were engaging in that speciďŹ city, for example, Petra Cortright s paintings that are made by using a series of brush acquired

from deviant arches of the Photoshop canvases . They are literally hundreds of

layers of virtual paint, once you print the work, there is a very speciďŹ c back and forth with the printerĚś she is really thinking about the very dierent texture eects in the digital image.

Likewise, with Jon Rafman who began this series of modernist 3D printed head. They start as digital series but the way they engage the technologyĚśalso

thinking about the form and aesthetics as physical object̜was very dierent. Also likewise Aleksandra Domanovi s hands pieces, which were based on

an utopian potential of the prothesis, man and the machine, physically, these hands are referring back to those very speciďŹ c Serbian scientist whose name

is Rajko Tomovi . They are based on his prosthesis, but each of them is layered with speciďŹ cities. For instance, you see Alan s apple as an evocation of Alan Turing.

⴪⥲ă…ˇćś¸ď˜ˇâžŽâŚ›鿪ä–°äž¸ç„şçŚşâ´Şâśžé¸¤â°…äŠ›ď˜šâ™śéş•âžŽâŚ›估揽

ä Žď˜ˇâ??âľ„ćŁ âźžË™㢾ć§ˆé–‹çŹž㣟朸⥲ă…ˇâ›łĺƒ˝â™§ĺžşď˜šĺƒ˝ă›‡ĺ€´ć?ŚäŠŻ 齌䒭朸功唒⧺肉✞⥲朸ď˜šâ°Ść¤šé”¸ă€łéˇ†彸č?›â™§âĄ™ă?ąć™‹çŹžâ?? çŒ°ăˇ¸ăšťäŹ˜â&#x;ťçŒ°Ë™䊯劣珞㣟ď˜ˇé¸?â?‰äŠ›鿪ĺƒ˝ă›‡ĺ€´âžŽćś¸ĺ Ľĺ”’⧺

肉✞⥲朸ď˜šâĄŽĺƒ˝ă ?âŚ?⥲ㅡ⿜ă ?ĺ‰¤ćšśä­¸ď˜ˇĺŤ˛ăĽśď˜šćŽšâĄšćş?âľŒęŁš 貽朸蹭ĺ?“ĺ„˜ă˝ ĺ‰šä&#x;?鼹꣚貽Ë™ă•ŹęŤ™ď˜ˇ

掚㕏⍚ⴀć¤?ă–ˆꨜä•§âšĽď˜šćŽšă¸?⌛䧭ć?€ęł?ç˝œĺƒ’é‹…朸ćš&#x;ă…ˇď˜šé¸?

â?‰ă•ŹâŤšĺ‰¤â¸”ĺ€´éŒšćťžâŚ›㟊⥲ㅡ朸䞎넓椚é?‘ď˜ˇé¸?ç??败亟Ⰹ㺂 čŽ…ä Žă¸˝ćś¸âœ˝âš›ĺƒ˝ęŹŒäŒ˘â™śă š朸ë„“ë€żď˜šă˝ 㼜â??皥蛂꧉˙㙪晋

ĺ‰‹ă–ˆ*OTUBHSBNćś¸é ¤ć?€é‚?怾â&#x;ƒ䟢ä•§ćś¸ĺ€°ä’­ăƒ„ć¤?ď˜ˇéŒšćş?ăĽ

When they are in a ďŹ lm, when they become protruding objects, those images

雊䧎襽霾âœľč´Ąäşźç‘ ę&#x;Śćś¸âž˛ă””韊剤䖎㢾ď˜šĺŤ˛ăĽśă–ˆâœłăžľăž?ä‘ź

⥚㟊ăĽ?äš?č ˜ë„“朸䢀ä?ž鿪䧭ć?€âœŤăĽ ⥲ă…ˇçœ•ćŻ‘朸♧âŚ?éżˆâ´•ď˜ˇ

a very dierent way̜ and likewise in Amalia Ulman s Instagram performance

ă¸?⌛ăź&#x;ă–ˆăž?錒犥勲ă &#x;çł’糾㜸ă–ˆĺ€´č´ĄäşźçŹŞçŞ„â›“âšĽď˜ˇä§ŽâŚ›

朸é¸?â&#x;?⥲ă…ˇâ™śâŤŚâŤŚĺƒ˝ďšłęĄ 岤ďš´â°Śé˘šč´Ťă„¤ĺˆżĺ€ž齥ëžƒă‹˛ç§Ťď˜š 掚⥚䪞é¸?垺朸⥲ㅡ佞縨倴ăž?ä‘źâ›“âšĽď˜šă¸?⌛㽠⍚䧭âœŤä§—ćš&#x;

澤ä?–ç˝?朸ä˝?询ă…ˇď˜šč° é ŻăšťćŹ˝é¸?垺朸䊛媯ä&#x;‚㌍ä&#x;‚č ąă–’⾠掼 ă„¤äŞĄâ´źâœŤćŽšâ™´çˆ˘â?œ㯯ë„“ă„¤çŒ°äŞŽçŞ?䧎⌛魨넓äŒ&#x;⢾朸㠺â¸‚ď˜ˇ

姝ă””ć?€é­¨ë„“ĺƒ˝é˝ĄâŚ?č´Ąäşźç‘ ę&#x;Śćś¸ę…žéŠ´çŠ‰䧭éżˆâ´•ď˜šäŞžă¸?ă–ˆćšś

ăš ăœĽăš–â°‰ćš&#x;颜âť‹朸ä&#x;?ĺ˛ ĺœ“鸤â´€âœŤâ™§ç??♜㠚朸孨ă• ď˜šâ&#x;ƒâżť ♧ç??♜㠚朸čŽ…éŒšćťžâ›“ę&#x;Śćś¸ęĄ â¤šď˜ˇâ™śéş•ď˜šă šĺžşćś¸ď˜šä§ŽćŹŠč?›â›ł

ç˝ŒäŁ‚éş•齥â?‰âš›â™śâżŽčŽ…姽겳珪窄崞⚛朸éŒšćťžď˜šä™ŚĺžşäŞžé¸?â?‰ ⥲ㅡ⥲ć?€âžŽâŚ›ę&#x;šă¨ĽâżĄęĄ ĺ˛¤çŹŞçŞ„âœ˛ćš&#x;朸â´—â°…ë&#x;Šď˜ˇä¨žâ&#x;ƒ䧎é’˘

ć?€é¸?â?‰âœ˛ćš&#x;ĺƒ˝â°¨ĺ‰¤é&#x;?ä—šä ‘çş?朸ď˜šă¸?âŚ›âš›â™śĺƒ˝ćšąâœ˝ăˇ‘ç”¨ăś¸ ă–ˆ朸ď˜ˇ

"35 ;*1îš‰ă–ˆă šĺžşćś¸ăœĽĺ…žâšĽćş?é¸?â?‰⥲ă…ˇď˜šĺ€ž朸ă‰?겗⛳剚

援揰ď˜ˇĺŤ˛ăĽśď˜šĺ§ťăĽśâĄšä¨žé”“âľŒ朸ă›‡ĺ€´ć‡łéŒ’ă?źćś¸ęĄ ĺ€´ă–ˆçŽ ç˜ź ăž?ă„¤č° é Żĺ­—âšşâť‹朸ă‰?ę˛—ď˜šćŽšâĄšä–°çˆ˘â?œ㯯ë„“朸éŒŹä?ž⿥ćş?ä–Š é¸?â?‰ă‰?ę˛—ĺ„˜ď˜šâ™śćżźâ™śéŒ?â›“âšĽă–ˆçŽ č° é Żĺ­—âšşâť‹朸ă‰?겗⿜䖰

〼♧âŚ?éŒŹä?žé„„âą„ĺŚ„é˘śćŻ ď˜ˇâĄšĺƒ˝ă‚„é’˘ć?€çˆ˘â?œ㯯넓〳â&#x;ƒ⥲ć?€ 珪çŞ„č° é Żĺ­—âšşâť‹朸♧ç??䒂⠽

0,䧎ä–Žĺƒˆç„ˇă–’ä Žă€ŒâľŒâœŤçˆ˘â?œ㯯ë„“ă–ˆâ™§ăš çŽ‘ä?žçŞ?âœŽâœŤ č° é ŻéŽŁé”¸ćś¸ç‘ ę&#x;Śď˜ˇä§ŽăźŠăś¸ă–ˆĺ€´çŹŞçŞ„朸败亟ç‘ ę&#x;ŚęŹŒäŒ˘ä ŽčŽ‡

錹ď˜šé¸?ç??â°—ĺ­—äš?朸ĺ­—âšşç‘ ę&#x;Śâ°‰援揰朸ă –⥲ㄤ犉繽䕎䒭雊 䧎襽霾ď˜ˇç˝œâš‚ď˜šä§ŽăźŠč° é ŻăšťăźŠĺ§˝ä¨žâĄ˛â´€朸䪥ⴟă„¤ä™źç˝Œâ›ł

ä–Žä ŽčŽ‡錹ď˜šĺŤ˛ăĽśă–ˆćšśę¨Žä’źË™â˘†ĺ‘”貽աč?ˆâšşç”¨ĺ˛ ո朸⥲ㅡ⚼ 朸ę§ŒçŽ ă?źă˝ ĺƒ˝ć­‹ă•œăšťă¸žďˆŁă˝ˇé†˘âĄ˛ćś¸ď˜ˇ

become hermeneutic spatial eects for the viewer. They engage the sense in represented in photographs. I think it does something very dierent than

simply following the performance, which is when you watch it online, whether

you re appreciating those examination of the female body. When you put them as object in a gallery, they become these almost fetish things, which speak

very critically to the fact that she is drawing a very particular portrait of how these performative technologies create those very speciďŹ c pressures on the

body. So because the body is such an important part of the virtual space, the

idea of materialising it in situ creates a very dierent kind of atmosphere and a

very dierent type of relationship with the viewer. But also, I was even thinking about our visitors who don t necessarily engage with those practices online, how these can be an entry point for them to start looking at those things

online. So I think that those things are symbiotic as opposed to exclusive of each other.

ART.ZIP: To see those works in the same context, new questions arise. For instance, around the browser-based, you were taking about discourses around online curating and democratisation of art; but all the sudden you see them with the basis of social media and somehow those questions of democratisation of the art online are requestioned in a way. Do you see social media then as a way of extending the democratisation of online based art? OK: I certainly feel that social media to a degree allows the conversation around art to emerge. I am into mind about the potential of these spaces about civic

⚼䧎ㄤĺ‘?č›˘č° é Żĺ Ľĺœ“ă –⥲ç˜źâˇ”朸齥â?‰珪çŞ„ć‡łéŒ’ă?źâĄ˛ă…ˇď˜š

㟊䨞ĺ‰¤âĄ˛ă…ˇă–ˆăž?ä‘źâšĽăƒ„ć¤?朸ĺ€°ä’­éżŞéšŽé ¤âœŤĺš€ä™źć“żäŁ‚ď˜ˇĺŤ˛

㼜ď˜šç&#x;ŚË™çš?â ­ćšśË™ę…˝ĺ‘”ćšśćś¸âĄ˛ă…ˇĺƒ˝â™§â&#x;?ă›‡ĺ€´çŹŞçŞ„ć‡łéŒ’ă?źćś¸ č° é ŻâĄ˛ă…ˇď˜šęŹŒäŒ˘ăˆ”皥ď˜šâ›łä–Žĺ‰¤ä•Žä’­ä Žď˜šä§ŽâŚ›ă–ˆăž?䑟⚼⢪揽

âœŤâ™˛âŚ?♜㠚朸ć‡łéŒ’ă?źâ˘ľăƒ„ć¤?ď˜šäş™姽ăž?çˆšâœŤçŒ°äŞŽĺƒ˝ăĽśâĄŚéą˛ 障ㄤ朎ăž?朸ď˜šĺ€´ĺƒ˝âĄ˛ă…ˇćś¸ĺ‰“çŠ…ä•Žä˘€â›łă””姽ç˝œĺ‰¤ä¨žâ™śă šď˜ˇ ĺ€´ĺƒ˝ď˜šăž?錒䲿âŁ˜âœŤâ™§âŚ?〳腋äš?⢾ăž?爚㯯넓ㄤćš&#x;颜깆㚖朸

朎ăž?ĺ¨œçŽ‘ď˜šâ&#x;ƒâżťäąłéŽŁďšłă–ˆ珪çŞ„â™łâľŒä? 〳â&#x;ƒ朎揰âžŠëžƒîšŽďš´é¸?

垺朸ă‰?ę˛—ď˜šăźŠä§Žâ˘ľé“žď˜šé¸?â?‰鿪ĺƒ˝ćšśâ´˝ĺ‰¤ä ‘ä™źćś¸âœ˛äž•ď˜šé¸?雊

䧎⌛腋㣠⿥ä™źç˝Œă„¤äąłç¨‹é¸?ç??ć?ŚäŠŻé˝Śä’­ćś¸ĺ­—âšşäžƒâœ˛ä•Žä’­ď˜ˇ

ă””ć?€珪çŞ„ç‘ ę&#x;Śâ™śçą?ĺƒ˝ĺ­—âšşćś¸ď˜šć­‹ĺ€´çŒ°äŞŽćśŽăž?朸ĺ‚ˆĺ€žĺ‰˘ćŽŻ â&#x;ƒ⿝鎿ç‚˝â&#x;?朸ĺ¸Œ寧 錊⢾éŚŠä˜°ď˜šă–ˆ珪çŞ„ç‘ ę&#x;ŚâĽƒ㜸é¸?â?‰č° é ŻâĄ˛ă…ˇä–ƒä–ƒ䧭ć?€âœŤâ™§ç??é žäşŒď˜ˇé¸?â›łĺƒ˝ă€Ľâ™§âŚ?䧎㟊珪窄败

äşźç‘ ę&#x;ŚĺŤ˛éŻąä ŽčŽ‡錹朸ă–’ĺ€°îš‰ęĄ ĺ€´ăźŠĺ¸Œ寧ă„¤âĽƒ㜸ĺšŒä™‚朸乳

éŽŁď˜šăĽśâĄŚé›Šé¸?â?‰â°¨ĺ‰¤ĺ¨œă€ˇä ‘çş?朸⥲ㅡ腋㣠ă–ˆé żâšĄă şâ¸‚â›“ â™´ä­°çłľă–’é„„âĽƒ㜸č?›âž›ď˜ˇ

ă””姽ď˜šä§Žä‹žĺŠ†é¸?匄ăž?éŒ’ă€łâ&#x;ƒä’¸ćśŽăźŠĺ€´é¸?â?‰ăťœéŠ?ă‰?겗朸鎣

é”¸ď˜šĺ§ťăĽśä§ŽäŞžă¸?é?¤ç¸¨ä§­â™§ăœĽéŽŁé”¸ä’­ćś¸ăž?錒齥ĺžşď˜šä‹žĺŠ†ă¸? č…‹㣠â´—ăťœă–’䧭ć?€éŚ„ę•–äąşâœ˝ćšąâ?œ❽朸ĺƒ¤ę¨Łă•Źď˜ˇĺ‰¤ĺ„˜ă¸?âŚ›âœ˝

暹濨暽ď˜šâĄŽĺƒ˝é¸?䜄㼪ĺƒ˝âœ˝č€˘çŹŞćś¸çŠŞăŚŤâ›“č´–ď˜šă–ˆé¸?â™§é“ƒăžŻ ⚼âŻ?ć€?âœŤă ?ç??ă ?垺朸â?œčź‘ď˜šâ›łćŹ´ćŹ°âœŤă ?ç??䕎䢀朸éŽŁé”¸ď˜ˇ

Oliver Laric, Versions (Missile Variations), 2010, Airbrushed paint on aluminum composite board, in 10 parts, 25 x 45 cm (each) Private Collection, London, Image courtesy the artist and Seventeen Gallery, London, Š Oliver Laric

browser-based work in the gallery and how spatially it has to work dierently.

ă””ć?€䧎ĺŠĽé­¨ă˝ ă–ˆĺ Ľĺœ“é…­é¸’éş•珪çŞ„ă ˘č° é Żăšťä—šę§Œ⥲ă…ˇă„¤ĺ˝˜

Rafael Lozano-Hemmer, Surface Tension, 1992, Plasma or rear-projection screen, computerised surveillance system, customâ€?made software, Dimensions variable, Courtesy the artist and Carroll/Fletcher, London. Installation photograph by Maxime Dufour, Š Rafael Lozano-Hemmer Installation view of Electronic Superhighway at Whitechapel Gallery

democratic spaces because of the option of that cooperation or governments.

from these things and how artists push and stretch

Paglen in the show of Autonomy Cube, the hybrotic cables that were done by

to create ideas. So in a sense I think doing an

Indeed I am very interested in artists critique about that, for instance, Trevor the National Security Agency.

But what I love about these spaces is that, for example, all the browser-based

things against their original intention or purpose

exhibition can achieve that from the conďŹ guration of it.

pieces shown on the second oor which were co-curated with Rhizome: those are all the pieces that would continue to exist online. We very speciďŹ cally thought about how we will present them in the gallery. For example, Jan

Robert Leegte s piece is a browser-based artwork which is very aesthetic and

formal, is presented in the gallery in three dierent web browsers, to illustrate how the technology shifts and evolves, and makes the actual formal makeup of these works become dierent. And then, in a way, the exhibition has a

potential to show an archaeology of the media and material of what can

happen online , which, for me, is a very interesting thing which is also about

exploring this utopic narrative of democracy. Because sometimes it isn t very

democratic when technology shifts so quickly and becomes so obsolete that to maintaining the work that you produce becomes a huge burden. Another interest of mine is this idea of obsolescence and conservation. How these

more historic ďŹ gures have really struggled because of the ďŹ nancial pressures of maintaining these works into the 21st century.

So what I hope the show does is to create the conversation about these practices as I see this is a debate show to bring it, really a constellation

of hyperlinks together, this kind of crisscross and dovetails. Sometimes it

"35 ;*1掚⥚䪞é¸?â?‰â™śă š朸⍄窥❽翚ă–ˆâ™§éĽąĺ„˜ď˜šĺ‰“ăŁ?

context by which to engage is a varied kind of uid and would allow this kind

0,䧎éŒ?䖤♜㟹ăž?錒鿪㣖麕岤ę…žé“žäž†ď˜šä§Žä‹žĺŠ†ä˝–éšśé¸?ç??

contradict each other but is also part of the beauty of the Internet that the of morphous discourses to emerge as well.

ART.ZIP: What was the most diďŹƒcult thing when you put together these very dierent traditions? OK: For me one of the problems is that some exhibitions can be very didactic. And also I want to shift this idea that exhibition has to engage multiple

media and multiple functionsĚśbeing didactic overlooks boundary and

overly explanatory. There was a very sophisticated spatial negotiation with

my colleagues here to think about how the works were formally and spatially dialogue with each other to create a sense of connection. So as you walk

around this space you are confronted by various dierent bodies̜from James

朸ă”Žę¨ˆĺƒ˝âžŠëžƒîšŽ

ć¤?ćœœď˜šăž?éŒ’â™śâ™§ăš ęŹŒéŠ´äą°ćŹ˝ă˘ľăŻŻë„“朸ä•Žä’­ď˜šâ›łâ™śę¨žéŠ´ăŁ– 㢾朸⸆腋äš?ď˜šé“žäž†ä’­ćś¸ăž?錒䖃䖃çŞ?â´€âœŤăŁ–㢾朸é?‘ę…źď˜šé?¤

縨âœŤéş•㢾朸韚歲ď˜ˇä§Žă„¤ă šâœ˛âŚ›éšŽé ¤âœŤęŹŒäŒ˘é†łę§šćś¸ç‘ ę&#x;Śâˇ” â´•ď˜šä§ŽâŚ›ä™źç˝ŒâœŤăĽśâĄŚé›Š卌â&#x;?⥲ㅡ腋㣠ă–ˆä•Žä’­â™łă„¤ç‘ ę&#x;Śâ™ł 援揰â?œĺ´Šď˜šć­‹姽ĺœ“ä’Šâ™§ç??âœ˝ćšąęĄ č€˘ćś¸ä Žă¸˝ë„“ë€żď˜ˇĺ€´ĺƒ˝ď˜šă–ˆ

ăž?éŒ’ç‘ ę&#x;ŚâšĽć 姿ĺ„˜⥚ăź&#x;ꏗ㟊♜㠚朸넓뀿Ղ䖰鑚㨗㥌Ë™

ä‹’č&#x;›ä—žć™‹âľŒ㤚äŹ˜ăŁ—Ë™ä‹’ë‰“ăťžâą„âľŒâ˝“䲿â??˙開㪎č˜ çŒ°ăŞłî™ˇă„¤ â??âľ„ćŁ âźžË™㢾ć§ˆé–‹çŹž㣟ď˜šć?­ä–•⥚㽠ĺ‰šĺˆżĺš€â°…乳㟌痧♧â&#x;? ⥲ă…ˇćś¸č žć¤šď˜šĺ€´ĺƒ˝âĄšĺ‰šę&#x;š㨼朎ć¤?粭掼é„„é?‘ĺœ“âœŤď˜šć?­ä–•ć¤? âžżâšşçş?朸⍄窥⛳鄄䭭ⴀ⢾乳ç¨‹ă„¤ĺ˘žë€żď˜ˇ

Bridle to Olaf Breuning to Katja Novitskova and Aleksandra Domanovi , then

ꌑ襽⥚朸éšŽâ™§ĺ§żéŒšćş?ď˜šâĄšĺ‰š朎ć¤?ă•ŹâŤšé†˘âĄ˛ćś¸ĺ¨œă€ˇâ›łé„„é?‘

that has been deconstructed, and basically modernist tradition is explored and

挰âŻ˜⢾㸤䧭é¸?â™§éş•çŽ‘ď˜šă””姽é¸?â°Śăťœĺƒ˝ęĄ ĺ€´â™śă šăžľĺŚ„朸ë„“

you move deeper into the texture of the ďŹ rst one and you start to see painting examined. And as you go deeper you start to see the history of image making

deconstructedĚś completed through Constant Dullaart, Evan Roth, Oliver Laric, and so really it was about those layers of experience and layers of connection as opposed to thinking and bearing hermetically of trying to think about the over-didactic. But I think that maybe it is an exhibition more speciďŹ cally tied

to the technology itself and I try to give it a speciďŹ c look only into technology. Also I am interested in the concepts of forms and the aesthetics that emerge

ĺœ“âœŤŐ‚é¸’éş•ä? ĺ€›ă—žćšśË™ĺ‹­äŹ˜ć™‹ď˜śâ&#x;ťâł?Ë™çš?ĺ€›ď˜śă¤šâ´Şä’źË™äŹ˜ ë€żă„¤ęĄ č€˘ď˜šé¸?čŽ…é“žäž†ä’­ćś¸ĺœ“ä&#x;?ă„¤éş•ĺ€´é“žäž†ä’­ćś¸ęĄ ĺ€´éŚ„é´„ é˜Žćś¸ĺœ“ä™źĺƒ˝ćšąäŠŠćś¸ď˜ˇâ™śéş•䧎ä&#x;?⛳é?Şĺƒ˝ă””ć?€é¸?ĺƒ˝â™§ăœĽčŽ…çŒ°

䪎劼魨ç­?ăş™ćšąęĄ ćś¸ăž?éŒ’ď˜šç˝œ䧎é‘‘襽㟊çŒ°äŞŽćś¸ęĄ ĺ˛¤çŞ?✎♧ ç??ćšśĺŠŒ朸ăƒ„ć¤?ď˜ˇă šĺ„˜䧎â›łä–ŽęĄ ĺ˛¤ä–°é¸?â?‰âœ˛ćš&#x;⚼援揰朸䕎 ä’­ă„¤çšĄăˇ¸ĺšŒä™‚ď˜šâ&#x;ƒâżťč° é Żăšťĺƒ˝ăĽśâĄŚéŚ„éŚŠâžŽâŚ›➲⢾朸é?¤ä&#x;?

麨䧭✞倞朸ď˜ˇă””姽䖰厼ç??ä ‘çş?â™łâ˘ľé“žď˜šä§Žä&#x;?â™§ăœĽăž?éŒ’ĺƒ˝ 〳â&#x;ƒé¸’éş•č?ˆ䧎ę‚‚縨⢾ăťœć¤?朸ď˜ˇ

*/5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒  /*-4 +&"/ 㽲晋倛 v し䛸 53"/4-"5&% #: 缺陼  $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘  )"//") 3&%-&3 恍㫪v榰䗞⹗

Hannah Redler is a curator of cross-disciplinary projects

between art, photography, science and technology. Prior to her current role as associate art curator for the Open Data Institute, Hannah was Head of Science Museum Arts Programme from 2005-2014. At the time when the retrospective exhibition

Electronic Superhighway has just finished, Hannah talks to

us about her practice and the ways in which the field of new media has evolved, providing us an insightful view on the

directions and upcoming challenges of this unstable yet rich field of practices.

恎㫫˙榰䗞⹗僽♧そ瘼㾝➃㥠䨾嶍駈涸걆㚖堾騗谁遯

伢䕧ㄤ猰䪮㥠湡⵹僽ⰗꟚ侸亙㷸ꤎ涸耢ざ谁 遯瘼㾝

➃㖈鸏⛓⵹涸 荛 䎃㥠僽猰㷸⽈暟긭谁遯갪

湡涸⚺盘黠鸫侸㶶谁遯㔐곃㾝շꨶ㶩넞鸠Ⱇ騟ո涸穡

勲恎㫫莅䧮⦛锓ⵌ✫㥠涸瘼㾝㻜驏ㄤ倞㯯넓涸鹎⻋

鸏窍䧮⦛䲿⣘✫♧⦐噲Ⱘ峯㻌⸂涸鋕錬䖤⟃㻤鋕鸏⦐

崩⹛♶㾀⽿⿶䧭卓鞮焚涸걆㚖涸倞倰ぢㄤ꬗荆涸䮋䨞

Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.

UNSTABLE MEDIA: A CONVERSATION WITH ART CURATOR HANNAH REDLER 隶⹛♶㹁涸㯮넒 㼩鑨谀遮瘻㾝➃恍㫪 •榰䗞⹗

ART.ZIP: You trained as a ďŹ ne artist, where did the overlap between art and technology started, has it always been part of your practice?

"35 ;*1ä?Ą éş•ä–ƒäąşă€Œ朸ĺƒ˝č° é Żăšťäž†č‚Źď˜šé˝Ąëžƒ㟊ä?Ąâ˘ľ

ART.ZIP: Do you mean social media?

č° é Żăšťĺˆżĺƒ˝äŽ‹ä¨žâœŤč° é Żćś¸ćš&#x;颜äš?ď˜ˇä–°ćśŻâ˝‚ĺ˝‹äť âœĽĺ˛šä•Žă•Ź

traditional art school, where I painted landscape and I did life drawings. I

â™§ćšŹĺƒ˝ä?ĄăťœéŠ?朸â™§éżˆâ´•ăŒ¨îšŽ

)3é¸?â°?ç˝?ĺŠĽâ˘ľę¨†ä–¤â™śč…‹âą„éť‡âœŤď˜ˇä§Žă–ˆâ™§âŚ?ęŹŒäŒ˘âŤ„窥朸

in the ďŹ rst room are responding to distributed images that we experience and

鸤ď˜ˇâľŒ äŽƒâžżćś¸:#"ď˜šâžŽâŚ›ĺˆżęĄ 岤â°‰ăş‚ď˜šé¸?â›łĺƒ˝âžŽâŚ›獤

č° é Żăˇ¸ĺ?ĽéšĄĺ‰…ď˜šä§Žă–ˆ齥酭㡸睢ę´?ĺ…ž掼ă„¤ăť¨ćŹ°ď˜šä¨žâ&#x;ƒ䧎çšż

understood the power of pioneering software artists. Christiane Paul argues

HR: It couldn t have been further away. I was a ďŹ ne art painter in a very

started working with photocopying technology towards the end of my degree. I graduated not only in the middle of the recession of the 1990s but also at the time where YBAs were at their heights. There was a lot of amazing art around, but there was also a lot of dross. Rather than being an artist, what I started

Study for Fifteen Points, 2016: Motors, custom driver electronics, custom, software, aluminium, LEDs, computer All photos ŠVitamin Creative Space& Cao Fei

to ďŹ nd more urgent was what I saw as the growing ďŹ eld of interactive media technology. I co-founded a digital media production company with some

friends. The World Wide Web was in its infancy, commercial browsers were not available and no one commissioned websites. We made CD-ROMs for several years. We had all sorts of clients, from book publishers to museums and the

BBC. It was a commercial company but we had a very artistic ethos. We were

determined to develop new software with every project we did. We employed some amazing coders, so software development was at the core of what we

were doing. I became really aware of the software art community and more

interested in the role that computers can potentially have in museums, which inuenced my second degree at the Royal College of Art in Curating.

ART.ZIP: You did a lecture at the Open Data Institute where you said that whether we use the term digital art or new media, it is all art in the end. How do you articulate the relationship between art and technology now? HR: Well, ďŹ rst of all, I don t like the term digital art because I think it s really

reductive. I think that it suggests one type of practice in a ďŹ eld, which I prefer to call new media. I think that V2_ in Rotterdam have the best description, which is unstable media. The problem with new is that it isn t always new .

ART.ZIP: Yes, and once you ve labelled it new you haven t answered what the newness might be. The term digital is also an attempt to come back to an understanding of the technology. In Digital Folklore, Olia Lialina and Dragan Espenschied explain that the technology we possess now has never been so sophisticated and yet our understating of it has never been so minimal.

é“žď˜šč° é Żă„¤çŒ°äŞŽćś¸ę…žă –ĺƒ˝ä–°âĄŚč´–ę&#x;š㨼朸ď˜šé¸?â°?ç˝?朸犥ă –

ĺƒ˝â™§âŚ?掼㚝ď˜ˇă–ˆ䧎余隥㡸⥙朸剓䖕꼣媯ď˜šä§Žę&#x;š㨼ㄤ䗂⽍ äŞŽé ŻäŠ§â?œ麼ď˜ˇä§ŽćŽ—ĺ™ 朸ĺ„˜⌏ď˜šâ™śâŤŚĺƒ˝ äŽƒâžżçŤ¤ć†˜ĺś‹éˇŽ 朸ĺ„˜⌏ď˜šâ›łĺƒ˝ďšłäŽƒé°‹č–Šă•œč° é Żăšťďš´ :#"î™¸ćśŹä‚žé¸¤ĺ™˛ćś¸ĺ„˜

⌏ď˜ˇé˝Ąĺ„˜魨韚剤♜㟹♜ę?Ťćś¸č° é Żď˜šâĄŽâ›łĺ‰¤â™śăźąă˜?ă–Łď˜šä§Žâ™ś ĺƒ˝ä–Žç„ˇăš č?ˆäŠšéŠ´â™śéŠ´ćŽšâ™§âŚ?č° é Żăšťď˜šâĄŽ䧎ćş?âľŒâœŤâœ˝âš›㢾 㯯ë„“äŞŽé Żćś¸ĺ‚ˆć ¸ăĄ­ăŁ?Ő‚é¸?ĺƒ˝ĺˆżéś—â´—朸âœ˛äž•ď˜ˇä§Žă„¤äŽ™âŚ?

ĺ‰Śâżźâ™§éĽąâśžç”¨âœŤâ™§âŚ?䞸㜜㯯ë„“é†˘âĄ˛â°—ă €ď˜ˇćŽšĺ„˜č ?珞珪朸

朎ăž?韊贖倴ⴲĺŠ?ď˜šĺ°?ĺ‰¤ă‰‚ĺ™ ć‡łéŒ’ă?źď˜šâ›łĺ°?ĺ‰¤âžƒ㨽鎡䒊用 珪ç•€ď˜ˇä§ŽâŚ›â¨žâœŤäŽ™äŽƒ朸⯕ćš?䞸äş™ĺ™ ⚥ď˜ˇä§ŽâŚ›ĺ‰¤čĄ˝ă ?ç??ă ?

垺朸ăš?䨊ď˜šĺ‰¤ă•Źĺ‰…â´€ć™?âžƒď˜šâ›łĺ‰¤â˝ˆćš&#x;긭ď˜šéźŠĺ‰¤##$ď˜ˇä§ŽâŚ› 掚ĺ„˜朸â°—ă €ĺƒ˝ă‰‚ĺ™ â°—ă €ď˜šâĄŽ䧎âŚ›ä–Žĺ‰¤č° é Żç¤śç‰&#x;ď˜ˇä§ŽâŚ›ă–ˆ

éšŽé ¤ĺŤŚâŚ?éŽ™âˇ”ĺ„˜鿪寚ä—ąę&#x;š朎倞朸鎿â&#x;?ď˜ˇä§ŽâŚ›⏚揽âœŤęŹŒäŒ˘ ⴀ蒀朸çŽ‘äŽ¸ă†žď˜šă””姽鎿â&#x;?ę&#x;š朎ĺƒ˝ä§ŽâŚ›朸ĺ‘?ä—ąď˜ˇä§Žę&#x;š㨼âœŤ

é?‘âľŒ鎿â&#x;?č° é Żă•–㜊ď˜šăźŠĺ€´éŽ™çšżĺ Ľă–ˆâ˝ˆćš&#x;긭⚼〳腋äŞ?怾朸

éŒŹč’€ď˜šä§Žâ›łę&#x;š㨼ĺ‰¤âœŤć…ŽâžŠćś¸čŽ‡錹ď˜ˇä¨žâ&#x;ƒď˜šä§Žćś¸ç—§âœłâŚ?㡸⥙ â¤‘ĺƒ˝ă–ˆćś˝ăšťč° é Żăˇ¸ę¤ŽéšĄćś¸ç˜źăž?ăź ĺ™ ď˜ˇ

"35 ;*1îš‰ă–ˆâ°—ę&#x;š䞸äş™㡸ꤎ朸♧âŚ?é—?ä? â™łď˜šä?Ąé“žď˜šâ™śç›˜

䧎⌛揽é‘‚ĺƒ˝ďšłäž¸ç„şč° é Żďš´éźŠĺƒ˝ďšłĺ€ž㯯ë„“ďš´ď˜šĺ¨?ĺ‘?犥ä? ď˜šä§Ž ⌛铞朸ĺƒ˝č° é Żď˜ˇä?Ąć¤?ă–ˆĺƒ˝ä™Śëž†ć­˛ăš č° é Żă„¤çŒ°äŞŽâ›“ę&#x;Śćś¸ęĄ ⤚朸

)3ꝡâŻ“ď˜šä§Žâ™śă‹?姚ďšłäž¸ç„şč° é Żďš´ćś¸é¸?âŚ?ç?–é–—ď˜šă””ć?€é¸?ç??

ç?–é–—朸㽡ꣳäš?ăŁ–ä“˝ď˜ˇä§ŽéŒ?ä–¤ă¸?䭸朸ĺƒ˝ĺŽĽâ™§âŚ?깆㚖朸厼ç?? č° é ŻăťœéŠ?ď˜šä¨žâ&#x;ƒ䧎卲鯹⍙㠢倞㯯ë„“ďš´é¸?ç??é“žĺ˛ ď˜ˇä§Žä&#x;?뛊 暜⚸7 @éšśâš›㯯ë„“ç ‡ç‘–âšĽä—ąćś¸ä˛žéś¤ĺƒ˝ĺ‰“㼪朸ď˜šâ˝°ďšłéšśâš›

♜㚠朸㯯ë„“ďš´ď˜ˇä§Žä¨žä ŽčŽ‡錹朸齥â?‰⥲ㅡ朸ăŁ?éżˆâ´•✞⥲ç˝?ď˜š

➎⌛朸⥲ă…ˇă„¤ę¨śăśŠď˜śéŽżâ&#x;?䧴ç˝?珪çŞ„ĺ‰¤ęĄ ď˜ˇĺ‰¤ĺŞŻĺ„˜ę&#x;Śď˜šé¸?â?‰ ⥲ㅡ鿪鄄ç?–ć?€ĺ€ž㯯ë„“č° é Żď˜šâĄŽĺƒ˝é¸?âŚ?ç?–é–—ĺƒ˝ĺ‰¤ă‰?겗朸ď˜š é¸?â?‰㯯ë„“âš›ęŹŒ鿪齥ëž†ďšłĺ€žďš´ď˜ˇ

HR: What really interests me, if you look at the arc of video art practice

"35 ;*1îš‰ĺƒ˝ćś¸ď˜šä§ŽâŚ›䪞ă¸?⌛饌â™łďšłĺ€žďš´ĺžŚç ž朸ă šĺ„˜⽿ĺ°?

the pioneers at the beginning challenging the form right down to the material

朸♧ç??ăŽ˛é‘‘ď˜ˇă–ˆա䞸ç„şĺ­—⤺㡸ոâšĽď˜šă¤šé…­â??Ë™鸎ëœŠăŤŤă„¤âźž

compared to computer art, digital art or new media art, is that what you get is level and later people work with dierent issues. Software art pioneers like

David Rokeby wrote their own code, the net artists wrote their own code and in video art artists like Nam June Paik and Bill Viola were really pushing the

material qualities, like Paik s Magnet TV where he s disrupting the wave form

and Bill Viola aecting the construction of cameras with Sony. The YBAs in the 1990s were mostly working with the content of the video and, often criticised for that, although I like the work Douglas Gordon, Georgina Starr and others

made. Similarly in digital practice we now see a lot of younger artists working with the content of online imagery.

剤ă”?ç˜¸ďšłă†­é…­ĺ€žďš´ćś¸ă‰?ę˛—ď˜ˇďšłäž¸ç„şďš´ćś¸é“žĺ˛ â›łĺƒ˝ć¤šé?‘äŞŽé Ż 揼Ë™ă™Şĺ€›ä• ĺ€ˇä—žé“žâľŒď˜šä§ŽâŚ›暥⾚䨞䚊ĺ‰¤ćś¸äŞŽé ŻĺŤ˛â&#x;ƒä–ƒâ&#x;¤ ⥌ĺ„˜⌏ĺˆżâ¸ˆâŻ“éšŽď˜šâĄŽ䧎⌛㟊ă¸?朸âœŤé?‘⽿卲â&#x;ƒä–ƒâ&#x;¤âĄŚĺ„˜⌏ ĺˆżăźąď˜ˇ

)3溍姝é›Šä§Žä ŽčŽ‡錹朸ĺƒ˝ď˜šăĽśĺ?“㧨㟊卲â™§â™´é‹•ęą˝č° é Żă„¤ ꨜčˆĄč° é Żď˜śäž¸ç„şč° é Żä§´ç˝?倞㯯ë„“ë„“č° é Żćś¸ćśŽăž?ď˜šă§¨ĺ‰š朎

ć¤?ď˜šé˝Ąâ?‰溍姝朸⯓ę?ľâ™§ę&#x;š㨼㽠äŠşçŤ¤ă–ˆćš&#x;颜㞾ęŹ—â™łäŽ‹ä¨žč° é Żćś¸ä•Žä’­ď˜šçł’ç˝œäŽ‹ä¨žâ°ŚâžŽă‰?ę˛—ď˜ˇâŤšăŁ?é şË™峍âŻ˜卲é¸?垺朸鎿

â&#x;?č° é Żăšťď˜šâžŽâŚ›ĺƒ˝č?ˆäŠšăť¨âžżç„şćś¸ď˜šçŹŞçŞ„č° é ŻăšťâžŽâŚ›â›łĺƒ˝

č?ˆäŠšăť¨âžżç„şćś¸ď˜ˇç˝œ⍚术⽂彋ㄤ卲晋˙珞㤚äŹ˜é¸?垺朸鋕깽

HR: Yes, as well. You mentioned Electronic Superhighway, nearly all the works

download and share online. It seems, in my view, that the art world never really that to get media art you need media literacy and you need to understand

not just the art history but the science and technology histories that go with

them. To me, I think a media art work is probably a work that responds to the

full dimension of a technological proposition. I m very interested in the process of making and methods of production artists apply.

ART.ZIP: And ideas of labour and even craft perhaps? What s your view on the idea of craft in relation to new media, in a ďŹ eld where the term is often dismissed? HR: it depends who you re talking to. I m working at the moment as a curator in residence for the Open Data Institute. This year we ve got a sound artist in residence called Alex McLean who s a pioneer of live coding. Central to

his practice is an interest in patterns and he extends that to pre-electronic

朸աç…‚ęœˆć­?éŒ Ő¸âľŒ卲晋˙珞㤚äŹ˜ä•§ę° 襽ç¨‹ă˝łäź˘âŤšĺ Ľćś¸ĺœ“ äŒ˘é„„䪥é?ąćś¸âž˛ă””ď˜šę§Şć?­ä§Žâ›łäŻ†ă‹?姚麼ĺ‘”äŹ˜ĺ€›Ë™ă†Ľę°žď˜śă‹Žĺą› ㎼㍍˙倛ă??ć™‹ă„¤â°ŚâžŽâžƒ朸⥲ă…ˇď˜ˇă šĺžşă–’ď˜šă–ˆäž¸ăśśč° é ŻăťœéŠ?

é…­ď˜šä§ŽâŚ›ćş?âľŒé?Şă˘ľäŽƒé°‹č° é ŻăšťâśžâĄ˛ĺ„˜⢪揽朸â›łĺƒ˝çŹŞçŞ„ă•Ź ⍚朸â°‰ăş‚ď˜ˇ

"35 ;*1ä?Ąä­¸ćś¸ĺƒ˝çˆ˘â?œ㯯ë„“ăŒ¨îšŽ

)3îš‰ĺƒ˝ćś¸ď˜šéżŞâşŤä­?ď˜ˇĺ§ťăĽśăž?錒աꨜ㜊ë„žé¸ â°—é¨&#x;Ő¸ď˜šă–ˆâ™§č´Ť

ăž?䑟酭䎙⛖䨞ĺ‰¤ćś¸âĄ˛ă…ˇéżŞĺƒ˝ăźŠé˝Ąâ?‰䧎âŚ›ă–ˆçŽ â™łë„“ë€żď˜śâ™´ 鯺䧴ç˝?â´•â?§ćś¸ă•ŹâŤšćś¸ă”?估ď˜ˇă–ˆ䧎ćş?⢾ď˜šč° é Żâš†ć­˛ä–°ĺŠ˘ćşŤ 姝椚é?‘⯓ę?ľéŽżâ&#x;?č° é Żăšťď˜ˇâŻ˜é…­ĺ€›裌ă¸žË™âĽƒçš?é“žď˜šéŠ´ć¤šé?‘齥

ĺžşćś¸âĄ˛ă…ˇď˜šęťˇâŻ“ꨞéŠ´âœŤé?‘ă ?겳㯯ë„“ď˜šç˝œâš‚ď˜šâ™śâŤŚéŠ´âœŤé?‘č°

é Żăšťă šĺ„˜âžżćś¸č° é Żă€ˇď˜šéźŠĺ‰¤çŒ°äŞŽă€ˇď˜ˇăźŠä§Žç˝œéŽŠď˜šăŻŻë„“č° é Ż ⛳é?Şĺƒ˝ďˆŁĺ€°ęŹ—ă”?估çŒ°äŞŽă„?ę˛—ćś¸č° é Żď˜ˇä§ŽăźŠč° é Żăšťä¨žę…ˇćŹ˝ 朸✞⥲ĺ€°ĺ˛ ă„¤âśžâĄ˛ĺ´ŠçŽ‘ęŹŒäŒ˘ä ŽčŽ‡錹ď˜ˇ

digital technologies such as knitting and weaving. He s researching dierent

"35 ;*1䧴é?ŞéźŠĺ‰¤âšŞâš›朸ä&#x;?ĺ˛ ď˜šćŹŠč?›äŞŽč° îšŽä?Ąĺƒ˝ä™Śëž†

narrative of software art and coding to oer more expansive histories of us as

â›–ĺƒ˝é„„éź?䘎朸ď˜ˇ

narratives with various craft people. He s interested in challenging the hacker

humans capturing data in pattern forms, distributing it and giving it meaning. His practice is very current, very expansive and asks questions about those deďŹ nitions that we ve all experienced in certain hierarchies. I ve spent my

entire professional career working in science organisations or technology

organisations, but on art projects. If a project is going to work across disciplines you have to get rid of some of these hierarchies, otherwise you re dismissing too much stu.

ART.ZIP: In an interview you gave while at the Science Museum, we are interested in the way you described art as a having the potential to shed a critical light onto technology, how would you negotiate that relationship, in the context of a large institution such as the Science Museum, between art as on the one hand a tool to render technology accessible and yet being critical of it? Hannah: I wouldn t use the term tool, because it makes the art sound utilised

ćş?倞㯯ë„“âšĽćś¸ďšłäŞŽč° ďš´ă‰?겗朸îšŽă–ˆé¸?âŚ?ęą†ăš–ď˜šé¸?âŚ?鑂⥂ )3é¸?《寚倴䧎⌛ㄤ铪鎣锸é¸?âŚ?é‘¨ę˛—ď˜ˇä§ŽćšĄâľšă–ˆę&#x;šä˝ž䞸 äş™㡸ꤎ掚ę˝?ă–’ç˜źăž?âžƒď˜šâž›äŽƒ䧎⌛é¸?酭剤♧⥙ę˝?ă–’朸耍갉

č° é Żăšťď˜šă ?〭꣚č&#x;›âŻ˜ĺ€›Ë™ë?‹âŻ˜ĺ?Œď˜šâžŽĺƒ˝ć¤?ăœĽçŽĄç„şćś¸âŻ“ę?ľď˜ˇ âžŽćś¸č° é ŻăťœéŠ?⚼䖎ĺ‘?䗹朸♧ë&#x;Šĺƒ˝âžŽăźŠĺžşä’­ćś¸ęĄ 岤ď˜šâžŽäŞž

é¸?ç??莇錹ä’‚â ˝âľŒ⾚ꨜ㜊䞸ç„şäŞŽé Żâ™łď˜šĺŤ˛ăĽśé“žçŽĄçą˝äŞŽé Żď˜š ➎莅ă ?겳ă˜—朸äŠ¨âť č° âžƒă –⥲ď˜šâ°&#x;ă šäąłç¨‹â™śâ™§ĺžşćś¸äžƒâœ˛ď˜ˇ

䎋䨞鎿â&#x;?č° é Żă„¤çŽĄç„şâšĽćś¸ëžąăš?äžƒâœ˛â¤‘ĺƒ˝âžŽćś¸čŽ‡錹䨞ă–ˆď˜š

➎çŞ?⥲ć?€âžƒ겳朸䧎⌛ăž?ć¤?âœŤĺˆżä‘žęĄ€朸ĺ¨œă€ˇă•Źĺ…žŐ‚䧎⌛ ĺƒ˝ăĽśâĄŚé¸’éş•ĺž¸ä’­ćś¸ä•Žä’­ć ˝ă€Š䞸äş™ď˜śćśŽéˇ‘䞸äş™ď˜šçŞ?âœŽäž¸äş™

ä ‘çş?朸ď˜ˇâžŽćś¸č° é ŻăťœéŠ?ĺƒ˝ä–Ž掚â™´ćś¸ď˜šä‘žęĄ€朸ď˜šâžŽä˛żâ´€朸ă‰? ę˛—ęĄ â›–ĺŽĽâ?‰ăš çş?ď˜šç˝œé¸?â?‰ă‰?겗䧎⌛ăŁ?ăšťă–ˆĺŽĽâ?‰ç˜ž秚犥ĺœ“

âšĽéżŞçŤ¤ĺ¨œéş•朸ď˜ˇä§Žćś¸äžŽâŚ?č€ˇĺ™ 揰塆鿪ă–ˆçŒ°ăˇ¸ä§´çŒ°äŞŽĺ Ľĺœ“

âšĽéšŽé ¤č° é Żę°ŞćšĄď˜ˇéŠ´â¨žâľŒé¨—㡸çŒ°ď˜šâĄšă˝ ä—łę°­äť—č†¨ä¨žĺ‰¤ćś¸ 瘞秚犥ĺœ“ď˜šă‚„âľąď˜šă§¨ĺ‰šę?ŤăŁ&#x;㣖㢾朸ĺŒŒéŠŻď˜ˇ

or used. Artists raised the issue of avoiding the word use in relation to

"35 ;*1ä?ĄéźŠă–ˆçŒ°ăˇ¸â˝ˆćš&#x;긭äŠ¨âĄ˛ĺ„˜ĺ‰¤â™§çœ?é?žé”“酭剤♧

it sound as if we were using the art, they didn t like it. I think that I have to

ä•Žä’­ď˜ˇă–ˆé–€㼜çŒ°ăˇ¸â˝ˆćš&#x;긭⛓겳朸ăŁ?ă˜—ĺ Ľĺœ“ćŠ‡ăžŻâšĽď˜šâ™§ĺ€°

working with art at the Science Museum with me very early on. If we made concede that, although I didn t use the art, other colleagues might have had other motivations for including art. But what we were hoping to do, was to

bring in the art to oer dierent perspectives, which was very much part of an interpretation strategy that started to acknowledge multiple voices, to challenge the Victorian talking down to approach, telling visitors what to

think, to be more discursive. That s a contemporary approach to museology; it isn t unique to the Science Museum. But it was quite important in the Science Museum because in science museums, research suggests, visitors expect to

âŚ?錚ë&#x;Šä–Žĺ‰¤éŚąď˜šä?Ąé“žč° é Żč…‹䧭ć?€㟊çŒ°äŞŽéšŽé ¤äŞĄâ´źćś¸ć‚´ă–ˆ

ęŹ—č° é ŻâĄ˛ć?€äŠ¨â°¨â˘Şä–¤çŒ°äŞŽă€łâ&#x;ƒć?€âžƒ䨞乺ă€Œď˜šç˝œă€Ľâ™§ĺ€°ęŹ— č° é ŻâżśăźŠçŒ°äŞŽĺ‰¤äŞĄâ´źäš?ď˜šä?Ąĺƒ˝ăĽśâĄŚé”…ㄤâ°?ç˝?ćś¸ęĄ â¤š朸

)3䧎♜剚揽䊨Ⱘé¸?âŚ?é‘‚ď˜šă””ć?€é¸?âŚ?é‘‚äŒ&#x;剤㣖㢾朸ăťœ

揽âšşçş?ä ‘ă„‚ď˜ˇă–ˆä–Žĺ‚?â›“âľšď˜šč° é ŻăšťčŽ…çŒ°äŞŽâ˝ˆćš&#x;긭ă –âĄ˛č° é Żę°ŞćšĄĺ„˜ă˝ ĺ‰šé¨ˆ䧎䲿âľŒéŠ´éźšâŻ?⢪揽 âľ„揽î™ˇč° é Żî™¸ďš´â™§ é‘‚ď˜ˇăĽśĺ?“䧎⌛雊갪暥č ƒ鼹⢾⍚ĺƒ˝ďšłâľ„ćŹ˝č° é Żďš´ď˜šč° é ŻăšťâŚ› 鿪剚♜ĺ?żä ‘朸ď˜ˇä§Žä&#x;?䧎âŚ›â›łä—łę°­äŞ­é’˘ď˜šâ­˝ç›˜䧎ĺ°?剤⾄揽ďš´ č° é Żď˜šâĄŽĺ Ľĺœ“é…­ćś¸â°ŚâžŽă šâœ˛â›łĺ‰šä§ƒ襽ⰌâžŽâš›ĺ Ľâ˘ľäŞžč° é Ż

ă“­ä­?階⢾ď˜ˇä§ŽâŚ›䨞䋞劆朸ĺƒ˝ď˜šé›Šč° é Żä˛żâŁ˜â™śă š朸éŒŹä?žď˜šé¸?

â›łĺƒ˝â™§ç??ꥪę…źćś¸ç˜źćŽœď˜šâ°Śę&#x;š㨼䪭钢㢾ç??č€Ťę°‰ď˜šäŽ‹ä¨žďšłč?ˆâ™ł ç˝œâ™´ďš´ćś¸é‘¨é“ƒĺ€°ä’­ď˜šäŽ‹ä¨žăƒ‡濟⿎錚ç˝?é‘Şä&#x;?➊랆朸â¨žĺ˛ ď˜šç˝œ

é›ŠéŒšćťžĺˆżâ¸ˆâĽŒęź›ć­‹ꎍď˜ˇé¸?ă˝ ĺƒ˝ćŽšâž›â˝ˆćš&#x;긭㡸朸䊛媯ď˜šé¸? â›łâ™śâŤŚâŤŚéť 揽ĺ€´çŒ°ăˇ¸â˝ˆćš&#x;긭ď˜ˇé¸?ĺƒ˝ä–Žę…žéŠ´ćś¸ď˜šă””ć?€ç ‡ç‘–

é‚?ĺƒˆď˜šă–ˆçŒ°ăˇ¸â˝ˆćš&#x;긭é…­ď˜šâżŽéŒšç˝?çą?ĺƒ˝ĺ‰šĺŠ?ä–Šâ´˝âžƒăƒ‡é?°âžŽ ⿥ä&#x;?âžŠëž†ď˜ˇă””ĺ§˝č° é Żă–ˆé¸?é…­ă˝ č…‹äŠ§ç śé¸?ăžľă›šâąşď˜ˇéŠ´ăť¨â´€

♧â&#x;¨â´€č’€ćś¸č° é ŻâĄ˛ă…ˇęĄŞę…źäż’ĺŠĽď˜ščŽ…éŒšç˝?ĺ˝˜é¸’ć?€âžŠëžƒé¸?â&#x;? ⥲ă…ˇă–ˆçŒ°ăˇ¸â˝ˆćš&#x;긭é…­ăĽśĺ§˝ę…žéŠ´ď˜šé¸?ĺƒ˝ęŹŒäŒ˘â°¨ĺ‰¤äŽ‹ä¨žäš?朸 â&#x;¤âšĄď˜šä§ŽéżŞâ™śç„ˇăš 䧎剤ĺ°?ĺ‰¤ä˝™âŻ˜é¸?ç??䎋䨞

"35 ;*1îš‰ă–ˆâœ˝âš›ă„¤çˆ˘â?œ㯯ë„“éŒŹč’€朸ă‰?ę˛—â™łď˜šé›Šâ˝ˆćš&#x;긭

Natasha Caruana Married Man , installation shot, ODI, 2016. Photo Sarah Howe.

čź‘ă –âľŒä?Ąćś¸ç˜źăž?⚼

)3䖰䧎âŚ?➃⢾é“žď˜šä§Žâš›ĺ°?剤⨞㢾㟹é¸?倰ꏗ朸äŠ¨âĄ˛ď˜ˇâ™§ âŚ?➲ă””ĺƒ˝ď˜šćŽšçˆ˘â?œ㯯넓莇鼹朸ĺ„˜⌏䧎姝äŒ&#x;襽â°?âŚ?㡛㜊ď˜š

䨞â&#x;ƒ䧎ę?Ťéş•âœŤçˆ˘â?œ㯯ë„“é¸?岚攨ćƒ?ď˜ˇâĄŽĺƒ˝ď˜šäş™䧎éŒšăťŒď˜šä§Žă–ˆ

揰㟭㡛⛓⾚朸㨽éŽˇč° é Żę°ŞćšĄď˜šâŤšĺŠĽË™ë‰“é˘‘ă„¤ęź›âŻ˜Ë™ć Žĺ–€朸 Őˇč ƒä‹ŤŐ¸ď˜šé¸’éş•éŒšç˝?ă–ˆçˆ˘â?œ㯯ë„“朎䋒䋍㜊薹㥭朎ăž?âœŤéĽą

⢾ď˜ˇä§Žâš›ĺ°?剤㨽䊯㚠⾖é¸?âŚ?갪暥ď˜šâĄŽ䧎ć?€â˝ˆćš&#x;긭䪞é¸?âŚ?

ę°ŞćšĄéĄ â™´â˘ľâœŤď˜ˇâš¸ë?‹č° é Żăšťă•°ë„“4VQFS GMFYćś¸č° é Żę°ŞćšĄ

Őˇčž‰čťşĺ ‡éş‰â›“çŒ°ăˇ¸â˝ˆćš&#x;긭ոă–ˆçŽ â™łćś¸ćŹ°ă„?â¸‚ä–Žä“˝ď˜šâŤšé¸?

be told what to think. So the art is there to challenge those assumptions. It is quite challenging to write really great art interpretation that communicates

everything about why an art work is in a science museum, I m not sure I ve ever cracked it!

ART.ZIP: In terms of interactions and the role of social media, with the museum space, where the museum becomes the starting point of conversations that are then extended online, is that something that you integrate in your curating process? HR: Personally I haven t done it very much; one reason is that I had two

children very closely around the point when social media lifted o. I kind of missed the boat! However, what I ve observed are things I commissioned

just before having my kids did develop a big life of their own online through visitors posting stu on social media, like Listening Post by Ben Rubin and

Mark Hansen. I didn t commission it, but I purchased it for the museum. The

Cockroach Tour of the Science Museum by Superex has a very strong life

online which we didn t plan, but which aected thinking about interpretation later on. I do see museums starting to consider social media but I don t think

any museum has really made it work yet. I think one of the reasons is that you have to give up the control and I think that it s really diďŹƒcult for organisations

to let people drive the agendas when the institution has constructed it already.

Social media does merge a lot with the curatorial and I foresee that it s going to become a much stronger dialogue moving forward. All organisations do think more about ways to communicate outwards now.

ĺžşćś¸ę°ŞćšĄä§ŽâŚ›âœ˛âŻ“â›łĺ°?剤ä&#x;?âľŒď˜šâĄŽé¸?çŞ?䧎âŚ›ä–•â˘ľćś¸č° é Ż ꥪę…źäŠ¨âĄ˛éĽąâœŤâŚśę™§âĄ˛ćŹ˝ď˜ˇä§Žç„ˇăťœâ›łćş?âľŒâœŤé?Şă˘ľâ˝ˆćš&#x;긭ę&#x;š

㨼ç˝ŒäŁ‚çˆ˘â?œ㯯ë„“é¸?♧ë&#x;Šď˜šâĄŽă–ˆ䧎ćş?⢾ď˜šćšĄâľšĺ°?剤â&#x;¤âĄŚâ™§ ăšťâ˝ˆćš&#x;긭䧭â¸†éş•ď˜ˇä§Žä&#x;?é¸?â°ŚâšĽćś¸âž˛ă””â›“â™§â¤‘ĺƒ˝ă§¨ä—łę°­ä˝ž

"35 ;*1ä?ĄéŒ?ä–¤ć¤?ă–ˆă–ˆçŽ ç˜źăž?韊ĺ‰¤ć‚´â¸‚ăŒ¨îšŽ韊ĺƒ˝

and that s really interesting, but if you look at it, unless it is edited in some way and

é“žď˜šä§ŽâŚ›ĺ‰šéŒ?䖤䧎⌛䪞♧ⴗ鿪é“žćšˆâœŤď˜šâĄŽ䧎⛳č ?â´•

HR: The big dierence is that people can enter into a dialogue with one another channelled, the level of communication is pretty basic. It s here s me in front of

the work , l like it, I love it, I hate this because‌ it can be quite simple. I think you

would have to introduce some elements of choreography or control to bring more of a critical edge to the conversation. I mean, it s a super souped-up version of the

traditional visitor comments book. The traditional visitor comments book gets less interesting questions if they re not directed. I think questions include: what would

⢾剚剤䙌垺朸é?¤éŽ™îšŽ

ä&#x;?é&#x;?â™śâľŒ朸é‘¨éŠ´é“žď˜šă””ć?€âžŽâŚ›朸獤ĺ¨œă„¤ä§ŽâŚ›朸䨔ć?­

â™śă šď˜ˇä§Žâ™śĺ‰šé’˘ć?€ď˜šĺ‰¤čĄ˝â™śă š獤ĺ¨œ朸â™śă šâžƒď˜šă–ˆęŹ—

㟊㼜姽鴞枥朎ăž?ćś¸äŞŽé Żĺ„˜ď˜šâžŽâŚ›朸ă‰?겗剚ㄤ䧎㼜ⴀ â™§éąźď˜ˇ

ç‘ ę&#x;Śď˜šćśŽăž?齥â?‰č…‹㣠雊錚ç˝?援揰㢾ę…žä Žă¸˝ë„“ë€żď˜śĺ‰¤

that way.

ART.ZIP: Do you think there s still potential for online curating though? Or has the moment passed? HR: I think that there are dierent generations responding to dierent ways. Those of us who have been around and have seen the entire arc might feel we ve said

everything but I m absolutely sure that there are 15 year olds who have things to say about it that I can t imagine because their experience of the world is a world

ăťœë„“朸äŠ¨âĄ˛ç‘ ę&#x;Śď˜šä§Žă‹?姚ă„¤č° é Żăšťă –⥲äą?乞齥垺朸

襽ăťœ꼚乺é?¸ćś¸âĄ˛ă…ˇď˜ˇä–°ă€Ľâ™§ĺ€°ęŹ—⢾ćş?ď˜šä§ŽéŒ?䖤暥⾚ 剤♧âŚ?ăŁ?ă‰?ę˛—ď˜šă–ˆé¸?垺♧âŚ?䧎⌛ăŁ?㢾䞸➃鿪♜剚⿥

ăťœă–’ć ˝ă€Šćżźé™?朸âš†ć­˛é…­ď˜šăťœë„“ç‘ ę&#x;Śď˜šĺŤ˛ăĽśé“žâ˝ˆćš&#x;긭 ㄤ掼ä?¤ćś¸ćšĄćś¸âĄŚă–ˆîšŽ䧎⌛ äŽƒâľšâ›łé?Şĺ‰š⿥ď˜šâĄŽĺƒ˝ć¤? ă–ˆćżźé™?ă˝ ă–ˆ㧨朸ĺ…°č…‹äŠ›ĺ Ľé…­ď˜ˇä¨žâ&#x;ƒĺ‰“ăŁ?朸濟é™?ę§Œ

äž•猺窥â™śĺƒ˝ă•Źĺ‰…긭ă„¤â˝ˆćš&#x;긭ď˜šç˝œĺƒ˝ă””ćšśçŹŞď˜šç˝œé¸?ď˜š 䪞♧ⴗ鿪ä˝–éšśâœŤď˜ˇ

away from mine. I wouldn t want to assume that dierent people who have a

"35 ;*1é¸?㽠䲿â´€âœŤâ™§âŚ?é’˘é™?锸ă‰?ę˛—ď˜šçŽ â™łćŹ°ćŹ´

questions than me.

ĺ„˜âžżď˜šä§ŽâŚ›ꨞ銴剤➊랆垺朸⿎ꆀㄤ麕ć‡?ă?źâ˘ľč´–椚

dierent experience of this really speedy technology wouldn t have some dierent

develop physical encounters with art, with art that is multisensory. On the other

é‘¨ćś¸ä•Žä’­ĺƒ˝âžŠëž†ĺžşćś¸îšŽ卲㼜ď˜šçˆ˘â?œ㯯ë„“朸â?œâœ˝ć­˛ęŹ—ă–ˆĺŠ˘

ç„ˇâĽŒď˜šăźŠĺ€´â™§âŚ? 娔朸➃⢾é“žď˜šâžŽâŚ›韊剤♧â?‰䧎⌛

of questions I would like to ask if someone really wanted to harness social media in

would give people permission to do that, what would set the tone? There are a lot

ĺş ď˜šé¸?肆ćƒ?ĺ´Šĺ‰šéšśä§­ĺˆżä“˝ćś¸ăźŠé‘¨ď˜šâš›䭰糾朎ăž?ď˜ˇä¨žĺ‰¤ćś¸çŠ‰ "35 ;*1⛳é?Şé¸?垺朸犥ĺ?“剚⤛⢪䧎âŚ›ä™źç˝Œ齥â?‰çŽ ♳㟊

倴䧎⌛é¸?â?‰â™§ćšŹä–°âœ˛é¸?â™§é ¤ď˜šé‹…éş•䞎âŚ?ĺ¨œçŽ‘朸➃⢾

çŽ â™łç˜źăž?劼魨㟊䧎ĺ°?剤㢾ăŁ?朸ď‰šä’¸â¸‚ď˜šă””ć?€䧎ă‹?姚

I ve never been attracted to curate online per se because I like to work with

繽鿪卲â&#x;ƒä–ƒĺˆżâ¸ˆâ¸—â¸‚ă–’ç˝ŒäŁ‚㼜⥌ㄤ㢍歲â?œ崊朸ă‰?ę˛—ď˜ˇ

)3䧎ä&#x;?♜㠚鰳朸➃㟊é¸?âŚ?ă‰?겗剤♜㠚朸ă”?估ď˜ˇăźŠ

create the right conditions for really deeper, meaningful conversations? What

ĺ”łäąžâľ–ď˜šă–ˆ㧨䊺獤ĺ?şĺœ“㼪朸é™žçŽ‘é…­é›ŠâžƒâŚ›č?ˆć­‹ę˝™ęź?ď˜šé¸?

ĺƒ˝ä–Žę¨ˆ朸ď˜ˇçˆ˘â?œ㯯ë„“ă„¤ç˜źăž?ç„ˇăťœăŁ?䌴ä?žčź‘ă –âœŤď˜šä§Žâ›łę°¸

é“žă–ˆçŽ ç˜źăž?朸ĺ„˜ĺŠ?äŠşçŤ¤éş•âœŤîšŽ

physical space and I like being in command of that space with an artist and to

朸濟é™?ĺŠĽé˘śĺƒ˝âžŠëž†îšŽă–ˆé¸?垺♧âŚ?剤襽㣖㢾âĽŒäœ‚朸 é¸?â?‰㼜孾岙佪估ďš´ćś¸âĽŒäœ‚îšŽ

)3îš‰é“žâľŒä? ď˜šä§ŽâŚ›韊ĺƒ˝éŠ´ć ˝ă€ŠâĽŒäœ‚朸ď˜šä§Žă–ˆçŽ â™łă€ł â&#x;ƒ䪪âľŒ䧎éŠ´ćś¸ĺŒŒéŠŻă””ć?€䧎濟麼č?ˆäŠšéŠ´äŞŞćś¸ĺƒ˝âžŠëž†ď˜ˇ

ă—ž术é“žď˜šçŽ â™łĺľłę†€朸é”¸äż’ď˜śćŽĽâą ç˜žç˜žé›Š䧎ä–Žë ‡é?„ď˜š â°™äŽƒâľšď˜šé¸?â?‰ĺŒŒéŠŻéżŞĺ°?ĺ‰¤ď˜ˇä§ŽćżźéşĽč?ˆäŠšéŠ´äŞŞâžŠëž†ď˜š 䨞â&#x;ƒ䧎é’˘ć?€ă‰?ę˛—ĺƒ˝ď˜šă§¨éŠ´ćżźéşĽč?ˆäŠšéŠ´äŞŞâžŠëž†ď˜šâĄŽçą? 朸⢾é“žď˜šä–°ę¨śčˆĄâ™łć ˝ă€Š朸ĺŒŒéŠŻćś¸ăžľĺŚ„ă„¤ĺš€ä?žĺƒ˝â&#x;‚➃ ㎒ć?€éŒš姺朸ď˜ˇ

)3剓ăŁ?朸â™śă šĺƒ˝ď˜šâžƒă€łâ&#x;ƒč?ˆć­‹ă–’ă„¤ä•šĺ§˝ăźŠé‘¨ď˜šé¸?ĺƒ˝ä–Ž

"35 ;*1」銴濟麼㧨č?ˆäŠšéŠ´äŞŞćś¸ĺƒ˝âžŠëž†Ő‚齥䧴

ę¤‘ęŹŒĺ‰¤ćšśâ´˝ćś¸ĺ€°ĺ˛ 玥éą€ă„¤é”…ę‚‚ď˜šă‚„âľąâ?œ崊朸㞾匄 ĺƒ˝ä–Ž

)3䧎éŒ?ä–¤é¸?ĺƒ˝â™§ę°Şĺ€ž朸揰ĺ´ž䪎č…‹ď˜šä§ŽâŚ›â&#x;ƒâľšĺ‰¤ă•Ź

ĺ‰¤éŚąćś¸ď˜šâĄŽĺƒ˝ăĽśĺ?“é¸?䞎âŚ?éş•çŽ‘ĺƒ˝â™§âŚ?錚ćş?朸éş•çŽ‘ď˜šé˝Ąëž†

㛇 燊朸ď˜ˇâ™śă˘Ťâ›–ĺƒ˝ďšłä§Žă˝ ç•€ă–ˆé¸?⥲ă…ˇâľšęŹ—ďš´ď˜śďšłä§ŽäŻ†ă‹? 姚朸ďš´ď˜śďšłä§Žä–Žă‹?姚ďš´ď˜śďšłä§Žâ™śă‹?姚ă””ć?€ ďš´ď˜šé¸?ç??㟊鑨

ă˝ ęŹŒäŒ˘ç&#x;Śă‹˛âœŤď˜ˇä§Žä&#x;?䗳갭䒸Ⰵ♧â?‰玥äą–䧴ç˝?äąžâľ–ď˜šä–°ç˝œ

雊㟊é‘¨éšśä–¤ĺˆżăş˘ĺ‰¤ĺš€ä?žď˜ˇä§Žćś¸ä ‘ä™źĺƒ˝ď˜šé¸?估é‘Şĺƒ˝âŤ„窥⢾

é?žç˝?ćŽ†éŽŠĺŠĽćś¸â¸ˆä“˝ć™?ď˜ˇăĽśĺ?“â™śâ¸ˆä’¸ăźŹćś¸é‘¨ď˜šâŤ„窥朸⢾é?ž ç˝?ćŽ†éŽŠĺŠĽâ™łĺ‰¤ä ‘ä™źćś¸ă‰?겗ăź&#x;剚錊⢾éŚŠăźąď˜ˇä§Žä&#x;?ď˜šă‰?겗朸

ęĄ ę’łă–ˆĺ€´ď˜šä™Śĺžşč…‹✞鸤ă –éť ćś¸ĺ“­â&#x;?⢪溍姝ĺš€â°…ď˜śĺ‰¤ä ‘çş? 朸㟊鑨䖤â&#x;ƒä•Ž䧭îšŽç˝œâżśĺƒ˝âžŠëž†䲿âŁ˜çŞ?âžƒâŚ›ĺš€â°…㟊鑨朸哭 â&#x;?ď˜šă›‡é”…âżśĺƒ˝ć­‹âžŠëž†ăš â™´ćś¸îšŽ㼜ĺ?“éŠ´â˘ŞćŹ˝çˆ˘â?œ㯯ë„“ď˜šé˝Ą 䧎㽠剤門㼜â&#x;ƒâ™łćś¸é?Şă˘ľă‰?ę˛—ď˜ˇ

��Ⰼ⚼剤䒸㟏朸ꨞ銴

ĺ‰…ç›˜ć¤šă†žď˜ˇć¤?ă–ˆ溍姝ä ‘çş?朸ă•Źĺ‰…ç›˜ć¤šă†žä–ŽăźąâœŤď˜ˇé“Ş ĺƒ˝çŹŞçŞ„ç‘ ę&#x;Śćś¸ă•Źĺ‰…ç›˜ć¤šă†žăƒ¤îšŽ

Thomson & Craighead, Voyager (MicromĂŠgas), installation shot, ODI, 2015. Photo: Lewis Bush.

䧭ć?€㟊鑨朸鼹ë&#x;Šď˜šć?­ä–•䏪ăž?âľŒçŽ â™łď˜šé¸?ç??â¨žĺ˛ ĺƒ˝â™śĺƒ˝â›ł

ART.ZIP: Maybe a consequence of that, is to ask what the form of those online conversations will be? What the potential of the design of social media interfaces, for instance, can have critically?

hand, I think there s a really big question, at the moment, about the purpose

"35 ;*1䧎⌛⛳é?Şçˇ„⛘♧ç??ă –éť ćś¸é“ƒéŽŠď˜ˇęź›âĽœv㺢⚗剎

go there to acquire the knowledge. We might have gone there 20 years ago,

㼜ꨣď˜śă˜?ă–Łĺ’ąç˜žď˜ˇé¸?ă–ˆ⥚ä—łę°­ĺš˘ĺ… ă–’é‚?霤ç˜źăž?äžƒâœ˛ĺ„˜ď˜š

Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.

of physical spaces, museums and galleries in a world where most of us don t but now that knowledge is in our smartphones. So the biggest knowledge

distribution system is not the library and museum system, it s the Internet and that shifts things.

ART.IP: Then it poses an epistemological question, what s the nature of that knowledge produced online and what are the parameters and ďŹ lters required to process that information as for instance the bubble eect , when there s too much information? HR: Well you still need to be informed, I can ďŹ nd stu online because I know

what I m looking for. I am astonished frankly at the papers, the catalogues, the things that are online now, that were not online six years ago. I know what I m

looking for, so I think there s the question of how you ďŹ nd what you re looking

for, but I think that the level and depth of what you can get from your desktop is phenomenal.

ART.ZIP: As long as you know what you re looking for. There s perhaps a need to be guided? HR: I think it s a new life skill, we used to have librarians. There are very few proper librarians any longer. Who are the librarians of cyberspace?

Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.

ART.ZIP: Maybe there s also a lack of an appropriate language. Mathew Fuller wrote about the misleading metaphors such as the cloud or the bin we are using in describing technology. Is that something you struggle with when you have to articulate a curatorial narrative? HR: The thing I m struggling with is the fact that, ironically we need to

dierentiate between art and science in order to discuss our combined

intentions, to bring them together. So you re constantly toggling between specialism and the desire to branch out and I think that we are evolving

dierent languages. The problem with the languages you referred to is that they are corporate-led. They re going for the lowest common denominator

because they want mass understanding right now, because they want mass

buying right now. This is where I think artists are so important in this ďŹ eld, we need artists to make us stop and think. To consider the language, to consider

the impact that language has on our thinking, which needs to be challenged because even if you look at your encounter with your desktop today, for me,

compared to the desktop I ďŹ rst started working with in the late 1980s the guts are less visible. So we have a very seamless experience of computing that

doesn t let us know what we are being sucked into and that worries me. We

think in Google documents now, we think in Twitter characters. Someone will come up with something that s better. Our experience is always rooted in our existing knowledge, and I think that people who come up with a dierent

knowledge, will make dierent metaphors and that s how the language will evolve.

獤㝨âľŒď˜šä§ŽâŚ›⢪揽âœŤä–Ž㢾é“?㟏➃朸ꌥăŒˆ⢾䲞霤çŒ°äŞŽď˜šĺŤ˛ ĺ‰šĺƒ˝â™§â&#x;?ę¨ˆâœ˛ăŒ¨îšŽ

)3䧎éŒ?ä–¤ă”Žę¨ˆ朸ă–’ĺ€°ă–ˆĺ€´ď˜šä–Žâ°¨é•žâľžä ‘ă„‚ă–’ď˜šä§ŽâŚ›ä—ł

갭⟌â´•č° é Żă„¤çŒ°ăˇ¸ď˜šä–°ç˝œĺˆżăĽŞă–’éŽŁé”¸ä§ŽâŚ›čź‘ă –â°?ç˝?朸ä ‘

ă•Źď˜ˇă””姽ď˜šä§ŽâŚ›ĺ‰šă–ˆ礜㟠ㄤäť?ăž?⚼鏣éŹ&#x;䧎é’˘ć?€䧎⌛怾❋

â´€âœŤâ™śă š朸é“ƒéŽŠď˜ˇâĄšé“ž朸铃鎊ă‰?ę˛—ă–ˆĺ€´é¸?â?‰ĺŒŒéŠŻéżŞĺƒ˝ăŁ? â°—ă €ä’¸ăźŹćś¸ď˜šâžŽâŚ›ä—łę°­ĺ‰¤ĺ‰“ăź­â°—â´•卢ď˜šâžŽâŚ›ä‹žĺŠ†ăŁ?ćťžč…‹

㣠ꟛ♳椚é?‘ď˜šă””ć?€é¸?ĺžşăŁ?ćťžă˝ č…‹㣠ꟛ♳國饼ď˜ˇé¸?ă˝ ĺƒ˝ä§Ž é’˘ć?€ć?€âĄŚč° é Żăšťă–ˆé¸?âŚ?ęą†ăš–ĺƒ˝ăĽśĺ§˝ę…žéŠ´ď˜šâžŽâŚ›éŠ´é›Š䧎

⌛⨢♴⢾㼪㼪ä&#x;?♧ä&#x;?ď˜šç˝ŒäŁ‚â™§â™´ď˜šé¸?ç??铃鎊㟊䧎⌛朸䕧

ę° ď˜šé¸?ĺƒ˝ä§ŽâŚ›éŠ´âżžä™źćś¸ď˜ˇćş?ćş?䧎âŚ›âž›ăŁ”ă–ˆꨜčˆĄâ™łćş?âľŒ朸 â™§â´—ď˜šă„¤ä§Ž äŽƒâžżä–•ĺŠ?âś?ę&#x;š㨼⢪揽ꨜčˆĄĺ„˜ĺ‘˛ęŹ—â™łćś¸â™§

â´—ď˜šăźŠĺŤ˛â™§â™´ď˜šâĄšĺ‰š朎ć¤?ď˜šăĽśâž›ꨜčˆĄâ°‰ă–ˆď˜šĺŠĽé˘śćś¸ĺŒŒéŠŻĺˆż â™śăş‚ĺƒ’é„„朎éŒ?ď˜ˇä§ŽâŚ›ĺ‰¤čĄ˝ć?‚簧朸éŽ™çšżë„“ë€żď˜šé¸?ä˛‚čŚˆâœŤä§Ž

⌛鄄ꨜčˆĄä¨žď‰š꣥朸âœ˛ăťœď˜šé¸?â›łĺƒ˝é›Š䧎éŒ?ä–¤äşŒ䣯朸♧ë&#x;Šď˜ˇ

䧎⌛â&#x;ƒé?˝ĺ§?äż’â&#x;?ď˜šä˛€ćšśăśśç—˜朸ĺž¸ä’­ä™źç˝Œď˜ˇçą?ĺ‰¤âžƒä&#x;?â´€ĺˆż

㼪朸ĺŒŒéŠŻď˜ˇä§ŽâŚ›朸獤뀿çą?ĺƒ˝ă›‡ĺ€´ä§ŽâŚ›ć¤?剤朸濟é™?ď˜šä§Žä&#x;? çŞ?䧎⌛äŒ&#x;⢾♜㠚濟é™?朸âžƒâŚ›ĺ‰šé†˘é¸¤â´€ĺ€ž朸ꌥăŒˆď˜šé¸?ă˝ ĺƒ˝ é“ƒéŽŠć€ľâť‹朸ĺ€°ä’­ď˜ˇ

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The British pop industry only truly started with the Beatles, then we had a proliferation of recording studios, music managers,

bands and the whole industry evolved from that point. The hub of it was EMI, the primary manufacturing site in the UK, and Abbey Road Studios.

By the year 2000, most people were no longer optimistic about

the future of vinyl, whereas the Vinyl Factory team still believed in it. Through a conversation with the Creative Director Sean Bidder, we will see that the Vinyl Factory team continues to make a solid living promoting this classic format into the digital era.

䫪걧㡦坿꥙〳⟃铞僽薊㕜崩遤坿刼涸Ꟛ畮殹儘ꦑ

贖〳鋅ꏗ갉啟갉坿竤椚➃ㄤ坿꥙Ⱖ⚥剓렳렳㣐

そ涸㽠㿂&.*㈖晚醢鸤䊨䑖ㄤ蒕嫲騟ꏗ갉㹔✫⡎

ⵌ✫ 䎃殹㣐㢵侸➃♶ⱄ溏㥪랱芣㈖晚涸涮㾝

儘鸒麕莅랱芣ⶾ䠑㣆䊨㜥7'⽿➠搭㛚⥌㸐剤

劢⢵鸒麕莅7'ⶾ䠑籏湌聱䛸˙嫲䗞涸㼩鑨➮雊

䧮⦛✫鍑ⵌ鸏⦐剤衽涰䎃娜〷涸竤Ⱙ呔䒭㖈侸㶶

⻋儘➿♴涸䧭⸆踙隶

Bill Viola, The Talking Drum. Brewer Street Car Park (presented by The Vinyl Factory), London.

VINYL FACTORY: HUB OF CREATIVE COLLABORATION INTERVIEW WITH SEAN BIDDER 랱芢ⶽ䠑㣅䊨㜥 㼠鏞聰䛸 • 嫱䗞

ART.ZIP: Would you please introduce yourself? Your background and how you started working at the Vinyl Factory? SB: My initial background was in publishing, I edited music and art

magazines. Now, I am the creative director of the Vinyl Factory and that

means that I am lucky enough to oversee all the creative aspects of what we do. Primarily that involves working directly with the musicians and artists to create both large-scale exhibition events and also to release

records on vinyl and also on digital. It also encompasses everything from a single very speciďŹ c project to a mainstream album release.

Vinyl Factory was started in 2000 with the acquisition of the old EMI

factory, which was once the cornerstone of the British music industry.

When I joined there was a lot of pessimism about the future of vinyl in the at the end of the day there would be two formats left, vinyl and digital, because, as a physical format nothing is better than vinyl. You ll listen

to digital but you buy the vinyl. It is always going to be a mass product

versus something craft led, a collectible item. No matter how small the Sean Bidder. Photographed by Harry Liu.

audience is, it will be an audience that is loyal and faithful, excited and passionate and from that you have an opportunity to build.

Moreover with music, music is by its very nature international, it is a

language of its own. For us, we had this incredible opportunity; we had this heritage, this history, this craft that was unique to the plant and the

machinery. In the 60 s and 70 s a lot of time, money and energy was spent developing that. We also had the incredible heritage of the records that

"35 ;*1îš‰č…‹é¨ˆ䧎⌛ⴕâ?§â™§â™´ä?Ąćś¸âŚ?➃獤ĺ¨œăŒ¨îšŽä?Ąĺƒ˝ä™Śĺžşâ¸ˆ

a pressing factory gives you a lot of exibility in how you work, to have a record

ę†„ĺ„˜âžżćş?뢜ď˜šä§­ć?€揰援✞ä ‘ćś¸ĺ Ľĺœ“Ő‚ă„¤ę°‰ĺ?żăšťâ™§éĽąé†˘

us we wanted to really engage with what a record company was at that

4#䧎éş•⿥朸䊨⥲莅ⴀć™?ĺ‰¤ęĄ ď˜šé žéĄ‘玥éą€č° é Żă„¤ę°‰ĺ?żę˛łćś¸ę§š

gives you a platform to talk about the culture, the music and the vinyl that is

ăœĽç˝œ⿥揰援ď˜ˇę°‰ĺ?żâśžâĄ˛ď˜śăˆ–晚ę?—é†˘ď˜śę°‰ĺ?żçŽĄéą€ď˜śăˆ–晚朎⥑

were made there, from The Beatles to The Sex Pistols and Pink Floyd. For period of time, which was a creative manufacturing unit. To work with

musicians, to enable their music to be made and then sold, not what it

became which was more marketing, distant from the actual music. It was making the music, recording the music, mixing the music, and releasing

the music, that was the primary function. That is what I wanted to engage.

ART.ZIP: You mentioned that in the digital age, the Vinyl Factory has expanded to a number of areas, could you just elaborate on what the main structure of the Vinyl Factory is now and how has the Vinyl Factory changed since it was establishedďź&#x; SB: With the Vinyl Factory Group, the ďŹ rst thing that happened was

the purchase of the pressing plant, which was the core, when I joined

my initial role was to set up a magazine FACT which was initially based

around music and vinyl. It was a physical magazine for some time and

â°…ëžąčŠŁâśžä ‘ăŁ†äŠ¨ăœĽî™ˇ7'î™¸ćś¸ăƒ¤îšŽ

é’&#x;ď˜ˇćšĄâľšď˜šä§Žă–ˆ7'äşŒâ&#x;¤âśžä ‘çą?ćšŒď˜šé žéĄ‘â™§â´—ă„¤âśžä ‘ĺ‰¤ęĄ 朸䊨

⥲ď˜ˇâšşéŠ´ă˝ ĺƒ˝čŽ…ę°‰ĺ?żăšťď˜śč° é Żăšťâ™§éĽąçĄ âŞ”ăŁ?ă˜—ăž?錒갪暥ď˜šćśŽ é ¤ëžąčŠŁăˆ–ć™šď˜šâ›łćśŽé ¤äž¸ç„şĺ‘”ä’­ď˜ˇä§Žĺ‰š⿎莅厼â?‰ćšśâ´˝ćś¸éŽŽé†˘ę°Ş 暥ď˜šâ›łĺ‰šé žéĄ‘âšşĺ´Šé¨&#x;çŽ ćś¸ăź éą€é†˘âĄ˛ď˜ˇ

7'䧭用 倴 äŽƒď˜šćŽšĺ„˜ä˝? éŁ‘âœŤč–Šă•œę°‰ĺ?żćŹ´ĺ™ 剎獤朸깧 &.*ď˜ˇă–ˆ䧎⸈Ⰵ齥剚⯼ď˜šé?Şă˘ľâžƒ鿪㟊ëžąčŠŁćŹ´ĺ™ 朸劢⢾♜䍾ĺ?ż

錚朸䢀ä?žď˜ˇâĄŽĺƒ˝ä§ŽâŚ›é’˘ć?€ă–ˆâŽ›⚨⸌寧âšĽď˜šę°‰ĺ?żĺ‘”䒭剓犅㜸ĺ´ž ♴⢾朸剤â°?ç??Ղ랹芣莅䞸ç„şď˜ˇĺ°?ĺ‰¤ĺŤ˛ëžąčŠŁăˆ–ć™šĺˆżĺ•?朸ăťœë„“

ĺ‘”ä’­âœŤď˜ˇâĄšä§´é?Şĺ‰šč ƒ䞸焺呔䒭朸갉ĺ?żď˜šâĄŽ⥚ĺ‰šéĄ ëžąčŠŁăˆ–ć™šď˜ˇ çą?ĺƒ˝ĺ‰¤ăŁ?鋊垸揰援朸㉂ㅡㄤⰨ剤ä˝?询â­†⧊朸äŠ¨č° 援ㅡ朸䍒

é‚‚ď˜ˇâ™śé”¸ă€Œćťžçşˆĺƒ˝ă˘ľăź­ď˜šçą?ĺƒ˝ĺ‰¤é˝Ąĺžşâ™§çşˆâžƒĺƒ˝ëžąčŠŁăˆ–ć™š朸䘞 ăťœçŁŒ窣ď˜šé¸?ă˝ ĺƒ˝ä§ŽâŚ›朸用駈ë&#x;Šď˜ˇ

then grew to a digital platform. With physical you can only make so many

âą„é“žę°‰ĺ?żď˜šă¸?ĺŠĽé­¨ă˝ ĺƒ˝ă•œ꼚âť‹朸ď˜šäšŠĺ‰¤č?ˆäŠšćś¸é“ƒéŽŠď˜ˇ7'剤䖤

thing, whereas digital is worldwide straight away. The third thing we did

ă€ˇď˜šâ›łäšŠĺ‰¤é†˘âĄ˛ëžąčŠŁăˆ–ć™šé¸?ĺžşć Źćšśćś¸äŠ¨č° ď˜ˇă–ˆâ™łâš†ç§ â°™ď˜śâ™Ź

copies and then you have to get them to people, it becomes its own

was to open a record shop called Phonica and so our model was to have

the various dierent aspects of what we felt was core to vinyl culture and the passion for music beyond the mainstream, within our group. To have

ăŁ”ć ŹâžŠćś¸éĄťĺ˝‚îš‰䧎⌛糒䪭âœŤëžąčŠŁćś¸âŤ„窥ď˜šäŞ­éŻşâœŤëžąčŠŁćś¸ĺ¨œ

⟧äŽƒâžżď˜šâžƒâŚ›äŤ?â°…âœŤăŁ?䪞ꆄę??ď˜śĺ„˜ę&#x;Śă„¤ç¤śâ¸‚⢾朎ăž?é¸?âŚ?援ĺ™ ď˜ˇ

䧎⌛韊棇询掚䎃朸獤ⰊëžąčŠŁăˆ–ć™šď˜šâŤščĄ˝ă ?䍪깧㥌ĺ?żęĽ™ď˜śäš?䊛 ĺœ™ĺ?żęĽ™ď˜śäŽ‚âŻ˜Ë™ä’źĺłŤâ&#x;ťä—žç˜žď˜ˇä§ŽâŚ›溍朸䖎䋞劆腋㠢랹芣朸랔

shop gives you the opportunity to engage with people, to have a magazine coming out.

⥲ď˜śăˆ’颪ăˆ–ć™šď˜šă›šä­°ĺ‰“种礊朸ę°‰ĺ?żâśžâĄ˛ď˜šâ™śĺ‰šć?€âœŤéľ”ă –ä‹‘ é¸?â?‰鿪ĺƒ˝ęťˇéŠ´ćś¸ď˜šé¸?â?‰â›łĺƒ˝ä§Žä&#x;?⿎莅朸ď˜ˇ

We then also had access to these incredible spaces, so that we could bring

"35 ;*1ä?Ąĺ‰¤ä˛żâżťă–ˆ䞸㜜âť‹ĺ„˜âžżâ™´7'â™śă‹˛ă€ŤćśŽé ¤ëžąčŠŁ

doing with the record shop and the pressing plant to the public. We could

朸â°—ă €犥ĺœ“ăŒ¨îšŽä–°ă¸?䧭用â&#x;ƒ⢾ď˜šćśŽćŹ°âœŤă†­â?‰éšśâť‹îšŽ

some of what we were doing with a record label and some of what we were work with some of the artists on the label to do exhibitions and events, and

engage with people in another way. We understood that the audience who

would buy the records was a small part of the overall audience who would be interested in our ideas. The vision for us was a little like the Bauhaus model,

to have the means of making things within your own grasp, so that it allows

you to experiment, that is the main thing. In terms of a music industry model we wanted to have our own label, make our own records, work directly with

musicians and artists and be able to create a structure that allowed us to do all that and sell records directly to people who wanted to buy them. At the same

time, we are always very collaborative with the way that we work, we also work

with other record labels and other galleries. I think that is important. For me the essence of what we do is collaborative, and we really want the creative people to be engaged. The more engaged they are the better the results are, which helps to steer it along.

ăˆ–ć™šď˜šâ›łĺ‰¤ĺś?âżťâ°Śă¸?âśžä ‘ęą†ăš–ď˜ˇă€łâ&#x;ƒé”žä?Ąä˛žéś¤â™´ćŽšâľš7'

4#ꝡ⯓䧎âŚ›éŁ‘éĄ âœŤëžąčŠŁé†˘âĄ˛äŠ¨ä‘–ď˜šé¸?â›łĺƒ˝7'朸ĺ‘?䗹犉

䧭éżˆâ´•ď˜ˇâ°ŚĺŚ„ď˜šä§Žâś?⸈Ⰵ齥剚⯼ć?€7'âśžç”¨âœŤâ™§ĺŠĽęĄ ĺ€´ę°‰

ĺ?żă„¤ëžąčŠŁćś¸ę§šé’&#x;Őˇâœ˛ăťœŐ¸ď˜šé¸?劼꧚é’&#x;歋剓ⴲ朸秜颜⽍âľ˜ ć ¸ć ¸ă–’鹲ć?€ꨜ㜊ć™?ď˜ˇă””ć?€秜颜â´šćš&#x;ćŽ—ç•Œĺ‰¤â˝Ťâľ˜䞸ꆀㄤ隥

ç˝?çşˆ朸⤂ꣳď˜šćšąĺŤ˛â›“â™´ę¨śăśŠć™?劼ĺ°?剤â&#x;¤âĄŚă–’ăš–ꣳâľ–ď˜šă€łâ&#x;ƒ â¨žâľŒďˆŁć¤•ă šĺ§żćśŽé ¤ď˜ˇĺ§˝ă˘Ťď˜šä§ŽâŚ›韊ę&#x;šé?¤âœŤâ™§ăšťăˆ–晚㉂ä?…〭 1IPOJDBď˜ˇä¨žĺ‰¤ä§ŽâŚ›é’˘ć?€ĺƒ˝ëžąčŠŁäż’âť‹朸ĺ‘?ä—ąćŹ´ĺ™ âą„â¸ˆâ™ł 㕰꼙㟊㟭ćťžę°‰ĺ?żćś¸ć”¨äž•ď˜šă˝ 犉䧭âœŤć¤?ă–ˆ朸7'ď˜ˇă””ć?€ĺ‰¤âœŤ

ëžąčŠŁé†˘âĄ˛äŠ¨ä‘–ď˜šä§ŽâŚ›äŠ¨âĄ˛ćś¸ćŠ´ĺ´žä?žĺˆżë„žâœŤîšŠă””ć?€ĺ‰¤âœŤăˆ–晚 ㉂ä?…ď˜šĺˆżă˘ľâžƒ濟麼䧎⌛朸㜸ă–ˆîšŠă””ć?€ĺ‰¤âœŤę§šé’&#x;ď˜šä§ŽâŚ›ă˝ ĺ‰¤ âœŤé”“é”¸äż’âť‹ď˜śę°‰ĺ?żă„¤ëžąčŠŁćś¸äŽ‚ă€ľď˜ˇ

Ragnar Kjartansson, The Visitor Š The Vinyl Factory. Photography by Michael Wilkin,

music industry, people thought it wouldn t work. However, we thought

ART.ZIP: Vinyl Factory was founded because of its obsession with vinyl, what makes you start projects with visual artists? How did you select artists?

䧎⌛韊ĺ‰¤ęŹŒäŒ˘ĺ•?朸ăœĽă–’ä˝…ä­°ď˜šć?€â°—ćťžăž?爚䧎

In terms of funding, it s all done by the Vinyl Factory, we don t have sponsors,

"35 ;*17'朸䧭用彂倴㟊랹芣 ę°‰ĺ?żćś¸ć”¨ä Śď˜šâĄšâŚ›ĺƒ˝

is really important to think of a record like that, it is not just music, it is also the physical,

âŚ›ă„¤č° é Żăšťă –⥲ď˜šć?€ä‘–晌莊鳾ăž?éŒ’ă„¤ĺ´žâš›ď˜ˇ 䧎âŚ›ĺƒˆ术ď˜šé„„䧎⌛朸ć¤šä™‚ď‰šä’¸ćś¸éŒšćťžä–Ž㢾ď˜šâĄŽ

to present the shows as purely as we can. The other thing that is worth

é Żăšťćś¸îšŽ

SB: The starting point for this is that I describe a record as an audio-visual experience, it the artwork and the design. When you stop thinking about pop music and when you

start thinking about sound, you can do anything with a record. Some things are more

popular, some things are more niche, some things are more art, some things are more for collectors and some things are for everyone. Then as we grew and developed we

ĺ‰“çŠ…éŁ‘éĄ ëžąčŠŁćś¸ă€Ťâ˝‘㟹䞸ď˜ˇă””姽ď˜šä§ŽâŚ›朸垸䒭 剤ë&#x;Šé¨ˆ⺍é&#x;?ĺ€›ćšąâĄ‚ď˜šäą?䳣âœŤé†˘âĄ˛ćś¸ĺ€°ĺ˛ â›łă˝ ä ‘ă„‚襽ĺ‰¤âœŤăťœë€żćś¸éĄťĺŠĽď˜šé¸?ĺƒ˝ĺ‰“âšşéŠ´ćś¸ď˜ˇ

then evolved into doing bigger exhibitions and installations. But essentially they are

ă˝ ę°‰ĺ?żćŹ´ĺ™ ĺž¸ä’­ç˝œéŽŠď˜šä§ŽâŚ›ä&#x;?銴䊧鸤č?ˆäŠšćś¸

personal experience. The exhibition is a communal experience, we may all sit on our

ăšťă –⥲ď˜šâśžç”¨č?ˆäŠšćś¸ĺž¸ä’­ď˜šâš›暏乺䪞ăˆ–ć™šęŒźăˆ’

similar experiences. They are all physical and audio-visual. The record is almost the

computers or on our phones at home but when we come together in a physical space it is dierent. For us, we see a connection between all these things.

When we started the record label in 2008 we started with all that in mind, the ďŹ rst

people we started working with were musicians but also had a strong visual identity

like Primal Scream, Massive Attack and Bryan Ferry. We also did exhibitions with some

people like Grace Jones and The xx. There was a strong art element to that, but it wasn t until two years later that we did a record with a ďŹ ne artist who made music - Martin

Creed. Martin had a band and we did a record with some of his music as well. We did a launch around Frieze, where the bands played live and he hand painted on the labels. The Vinyl Factory press

âŚ›ă„¤ä‘–ć™Śď˜śăˆ–ć™šä?…ď˜śăˆ–ć™šäŠ¨ä‘–ă –⥲朸갪暥ď˜ˇä§Ž

Straight away as a visual artist, he saw it as an opportunity to do something interesting, he wasn t thinking about the market, just about the object and the potential. It then

occurred to me that there were a lot of visual artists that we could work with in this way, because they approach it from that perspective. A lot of them make music, work with

music, or make ďŹ lms where music is a part of that. I then began to contact those artists that I thought would be interesting to work with, so that is how we started that with Jeremy Deller and Gavin Turk.

ART.ZIP: Could you tell us more about these exhibitions/visual art projects you did? SB: Once we started along this path, there were more and more interest from the

artists. We had already been doing these exhibitions with musicians that were in a way themselves already art exhibitions, but because they came from musicians, no one

really viewed them as such. As the Group owned industrial spaces suddenly we had the

ä‘–ć™Śď˜šé†˘âĄ˛č?ˆäŠšćś¸ăˆ–ć™šď˜šćšŹäąşčŽ…ę°‰ĺ?żăšťă„¤č° é Ż çŞ?ă‹?姚âš›溍ä—ąä&#x;?éŠ´ćś¸ęłƒăš?ď˜ˇä§ŽâŚ›姚éľ”ă ?겳ă˜— 朸ă –⥲ď˜šă””姽莅Ⰼ➎䑖晌ㄤ掼ä?¤ćś¸ă –⥲⛳䖎 㢾ď˜ˇä§Žé’˘ć?€ă –⥲ĺƒ˝ä–Žę…žéŠ´ćś¸ď˜šé¸?â›łĺƒ˝7'朸ĺ‘? 䗹礜ç‰&#x;ď˜šä§ŽâŚ›ęŹŒäŒ˘ĺŠ?ä–Šâśžä ‘âžƒ㥌朸⿎čŽ…ď˜šĺˆżă˘ľ ç?Žĺ™˛ćś¸âżŽčŽ…č…‹äŒ&#x;⢾ĺˆżăĽŞćś¸çŠĄĺ?“ď˜šâ›łč…‹ä?˛â¸”ĺˆż 㼪ă–’朎ăž?ď˜ˇ

we aren t intrinsically opposed to sponsorship, but we ďŹ nd that we like

mentioning is that we have another space, 180 The Strand, which is on the

north bank of the river Thames, next to Somerset House. The ďŹ rst big show is called The InďŹ nite Mix, it will be a collaboration with the Hayward gallery to create, ten large-scale video pieces by dierent artists we have chosen,

that forefront art and sound and moving image together, and there is also

the physical experience of ďŹ lms. People will spend a couple of hours there.

For us, trying to create that kind of experience, you don t need to do that in a traditional gallery anymore, it s really about the space.

ART.ZIP: The Vinyl Factory works in partnerships with many art organizations, such as the Barbican, the White Cube and the Serpentine Galleries, how did you approach each other? SB: We work with a lot of artists and our focus is always based around creative collaboration, it always involves some element of sound or music and the

㼜⥌ę&#x;š㨼莅鋕éŒ?č° é Żăšťćś¸ă –⥲갪暥îšŽâżśĺƒ˝ăĽśâĄŚäŽ‹éź‡č° 4#䧎é’˘ć?€ăˆ–晚估é‘Şĺƒ˝â™§ç??獸ă –朸é‹•č ƒë„“ë€żď˜šé¸?ç??é’˘é™?

㟊ę&#x;šă‰Źé‹•éŒ?č° é Żę°ŞćšĄćšąćŽšę…žéŠ´ď˜šăˆ–ć™šâ™śâŤŚă€Ťĺ‰¤ę°‰ĺ?żď˜šă¸? ĺƒ˝â™§âŚ?剤䕎朸ăťœë„“ď˜šâşŤă‚?ăź“ęŹ—ď˜śâşŤé…¤é?¤éŽ™ď˜śę°‰ĺ?żď˜ˇă€Ľă˘Ťď˜š 掚⥚♜⹄㽡ꣳĺ€´ĺ´Šé ¤ę°‰ĺ?żď˜šç˝œĺƒ˝ęŹ—㠢䨞剤耍갉朸ĺ„˜⌏ď˜š

➊랃鿪〳â&#x;ƒâ¨ž䧭ăˆ–ć™šď˜ˇă¸?〳â&#x;ƒĺƒ˝ăŁ?ćťžâť‹朸ď˜šăź­ćťž朸ď˜šâ¨‹č° é Żćś¸ď˜šéť ă –ä˝?询朸ď˜šä¨žĺ‰¤âžƒč…‹ĺŚ‡颣朸ç˜žç˜žď˜ˇăĽśâž›ęŚ‘襽7' 㕰꼙朸䧭擿莅㥭ăŁ?ď˜šăž?éŒ’ă„¤é…¤ç¸¨ćś¸é‹Šĺž¸â›łă˝ éŚŠăŁ?âœŤď˜ˇĺŠĽ

颜â™łâ˘ľé“žď˜šăž?éŒ’ă„¤ăˆ–ć™š鿪č…‹äŒ&#x;çŞ?âžƒâŚ›ĺ‰¤ä•Ž朸é‹•č ƒë„“ë€żď˜ˇ ă€Ťâ™śéş•ăˆ–ć™šäŒ&#x;⢾朸ĺƒ˝ĺˆżâ¨‹âŚ?➃朸ë„“ë€żď˜šç˝œăž?éŒ’âľąč…‹äŒ&#x;⢾

♧ç??çˆ˘çşˆä’­ćś¸ë„“ ë€żď˜šä§ŽâŚ›䧴é?Şă€łâ&#x;ƒă–ˆăšťćş?ćş?ꨜčˆĄä§´äŠ›

ĺ Ľď˜šâĄŽé¸?겳ă˜—朸錚ćş?ë„“ë€żă„¤ä§ŽâŚ›čŽ…â´˝âžƒâ°&#x;ă šč´–ĺ€´ăťœë„“ç‘ ę&#x;Śé…­éŒšćş?朸ë„“ë€żĺƒ˝ä¨”ć?­â™śă š朸ď˜ˇă””姽㟊7'⢾é“žď˜šă ?倰ꏗ 朸稣çœ?鿪ĺƒ˝ç­?ăş™č€˘ç˛Żď˜śâ™śă€łâ´•✡朸ď˜ˇ

ä–° 䎃䧭用䑖晌ę&#x;š㨼ď˜šä§ŽâŚ›鿪䪞é¸?â?‰ć¤šä™‚âž°é–€é ¤âš›

âœŤď˜ˇĺ‰“ⴲ朸ă –⥲㟊é&#x;?ĺƒ˝ĺ‰¤čĄ˝ä“˝ć?™é‹•éŒ?暜颜朸갉ĺ?żăšťď˜šâŤš ➲㨼㟺〭ĺ?żęĽ™ď˜śăŁ?莊階余ĺ?żęĽ™韊剤䋒č&#x;›ä›¸Ë™饼挰ď˜ˇä§ŽâŚ›

⛳剎ć?€č˘‡čŹ 窣˙抾ĺ€›ď˜š5IF YYĺ?żęĽ™éłľéş•ăž?éŒ’ď˜šéżŞĺ‰¤ä–Žä“˝ć?™

ćś¸č° é ŻâŻ‹ç¨‡ă–ˆé…­ęŹ—ď˜ˇâĄŽĺƒ˝čŽ…é‹•éŒ?č° é Żăšťćś¸ęťˇĺŚ„ă –⥲朸溍 姝ę&#x;šç•Žĺƒ˝ęź›â™¨Ë™âŻ˜ę…˝ä—žď˜ˇâžŽĺ‰¤č?ˆäŠšćś¸ĺ?żęĽ™ď˜šä§ŽâŚ›â›łć?€âžŽćś¸

ę°‰ĺ?żé†˘ä§­âœŤăˆ–ć™šď˜šă–ˆ'SJF[Fč° â˝ˆĺ‰šĺŠ?ę&#x;ŚćśŽâĄ‘ď˜šĺ?żęĽ™éšŽé ¤âœŤ ć¤?ăœĽé‚?ć€ľď˜šęź›â™¨â›łă–ˆć¤?ăœĽç˛­é†˘âœŤăˆ–ć™šăź“ęŹ—ď˜ˇâĄ˛ć?€é‹•éŒ?č°

é Żăšťď˜šęź›â™¨âš›â™śĺ‰šç˝ŒäŁ‚ä‹‘ăœĽćś¸ă‰?ę˛—ď˜šâžŽă€Ťĺƒ˝éŒ?ä–¤é¸?ĺƒ˝â™§ âŚ?ĺ Ľĺ‰šď˜šé›ŠâžŽâ¨žâ?‰㼪梖朸âœ˛ď˜šâžŽă€Ťĺ‰šç˝ŒäŁ‚⥲ㅡ劼魨⿝Ⰼ

〳腋äš?ď˜ˇé¸?匄㠖⥲ć…¨ćśŽâœŤä§Žď˜šä–Ž㢾é‹•éŒ?č° é Żăšťâ›łé?ŞéżŞă€ł â&#x;ƒé¸?ĺžşă –⥲朸ď˜šă””ć?€âžŽâŚ›䧴é?Şâ›łä–°ęź›â™¨é˝Ąĺžşćś¸éŒŹä?žç˝ŒäŁ‚ 갪暥ă –⥲朸ď˜ˇé?Şă˘ľé‹•éŒ?č° é ŻăšťéżŞĺ‰š✞⥲ę°‰ĺ?żď˜šä§´ç˝?揽ę°‰

ĺ?żâ˘ľâ¨ž⥲ă…ˇď˜šâżśä§´ç˝?é‹•깽⥲ㅡ酭朸갉ĺ?żâ›łĺƒ˝âśžâĄ˛ćś¸â™§éżˆ â&#x;¨ď˜ˇć?­ä–•䧎㽠ę&#x;š㨼⿥耢粯齥â?‰â›łé?Şč…‹â™§éĽąéšŽé ¤ĺ‰¤éŚąă –⥲ ćś¸č° é Żăšťď˜šă””姽â›łă˝ ĺ‰¤âœŤäąşâ™´â˘ľä§ŽâŚ›čŽ…âŞ‚ę…˝ç˘œË™䨼⚗ㄤ â¸ˆäż’Ë™ćšśâŻ˜朸ă –⥲ď˜ˇ

opportunity to use these spaces, which were not developed, still existing in a raw state,

"35 ;*1ä?Ąă€łâ&#x;ƒâą„㢾é”“â™§â™´éş•ä–ƒă –⥲éş•朸ăž?éŒ’ä§´č° é Ż

people are looking for an experience, they are fantastic spaces. It is not such a great

4#č?ˆä–°ä§ŽâŚ›幥襽é¸?垺朸倰㠢朎ăž?â&#x;ƒä–•ď˜šéŚŠ⢾錊㢾朸č°

to showcase the work. Furthermore, I think for large scale audio-visual work, where

space if you are just putting pictures on a wall, a white gallery is better for that. Brewer Street is a great place in the heart of Soho, a car park, a big space in a central location.

We have been using that location for the past 3 years to really build up the program. We started with Richard Mosse and Ben Frost with a piece called The Enclave, which is this

incredible ďŹ lm shot in the Congo, which is shown on nine screens. We had 6,000 people come through the door with no press. You saw this engagement from people who

were really blown away by the production and the experience itself. From that moment we developed a program, with Conrad Shawcross, Ryoji Ikeda and other people. Every show we have done we have created a vinyl release to accompany the show.

갪暥ăŒ¨îšŽ

é ŻăšťăźŠé¸?垺朸㠖⥲援揰莇錹ď˜ˇâ°Śăťœ䧎⌛ć?€ę°‰ĺ?żăšťčŽŠ鳾朸 ăž?éŒ’äŠşçŤ¤ăż‚ĺ€´č° é Żăž?錒朸çœ•ćŻ‘ď˜šă€Ťĺƒ˝âžŽâŚ›鿪⢾č?ˆę°‰ĺ?żčƒ?

ĺ…žď˜šä¨žâ&#x;ƒĺ°?âžƒĺ‰šćş?ä–Šä§­č° é Żăž?éŒ’ď˜ˇă””ć?€䧎âŚ›ę§Œă•°éźŠäšŠĺ‰¤ ♧â?‰äŠ¨ĺ™ ăœĽă–’ď˜šä¨žâ&#x;ƒâ›łă˝ ĺ‰¤âœŤĺ Ľĺ‰š⿥⢪揽é¸?â?‰âĽƒćŽ†➲㨼

ćœœä˘€朸ď˜śĺ°?剤鄄ę&#x;š朎朸ç‘ ę&#x;Śď˜šâ˘ľéšŽé ¤ă ?겳ă˜—朸ăž?éŒ’ĺ´žâš›ď˜ˇ ç˝œâš‚㟊倴ăŁ?ă˜—é‹•č ƒ⥲ă…ˇâ˘ľé“žď˜šă–ˆé¸?ĺžşćś¸ç‘ ę&#x;Śăž?çˆšĺ‰“éť ă –

â™śéş•âœŤď˜šéŒšćťžč‚Ľăš č…‹ć ˝ä–¤â™§ç??ć?‚莅â§?卲朸ë„“ë€żď˜ˇä§ŽâŚ›朸

ç‘ ę&#x;Śâ™śĺƒ˝ĺ‰“㼪朸乌掼ăž?çˆšç‘ ę&#x;Śď˜šâ´˝ćś¸ćśŻč’€掼ä?¤ç‘ ę&#x;Śĺ‰šĺˆż ă –éť ď˜ˇâŤščą¤čš›⟌ä‹’ë‰“ć™‹é łé˝Ąéźšćś¸â¨˘éŽŚăœĽç‘ ę&#x;Śă˝ ĺƒ˝ä‹‘âšĽä—ą

â°‰ęŹŒäŒ˘ĺ•?朸ăŁ?ă˜—ç‘ ę&#x;Śď˜ˇä§ŽâŚ›éş•⿥â™˛äŽƒ鿪ă–ˆéşŒ揽齥âŚ?ç‘ ę&#x;Ś

artists that we work with are always super motivated by this, collaboration is

⿥䪞č?ˆäŠšćś¸ę°ŞćšĄâ¨ž鼹⢾ď˜ˇç—§â™§âŚ?갪暥ĺƒ˝ä Ść™‹貽䟢ä•§äŒŒć¤š

In terms of vinyl, it feels that the market continues to grow. It feels like lots of younger

âœŤé?Şă˘ľĺ Ľĺ‰šď˜šęťˇéŠ´ćś¸â¤‘ĺƒ˝ďˆŁâš†ć­˛âžƒĺ­—鿪ĺ‰¤ĺ Ľ

present work for commercial sale and they develop the artists over a period of

䕧晚䟢倴âś?ĺ?“ď˜šă–ˆâ›°âŚ?ăž“ä?Œâ™łă šĺ„˜ä˝žĺƒŚď˜ˇă–ˆĺ°?剤㯯넓㚒

There are more records being released each year, more pressing plants being set up

â&#x;ąĺ™ ꨞéŠ´é¸’éş•ä‹‘ăœĽć–ŠęŒźă„¤ä‘žăƒ‡é›ŠďˆŁâš†歲朸➃

what excites them. Galleries traditionally, that is not really what they do, they

time. We are in a position that we are quite good collaborators, we do one thing and galleries do another, so we don t compete with each other on a like for like

basis. The other thing is that the public love this kind of artist installation events, performances. The galleries love that excitement, and they want to bring those

people into the galleries. These two things mean we have a lot of conversations

ĺ?†ä—žË™čœ“倛ㄤ갉ĺ?żăšťĺŠĽË™ä’źçš?ĺ€›ćšśćś¸âĄ˛ă…ˇŐˇăˇ‘ăš–Ő¸ď˜ˇé¸?éżˆ ⍄朸äž•幣â™´ď˜šéŒšăž?➃䞸ë„ž麨 âžƒď˜šâĄšč…‹ćş?âľŒéŒšćťžé„„⥲

ă…ˇâżťéŒšä•§ë„“ë€żä¨žęŠ?äš&#x;âľŒď˜ˇä–°é˝Ąĺ„˜鼹䧎⌛㽠ę&#x;š㨼朎ăž?č?ˆäŠš

朸갪暥ď˜ščŽ…ä? äŹ˜ä—žË™č ąâŻ˜çš?ĺ€›ď˜šĺŻ’ć­Šâ?Žă €ç˜žč° é Żăšťă –⥲ď˜ˇ ă€Ľă˘Ťď˜šä§ŽâŚ›鿪ĺ‰šă šĺ§żćśŽé ¤ĺ€ž朸ëžąčŠŁăˆ–ć™šę‚‚ă –卌âŚ?ăž?éŒ’ď˜ˇ

with the galleries, and it tends to be focused around an artist. With the White

ăž?錒朸獤饼ďˆŁéżˆć­‹7'䲿âŁ˜ď˜šä§ŽâŚ›ĺ°?ĺ‰¤éŁŹâ¸”ă‰‚ď˜šâĄŽ䧎⌛⚛

Because he wanted performers and musicians to come into the space, to record

ăž?éŒ’ď˜ˇă€Ľă˘Ťâ§Šä–¤â™§ä˛żćś¸ĺƒ˝ď˜šä§ŽâŚ›韊剤♧âŚ?ç‘ ę&#x;Śď˜šĺąŽä ˜é ł

Cube, it was Christian Marclay, he came to us and ask if we could work with him. them and press records in the gallery. Between us, we came up with a mobile

vinyl factory, which we then installed. We had hundreds of people trying to get

into the gallery to see stu, loads of young people. With the Barbican they came to us and it was a similar thing. With the Serpentine, they have dierent artists each year putting on shows and some of those artists are interested in sound

ART.ZIP: Vinyl has such a long history over 100 years, its popularity and signiďŹ cance have changed a lot too. What are the strategies of Vinyl Factory in the digital age? SB: For us, the future was always a combination of the incredible analogue

format, and the craft that went into that, the skill, the passion, the precision

engineering, the experience, married with the fact that you have this incredible audio-visual object that was more than just a digital ďŹ le. However it wouldn t

exist as a business without digital, what the Internet and what digital provides

you with are many things but primarily with the opportunity to engage with a

worldwide audience. Prior to digital you would have had to somehow let people around the world know you exist, through marketing and advertising.

Now we have the Vinyl Factory website as well, in the same way that we started

with FACT, the idea is to have this global portal with more people, more interest in vinyl and audio-visual art and how you engage with that. Our team recently produced a ďŹ lm at the pressing plant, a ďŹ lm that shows how a vinyl record is on Snapchat or on Facebook. Digital is getting faster and faster, you have to

adapt to the digital without changing the vinyl. This ďŹ lm got 1million likes, and the view on YouTube are going up and up. It is the two working together.

ART.ZIP: What do you think about the future of the Vinyl Factory? Has the Vinyl Factory got any plans for branching out further?

ăž?éŒ’Őˇć?‚ꣳ犉㠖ոăź&#x;莅徳将䗞掼ä?¤ă –⥲ď˜šä§ŽâŚ›äŽ‹éź‡âœŤâ™ś

ă šćś¸č° é Żăšťď˜šâ°&#x;ă š䊧鸤âœŤâź§âŚ?ăŁ?ă˜—朸ä•§âŤšé…¤ç¸¨ď˜šäŞžâŻ“ę?ľ č° é ŻčŽ…č€Ťę°‰ď˜śç?ľâš›ä•§âŤšçŠĄă –ă–ˆâ™§éĽąď˜šă šĺ„˜韊⺍ä­?ꨜ䕧朸

ăťœë„“ë„“ë€żď˜ˇâžƒâŚ›鼹ç„şĺ‰šă–ˆ齥酭䖊♳䎙âŚ?ăź­ĺ„˜ď˜ˇăźŠĺ€´é¸?ĺžş 朸徜â°…ä’­ë„“ë€żď˜šâĄšâ™śę¨žéŠ´ă–ˆâŤ„窥朸掼ä?¤ç‘ ę&#x;ŚéšŽé ¤ď˜šâżžç˝œ ĺƒ˝é¸?ç??ćšśĺŠŒ朸ç‘ ę&#x;ŚĺŠĽé­¨ă˝ 鼹âœŤĺŻšăš äš?朸⥲揽ď˜ˇ

"35 ;*17'ㄤé?Şă˘ľč° é Żĺ Ľĺœ“ă –⥲éş•ď˜šâŤšäŠźĺŤ˛č‚Ľč° é ŻâšĽ

ä—ąď˜śćśŻç”¨ĺ€°ćŽĽä?¤ď˜śčˇ‘ä•Ž掼ä?¤ď˜šâĄšâŚ›ĺƒ˝ăĽśâĄŚä’Šç”¨ă –âĄ˛ęĄ â¤š 朸

4#䧎âŚ›čŽ…ä–Žă˘ľč° é Żăšťă –⥲ď˜šâĄŽę…žä—ąéżŞĺƒ˝ă›‡ĺ€´âśžä ‘ă –⥲

朸ď˜šă –⥲갪暥鿪剚ĺś?⿝耍갉䧴ç˝?ę°‰ĺ?żď˜šă””姽䧎⌛㠖⥲朸

č° é ŻăšťéżŞä—łę°­ĺƒ˝ă””ć?€é„„耍갉䧴ę°‰ĺ?żä¨žćš˝ä’¸äŠžéšŽé ¤ă –⥲ď˜š 」剤é¸?ĺžşäŠžč…‹é›ŠâžŽâŚ›ĺ‰¤ć…¨äž•ď˜ˇâŤ„窥掼ä?¤ćś¸äŠ¨âĄ˛ę…žä—ąă„¤ä§Ž âŚ›ĺ‰¤ä¨žâźŚâ´˝ď˜šâžŽâŚ›čŽŠéłľăž?éŒ’ĺƒ˝ć?€âœŤă‰‚ĺ™ ęŒźăˆ’ď˜šâš›âš‚ꨞ銴

think that will continue to be exciting.

äš?朸ę&#x;Œ䨊ď‰šä’¸ĺˆżă˘ľâžƒ⿎čŽ…âľŒëžąčŠŁăˆ–ć™šă„¤é‹•č ƒ

point in the 1970 s where there were 27 or 28 vinyl pressing plants in the world, and

they all went apart from the one in the UK. Now ironically people are scrambling to get hold of them, you could never have imagined that at the time.

Őˇâœ˛ăťœո꧚é’&#x;â™§ĺžşď˜šć?€朸㽠ĺƒ˝ę&#x;šä˝žâ™§âŚ?ďˆŁć¤•

č° é Żćś¸ęą†ăš–ď˜ˇä§ŽâŚ›朸ă•°ęĽ™ĺ‰“éľœă–ˆëžąčŠŁé†˘é¸¤ä‘– äŹ?䟢âœŤâ™§ĺŞŻä•§ć™šď˜šé¸?媯⍌剤 çŒ˛ćś¸ç€Šć™šăž?çˆšâœŤ

ëžąčŠŁćś¸é†˘âĄ˛éş•çŽ‘ď˜šć?€朸㽠ĺƒ˝ę‚‚ă –ć¤?âžżâžƒă–ˆäŠ›

ĺ Ľď˜ś4OBQDIBU䧴ă–ˆ'BDFCPPLâ™łćś¸éŒšä•§çť˘ä˘Ťď˜ˇ 䞸焺雊⚆歲障䖤錊⢾éŚŠä˜°ď˜šâĄšä–¤âĽƒé˜Žă–ˆâ™śä˝–

éšśëžąčŠŁćś¸âľšä˛żâ™´éť 估é¸?âŚ?ĺ„˜âžżď˜ˇé¸?âŚ?é‹•깽暥

⾚䊺獤剤♧朰č ?朸ë&#x;Šé›™ď˜šă–ˆ:PV5VCFâ™łćś¸éŒš

ćş?匄䞸韊ă–ˆâ™śĺ€Źă&#x;žâ¸ˆď˜ˇä¨žâ&#x;ƒ䧎⌛朸ç˜źćŽœă˝ ĺƒ˝ â°?ç˝?朸犥ă –ď˜ˇ

"35 ;*17'ĺŠ˘â˘ľĺ‰¤âžŠëžƒäť?ä“šéŽ™âˇ”ăŒ¨îšŽ

4#䧎⌛剚糒糾⢪揽ĺąŽä ˜é ł 贍朸ăœĽă–’ď˜š

ć?€éŒšćťž✞鸤徜â°…ä’­ćś¸ë„“ë€żď˜ˇéźŠĺ‰¤ä–Žă˘ľĺ Ľĺ‰š⢾ ăťœć¤?䞸ç„şčŽ…ăťœë„“犥ă –朸〳腋äš?ď˜ˇé?Şă˘ľăž?錒ć?€

朸㽠ĺƒ˝âśžé¸¤â™§â?‰éŚ„錊䞸ç„şćś¸ë„“ë€żď˜šć?‚é”¸ĺƒ˝

ăž“ď˜ś ăž“ä˝žĺƒŚď˜šč€Ťä˝Şé?¤éŽ™ď˜š %ꨜä•§ď˜šă¸?⌛✞鸤 朸ä—łę°­ĺƒ˝â™§âŚ?ć Źćšśćś¸ë„“ë€żď˜ˇä§Žä&#x;?䧎⌛韊č…‹âśž 鸤â´€ĺˆżă˘ľă€łč…‹ď˜šä¨žâ&#x;ƒ䧎㟊劢⢾âŻ?ć€?ĺŠ?ä–Šď˜ˇ

鿪韊ĺ°?剤ä˝?询朸睢䢍ăƒ¤ď˜šé¸?䯆â&#x;‚âžƒë ‡é?„朸ď˜ˇăĽś

âœŤé¸?ë&#x;Šď˜šă””ć?€âžŽâŚ›ä‹žĺŠ†ď‰šä’¸ĺˆżă˘ľćś¸âžƒ⢾ď˜ˇé¸?â°?âŚ?ă””ç¨‡ä ‘

ă„‚襽䧎⌛ꨞ銴ㄤ掼ä?¤éšŽé ¤é?Şă˘ľĺ˝˜é¸’ď˜šé¸’äŒ˘ĺƒ˝ă• ç˛•â™§âŚ?ćšś

ăš ćś¸č° é Żăšťćś¸ď˜ˇâ˘żăĽśă„¤ćśŻç”¨ĺ€°ćŽĽä?¤ă –âĄ˛ćś¸č° é Żăšťĺƒ˝âŻ˜ę…˝ 倛裌ă¸žË™ęź›âŻ˜ꨎď˜šĺƒ˝âžŽâŚ›䲿ⴀ㠖⥲ä ‘㠢朸ď˜ˇâŻ˜ę…˝ĺ€›裌㸞ä&#x;?

銴éź?锞怾㆞ㄤ갉ĺ?żăšťă–ˆç‘ ę&#x;Śé…­é‚?怾⚛ć¤?ăœĽę?—é†˘ä§­ëžąčŠŁăˆ–

ć™šď˜ˇĺ€´ĺƒ˝ä§ŽâŚ›éŽŁé”¸ä–•寚㚠ă–ˆć¤?ăœĽă¸žé…¤â™§ă€ľç?ľâš›ä’­ëžąčŠŁé†˘ é¸¤ĺ Ľď˜ˇăž?錒ĺŠ?ę&#x;Śĺ‰¤äŽ™ćś°âžƒä˘?ă ?ç˝œ⢾ď˜šă˘ľäž¸éżŞĺƒ˝äŽƒé°‹âžƒď˜ˇă„¤

äŠźĺŤ˛č‚Ľč° é ŻâšĽä—ąâ›łĺ‰¤éş•겳⥂朸ă –⥲ď˜ˇčˇ‘ä•Ž掼ä?¤ĺŤŚäŽƒčŽŠéłľ ăž?éŒ’ćś¸č° é Żăšťé…­éżŞĺ‰¤ĺś?⿝耍갉ㄤ갉ĺ?żćś¸âĄ˛ă…ˇď˜šă””姽䧎⌛ ⛳剚㠖⥲ă šĺ§żćśŽé ¤ëžąčŠŁăˆ–ć™šď˜ˇ

➊랃

experience. I think there will be more opportunity in the way we use digital so I

that connects with the global community that is exciting for us. Bizarrely there was a

will just be one business within many business but if we can have a portal, a website

â¤šď˜ˇĺąŁâš‚ď˜šé…¤ç¸¨č° é Żă„¤é‚?ć€ľä–Žă€ŒăŁ?ćťžă‹?ä Śď˜ˇćŽĽä?¤â›łĺƒ˝ćş?ę…ž

⢕朸ă –⥲㟊é&#x;?ď˜šä§ŽâŚ›â´•äŠ¨ä–Žĺƒˆç„ˇď˜šé¸?é…­ęŹ—â™śăś¸ă–ˆç•šć˜°ęĄ

to see how digital and physical can work together. A lot of the shows, they are it s 5 screens, 10 screens, the sound setup or a 3D ďŹ lm, it has to be a distinct

ć¤?ă–ˆ 7 ' 剤č?ˆäŠšćś¸ 珪 ç•€ď˜šă˝ 㼜䧎 ⌛ ę&#x;š 㨼✞鳾

č?›ĺ€´ëžąčŠŁăˆ–ć™šď˜šä‹‘ăœĽâž ć?­ă–ˆ䭰糾⟎役ď˜ˇć¤?ă–ˆ

"35 ;*1îš‰ëžąčŠŁăˆ–ć™š朸ĺ¨œă€ˇäŠşéšŹćś°äŽƒď˜šă¸?ćś¸ĺ´Šé ¤ä?žă„¤ę…ž

creating something that you can t necessarily experience digitally, whether

electronic music. The Vinyl Factory will become for voice for vinyl culture globally, we

ă–ˆä–Žę&#x;€â™§ĺŞŻĺ„˜ę&#x;Śé…­ă›†ꡢč?ˆäŠšćś¸č° é Żăšťď˜ˇä¨žâ&#x;ƒ7'ĺƒ˝âžŽâŚ›ĺ™˛

SB: Well, the future for us is to continue to use 180 The Strand, use that

opportunity to create an immersive experience. There are dierent opportunities

Factory website is truly important for us, a voice in a way, like FACT, it has become for

濟麼⥚朸㜸ă–ˆď˜ˇ

銴äš?â›łéą˛éšśâœŤä–Ž㢾ď˜ˇă–ˆ䞸㜜âť‹ĺ„˜âžżé…­ď˜š7'朸估㟊ç˜źćŽœĺƒ˝ 4#㟊䧎⌛⢾é“žď˜šĺŠ˘â˘ľč‚Ľăš â™śâŤŚâŤŚĺƒ˝â™§âŚ?䞸ç„şäż’â&#x;?ď˜šă¸?

估é‘Şĺƒ˝â™§ç??犥ă –âœŤâŻ“éšŽ朸ĺž¸äşźĺ‘”ä’­ď˜śäŞŽé Żď˜ść”¨äž•â&#x;ƒ⿝礜 ĺť´äŠ¨č° âš›äŒ&#x;⢾ë„“ë€żćś¸çŤ¸ă –ă˜—é‹•č ƒ援ćš&#x;ď˜ˇâĄŽĺƒ˝ăĽśĺ?“ĺ°?剤䞸

ç„şćś¸ä˝…ä­°ď˜šâ&#x;ąĺ™ â›łä–Žę¨ˆç”¨é§ˆď˜šäž¸ç„şă„¤âœ˝č€˘çŹŞçŞ?䧎⌛äŒ&#x;⢾

剤é?Şă˘ľäŽƒé°‹âžƒâ›łę&#x;š㨼éŁ‘éĄ ëžąčŠŁâœŤď˜šâžŽâŚ›揊č?›

âž›ď˜šëžąčŠŁăˆ–ć™šćś¸ćśŽé ¤ę†€ă–ˆ顡äŽƒéťƒă&#x;žď˜šëžąčŠŁäŠ¨ä‘– â›łĺƒ˝ď˜šëžąčŠŁäż’âť‹â›łă–ˆč§?⸽朎ăž?ď˜šä§ŽâŚ›ä‹žĺŠ†č…‹䧭

ć?€âšĽă›šâ¸‚ę†€ď˜ˇ7'朸珪ç•€㟊䧎âŚ›ä ‘çş?ę…žăŁ?ď˜šă¸? ĺƒ˝â™§âŚ?朎耍朸庉麼ď˜šă˝ ⍚꧚é’&#x;Őˇâœ˛ăťœŐ¸ď˜šă¸?㼜

➛䊺獤䧭ć?€âœŤâ™§ĺŠĽăź ⨞ꨜ㜊ę°‰ĺ?żćś¸â´šćš&#x;ď˜ˇ7'

ăź&#x;çł’çłľć?€ďˆŁć¤•ëžąčŠŁäż’âť‹朎č€Ťď˜šä§ŽâŚ›ă€Ťĺƒ˝ćťž㢾 援 ĺ™ âšĽćś¸ ♧ ćŠ‡ď˜šâĄŽ 㼜ĺ?“ 䧎 ⌛ ä’Š 用朸 é¸?âŚ? ę&#x;Œ

䨊ď˜śé¸?âŚ?珪ç•€ď˜šč…‹é›ŠďˆŁć¤•çˆ˘âźŚč€˘ç˛ŻéĽąâ˘ľĺƒ˝ęŹŒ äŒ˘äŽ¸ăĽ…âžƒä—ąćś¸âœ˛ď˜ˇăŁźäš“朸ĺƒ˝ď˜šă–ˆâ™łâš†ç§ äŽƒ

âžżď˜šďˆŁć¤•ĺ‰¤ ď˜ś âŚ?ëžąčŠŁäŠ¨ä‘–ď˜šâĄŽä–•⢾⍌✌â™´ â™§ăšťč–Šă•œ朸&.*ď˜ˇâĄŽ⥚ćžŒć¤?ă–ˆď˜šâžƒâŚ›鿪ă–ˆć˜°âŻ“

ä›Œä–•ă–’ä&#x;?éŠ´ę…žä’ŠëžąčŠŁäŠ¨ä‘–ď˜šé¸?ă–ˆ掚äŽƒĺƒ˝ę¨ˆâ&#x;ƒ ä&#x;?⍚朸ď˜ˇ

Carsten Nicolai: unicolor. Brewer Street Car Park (presented by The Vinyl Factory), London.

made in 60 seconds, because a lot of people are watching ďŹ lms on their phones,

č´Ťď˜šâĄ™ĺ€´ĺ˛˛ĺ…Š㥌幎âť?ä ˜ď˜šĺŤšę ˆčŽ?ëžżă?ąćšśä?Žď˜ˇęťˇĺŚ„ăŁ?ă˜—

and the culture is continuing to grow, and we want to be at the heart of that. The Vinyl

剚乺é?¸ă„¤âżŽčŽ…ď˜ˇă–ˆĺ°?ĺ‰¤äž¸ç„şă„¤âœ˝č€˘çŹŞâ›“âľšď˜š

Carsten Nicolai: unicolor. Brewer Street Car Park (presented by The Vinyl Factory), London.

and music and we make it happen as a joint release.

♜乖倊飏â¸”ă‰‚ď˜šă€Ťĺƒ˝ä§ŽâŚ›ä‹žĺŠ†č…‹㣠ćšˆă€łč…‹ă–’â¨žĺ‰“种礊朸

people are buying records and they don t have collections. It s even surprising to us.

REALITY THROUGH LIGHT: IN CONVERSATION WITH HELEN MARRIAGE 鷳麔教⯕涸植㻜⚆歲 㼩鑨嵳⧍ • 띊ꅽ㣼

In a hope to revitalise the cities in the midst of the darkness of winter,

Artichoke Trust made an epic return to Durham with its four-day light

festival Lumiere in November 2015, followed by another turn in central London two months after. Dotted around 30 different locations yet highly accessible by walk between the spots, the site-specific light

projects in London attracted an estimated one million visitors. There were fluorescent giant whales swimming above Piccadilly, phone boxes in

Mayfair transforming into goldfish bowls and light graffiti paint spraying around at King s Cross. These eccentric light installations were the

elements that transformed the city landscape into a real-life dream space. Building the live experience is central to what Helen Marriage, the

Founder and the CEO of the Artichoke, thinks about when she plans the

project. Lumiere suggests an alternative way for people to sense the city, through a different interpersonal relationship as opposed to the virtual

kind that is highly common in the contemporary digital age. The festival attracted thousands of people who left their routine journeys, plotting out adventures into the once familiar, now strange, city. This is what

Marriage had to say about the challenges that she faced in her curatorial

process and the extraordinary change that the festival brought to the city and to its residents.

捀✫䗂豤㖈Ⱶ傈涸랱㺑⚥導漗涸鿪䋑峕謾㛇ꆄ剚倴 䎃

剢㖈勭⧍莊鳵✫捀劍㔋㣔涸湖碜㙪敚⯕眏Ⰽ⦐剢䖕

⿶䪾㸐䌟ⵌ✫⧍侚䋑⚥䗱⧍侚敚⯕眏䒸✫㼟鵜♧涰蠝錚

滞⵹䖃錚颣鸏❉莅㙹䋑瑠꟦⿻䒊眡顦ざ筝㺙涸敚⯕酤縨

僤僤럊럊侕䋒㖈 ⦐♶ず涸㖒倰⡎럊莅럊꟦姿遤⤑〳ⵌ

麨擤擤涮❮涸댄黜麉㖈淼⽓鶔ⵄ遳♳倰哆顥晋遳

걧涸ꨶ鑨❫隶⡲✫ꆄ눴綿⟃敚⯕捀蒀涸㝤뒪겝俲䳸扵

㖈㕜桬⼧㶶涸⚥㣜㙹䋑⾲劥涸괐頗㔔鸏❉ⴽⰨ♧呔涸敚

⯕酤縨罜⻋⡲植㻜欰崞⚥涸㣆䎑⚆歲

峕謾㛇ꆄ剚ⶾ㨥➃껷䌏㛂遤㸽嵳⧍˙띋ꅽ㣼钢捀㥶⡦ⶾ

鸤植㜥넓뀿僽敚⯕眏䨾銴罌䣂涸呍䗱㉏겗敚⯕眏㼟➃⦛

䒸ⵌ✫遳♳雊➮⦛㖈㻜㻜㖈㖈涸Ⱏ贖⚥넓뀿鸏⦐㙹䋑

鸏珏溫㻜涸湱贖倰䒭姻㥪莅㖈侸焺儘➿涸殹♴➃⦛⛓꟦绢

䢫귢䧭涸贡亼ꡠ⤚湱䜿敚⯕眏钸⢪✫䧭涰♳⼪涸纈滞佞唳

➮⦛䢫䌢涸遤饥騟箁㖈剎竤擿䜫罜㥶➛꣫欰涸㙹䋑꟦㾝Ꟛ

䱳ꦖ䧮⦛⢵溏溏띋ꅽ㣼㖈㥠涸瘼ⷔ麕玑⚥鿪麂ⵌ✫ㆭ❉䮋

䨞敚⯕眏剓穅⿶捀㙹䋑莅㾀字涸傈䌢欰崞넓뀿䌟⢵✫䙦垺

涸㣐隶⻋

Circus of Light, Ocubo.com, Portugal 2013

*/5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒  401)*& (60 鿓疭螨 *."(&4 $0635&4: 0' 㕭晙䲿⣘  "35*$)0,& 53645 峕謽㛇ꆄ剚

the streets, you have to be careful not to create a bottleneck or a jam. If you put

something very small at the little corner, so many people try to get to see it and this will cause problem.

architecture and the experience.

âžƒçşˆç›˜ć¤ščŽ…â´•ĺ´Šď˜šé¸?ĺƒ˝č…‹é›Šć•šâŻ•çœ?ę°Ťâľ„éşŒé ¤ćś¸ä—łéŠ´

Serving the purposes of the sponsor or the stakeholder who has asked us

Aquarium, Benedetto Bufalino & Benoit Deseille, Lumiere Durham 2013. Produced by Artichoke. Photo by Matthew Andrews.

Quality of the artwork and how it reveals a new side to the urban

2.

Crowd management and the logistics of making the event work. to work with that particular buildings.

us to do a study of whether Lumiere in London could work in the same way as

㚔雊䧎⌛ⴀ♧âŚ?ăœĄăƒ‡é“žĺƒˆď˜šăĽśĺ?“ă–ˆâ§?䞚⨞敚⯕çœ?ď˜šĺƒ˝ă‚„

HM: Sort of but not quite like that. The Mayor of London oďŹƒce commissioned it was in North England, where we go every two years in Durham. We wrote a study for them, and also for several business districts that have the interest in animating West-end districts in the dead month of January when it is quiet,

end of Christmas, and everybody is feeling sad. They sponsored a lot of money and everybody was very excited about that possibility. However, it turned out

that they gave us 20% of the budget and then we raised the rest of the money from the business districts or from landowners from the central area. For

these organisations, having a big animated event is very important in terms of attracting people into the city and presenting London as a vibrant world.

).îš‰ă–ˆĺŽĽç??玑ä?žâ™łçšżĺƒ˝ă‚…ď˜šâĄŽâ™śă¸¤ďˆŁĺƒ˝ď˜ˇâ§?äžšä‹‘ę&#x;€éłľâ°— 腋莅䧎âŚ›ă–ˆč–Šĺ‘”貽âť?éżˆă™šä‹‘ĺ‹­â§?莊鳾朸â°?䎃♧ä?ž朸敚⯕ çœ?⨞ⴀ♧垺朸佪ĺ?“ď˜ˇä§ŽâŚ›ć?€âžŽâŚ›㝨âœŤç˝ŒăťŒăœĄăƒ‡ď˜šă šĺ„˜â›ł

č€˘ç˛ŻâœŤäŽ™âŚ?ă‰‚ĺ™ ⟌ď˜šâžŽâŚ›ä‹žĺŠ†䧎âŚ›č…‹ă–ˆçżąé’˛çœ?犥ĺ‹˛ä–•ď˜śâžƒ âŚ›ăş‚ĺƒ’ä ŽâľŒăťščĄ†ä ŽâŤŠ朸â™§ĺ‰˘âżĄé›ŠéŠŻéźšă‰‚ĺ™ ⟌ꅞ倞ć’?朎揰

ĺ Ľď˜ˇä˝&#x;ä?ŽçŞ?âœŤä§ŽâŚ›â™śăźąéŁŹâ¸”ď˜šâĄŽă€Ťéş¨âľŒę°¸çšżćś¸ćś°â´•â›“âœł ⟧ď˜ˇä§ŽâŚ›ä–°ă‰‚ĺ™ âźŚé žéĄ‘âžƒčŽ…âšĽä—ąă–’⟌朸ă•źă–’ä­°ĺ‰¤âžƒ齥⯼ çĄ ä–¤âœŤâĄŽâ™´ćś¸ĺŚľę°Şď˜šă””ć?€㟊倴➎⌛⢾铞莊鳾é¸?垺♧âŚ?âŻ? ć€?崞⸂朸渿剚腋㣠ď‰šä’¸âžƒâŚ›⢾â§?äžšď˜šĺˆżč…‹ăž?ć¤?â§?äžš朸揰 ĺ ĽčŽ…çą—ĺ›™ď˜ˇ

ART.ZIP: In order for the light to adapt perfectly to the architecture and urban space, what did you need to take into consideration when you curated it? Is there any subtle digital programming set in beforehand?

"35 ;*1îš‰éŠ´é›Šć•šâŻ•é…¤ç¸¨é¨ˆă™šä‹‘ä’ŠçœĄčŽ…ç‘ ę&#x;Śç­?ăş™饌ă –ď˜š

the place that the artists felt suit their work best, but it also has to work in terms

â¸”ă‰‚é¨ˆä˝&#x;ä?Ž朸ä ‘겊ď˜śç˝ŒäŁ‚âžŽâŚ›ä‹žĺŠ†䧎⌛⿥慨崞ㆭ䎙

HM: Depends on the piece. When I curated the programme, I tried to choose

of particular buildings that we animate for the sponsor, for the government, or even to help with the crowd management. When you have so many people in

ä?Ąç˜źâˇ”朸ĺ„˜⌏ꨞéŠ´ç˝ŒäŁ‚âľŒâžŠëž†îšŽĺƒ˝ă‚„ꨞ銴⨞鑏稣朸玥玑 é?¤éŽ™ăƒ¤îšŽ

).é¸?銴ćş?Ⱘ넓⥲ă…ˇç˝œé”¸ď˜ˇä§Žç˜źâˇ”䞎âŚ?갪暥朸ĺ„˜⌏剚ä?˛ č° é ŻăšťäŞŞĺ‰“éť ă –âžŽâŚ›⥲ă…ˇăƒ„ć¤?朸ă–’ĺ€°ď˜šâĄŽâ›łéŠ´ç˝ŒäŁ‚âľŒ飏

ä?˘ăŁ?ĺžœď˜šćŹŠč?›䧎⌛韊éŠ´ç˝ŒäŁ‚âľŒâžƒçşˆ朸ç›˜ć¤ščŽ…â´•ĺ´Šď˜ˇć•šâŻ• çœ?ĺŠ?ę&#x;Śĺ‰šĺ‰¤ăŁ?ę†€âžƒçşˆĺź‰â™łé łęą§ď˜šâĄšä—łę°­éŠ´ç˝ŒäŁ‚âľŒ㼜⥌éźš

겊ď˜ˇ

卲é¸?â?‰ĺˆżę…žéŠ´ćś¸ĺƒ˝éŒšćťžë„“ë€żď˜šâĄŽć?‚é”¸ĺƒ˝ä˝&#x;ä?Ž韊ĺƒ˝éŁŹâ¸”âžƒ

of our job is to try and predict what the emotional reaction of the audience will

ăŒ¨îšŽ

麨䧭飏â¸”âžƒä‹žĺŠ†䧎âŚ›ă˝ ćšśăš ä’ŠçœĄâľ–⥲ć•šâŻ•é…¤ç¸¨ćś¸ä ‘

make it serve all these dierent purposes. What is most important, is the

audience member in front of these works. One of the most important aspects

éšśď˜šé˝Ąëž†é¸?âŚ?â°—â°&#x;č° é Żę°ŞćšĄĺƒ˝ä–°čŽ…ä˝&#x;ä?Ž朸ă –⥲ę&#x;š㨼朸

ĺ“­â&#x;?ď˜ˇ

䨞â&#x;ƒ掚⥚ç˜źâˇ”â°—â°&#x;갪暥朸ĺ„˜⌏ď˜šä¨žę¨žéŠ´ç˝ŒäŁ‚朸ă‰?ę˛—ĺƒ˝ă˘ľ

or department of transport, was really concerned what it feel like to be an

é&#x;?ď˜šä˝&#x; ä?ŽčŽ…Őˇé ş ăœĄ Ő¸ăœĄ 麼 é“žă¸?ć?€ă™š ä‹‘äŒ&#x;⢾âœŤďŠľăŁ?朸 鹲

â¸‚ď˜śăĽśâĄŚć?€éŒšćťž✞鸤倞朸éŒšä ŽčŽ…ë„“ë€żď˜ˇ

When you do a programme in the public it is multi-layered in terms of what

audience s experienceĚśnone of these three people, government or sponsors

"35 ;*1îš‰ćš–ç˘œă™Şć•šâŻ•çœ?çŞ?âžƒâŚ›ćŽ†â™´âœŤęŹŒäŒ˘ĺš€⾠朸⽍

䧎朸ç˜źâˇ”âšşéŠ´ç˝ŒäŁ‚朸ĺƒ˝é¸?䎙ë&#x;Šîš‰

⥲ㅡ朸颜ꆀâ&#x;ƒâżťă¸?ăź&#x;㼜⥌颭âœŽă™šä‹‘ä’ŠçœĄĺ€ž朸揰ă„?

1.

you are thinking about; you re always trying to ex what you're talking to

ART.ZIP: We were so impressed by the Lumiere. According to reports from the government and the Guardian, the festival transformed the city. Was this public art programme a collaboration with the government in the ďŹ rst place?

佞㟭⥲ă…ˇď˜šâžƒâŚ›ă˝ ă€ŤăĽŞă• â™łâżĄćş?ď˜šé¸?垺㽠剚援揰ëž€ć’–ď˜ˇ

The curation of Lumiere is about the following aspects:

3.

âŻ?âľ–鸤â?œé¸’捖깸čŽ…ăœ§ă?ąď˜ˇĺŤ˛ĺ€°é“ž⥚č•°éź‡äšľă–ˆâ™§âŚ?ăź­éŒŹčĄ†

倰ꏗ朸ď˜ˇâĄšä–¤é‘‘襽⿥厏ꯅ贖椚â&#x;ƒć€?駈é¸?â?‰â™śă šćś¸ę¨žĺŽ ď˜ˇ äŤˆ䧴â?œé¸’âźżé”…ĺ€°éżŞâ™śĺ‰šé’˘ćşŤç˝ŒäŁ‚⥲ć?€éŒšćťžç•€ă–ˆć•šâŻ•⥲ă…ˇ

âľšĺ‰šĺƒ˝âžŠëž†ä Žă€Œď˜ˇç˝œ䧎⌛䊨⥲⚼剓ꅞ銴朸♧ë&#x;Šă˝ ĺƒ˝âœŤé?‘ éŒšćťžéŒšćş?⥲ă…ˇĺ„˜ĺ‰šĺ‰¤â™§âŚ?䙌垺朸䞕筹⿞估ď˜ˇ

have.

"35 ;*1敚⯕çœ?ă–ˆéŒšćťž朸ä—ąć¤ščŽ…äž•ä ŽăžľęŹ—â™łä¨žćŹ´ćŹ°ćś¸

ART.ZIP: The psychological aect that the Lumiere had on the audience is very interesting as it made the people so happy and calm in this busy urban environment. Did you study the psychological eect of the geographical environment to the emotion and behaviour of individuals before organising this event?

ăžŻâšĽéšśä–¤ăĽśĺ§˝ä˜°ĺ?żď˜śäŽ‚ęŹ†ď˜ˇé˝Ąëž†ä?Ąă–ˆçŠ‰çą˝é¸?âŚ?갪暥⛓⾚

HM: I don t study anything particularly-it is just an instinct. I ve been doing it for really long time and I can feel that if I have one skill, it s being able to feel what

it will be like. I can imagine. It is really hard for the people who participateĚś the public, authority, London Underground, London buses, metropolitan district

council, etc., because they don't have the advantage of being able to imagine. They just feel that it is a technical problem: how do we keep the tube running

when so many people want to come, how do we interrupt the buses. Whereas

I am thinking about something that is more adaptive for a transformation, but I

ĺ°Łäššä–Žĺ‰¤ä ‘ä™źď˜šă””ć?€ă¸?é›ŠâžƒâŚ›ă–ˆäŽ‚ĺ‚ˆ㼜姽çą—ä˜‘朸鿪䋑抇 â¨žéş•ęĄ ĺ€´ă™šä‹‘ă–’ć¤šćŠ‡ăžŻăźŠâžƒâŚ›äž•ä ŽčŽ…é ¤ć?€朸ä•§ę° ćšąęĄ ćś¸ç ‡ç‘–ăŒ¨îšŽ

).䧎ĺ°?剤ć?€姽â¨žéş•ćšśâ´˝ćś¸ç ‡ç‘–ď˜šă€Ťĺƒ˝ę°ŤäĽ°ĺŠĽč…‹ç˝œć?€ď˜ˇ 䤊⌜㢾äŽƒâľ–⥲敚⯕çœ?朸獤ë€żď˜šä§Žč…‹㣠갸ä&#x;?ă¸?䧭ă˜—朸ĺžş

㜊ď˜ˇę§Şć?­ä§Žă€łâ&#x;ƒę°¸é‹…âľŒ䞎âŚ?ĺ´žâš›朸佪ĺ?“ď˜šâĄŽăŁ?ćťžď˜śä˝&#x;ä?Žď˜ś â§?äžšă–’ę˜ŽčŽ…äŠźăĄŚâ°—ă €é žéĄ‘âžƒď˜śä‹‘⟌陞剚㸽㆞⚛♜Ⱘ⪔é¸?

垺朸ä&#x;?é&#x;?â¸‚ď˜ˇâžŽâŚ›ă€Ťĺ‰šä­¸â´€ĺ´žâš›âšĽĺ‰šâ´€ć¤?朸ă ?ä’­ă ?垺朸 äŞŽé Żę¨ˆę˛—ď˜šé™śăĽśćŽšâžƒâŚ›ăŁ?ꆀ埉Ⰵ敚⯕çœ?ä‹’ç¸¨ćś¸é łâźŚď˜šâžŽ

⌛鑪 ăĽśâĄŚé›Šă–’ę˜Žĺ§ťäŒ˘éşŒ⥲鑪 ăĽśâĄŚă¸žäą–äŠźăĄŚçŽ é¨&#x;朸ĺˆż ä˝–îšŠç˝œ䧎䨞ä&#x;?朸ĺƒ˝č…‹ăŁ éť äĽ°é¸?â?‰éšśâť‹朸ă€łă€Šç˜źćŽœď˜šâĄŽꝡ ⯓䧎ä–¤č´–ć¤šă„¤ç˜¸éŠźâ˘ľč?ˆă ?倰ꏗ朸ęłƒäŁ‚ă„¤é˘śćŻ ď˜ˇ

have to deal with all of these particular technical problems.

ĺ‰“ĺ‰¤éŚąćś¸éźŠĺƒ˝ä&#x;?é&#x;?揽♜㠚朸ĺ€°ä’­âżĄéşŒ鹲é¸?âŚ?ă™šä‹‘ď˜ˇâĄšä&#x;?

The interesting part is imagining the city behaving dierently. So when you re

➃⢾ď˜šé˝Ąëž†䧎剚䒊陞㟓é¨&#x;ď˜šă€łäŠźăĄŚçŽ é¨&#x;鋊⡔倰剚⿞ꟸé“ž

doing a huge event, in your heart you know that 200,000 people will come, I

say we have to close the road, the bus planner says this is really inconvenient because of the buses. What I am trying to explain is that you are only closing the road to accommodate the huge numbers of people who want to come,

and they won t mind if they can t get the bus, because they would rather be

standing in the road and walking ten minutes to a dierent bus stop. Imagining they sit on the pavement, so you have to actually make adaptive changes in

your head about what the city is for̜ how it should work for. Because the will of the people is that makes the city behave dierently.

⥚銴⨞♧âŚ?é¸?랆ăŁ?朸ĺ´žâš›ď˜šâ ŽçšżčĄ˝ăĽśĺ?“剤ăŁ?秉 é¸?㟊âžƒâŚ›â´€é ¤ä–Žâ™śâ¤‘âľ„ď˜ˇâĄŽ䧎」ä&#x;?é“žĺƒˆ䧎ăź“é¨&#x;朸➲㔔」

ĺƒ˝ä&#x;?倰⤑ä&#x;?⢾⿎â¸ˆć•šâŻ•çœ?朸éŒšćťžď˜šç˝œé¸?â?‰âžƒĺƒ˝â™śĺ‰šâž?ä ‘ ➎⌛ĺ°?剤䊟㥌㗂朸ď˜šă””ć?€âžŽâŚ›ĺ‰šĺˆżä‹žĺŠ†č…‹㣠ç•€ă–ˆęź›é¨&#x;♳

颣ć•šď˜šć?­ä–•ă€łâ&#x;ƒ鼼⟧â´•ę—ťâľŒă€Ľâ™§âŚ?äŠźăĄŚç•€â›¨éŽŚď˜ˇäż˛ä&#x;?➃

⌛亥ă–ˆâžƒé ¤éşĽâ™łćś¸äž•ä•Žď˜šă–ˆ⥚čˆĄăśŠé…­ă˝ ä—łę°­ćŹ°ä§­ćšąäĽ°ćś¸ é?‘ĺŻšéłľĺ˛ ď˜šâżĄé‘‘ä&#x;?ă™šä‹‘ĺƒ˝ă””⥌㜸ă–ˆď˜šă¸?鑪㼜⥌ć?€â™§âŚ?ćšś

ⴽ朸ăŁ?ă˜—ĺ´žâš›ç˝œ⥲â´€ä˝–éšśď˜ˇćŽ—ç•ŒâžƒâŚ›朸ä ‘겊äŠžĺƒ˝é›Šă™šä‹‘ 援揰â™śă šéşŒ鹲ĺ€°ä’­ćś¸ĺ‰“çŠ…ă””ç¨‡ď˜ˇ

ĺ€´ĺƒ˝ä§Žé?¤é­¨č´–ă–’ă–’ę°¸ä&#x;?ăŁ?ćťž朸ä ‘겊čŽ…é ¤ć?€ď˜šâš›é‘‘㕏⿥铞剪齥 â?‰睢䢍䭞ĺ‚ˆäŒ˘é‹Šç€„éłľâœ˛ćś¸âžƒď˜šâ&#x;ƒ⿝齥â?‰ă””ć?€äŠźăĄŚçŽ é¨&#x;佖障䧴 1.8 London, Janet Echelon / Studio Echelon (US). Lumiere London 2016, produced by Artichoke. Photograph Š Matthew Andrews 2016

⨢éşŒ㽠䍾äš?âŚ?â™śâ¨˘ćś¸âžƒď˜šé˝Ąă€łâ™śĺƒ˝â™§â&#x;?ç&#x;Śă‹˛ćś¸äŠ¨âĄ˛ď˜ˇâĄŽć•šâŻ• çœ?㟊âžƒâŚ›äž•ä ŽčŽ…ë„“ë€żä¨žč…‹âľ–鸤朸ä˝–éšśĺƒ˝ä–Žę…žéŠ´ćś¸ď˜šä¨žâ&#x;ƒ齥ĺƒ˝

䧎âŚ›ă–ˆâ¨žç˜źâˇ”朸ĺ„˜⌏剚襽ę…žç˝ŒäŁ‚朸ď˜šâ™śă‹˛éŠ´ć?€éŒšćťžď˜šâ›łéŠ´ć?€

㙚䋑朸ç›˜ć¤šç˝?ç˝ŒäŁ‚ď˜ˇâžŽâŚ›ä–¤ĺƒˆ术㙚䋑㜸ă–ˆ朸ä ‘çş?ď˜šä–¤ăˇ¸ĺ‰š揽 ♜㠚朸ĺ€°ä’­ä Žă€Œď˜ˇâĄŽé¸?㟊➎⌛⢾é“žăŁ–ę¨ˆâœŤď˜šă””ć?€âžŽâŚ›朸劼耡 äŠ¨âĄ˛ă˝ ĺƒ˝é›Šă™šä‹‘çŹž䭰姝äŒ˘éşŒé ¤ćś¸ćœœä˘€ď˜ˇ

"35 ;*1îš‰ç„ˇăťœď˜šć•šâŻ•çœ?剓ĺ•?朸♧ë&#x;Šă–ˆĺ€´é›ŠâžƒâŚ›â¨‹ę¨†ĺ‚ˆäŒ˘é¨&#x; çŽ ď˜šä–°ç˝œč…‹ĺˆżâ¸ˆăťœăťœă–ˆă–ˆď˜śâŻ?ć€?ä&#x;?é&#x;?ă–’âżĄä Žćżźé¸?âŚ?ă™šä‹‘ď˜ˇ

).îš‰ĺƒ˝ă‚śď˜šč?ˆäŠšăźŚäŞŞé¨&#x;çŽ éźŠč…‹é›ŠâžƒčŽ…ă™šä‹‘â›“ę&#x;Śćś¸ęĄ â¤šĺˆżé‹ˇ ăş™ăƒ¤ď˜ˇâĄšéŠ´ĺƒ˝ăŁ”ăŁ”â›¨ă–’ę˜Žď˜šĺƒ˝â™śĺ‰šä ‘é™?âľŒä–°ĺ‘”çš?㣗ç§?ä‘žăœĽâľŒ 䟢ä˝&#x;é łéĽĽé¨&#x;ă€ŤéŠ´âź§â´•ę—ťćś¸ď˜ˇéĽĽé¨&#x;韊腋雊⥚朎ć¤?⥚â&#x;ƒâľšä–°ĺŠ˘

朎ć¤?朸ä?…ęŽŚčŽ…ä’ŠçœĄď˜šä¨žâ&#x;ƒć•šâŻ•çœ?朸暥朸㽠ĺƒ˝ć?€âœŤé›Š⥚乳程㙚 ä‹‘ď˜ˇä§Žćś¸ă•°ęĽ™č”… âľŒ â´•ę—ťä–°éŠŻâźŚéĽĽâľŒă•œ楏⟧㜜ď˜šâ™§č?›âžƒâ™ś 剚é¸?랆鼼ď˜ˇâ™§č?›âžƒĺ‰šć?€âœŤä˜°ä°Śç˝œéź‡䚾侊â›¨ă–’ę˜Žď˜šâĄŽçą?剤â?‰ćšś

ĺŠŒäž•幣剚雊➎⌛侊â™śä§­ď˜ˇä§Žâ¨žć•šâŻ•çœ?Ⰼ⚼♧âŚ?暥朸㽠ĺƒ˝ë ˝

âş‘âžƒâŚ›ăź&#x;ĺ§żé ¤ćş?⥲♧ç??ĺ‚ˆäŒ˘â´€é ¤ĺ€°ä’­ď˜šâ™śâ™§ăš ęŹŒéŠ´äľŠâ°—â?œ鎌 䧴ă–’ę˜Žď˜ˇç˝œ鼼ㆭ哭é¨&#x;ĺ‰šć ˝ä–¤ä™Śĺžşćś¸ë„“ë€żčŽ…ă–’ę˜Žč…‹ă‚„ä­žĺ„˜âľŒ 麨ĺƒ˝ă šç˜žę…žéŠ´ćś¸ď˜ˇ

"35 ;*1朸ç„ˇď˜šĺ§żé ¤ĺƒ˝ĺ‰“ćŠ‡âĽƒ朸â?œé¸’ĺ€°ä’­âœŤď˜ˇä?Ąâ¨žç˜źâˇ”朸 ĺ„˜⌏ĺƒ˝ă‚„â›łç˝ŒäŁ‚âľŒâœŤăźŠćŠ‡ăžŻćś¸ä•§ę° ď˜šä§´ä‹žĺŠ†č…‹ä’¸éĽąâžƒâŚ›朸 ćŠ‡âĽƒä ‘é™?

).îš‰â°Śăťœä–Žĺ‰¤ă€łč…‹ĺ‰šĺ‰¤âžƒ䪥é?ąä§ŽâŚ›é¸?ĺžşćś¸č° é Żçœ?ĺƒ˝ă–ˆĺľ éĄĽ č…‹ĺ˝‚ď˜šâĄŽâœ˛ăťœâ™łä§ŽâŚ›ć¤?ă–ˆă˝ ĺƒ˝ăŽ˛é‘‘ć“‡垧ĺ‚ˆäŒ˘ćŹ˝ć•šâ&#x;ƒäŽ‚é‚‚䧎⌛

ĺš‘â¸ˆ朸酤縨䨞ꨞ朸腋罳ď˜ˇâ™§â?‰⥲ă…ˇćś¸ç„ˇä­¸ă ˘âœŤćŠ‡ăžŻčŽ…揰䢀 ă‰?ę˛—ď˜šĺŤ˛ĺ€°é“žćšśäŹ˜ĺ˛ â¸ˆä‘žăœĽâ?œ⿸é¨&#x;〥朸㑑幎⥲ă…ˇŐˇă?–俲äƒ‹Ő¸

ď˜šă¸?⌛♜⥎㼪ćş?韊ä–Ž㼪ă–’ä“˝é”…âœŤé¸?âŚ?ă‰?ę˛—ď˜ˇă•œ楏⟧㜜齥韚朸 ⥲ă…ˇâ›łă„Žç˘šâœŤć?€ć?‚ĺ˛ ćŹ˝ę¨śćś¸ă–’⟌㞀字䲿âŁ˜ă€łä­°çłľâŻ•ĺ˝‚ď˜ˇé¸’éş•

é¸?âŚ?갪暥⥚〳â&#x;ƒăƒ‡ćżźĺ­—杞⚛佖障➎⌛㟊敚⯕⿝㟊⯕朸ä ‘çş? 朸ćş?ĺ˛ ď˜ˇ

encountered. Part of the plan is to get people to move dierently. Many

ok. So that is really complicated conversation, but you re right to be

ART.ZIP: Indeed, a great aspect about Lumiere is that it brought people away from their regular route in order to engage with the city more physically in a more imaginative way.

what it takes even in the planning, not just for the audience, but

between places. If you travel by underground you don t

to regard walking as a form of transport. They don't actually need the bus

I am second guessing how the public will behave and trying to

persuade people, whose job is to stick to routine and who were

very used to complain all the time, that if the bus doesn t run it's

focusing on quality of the emotional transformation, because that s those people I work with and those public authorities. They have to

understand the city and should be able to feel dierently. And that s hard for them because their job is to make the city feel same.

HM: Yes, and more intimately in a way by discovering routes necessarily realise that the walk from Grosvenor Square to

Regent s Street takes literally 10 minutes and by taking that you realise the shops and architectures that you've never

of my team walked to the West end to King s Cross took 25-30 minutes;

that s not the journey that anybody would normally take. They get to the underground because it is quick, but actually in certain circumstances

they can t. I suppose one of the aims of Lumiere was to encourage people or the tube, the walking route and that experience was as important as whether the tube is running on time.

"35 ;*1㽠㟊㙚䋑朸ăťœë„“ä Žă€Œ韊ĺ‰¤âžƒčŽ…âžƒâ›“ę&#x;Śćś¸â?œä–ƒç˝œ éŽŠď˜šć•šâŻ•çœ?é›ŠâžƒâŚ›ăťœăťœă–ˆă–ˆă–’çżšă–ˆâ™§éĽąâœŤď˜ˇ

).îš‰ĺƒ˝ă‚śď˜šâžƒâŚ›â™§ë˘śéŽ…ă–ˆćš‹ĺł¸é łćś¸ęź›é¨&#x;âšĽăŁœ颣ć•šď˜šé˝Ąâ™§ä?ŒăŁ–

皥㼪âœŤď˜ˇĺ§˝âľšä§Žă–ˆâ?œé¸’鋊⡔㽡齥韚â¨žâœŤä–ŽăŁ?朸â¸—â¸‚ď˜šâžŽâŚ›é“ž ⥚â™śč…‹ă–ˆę…žéŠ´ćś¸â?œé¸’é¨&#x;〥㟓é¨&#x;ď˜šâĄšä–¤é›ŠäŠźăĄŚč…‹㣠é¸’é ¤ď˜ˇâĄŽâľŒ âœŤć•šâŻ•çœ?ę&#x;šä?Œ齥ăŁ”ď˜šćŽšä§ŽéĽĽâ´€ă–’ę˜Žâ˘ľâľŒé¨&#x;â™łď˜šćş?âľŒăŁ?ăšťéŽ…ă–ˆ

ęź›é¨&#x;♳ćş?ć•š朸ĺ„˜⌏ď˜šä§ŽäŽ™â›–ĺ¸’ĺ´Šć€?ęŹ—ď˜ˇăź“é¨&#x;ĺƒ˝ĺ§ťç„ˇćś¸ĺŻšăš ď˜š ♧ⴗ鿪ĺƒ˝â§Šä–¤ćś¸ď˜ˇä§Žä&#x;?é¸?㟊âžƒâŚ›⢾é“žĺƒ˝â™§âŚ?ęŹŒă š㟌äŒ˘ćś¸ë„“ ë€żď˜ˇ

most amazing scene. They were so beautiful and that was the

we have thousands of friends but actually never seeing them, or

services to important junctions for traďŹƒc; the buses have to be

our bedroom never stopping working. For me, Artichoke serves

huge argument with the transport planĚś you won t close up

able to run east west. And eventually on Friday when I stepped out of the tube, I walked into the road and all these people

were just lying on the road. I was almost in tears: that was the actually a unique one to people.

ART.ZIP: Yes, and you expressed before that in the age of digital technology, people were always doing online surďŹ ng, losing interpersonal and physical interaction. How would you comment on this now? HM: I am a very analogue person; I am very old. There is new

have to be there rather than being mediated to you through

big screen or television. I think in this world where we spend so

much time behind the screen, receiving information, we feel that

HM: It is very easy to criticise this kind of festival as waste of energy, but actually what we were trying now is to get the ordinary lighting switch o, so there is a balance for what we were adding. Some of the pieces pointed to ecological or

environmental questions like the fountains at the Trafalgar Square roundabout, where I thought was beautiful but also made a very interesting point (Plastic

Islands by Luzinterruptus). The piece up at King s Cross is a campaign about

providing sustainable lighting for people with no access to power. Through the

programme you can educate and inform people, and change their view of light and its signiďŹ cance.

ART.ZIP: In terms of the physical encountering with the city and interpersonal relations, inside the festival, people were getting together. HM: Yes, people lying in the middle of the road in Oxford Circus and it was the

).䧎ĺƒ˝â™§âŚ?čŠŁć™šĺ„˜âžżćś¸âžƒď˜šä§Žä–Žç˝‰ĺ´Łď˜ˇä§ŽéŒ?ä–¤ĺ€žçŒ°äŞŽ ĺ‰¤ćŹ˝ĺƒ˝ĺ‰¤ćŹ˝ď˜šâĄŽă˝ ĺƒ˝ăźŠă¸?⌛䲿♜鼹莇č?žď˜ˇä§Žĺ°?ĺ˛ ăźŠĺ‰“ĺ€ž

朸çŒ°äŞŽćŹ´ćŹ°čŽ‡錹ď˜šä§Žâ™śâ™łčŒ ĺ‰…ď˜śä˛€ćšśä§´ç˝?ⴽ朸çˆ˘â?œäŽ‚ă€ľď˜š 掚ć?­é žéĄ‘â°—ă €ä˛€ä‘žéşŒć–Š朸éżˆę&#x;Œĺ‰š⢪揽ă¸?âŚ›ď˜ˇä§Žč…‹ć¤šé?‘é¸?

â?‰败亟㯯ë„“㟊䎃鰋➃朸ď‰šä’¸â¸‚ď˜šâĄŽ䧎韊ĺƒ˝éŒ?ä–¤ćşŤăťœ朸ć¤? ăťœĺ‰“é›Š䧎姚ă‹?ď˜ˇâĄšä–¤âżĄăťœăťœă–ˆă–ˆă–’ä Žă€Œď˜śâĄšä—łę°­ă–ˆăœĽď˜š

ç˝œęŹŒé¸’éş•ăŁ?ăž“ä?Œ䧴ꨜé‹•ĺ ĽâżĄćş?ď˜ˇă–ˆ掚âž›âš†ć­˛ď˜šä§ŽâŚ›ăŁ–睢 䢍倴䪞ăŁ?ę†€ĺ„˜ę&#x;Śč”…ă–ˆăž“ä?ŒęŹ—âľšď˜šé¸’éş•ă¸?⢾乺ă€ŒâĽŒäœ‚ď˜šé’˘

ć?€䧎⌛剤č ?⟪㼪⿟âĄŽăťœ꼚♳䖰劢莅➎⌛暹鋅⿜䧴ç˝?䧎 âŚ›ä–°â˘ľâ™śčŽ…âžŽâžƒâ°&#x;贖㠚♧âŚ?ç‘ ę&#x;Śď˜šă””ć?€䧎⌛睢䢍䞎ĺ‚ˆă—‚

ă–ˆč?ˆäŠšćś¸ä¨źę&#x;Śé…­äŠ¨âĄ˛âŚ?ĺ°?㸤ď˜ˇăźŠä§Žç˝œéŽŠď˜šä§ŽâŚ›朸㸝ĺ‚Œă˝ ĺƒ˝ć?€âœŤâśžé¸¤â™§âŚ?莅⛓暹⿞朸ć¤?ăťœä Žď˜šâ˝°â˘Şă€Ťĺ‰¤ă–ˆ齥瀊瀊

朸䎙âŚ?ćž–ę&#x;Śď˜šâš†歲朎揰âœŤä˝–éšśď˜ˇă–ˆć•šâŻ•çœ?⥚剚莅䧭⟪♳

č ?朸Ⰼă¸?➃â°&#x;贖㠚♧âŚ?ç‘ ę&#x;Śď˜šâĄšâ™śé’˘é™?âžŽâŚ›ď˜śâžŽâŚ›â›łâ™ś ă–ˆ⥚朸čŒ ĺ‰…ĺ‰Śâżźâ´Şé‚?â™łď˜šâĄŽă–ˆ⥚⌛⛓ę&#x;Śä•Ž䧭朸ĺƒ˝ăťœăťœă–ˆ ă–ˆćś¸ęĄ â¤šď˜ˇä§ŽâŚ›ĺ‰“ä‹žĺŠ†â¨ž朸ď˜šă˝ ĺƒ˝ä’Šç”¨ćşŤăťœ朸č€˘ç˛Żď˜ˇ

between you will be nonstop. It is actually about making real connection.

FIND OUT MORE ĺˆżă˘ľâĽŒäœ‚

Lumiere will return to Durham for the fifth time, commissioned by Durham County Council, 16-19 November 2017. www.lumiere-festival.com

that something is real. You have to put it as live experience, you

ç??ć¤?é&#x;?䙌랆ćş?ăƒ¤îšŽ

your friends, who are not on your Facebook list, but connections

Instagram, although the oďŹƒce for the company does it. I can up with it, but for me, the real pleasure is about discovering

ART.ZIP: Walking is the cleanest form of transportation. Did you also consider the environmental issue, with the intention of invoking environmental consciousness in the individuals when you planned this project?

with thousands of other people that you don t know, who are not

This article and interview refer to the Lumiere festivals which took place in Durham in November 2015 and London in January 2016.

see how fascinating it is for the young people who have grown

ă””ć?€â™łçŹŞç˝œă‹ŠăŁ&#x;âžƒčŽ…âžƒâ›“ę&#x;ŚćşŤăťœ朸â?œä–ƒčŽ…âœ˝âš›ď˜ˇä?ĄăźŠé¸?

world has changed. You are invited and you can share the space

technology that I ďŹ nd it useful, but there is no passion. I don t feel the newest pieces and I don't do Facebook or Twitter or

"35 ;*1îš‰ç„ˇăťœĺƒ˝ćś¸ď˜šä?Ąâ›“âľšâ›łé“žéş•ă–ˆ䞸ç„şĺ„˜âžżâžƒâŚ›çą?

as an alternative reality, in which for these brief moments the

The second Lumiere London, commissioned by the Mayor of London, will take place from 18-21 January 2018. www.visitlondon.com/lumiere 劼俒䲿âľŒ朸ćš–ç˘œă™Şć•šâŻ•č° é Żçœ?䭸朸ĺƒ˝ĺ€´ 䎃 ĺ‰˘ă–ˆĺ‹­â§?莊鳾朸ď˜śâ&#x;ƒâżťĺ€´ 䎃 ĺ‰˘ă–ˆâ§?äžščŽŠéłľćś¸č° é Żçœ?ď˜ˇ

ă€ŒâľŒĺ‹­â§?鞞㨽㆞剚㨽éŽˇď˜šç—§â?€ăž‚ĺ‹­â§?ćš–ç˘œă™Şć•šâŻ•č° é Żçœ?ăź&#x;倴 䎃 剢 ĺ‚ˆ ă–ˆĺ‹­â§?čŽŠéłľď˜šç˝œç—§âœłăž‚â§?äžšć•šâŻ•č° é Żçœ?â›łă€ŒâľŒâœŤâ§?äžšä‹‘ę&#x;€朸㨽éŽˇď˜šĺ€´ 䎃 剢  ĺ‚ˆâą„ä?žă–ˆâ§?äžščŽŠéłľď˜ˇ

Plastic Islands, Luzinterruptus, Lumiere London 2016, produced by Artichoke. Photo by Š Matthew Andrews

Keyframes, Groupe LAPS/Thomas VeyssiÊre (France). Lumiere London 2016, produced by Artichoke. Photograph Š Matthew Andrews 2016

right decision then, good that we closed it. That experience was

we don t share space with other people because we are sitting in

SONICA č€Şę°‰č°€é ŽçœŽ

Onion Skin, Olivier Ratsi

Sonica is a year-round programme of events dedicated to world-class sonic

arts, produced by Cryptic, Glasgow s internationally renowned art production house. Launched in Glasgow in 2012, it has since toured across six continents.

This extraordinary biennial festival brings together an unprecedented range of work by leading international artists and emerging British talents. In this issue, we have interviewed three featuring artists performing at the Sonica 2015,

Herman Kolgen, Mark Lyken, Lu Sisi, to see where their focus lies when it comes to addressing the construction of identity in the digital age.

Cryptic have a history of working with technology. Looking at how technology

can enhance a performance is very important to us. We live in a digital world now. There is a place for a bigger, more serious dialogue about how we can bring artists and scientists together. When scientists are developing new

technologies and prototypes, an artist will look at it in a completely dierent

way ‒ so there's a lot of scope for bringing those together. In Sonica, these two

4POJDBĺƒ˝ć­‹ă•œ꼚濟ă ?č° é Żé†˘âĄ˛â°—ă €$SZQUJD✞鳾朸♧âŚ?

ďˆŁäŽƒâ™śę&#x;Śĺ€Źćś¸č€Ťę°‰č° é Żçœ?ď˜šĺŤŚâ°?äŽƒčŽŠéłľâ™§ĺŚ„ď˜ˇč?ˆ 䎃

ă–ˆĺ‘”äŹ˜ĺ€›ă†Ľęťˇä?žă‰Źâš›č?›âž›ď˜šé§ˆé¨‹äŠşçŤ¤éş’⥑⚆歲ⰙăŁ?ĺ´Žď˜ˇ

㼜âž›ď˜šéŚŠ⢾錊㢾ă•œęĽšę°Ľăźşćś¸č° é Żăšťă„¤č–Šă•œĺŠĽă•źćś¸ĺ€žčŽ‡âžƒ

䊞⢾âľŒé¸?âŚ?卄㛔秚朸č€Ťę°‰č° é Żçœ?ď˜š"35 ;*1ćšśéź?âœŤâ™˛âĄ™

ă–ˆ4POJDB č€Ťę°‰č° é Żçœ?♳é‚?ć€ľĺ‰“â°¨ćšśč’€ćś¸č° é Żăšťď˜š

éĽ&#x;ĺ‰‹Ë™çŒ°č‚Ľď˜śęź›âŻ˜Ë™č&#x;›č‚Ľă„¤ă‚šä™źĺ€›ď˜šäąłăźŚă–ˆ䞸㜜âť‹ĺ„˜âžżčƒ?

䖕➎⌛㼜⥌㸤䧭č?ˆ䧎魨â&#x;¨ćś¸ĺœ“ä’Šď˜ˇ

ďšł$SZQUJDčŽ…çŒ°äŞŽćś¸ęĄ â¤šĺ˝‚éť‡ĺ´Šę&#x;€ď˜ˇćş?ä–ŠçŒ°äŞŽăĽśâĄŚă&#x;žä“˝é‚?

ć€ľč° é ŻăźŠä§ŽâŚ›⢾é“žęŹŒäŒ˘ę…žéŠ´ď˜ˇă””ć?€䧎âŚ›ĺ´žă–ˆ䞸㜜ĺ„˜âžżď˜š

é¸?âŚ?ĺ„˜âžżę¨žéŠ´â™§âŚ?ĺˆżăŁ?ĺˆżă“‚č ?朸㟊é‘¨ď˜šé˝Ąă˝ ĺƒ˝ä§ŽâŚ›㼜⥌

â¤›ä§­č° é Żăšťă„¤çŒ°ăˇ¸ăšťćś¸ă –⥲ď˜ˇćŽšçŒ°ăˇ¸ăšťćśŽĺƒˆĺ€žćś¸äŞŽé Żă„¤

➲ă˜—ĺ„˜ď˜šč° é Żăšťćş?ä–Šé¸?â&#x;?âœ˛ćš&#x;朸éŒŹä?žĺƒ˝éśˆć?­â™śă š朸Ő‚

ă””姽뢜翚â°?ç??é­¨â&#x;¨ćś¸âžƒăź&#x;剚霸朎ć?‚ꣳ朸ă€łč…‹ď˜ˇă–ˆ4POJDB

realms are not divided...

č€Ťę°‰č° é Żçœ?⚼é¸?â°?ăŁ?ęą†ăš–ĺƒ˝ç­?ăş™犥㠖♜〳ⴕ✡朸ď˜ˇ

The beauty of music is that it takes you on a journey that s incredibly personal.

ę°‰ĺ?żâ›“皥㌍ă–ˆĺ€´ă¸?ăź&#x;⥚äŒ&#x;â°…ę¨ˆâ&#x;ƒ縨âĽŒ朸âŚ?âžƒĺ ‡çŽ‘ď˜ˇä§Žä&#x;?

I want to create something which leaves space for people to go on that journey.

Ő‚Cathie Boyd, founder & artistic director of Cryptic.

éŠ´âśžé¸¤ćś¸äŽ‚ă€ľă˝ ĺƒ˝é›ŠâžƒâŚ›ĺ‰¤é§ˆ㣠朸ç‘ ę&#x;Śă–ˆâ°ŚâšĽéťœéş‰ď˜ˇďš´ Ő‚⳯銯˙岚â&#x;ť $SZQUJD✞㨼âžƒâżťč° é Żçą?ćšŒ

FIND OUT MORE ć›´ĺ¤šäżĄć Ż Sonica 2017 will take place in Glasgow, 21 October-5 November 2017. Sonica 2017č ˛é&#x;łč—?襓節將斟2017ĺš´10ćœˆ21旼至11ćœˆ5ć—Ľĺœ¨ć źć‹‰ć–Żĺ“Ľčˆ‰čĄŒă€‚ www.sonic-a.co.uk

SCULPTING SOUND: INTERVIEW WITH HERMAN KOLGEN ꧧ㝕耪갉 㼠鏞饟削 • 猰肤

*/5&37*&8&% #: 䱰鏞  )"33: -*6 ⷠ畹兑 53"/4-"5&% #: 缺陼  $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘  40/*$" 耪갉谀遮眎

Herman Kolgen, Seismik.

Herman Kolgen is an acclaimed multidisciplinary artist with more than two decades of experience on the international media arts scene. As an audiokinetic sculptor, he draws his inspiration from

the intimate relationship between sound and image. Kolgen s work takes the form of installations, video and film works, performances, and sound sculptures. He works in a constant cycle of exploration,

at the crossroads of different media, to conjure up a new technical language and a singular aesthetic. His attention to the impact of

territories on human life, and the resulting tensions and interplay

between these various elements, constitutes the core of his practice. Herman Kolgen has been awarded numerous prestigious prizes

including Ars Electronica and his works have been presented at the Venice Biennale and the Centre Pompidou.

饟剋˙猰肥僽♧⡙耫そ黇久涸騗㷸猰谁遯㹻✳⼧㢵䎃⢵♧湬崞鬪

㖈㕜ꥹ㯯넓谁遯䎂〵➮耫갉⹛⸂㷸ꧨ㝖㹻㖈耫갉ㄤ㕬⫹⛓꟦

涸筝㺙ꡠ⤚⚥䲿《꫙䠮乲Ꟁ⟃酤縨鋕걽ꨶ䕧邍怵耫갉ꧨ

㝖涸䕎䒭ⶾ⡲㖈䭰糵♶倬涸䗅橇䱳程⚥➮㎲鑑✫ぐ珏♶ず涸

㯯➝⟂➃♶犝耢䟝ⵌ♧珏倞涸䪮遯铃鎊ㄤ㣼殯涸繡䠮➮㼟岤䠑

⸂䫏佞㖈➃겳걆㕼涸䕧갠ㄤ㼬荞涸筝䓹㽷⹴♳鸏❉♶ず銴稇⛓

꟦涸湱✽⡲欽圓䧭✫㻜驏涸呍䗱㖈姽劍꟦猰肥鄄䱇✮✫鏪㢵衽

そ涸栁갪➮涸⡲ㅷ⛳剎㖈㪮㽳倛꧱䎃㾝觍淼勭谁遯⚥䗱㾝爚

麕

ART.ZIP: How did you start working in video art and what s your creative method?

"35 ;*1ä?Ąĺƒ˝ăĽśâĄŚéĽĽâ™łé‹•ęą˝č° é ŻâśžâĄ˛â›“é¨&#x;朸ä?Ąćś¸âśž

to choose because I love music and visual art. When I had my

č…‹ä˜Žäąˆâ°ŚâšĽćś¸â™§âŚ?ď˜ˇďš´ä§Žâ™§ćšŹéŽšä–¤âžŽćś¸é‘¨ď˜šâĄŽéŠ´ä§Žâ¨žéź‡

at the same time I also had a band, so I would play music. Slowly I moved from

),îš‰ă–ˆ䧎⟧äŽ™ĺ¨”ď˜šăŁ?ĺšŒĺƒ˝âź§â™Źĺ¨”朸ĺ„˜⌏䧎朸⥲ㅡ㽠ę&#x;š㨼 ăž?â´€âœŤď˜ˇâĄŽă šĺ„˜ď˜šä§Žâżśĺ‰¤â™§ä˝…ĺ?żęĽ™ď˜šä¨žâ&#x;ƒ䧎â›łă–ˆć˘–ę°‰ĺ?żď˜ˇ

and visuals at the same time, that was in the 80 s and it totally

䧎ĺ‰¤âœŤę¨śčˆĄď˜šä§Žă˝ ĺ‰¤éłľĺ˛ â°Żęłƒę°‰ĺ?żă„¤é‹•éŒ?✞⥲âœŤď˜ˇé˝Ąĺƒ˝

HK: In my teenage years I started exhibiting, at around seventeen years old, but drums to all types of percussion. I also bought one of the ďŹ rst synthesizers. I d already started to create more texture. I was not interested in creating tunes [Herman starts to sing a tune] I was more interested in making texture and

sounds. At around twenty, I started to concentrate on the synthesizer and the percussion and to create new sounds. I started to make some music ďŹ lms, at this time it was not big. The attention was more to create a mood, I was not

interested to compose sound, but I saw the sound or the music like a sculpture, for me, it s always a sculpture. I move the sound. I sculpt the sound. At the

same time, I made paintings, I remember my father saw that I wanted to be

an artist. My father said to me: OK, you want to be an artist, you want to stop

school? If you can t choose between painting and music you will get lost. You

need to forget one. I always have this in my head, but it was impossible for me

⥲ĺ€°ĺ˛ ĺƒ˝âžŠëž†îšŽ

ć ¸ć ¸ă–’ď˜šę¤‘âœŤć˘–ë ˝ď˜šä§Žâ›łć˘–â°ŚâžŽćś¸äŠ§äššĺ?żă?źď˜ˇä§ŽéĄ 麕剓

ĺ‚?朸ă –䧭ă?źď˜ˇé˝Ąĺ„˜䧎äŠşçŤ¤ă–ˆ✞⥲♜㠚ç??겳朸č€Ťä Žď˜ˇä§ŽăźŠ

ďŹ rst computer that I had enough speed for me to make music

changed my life. I didn t have to decide between two mediums, they had become one.

äŽƒâžżćś¸âœ˛äž•âœŤď˜šç˝œé¸?㸤ďˆŁä˝–éšśâœŤä§Žćś¸ćŹ°ĺ´žď˜ˇä§Žĺ°?剤 ä—łéŠ´ă–ˆ㯯âž?âšĽäŞ˝äšľď˜šă””ć?€ă¸?âŚ›ă –âœłć?€â™§âœŤď˜ˇ

ĺˆźé”…â™śä ŽčŽ‡錹é¸?ĺ„˜éĽ&#x;ĺ‰‹ă‡‡ăˆ–âœŤâ™§ĺŞŻĺˆźé”…î™¸ď˜šâĄŽ㟊č€Ťä Žď˜ś

I had some old VHS documentary about war. I put this in the

䧎剤♧ â?‰ęĄ ĺ€´ä¨žć˜°ćś¸ç§ ę?—晚ę?— ⍚äŒ&#x;ď˜ˇä§ŽäŞžă¸?⌛㟏â°…ꨜ

㨼㟠岤ă –䧭ă?źă„¤äŠ§äššĺ?żă?źď˜šâš›✞⥲倞朸č€Ťę°‰ď˜ˇä§Žâ›łę&#x;š㨼

a country, a clip from the country would come in. It s moved

âľŒęĄ ĺ€´é¸?âŚ?ă•œ㚝朸✊éą€ď˜ˇé¸?â?‰✊鹀銴랆⢾č?ˆä§Žćś¸ćšąĺ Ľď˜š

耍갉朸✞⥲⽿ĺƒ˝ĺ?żĺ§˝â™ść°•ď˜ˇă–ˆăŁ?ç§‰âœłâź§ĺ¨”朸ĺ„˜⌏ď˜šä§Žę&#x;š

✞⥲♧â?‰ę°‰ĺ?żć™šď˜šę§Şć?­ä–°ć¤?ă–ˆ⢾ćş?ď˜šé¸?â?‰ć?‚é§ˆę…žé°‹ď˜ˇä§Ž ĺˆżęĄ 岤äž•筹朸ć–Š鸤ď˜šç˝œâ™śĺƒ˝č€Ťę°‰ĺŠĽé­¨ď˜ˇä§ŽâŤšćş?ä–Šꧨă?–♧

ĺžşćş?䖊耍갉䧴ç˝?ę°‰ĺ?żď˜šăźŠä§Žâ˘ľé“žď˜šé¸?â›łéżŞĺƒ˝â™§ç??ꧨă?–ď˜ˇä§Ž

ç?ľâš›âœŤč€Ťę°‰ď˜šä§Žę§¨ă?–âœŤč€Ťę°‰ď˜ˇă šĺ„˜ď˜šä§Žâ›łç˛­ćŽĽď˜ˇä§ŽéŽšä–¤é˝Ą ĺ„˜䧎朸ć˜żé‹ˇă˝ äŠşçŤ¤ćş?â´€䧎ä&#x;?䧭ć?€č° é Żăšťćś¸äŠ§çšżď˜šâžŽăźŠä§Ž

é“žîš‰ďšłăĽŞă‚…ď˜šâĄšéŠ´ä§­ć?€â™§ă ?č° é Żăšťď˜šâĄšéŠ´é°Ąăˇ¸îšŽ㼜ĺ?“⥚♜ č…‹ă–ˆ粭掼ㄤ갉ĺ?żâ›“ę&#x;Śéź‡ăš ♧âŚ?ď˜šé˝ĄâĄšĺƒ˝ĺ‰šéśľăŁ&#x;朸ď˜ˇâĄšă€Ť

computer, and edited this within the movie, whenever you saw from my camera and old vhs to this new medium. After that I

went to my music studio and tried to make music, to ďŹ t with this. I composed something very fast. I made maybe three minutes

worth of work and I asked one of my friends to have a look and

they suggested I sent it to festivals etc. So I sent it to a festival and I won ďŹ rst prize. After that, I knew this was my medium.

čˆĄď˜šć?­ä–•✊鹀䧭ä•§ć™šď˜šćŽšä•§ć™šâšĽâ´€ć¤?♧âŚ?ă•œăšťď˜šâĄšă˝ č…‹ćş? 銴랆⢾č?ˆâ°ŚâžŽćś¸ç˝‰ę?—⍚äŒ&#x;ď˜šă¸?⌛鿪é„„ĺš‘â¸ˆéšŽé¸?âŚ?倞朸㯯

âž?î™ˇę¨śčˆĄî™¸âšĽď˜ˇä–•⢾ď˜šä§Žă–ˆč?ˆäŠšćś¸ę°‰ĺ?żäŠ¨âĄ˛ăš”é…­ć?€é¸?éżˆꨜ 䕧ꂂĺ?żď˜ˇä§ŽâśžâĄ˛ęŹŒäŒ˘ä˜°ď˜ˇä§Žă€łč…‹č”…âœŤâ™˛â´•ę—ťă˝ 䪞⥲ㅡ⨞ â´€⢾âœŤď˜šć?­ä–•䧎朸剌⿟⌛䒊陞䧎〳â&#x;ƒä­­é¸?âŚ?⥲ă…ˇâżĄâżŽâ¸ˆ

♧â?‰ę°‰ĺ?żçœ?➊랆朸ď˜ˇä–•⢾䧎溍朸⿎â¸ˆâœŤď˜šéźŠć ˝ä–¤âœŤâ™§ç˜ž ć ď˜ˇä–°é˝Ąĺ„˜鼹ď˜šä§ŽćżźéşĽé¸?ĺƒ˝ăż‚ĺ€´ä§Žćś¸ăŻŻâž?ď˜ˇ

ART.ZIP: So the medium found you?

"35 ;*1䨞â&#x;ƒĺƒ˝ăŻŻâž?䪪âľŒ⥚âœŤîšŽ

each other. It s a love aair! [he laughs].

⌛⥂剎暹é™?ď˜ˇé¸?ĺƒ˝â™§ăœĽä§—ä Śî™°î™ˇâžŽç–ŽâœŤéĽąâ˘ľî™¸

HK: Probably, yes. The ďŹ rst time I saw it, I think we recognized Herman Kolgen, Seismik.

䚾⽿ĺƒ˝â™śă€łč…‹朸ď˜šă””ć?€䧎ĺ‚‚ä Śę°‰ĺ?żâ›łä Śé‹•éŒ?č° é Żď˜ˇä–•⢾

),îš‰ĺƒ˝ćś¸ď˜šä–Žă€łč…‹ĺƒ˝é¸?ĺžşćś¸ď˜ˇä§Žç—§â™§ĺŚ„é‹…âľŒă¸?ď˜šă˝ éŒ?䖤䧎

ART.ZIP: Is there a common concept or theme that runs throughout your work?

"35 ;*1îš‰ĺƒ˝ă‚„ĺ‰¤éĄ?ç‘­ä?Ąä¨žĺ‰¤âĄ˛ă…ˇćś¸ĺšŒä™‚䧴ç˝?⚺겗

living creatures. It s the impact of territory on us. I was interested

ĺŒŒéŠŻĺƒ˝ď˜šăĽśĺ?“⥚䪞珞䭰♧ âŚ?➃朸äŽ‚é‚‚ęŹŒäŒ˘ę…žéŠ´ćś¸ĺŒŒéŠŻ

HK: I would say that the inuence is territories and human or

in what happens if you remove something that is very important for a human s equilibrium. I took a guy, who was totally naked

and put him in a water cistern for three days with four submarine cameras. I ďŹ lmed all of his behaviours and the change in his

psychology and facial expression over the days. This was just

a human naked in the blue water and what was his is reaction without oxygen. Another project I made after that was called

Dust . Again it s about territory as we have dust everywhere.

It s a microscopic territory. It s all about what happens with you, your relationship with your brain and body. The territory now

is the Internet. I m working on three new pieces. I work more in the contemporary art style. So it s not a performance with new

media. I m more on the side of thinking and reection, to change

),䧎é’˘ć?€ď˜šč´–ă–’韊ĺ‰¤âžƒ겳䧴揰ćš&#x;çŞ?âœŤä§Žä–ŽăŁ?朸ä•§ę° ď˜ˇ éĄ?ç‘­âĄ˛ă…ˇćś¸âšşę˛—ĺƒ˝č´–ă–’㟊䧎⌛朸ä•§ę° ď˜ˇä§Žä–Žä ŽčŽ‡錹朸 ä­­äąˆď˜šĺ‰š朎揰âžŠëž†âœ˛äž•îšŽ䧎剎獤雊♧âŚ?ďˆŁé­¨é†—ë„“朸ć­‘âžƒ

階Ⰵ♧âŚ?輾ĺŽ?ç›łâšĽâ™˛ăŁ”ď˜šćŹ˝ă”‹âŚ?ĺŽ?â™´äź˘âŤšĺ ĽéŽšę?—âžŽď˜ˇä§Ž 䪞âžŽä¨žĺ‰¤ćś¸é ¤ć?€ď˜śâžŽćś¸ä—ąć¤šă„¤ęŹ—éżˆé‚?äž•éšśâť‹ďˆŁéżˆę?—♴⢾

âœŤď˜ˇâ™§âŚ?醗넓朸➃겳ď˜šç¸¨é­¨ĺ€´čŻ?č’€朸ĺŽ?âšĽď˜šĺ°?剤孝孾➎剚

ĺ‰¤âĄŚâżžäĽ°ď˜ˇé¸?âŚ?갪暥⛓䖕䧎⿜✞⥲âœŤâ™§âŚ?ă ?ć?€Őˇăž”ո朸갪 暥ď˜ˇé¸?âżśĺƒ˝â™§âŚ?乳鎣贖㖒朸⥲ă…ˇŐ‚䧎âŚ›č´–ă–ˆâ™§âŚ?âŻ?ć€?

çŁŒăž”朸ćŠ‡ăžŻâšĽď˜ˇé¸?é…­äąłéŽŁćś¸ĺƒ˝ĺ™˛ç¨Łä—?朸č´–ă–’ă‰?ę˛—ď˜šâ&#x;ƒâżť 䧎âŚ›é­¨â™łćśŽćŹ°âœŤâžŠëž†Ő‚⥚ㄤ⥚朸ăŁ?čˆĄď˜śé­¨ë„“â›“ę&#x;Śćś¸ęĄ â¤šď˜ˇç˝œć¤?ă–ˆ䧎⌛朸č´–ă–’âľąĺƒ˝ă””ćšśçŹŞď˜ˇä§Žĺ§ťă–ˆ✞⥲♲âŚ?⥲ ă…ˇď˜šĺˆżă˘ľă–’â¨‹㠢掚âžżč° é Żćś¸ć¤šä™‚ď˜ˇă””ç˝œé¸?â™śĺƒ˝ćŹ˝ĺ€ž㯯ë„“

é‚?ć€ľćś¸ę°ŞćšĄď˜šä§ŽĺˆżâŤ™ă ˘ĺ€´ä™źç˝Œă„¤âżžä™źď˜šä˝–éšśâĄšăźŠâœ˛ćš&#x;朸 ćş?ĺ˛ ď˜ˇ

your perception of something.

"35 ;*1ä?Ąę&#x;š㨼✞⥲朸ĺ„˜⌏ď˜šďšłäž¸ăśśč° é Żďš´é¸?âŚ?ă ?ç?–韊

ART.ZIP: When you started working, they didn t have a term like digital art. What you deďŹ ne as digital art and what is the meaning of this for you? Are you a digital artist?

ĺƒ˝âžŠëž†ä ‘ä™źîšŽä?Ąĺƒ˝â™§âĄ™äž¸ăśśč° é ŻăšťăŒ¨îšŽ

HK: I don t really like the term digital art . At the beginning, we needed this term to make a split, to explain that digital could

ĺ°?â´€ć¤?ď˜ˇä?Ąĺƒ˝ä™Śëž†ăš çş?äž¸ăśśč° é Żćś¸ď˜šăźŠä?Ąâ˘ľé“žď˜šé¸?âŚ?é‘‚

),䧎â™śĺƒ˝ä–Žă‹?姚ďšłäž¸ăśśč° é Żďš´é¸?âŚ?é‘‚ď˜ˇâ™§ę&#x;š㨼ď˜šä§ŽâŚ› ⛓䨞â&#x;ƒꨞ銴é¸?âŚ?é‘‚ď˜šĺƒ˝ă””ć?€䧎⌛ä&#x;?銴č?ˆç”¨ę&#x;Œ䨊ď˜šé“žĺƒˆ䞸 㜜朸ĺŒŒéŠŻâ›łă€łâ&#x;ƒ 䧭 ć?€č° é Żď˜ˇćŽšĺ„˜ď˜šé¸?垺朸䲿 ĺ˛ ĺƒ˝ă – 椚

朸ď˜ˇďšłäž¸ăśśďš´ćś¸çœ•ă• ĺƒ˝ćšśăš 朸ď˜šďšłäŞŽé Żďš´é¸?âŚ?é‘‚卲䞸㜜 ĺˆżăťŤĺ˛Œď˜šĺŤ˛ăĽśé“žď˜šĺž¸äşźćś¸ĺŒŒéŠŻâ›łăż‚ĺ€´ďšłäŞŽé Żďš´ď˜ˇďšłäž¸ăśśďš´ä˝–

ART.ZIP: Some young artists today just think about the equipment and the quality of the presentation. Is this the future or is it a problem?

"35 ;*1îš‰â™śăźąäŽƒé°‹č° é ŻăšťâŚ›ęĄ ĺ˛¤ćś¸ă€Ťĺ‰¤é?¤âŞ”ă„¤âĄ˛ă…ˇćś¸

art, but they re more of game players, but it s still a way of expressing yourself.

é¸?â™§ę˛łč° é Żď˜šâĄŽâžŽâŚ›ĺˆżâŤšĺƒ˝éş‰䨥ć˘–ăšťď˜šćŽšć?­é¸?â›łĺƒ˝â™§ç??

HK: Now it s trendy. We have a lot of new artists, who try to make this kind of

For me, the concept is important. If you want to push further you have to think, you need concepts. You have to ďŹ nd inside you what you re peculiarity is. If

everybody just oats on the surface and plays with lines, it becomes boring.

just to play with the particle accelerator. I want to ďŹ nd the link between it and humans. Now we can make very complicated calculations with computers. A

䧎⌛腋㣠ę‚‚ă –襽耍갉ç?ľâš›⍚ç¨‡ď˜šé¸’éş•ä˝–éšśęą˝ćĄ§çŞ?ă¸?âŚ›ďšłčĄ˝č’€ďš´ď˜ˇă–ˆ

pixel and take a frequency and in the computer it 0 1 0 1. That s why

we can move pixels with sound and colour things by their frequency. Everything is possible because, on the computer, it s all the same

language. It s important, but sometimes it can be very reductive. I

have other work, which I don t make digitally. At the Conservatoire de musique in Montreal last spring, they asked me to build a

performance. I used a lot of technology, but some of it was just

analogue. I work with the concepts, and it depends on the concept and what I want to say. Sometimes I have to use dierent tools;

sometimes I have to build software. It depends on what I really need in order to touch the audience. Sometimes it s just a pen, a piece of paper and a microphone. I use technology because a lot of things have already been done in painting and sculpture. I don t want

to repeat this. Technology has forced me to reinterpret and it has

changed the way we can create and changed our relationship with

objects. Technology has given me a new way to see and to modify.

It s a dierent language. This is why art is always in motion. The way we are living brings new questions. Now, everything is digital and everyone is a digital artist.

ꨜčˆĄâ™łď˜šä§ŽâŚ›č…‹㣠⨞â&#x;¤âĄŚâœ˛äž•ď˜šă””ć?€䨞ę…ˇćŹ˝ćś¸é“ƒéŽŠĺƒ˝ćšąă š朸ď˜ˇé¸?ĺƒ˝ 䖎ꅞ銴朸♧ë&#x;Šď˜šâĄŽĺ‰¤ĺ„˜⽿〳腋國é?‘äąˆ㢾⯋äš?ď˜ˇä§Žâ›łĺ‰¤â™§â?‰⥲ㅡ♜

ĺƒ˝â&#x;ƒ䞸㜜䊛媯㸤䧭朸ď˜ˇâżĄäŽƒĺƒąăˇŽď˜šč¤‘ćšśâľ„ć™‹朸ę°‰ĺ?żăˇ¸ę¤Žéź?锞䧎莊 éłľâ™§ĺŚ„ć€ľâ´€ď˜ˇä§Žâ˘ŞćŹ˝âœŤä–Žă˘ľäŞŽé Żď˜šâĄŽâ°ŚâšĽĺ‰¤â™§â?‰韊ĺƒ˝ĺž¸äşźäŠ›媯ď˜ˇä§Ž 朸✞⥲â&#x;ƒĺšŒä™‚ć?€âšşď˜šä¨žâ&#x;ƒâ™§â´—《寚ĺ€´ĺšŒä™‚â&#x;ƒ⿝䧎銴é‚?麨âžŠëž†ď˜ˇĺ‰¤

ĺ„˜䧎䗳갭⢪揽♜㠚朸äŠ¨â°¨îšŠĺ‰¤ĺ„˜䧎ꨞ銴玥㝨鎿â&#x;?ď˜ˇé¸?鿪《寚倴䧎

ä&#x;?éŠ´ćŹ˝âžŠëž†âżĄä ŽĺŽŞéŒšćťžď˜ˇĺ‰¤ĺ„˜ď˜šä§Žä¨žę¨žćś¸â™śéş•ĺƒ˝â™§ä˝…ç˜˜ď˜śâ™§ä“šç§ś ㄤ♧âŚ?ë?‹âŻ˜ę´?ď˜ˇä§Žâ˘ŞćŹ˝äŞŽé ŻäŠ›媯ď˜šă””ć?€ă–ˆ粭掼ㄤꧨă?–⚼剤䖎㢾䊛 媯䊺獤鄄揽éş•âœŤď˜šä§Žâ™śä&#x;?⿥ę…žä—‚é¸?â?‰ď˜ˇäŞŽé Żéš§čĄ˝ä§Žę…žĺ€žꥪę…źď˜šâ›łä˝–

éšśâœŤä§ŽâŚ›✞⥲朸ĺ€°ĺ˛ ă„¤ä§ŽâŚ›ă„¤ćš&#x;â&#x;?⛓ę&#x;Śćś¸ęĄ â¤šď˜ˇäŞŽé ŻçŞ?âœŤä§Žăť¤é‹•

ㄤ锅鑑朸ĺ€žĺ€°ĺ˛ ď˜ˇé¸?ĺƒ˝â™§ç??♜㠚朸é“ƒéŽŠď˜ˇé¸?â›łĺ§ťĺƒ˝č° é Żâ›“䨞â&#x;ƒĺŽ• 靇⾚階朸➲ă””ď˜ˇä§ŽâŚ›朸揰崞倰䒭çŞ?䧎⌛äŒ&#x;⢾âœŤĺ€žćś¸ćŻ ă‰?ď˜ˇć¤?ă–ˆď˜šä¨ž ĺ‰¤ĺŒŒéŠŻéżŞĺƒ˝äž¸ăśśćś¸ď˜šĺŤŚâŚ?➃鿪ĺƒ˝äž¸ăśśč° é Żăšťď˜ˇ

),ć¤?ă–ˆ䧎姝ă–ˆ✞⥲♲㔋âŚ?倞갪暥ď˜ˇä§Žâ™śä&#x;?éˇ†ęŚ‘äŞŽé Żćƒ? â™§ď˜šâ¤‘ĺƒ˝ę˝?ćŽ†ĺ˛ ă•œâ™§âŚ?çŁ?㜊â¸ˆé¸ ă?źćś¸ę°ŞćšĄď˜ˇä§Žă–ˆ齥é…­ä–Š

âœŤâ™§âŚ?ĺƒ¤ĺŠ?ď˜šâžŽâŚ›éŠ´ä§ŽâśžâĄ˛â™§â&#x;?⥲ă…ˇď˜ˇä§Žâ™śç„ˇăš 䧎剚⢪ 揽âžŠëž†äŞŽé ŻäŠ›媯ď˜šâĄŽ䧎ä—łę°­ĺƒˆç„ˇä§Žćś¸ĺ€°ă ˘ă„¤éŠ´é‚?麨朸ĺŒŒ

éŠŻď˜ˇä§Žâ™śä‹žĺŠ†č?ˆäŠšă€Ťĺƒ˝ă–ˆć˘–ä’šçŁ?㜊â¸ˆé¸ ă?źď˜ˇä§Žä&#x;?䪪â´€çŁ?㜊 â¸ˆé¸ ă?źă„¤âžƒ겳⛓ę&#x;Śćś¸č€˘ç˛Żď˜ˇć¤?ă–ˆ䧎⌛腋揽éŽ™çšżĺ ĽéšŽé ¤ĺ™˛

â°Śä—‚꧚朸éşŒçšżď˜ˇéŽ™çšżĺ ĽăźŠĺ€´ć¤šé?‘ćš&#x;椚鼹襽噲ć?€ę…žéŠ´ćś¸âĄ˛ 揽ď˜ˇ

Herman Kolgen, Seismik.

Herman Kolgen. Photographed by Harry Liu.

computer is now very important to understand physics.

things, the language is more simple, just 1 s and 0 s. You can take a

ă€Ťĺƒ˝ĺľĽĺ€´é‚?ęŹ—ď˜šć’‘ĺŠĽăš’çŒ°ď˜šé˝Ąă˝ ăŁ–ć?‚çż?âœŤď˜ˇ

ĺ´Šď˜ˇä§Žćś¸âśžâĄ˛éżŞĺƒ˝ä–°ĺšŒä™‚朸ĺ‘?ä—ąâ´€朎朸ď˜ˇä§Žćś¸ĺ€ž갪暥⛓

will use, but I have to deďŹ ne my direction and what I want to say. I don t want

酭韇《♧âŚ?⍚ç¨‡ď˜śâ™§âŚ?깽楧ď˜šă¸?âŚ›â™śéş•ĺƒ˝ é¸?ĺžşćś¸äž¸äş™ď˜ˇä¨žâ&#x;ƒ

éšŽď˜šă˝ ꨞéŠ´ĺšŒä™‚ď˜ˇâĄšéŠ´äŞŞăźŚâĄšč?ˆäŠšćś¸ć Źćšśâ›“č´–ď˜ˇăĽśĺ?“ăŁ?ăšť

technology. I work from the centre of the concept. One of my next projects, and they asked me to create a piece. I don t know exactly which technology I

éšśâœŤä–Ž㢾ĺŒŒéŠŻď˜šă¸?䨞⢪揽朸é“ƒéŽŠĺˆżâ¸ˆç&#x;Śă‹˛ď˜šă€Ťĺƒ˝ ㄤ ď˜ˇâĄšč…‹ă–ˆꨜčˆĄ

é‚?麨č?ˆäŠšćś¸ĺ€°ĺ˛ ď˜ˇăźŠä§Žâ˘ľé“žď˜šĺšŒä™‚ĺƒ˝ĺ‰“ę…žéŠ´ćś¸ď˜ˇâĄšéŠ´ä–ƒâľš

"35 ;*1ä?Ąâ™´â™§ĺ§żćś¸éŽ™âˇ”ĺƒ˝âžŠëž†îšŽ

I had a residency in a particle accelerator in France. I spent one week there

digital, you have analogue for example. Digital changed a lot of

),é¸?ĺƒ˝ć¤?ă–ˆ朸♧ç??ĺ„˜ăźżď˜ˇć¤?ă–ˆĺ‰¤ăŁ?ꆀ朸ĺ€žč° é ŻăšťâśžâĄ˛

ART.ZIP: What do you think your next step is?

HK: Now I work on three or four new projects. I don t want to follow

be art. It was justiďŹ ed. Digital is so speciďŹ c, technology is more than

ăƒ„ć¤?颜ę†€ď˜ˇé¸?ĺƒ˝č° é Żćś¸ăź&#x;⢾ď˜šéźŠĺƒ˝â™§ç??ćśƒ犥

*/5&37*&8&% #: 䱰鏞  )"33: -*6 ⷠ畹兑 53"/4-"5&% #: 缺陼  $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘  40/*$" 耪갉谀遮眎

Mark Lyken is an artist, filmmaker and composer based in rural

Dumfries & Galloway in Scotland. Utilizing his gifts as a musician

as well as a painter, he now creates observational film, music, and sound works, together with performances and installations that

have been presented nationally and internationally. His current work

explores the relationships to place and the interplay between nature and culture. This has led to collaborations with artists and scientists,

most notably from the University of Aberdeen s School of Biological Sciences. His film Mirror Lands, which co-directed with Emma Dove,

won the Award for Creativity at the IFFEST Documentary Art Festival 2014 in Bucharest and his latest audio-visual commission Oscillon Response premiered in Glasgow at Sonica 2015.

꼛⯘˙蟛肥僽♧そ谁遯㹻㼬怵Ⱟ⡲刼㹻䌢꽏豤呔貽涸ꀶ䒼ꅽ

倛莅峫ꯂ♧䌟㔔捀傍䎃鞮㺢涸갉坿ㄤ谁遯竤娜㥶➛➮䫏魨

ⶾ⡲錚㻌䚍ꨶ䕧갉坿ⷜㄤ耫갉⡲ㅷ㽍Ⱖ僽穡ざ✫邍怵ㄤ酤縨

䕎䒭涸耫갉⡲ㅷ傍䊺❧隘㕜Ⰹ㢫➮鵜劍涸⡲ㅷ♶⫦䱳鎣✫㖒倰

橇㞯ꡠ⤚ㄤ荈搭莅俒⻋⛓꟦涸湱✽⡲欽刿僽⤛鹎✫谁遯㹻ㄤ猰

㷸㹻⛓꟦涸騗歲ざ⡲Ⱖ⚥剓⧩䖤ꡠ岤涸㽠僽莅❏⠭♨㣐㷸欰暟

猰㷸㷸ꤎ涸ざ⡲姽㢫➮莅蒕槈˙麨㣗Ⱏず䭸㼬涸倞鵜ꨶ䕧շꖏ

㖒ո囙栽✫ 䎃*''&45私ꏗ晚谁遯眏涸ⶾ䠑㣐栁 䎃涸鋕

聃㨽⟤갪湡շ爚岚⿾䥰ո⛳㖈4POJDB耫갉谁遯眏㕩怏㸤䧭껷怵

Mark Lyken, Oscillon Response, Performance at Sonica 2015. Photo by Harry Liu.

GRAFFITI WITH SOUND AND LIGHT INTERVIEW WITH MARK LYKEN 䕧갉㝣뒩 㼠鏞꼛⯘v蟚肤

ART.ZIP: Would you tell us a bit of your background and how did you start your practice?

"35 ;*1锞ä?Ąâž?稲♧♴ä?Ąćś¸âśžâĄ˛čƒ?ĺ…žď˜šâ&#x;ƒâżťä?Ąĺƒ˝ä™Śĺžş

element, but everything we do, even if it s an analogue process, is recorded

"35 ;*1ä?ĄéŒ?ä–¤äž¸ăśśč° é Żĺƒ˝âžŠëž†îšŽĺ‰¤ĺ°?剤♧ç??ĺ€°ĺ˛ ă€ł

separate things. I did an artist residency in the highlands with the School of

.- 䎃â&#x;ƒ⢾䧎â™§ćšŹă–ˆ✞⥲ꨜ㜊ę°‰ĺ?żď˜šă šĺ„˜äŹ?♧â?‰ꨜ

ä•§ď˜šä§Žé‹•ć?€㸤ďˆŁć Źç”¨ćś¸â°?â&#x;?âœ˛äž•ă–ˆâ¨žď˜ˇä§Žĺ‰Ž獤ă–ˆęŁšâ ­â™¨

capturing that data.

.-䧎éŒ?ä–¤é¸?ă˝ ă„¤â´˝ćś¸ĺŒŒéŠŻâ™§ĺžşď˜ˇé¸?ĺƒ˝ćŹ˝â˘ľâśžâĄ˛ćś¸â™§ç??

ML: For 24 years or so I made electronic music and pieces of ďŹ lm as completely Biological Sciences at the University of Aberdeen, so I worked with ecologists.

They had a ďŹ eld station in a place called Cromarty, and they look at the impact of tourism and shipping on the local marine population. As I was interested in sand, I managed to get this amazing residency and go and hang with marine

biologists who do lots of underwater recordings. It was an absolute dream and a real turning point for me. They gave me a chance; they saw something in

my work, the music that I d made and the visuals. By that time, I d moved into

doing gallery paintings based on meteorological phenomena. I did a six-month residency with them and after that things kind of snowballed.

ART.ZIP: What do you think is the common theme throughout your work? What s your focus?

ML: It s mostly about sound. I m also interested in people s relationship to place. Why people are there, what they feel about it and then interviewing the next person. Their relationship to their town, city or village is completely dierent interested in small and big. I think there s real poetry there.

ART.ZIP: For your performance Oscillon Response, you used the same machine to produce the work, but the original data is lost. What s the story?

digitally, and you can t escape that. It s just numbers, 0 s and 1 s, it s a way of

ăŁ?㡸朸揰ćš&#x;çŒ°ăˇ¸ăˇ¸ę¤Ž⿎â¸ˆéş•č° é Żăšťę˝?掆갪暥ď˜šé˝Ąĺ„˜䧎ㄤ

ART.ZIP: Why do you have a digital methodology in your work?

ę…żă˘ŤéŒšĺş ç•€ď˜šćŹ˝ĺ€´éŒšĺş ĺ ‡éş‰ă„¤č?ťéşŒ㟊掚ă–’ĺľłĺł•ç??çşˆ朸䕧

and when I was growing up both my parents worked for a company called

揰䢀㡸㚝â°&#x;âœ˛ď˜ˇâžŽâŚ›ă–ˆâ™§ âŚ?ă€­âŻ˜çš?ęź›裌朸㖒倰剤♧ âŚ?

ę° ď˜ˇć­‹ĺ€´ä§ŽăźŠĺ°Şĺ‰¤čĄ˝ć…ŽâžŠćś¸čŽ‡錹ď˜šä§Žâ¤‘é?¤ĺ˛ ⿎â¸ˆâœŤé¸?âŚ?

갪暥ď˜šâš›ă„¤ĺľłĺł•揰ćš&#x;㡸㚝â™§éĽąäŠ¨âĄ˛ď˜šâžŽâŚ›ę?—âľ–âœŤä–Ž㢾ĺŽ?â™´ ç¨‡ĺ‹žď˜ˇé¸?媯獤ĺ¨œ㟊䧎ç˝œéŽŠĺƒ˝ăŁ†äŽ‘č?›朸ď˜šă šĺ„˜â›łĺƒ˝ä§Žćś¸éą˛

䍔ë&#x;Šď˜ˇâžŽâŚ›çŞ?âœŤä§Žă¤?ĺ Ľď˜šâ›łĺ§ťĺƒ˝âžŽâŚ›朎乥â´€䧎朸⥲ㅡ⺍ ä­?ę°‰ĺ?żă„¤ä•§âŤšâĄ˛ă…ˇî™¸âšĽć Źćšśćś¸ĺŒŒéŠŻď˜ˇä–°é˝Ąĺ„˜鼹ď˜šä§ŽäŠşçŤ¤ę&#x;š

㨼✞⥲莅孾é&#x;?ć¤?é&#x;?ĺ‰¤ęĄ 朸掼⥲âœŤď˜ˇä§Žă„¤âžŽâŚ›â°&#x;âœ˛âœŤâ°™âŚ? ĺ‰˘ď˜šă–ˆ齥â›“ä–•ď˜šâ™§â´—㽠㼜㠚怎ꨔ椕č?›㥭ăŁ?鼹⢾âœŤď˜ˇ

"35 ;*1ä?Ąé’˘ć?€éĄ?ç‘­ä?Ąä¨žĺ‰¤âĄ˛ă…ˇćś¸âšşę˛—ĺƒ˝âžŠëž†îšŽä?Ąćś¸ ⊎ꅞë&#x;Šĺƒ˝âžŠëž†îšŽ

.-䧎朸ăŁ?㢾䞸⥲ă…ˇĺƒ˝ęĄ ĺ€´č€Ťę°‰朸ď˜ˇä§ŽéźŠăźŠâžƒâŚ›ă„¤č´–䨞 ⛓ę&#x;Śćś¸ęĄ ⤚剤襽慎➊朸莇錹ď˜ˇä§Žĺ‰šă‰?âžƒâŚ›⿥âľŒĺŽĽâŚ?㖒倰

朸➲ă””ď˜šé˝ĄâŚ?㖒倰äŒ&#x;çŞ?âžŽâŚ›ćś¸ä Žă€Œď˜šć?­ä–•â™§âŚ?➃ç­?乺襽

ML: Again, because it s an accessible tool and it s what I grew up with. I m 42 Timex, and the factory in the town where I lived made the ZX Spectrum

computers in the early 80 s. So we all had these computers. Those computers didn t do anything unless you programmed them, so we all had a little

understanding of programming, and we all grew up with computers, from a really early age. I had my ďŹ rst computer in1982, and that s kind of incredible.

â&#x;ƒ䲞霤㼜姽㝍ĺ˛Œ朸깆㚖

㯯âž?ď˜šâ™§ă¤›ĺ€ž朸äŠ¨â°¨ď˜ˇâ™śç›˜揽朸ĺƒ˝ćŽĽç˜˜ď˜ść’‘ćšąĺ ĽéźŠĺƒ˝ëĄ—

ĺžŚď˜šĺ‰“ę…žéŠ´ćś¸éźŠĺƒ˝âĄšćś¸ă…ˇă„‚ă„¤ăť¤çšĄäž•錹ď˜ˇăźŠä§ŽâŚ?âžƒç˝œéŽŠď˜š 䧎䋞劆腋㣠䒸Ⰵ♧ë&#x;Šă€łé?¸äš?朸âŻ‹ç¨‡ď˜šâĄŽĺƒ˝ď˜šä§ŽâŚ›â¨ž朸â&#x;¤

⥌âœ˛äž•ď˜šă˝ çšżĺƒ˝ĺž¸äşźâĽŒ贍朸ĺŒŒéŠŻéżŞĺƒ˝ćŹ˝äž¸ăśśćś¸ĺ€°ĺ˛ ę?—âľ–

â™´â˘ľćś¸ď˜šé¸?ĺƒ˝ĺ°?ĺ˛ éˇ—éźš朸ď˜ˇä§ŽâŚ›ĺ‰¤ćś¸ă€Ťĺ‰¤äž¸ăśśď˜š ㄤ ď˜šé¸? ă˝ ĺƒ˝ć ˝ă€Š䞸äş™朸ĺ€°ĺ˛ ď˜ˇ

"35 ;*1ä?Ąćś¸âĄ˛ă…ˇâšĽć?€⥌âŻ?ć€?䞸㜜䊛媯

.-㔔ć?€䞸㜜䊛媯ĺƒ˝â™§ç??ăˆ°äŠ›ă€łä–¤ćś¸äŠ¨â°¨ď˜šä§Žä–°ăź­ă˝ ă„¤ ă¸?䊧â?œ麼ď˜ˇä§Žć¤?ă–ˆ ĺ¨”ď˜šăź­ĺ„˜⌏䧎朸ć˜żĺŤ˘ă–ˆâ™§ăšťă ?ć?€岲

ĺ“†âŻ˜ĺ€›朸â°—ă €â™łćŁľď˜šç˝œĺ Ťâ™´ćś¸äŠ¨ä‘–ă–ˆ äŽƒâžżâľšĺŠ?ă˝ ę&#x;š 㨼âľ–鸤;9 4QFDUSVNéŽ™çšżĺ Ľď˜ˇä¨žâ&#x;ƒ䧎⌛齥ĺ„˜㽠鿪ĺ‰¤ę¨śčˆĄ âœŤď˜ˇé˝Ąĺ„˜⌏朸ꨜčˆĄę¨žéŠ´âĄšçŞ?ă¸?⌛é?¤ç¸¨çŽ‘äŽ¸ď˜šă‚„âľąă¸?⌛➊

랆鿪â¨žâ™śâœŤď˜šä¨žâ&#x;ƒ䧎⌛䖰㟭㽠㟊玥çŽ‘ĺ‰¤ä¨žâœŤé?‘ď˜šç˝œâš‚ă€łâ&#x;ƒ

é“žĺƒ˝ă„¤éŽ™çšżĺ Ľâ™§éĽąę&#x;€ăŁ?朸ď˜ˇä§Žă–ˆ äŽƒă˝ ĺ‰¤âœŤç—§â™§č?Šę¨ś čˆĄď˜šé¸?ĺƒ˝äŻ†â™śă€łä™źé™žćś¸âœ˛äž•ď˜ˇ

♧âŚ?㖒鑉ă‰?ď˜ˇâžƒâŚ›㟊倴č?ˆäŠšă„¤ă™šę”Šď˜śă™šä‹‘䧴ç˝?ę€€ĺ‹ 朸ęĄ

ㄤ䞸㜜䊨Ⱘ䊧â?œ麼㟊䧎⢾é“žĺƒ˝ä–Žč?ˆć?­ćś¸âœ˛äž•ď˜ˇă””ć?€齥â?‰

ęŹŒäŒ˘ä ŽčŽ‡錹ď˜šć?‚é”¸ä˝Śâœ˛é°‹ę…žď˜ˇä§ŽéŒ?ä–¤é¸?é…­ęŹ—ĺ‰¤ćşŤĺ§ťćś¸é‘˜

垺䧎⌛㽠剤鋡č?ˆâ™łäŠ›朸ć“żäœŤä Žď˜ˇä§Žćś¸ć˜żĺŤ˘ă˝ ĺƒ˝âľ–鸤é¸?â?‰

⤚朸ćş?ĺ˛ čŽ…âžŽâŚ›朸ę ˆăž€朸ćş?ĺ˛ ă¸¤ďˆŁâ™śă šď˜ˇä§ŽăźŠé¸?â?‰佌âœ˛ ä ‘㜸ă–ˆď˜ˇ

ꨜčˆĄĺƒ˝ä–Žç&#x;Śă‹˛ćś¸ď˜šä¨žâ&#x;ƒ䧎⌛〳â&#x;ƒč?ˆäŠšäŠ§ę&#x;šꨜčˆĄâĽœć¤šď˜šé¸? ꨜčˆĄćś¸ď˜šä¨žâ&#x;ƒꨜčˆĄâ°‰éżˆ朸äž•幣䧎âŚ›ĺƒ˝ä–Ž嚢ĺ˜˝ćś¸ď˜ˇ

ML: Yes, it s an oscilloscope, from the 1950 s, completely analogue; the trace

"35 ;*1îš‰ă–ˆŐˇçˆšĺ˛š⿞估ոć¤?ăœĽé‚?ć€ľâšĽď˜šä?Ąâ˘ŞćŹ˝âœŤćŽšâ´˛âśž

"35 ;*1ć¤?ă–ˆ䧴é?Şĺ‰¤é¸?垺♧ç??䪥é?ąď˜šâ˝°ĺ€žâ™§âžżćś¸äž¸ăśś

it s gone. Ben Laposky, who made the original Oscillons, would photograph

ëĽŒ⿥č… ĺƒ˝ä™Śĺžşćś¸îšŽ

ĺƒ˝ä˜‘ĺ€´éˇ†ĺŽ ĺ€ž朸佪ĺ?“ď˜ˇä?ĄăźŠĺ§˝ä™Śëž†ćş?

patterns are on the screen. You feed sound in, you see the patterns and then them with high-speed ďŹ lm and freeze those moments in time. When I came to do it, essentially I did the same thing. I had a really good camera, but with

a low-tech solution. I had a black material hood over the oscilloscope and me and I was just ďŹ lming. I had a modular synthesizer, so I had modules feeding

sound into the oscilloscope. It s a digital transfer of an analogue process. I was essentially using the same process as Laposky and I took all that raw footage

and then edited it digitally. I treated it like it was ďŹ lm, I wanted there to be some kind of narrative and structure.

I m really interested in mixing those two worlds: analogue and digital. I made digital work for a long time and I felt I was missing that tangible connection.

With the music as well, I started to get back to using synthesizers, things that I could touch, which I think is really important. I think there s a disconnection

⥲ĺ„˜朸㠚♧㤛é?¤âŞ”ď˜šâĄŽ➲㨼䞸äş™⽿âš“ăŁ&#x;âœŤď˜ˇé¸?Ⰼ⚼朸⢾ .-îš‰ĺƒ˝ćś¸ď˜šé˝Ąĺƒ˝â™§č?Š äŽƒâžżćś¸çˆšĺ˛šă?źî™ˇâ™§ç??č…‹㣠ęł?爚 ꨜ㠺âĽŒč´Ťâš›ä˘€ĺ˛šä•Žćś¸ę¨śăśŠĺş ę†€â­‘ă?źî™¸ď˜šă¸¤ďˆŁę…ˇćŹ˝ĺž¸äşźâĽŒ

贍鎨騋㕏⍚ęł?çˆšă–ˆăž“ä?Œâ™łď˜ˇâĄšäąşâ°…♧âŚ?č€Ťę°‰ď˜šă˝ ă€łâ&#x;ƒćş? âľŒă•ŹâŤšď˜šć?­ä–•ă•ŹâŤšéą˛ćž–â˝°é¸šď˜ˇçˆšĺ˛š朸➲✞ç˝?ĺŠĽË™äŹ˜â˝ˆĺ€›ă›‡

剚揽ë„žé¸ čŠŁć™š䪞㕏⍚äŹ?â™´â˘ľď˜ˇç˝œ䧎â›łę…ˇćŹ˝ă šĺžşćś¸ĺ€°ĺ˛ ď˜ˇ 䧎剤♧č?ŠęŹŒäŒ˘ăĽŞćś¸ćšąĺ Ľď˜šâĄŽ⢪ 揽ĺ€°ĺ˛ äŽ™â›–ĺ°?ĺ‰¤äŞŽé Ż ă‚?

ę†€Ő‚ă˝ ĺƒ˝ćŹ˝ëžąč’€朸ç¸&#x;㜊ç¸&#x;âĄžçˆšĺ˛šă?źă„¤č?ˆäŠšď˜šć?­ä–•ę&#x;š㨼äŹ? ć’‘ď˜ˇä§Žâ›łĺ‰¤â™§ă€ľĺž¸ă?†âť‹ă –䧭ă?źď˜šă””姽䧎č…‹揽垸犉çŞ?çˆšĺ˛š

ă?źéą’â°…č€Ťę°‰ď˜šäł–ă€Łé‘¨é“žď˜šä§ŽäŞžĺž¸äşźâĽŒ贍䞸㜜âť‹âœŤď˜ˇä§Žă„¤äŹ˜

â˝ˆĺ€›ă›‡朸âľ–⥲éş•çŽ‘ĺƒ˝â™§ĺžşćś¸ď˜šä§Žä˝?ę§ŒâœŤä¨žĺ‰¤ćś¸ä? ć™šď˜šć?­ ä–•éšŽé ¤äž¸ăśśâť‹玥éą€ď˜ˇä§ŽäŞžă¸?掚⥲ꨜä•§â˘ľăźŠä–Šď˜šä§Žä&#x;?雊⥲ ㅡ剤♧ë&#x;Šäžƒâœ˛äš?ă„¤çŠĄĺœ“äš?ď˜ˇ

with digital, so I wanted to be able to engage with it in a tactile way.

䧎ęŹŒäŒ˘ć”¨é‚Şĺ€´ăź&#x;é¸?â°?âŚ?âš†ć­˛čź‘ă –ă–ˆâ™§éĽąîš‰ĺž¸äşźâš†ć­˛ă„¤äž¸

ART.ZIP: What do you think digital art is? Is there a way to describe such a large ďŹ eld?

ę&#x;š㨼ä§ƒä™‚î™ˇĺž¸äşźäŠ›媯齥ç??ćş?䖤鋅䡏ä–¤čĄ˝ćś¸č€˘ç˛Żď˜ˇé¸?ă–ˆę°‰

ML: I think it s like anything else. It s a medium, another set of tools to produce work. Whether it s a brush, camera or a mouse, it s all to do with taste, your

aesthetic sensibility. For me personally, I like to be able to introduce a tactile

ăśśâš†ć­˛ď˜ˇä§ŽâśžâĄ˛äž¸ăśśâĄ˛ă…ˇäŠşçŤ¤ĺ‰¤ä–Žę&#x;€ĺ„˜ę&#x;ŚâœŤď˜šä§ŽéŒ?䖤䧎 ĺ?żâ™łâ›łâ™§ĺžşď˜šä§Žę&#x;š㨼ꅞ倞⢪揽ă –䧭ă?źď˜šé¸?ĺƒ˝ä§Žč…‹é?¸äˇŹâľŒ

朸ĺŒŒéŠŻď˜šé¸?ĺƒ˝ä–Žę…žéŠ´ćś¸â™§ë&#x;Šď˜ˇä§ŽéŒ?䖤䞸㜜䊛媯çˇ„â›˜溍ăťœ 朸č€˘ç˛Żď˜šă””姽ď˜šä§Žä‹žĺŠ†揽〳é?¸ćś¸éłľĺ˛ éšŽé ¤äž¸ăśśâť‹✞⥲ď˜ˇ

č° é ŻăšťâŚ›ĺˆżęĄ ä—ąâĄ˛ă…ˇćś¸çšĄăˇ¸ç˝œęŹŒâ°Śčƒ?ä–•朸ĺšŒä™‚ď˜ˇâžŽâŚ›çą? .-é¸?ă„¤â´˝ćś¸ĺŒŒéŠŻâ™§ĺžşď˜ˇäž¸ăśśč° é Żĺƒ˝â&#x;‚âžƒčŽ‡ăĽ…朸ď˜šâĄŽ⥚

剓♜ä&#x;?⨞朸㽠ĺƒ˝âśžâĄ˛ĺž¸â&#x;Źâ´˝âžƒ朸⥲ă…ˇď˜šă””ć?€é¸?ä–Žä˜°ă˝ ĺ‰š

éş•ĺ„˜ď˜ˇé¸?㽠⍚溽⯕朸⢪揽â™§ĺžşď˜ˇć¤?ă–ˆ⥚ćş?ćş? äŽƒâžżćś¸ ä‘žăƒ‡ď˜šâľŒč´–鿪揽âœŤćş˝âŻ•ď˜šé¸?ăŁ–ä›Œä™łâœŤď˜ˇä–°ä§Žč?ˆäŠšćś¸éŒŹä?ž⢾ ćş?ď˜šä§Žä‹žĺŠ†⍚✊鹀溍ăťœ朸芣晚ㄤ煂äŒ&#x;齥ĺžşâ˘ŞćŹ˝ĺ€žäŞŽé Żď˜ˇ

䧎䋞劆⍚⢪揽垸亟䊛媯齥ĺžşâ˘ŞćŹ˝äž¸ăśśäŠ¨â°¨ď˜ˇă€Ťâ™śéş•ä–•ç˝? ĺˆżç&#x;Śă‹˛ď˜šä¨žâ&#x;ƒ䧎䊞揽ă¸?ď˜ˇâĄšę¨žéŠ´âžŠëž†ď˜šă˝ ⢪揽âžŠëž†ď˜šĺ°?剤 ä—łéŠ´ăźŠĺ§˝ë ‡ä›Œď˜ˇä§ŽéŒ?ä–¤âžƒâŚ›䪞䞸㜜掚⥲➊랆䨔ć?­â™ś ă š朸ĺŒŒéŠŻĺƒ˝ä–Žĺ°?麼椚朸ď˜ˇäž¸ăśśč° é Żćś¸ă‰?ę˛—ă–ˆĺ€´ă¸?朸援

â´€ď˜ˇäž¸ăśśâĄ˛ă…ˇćś¸ćŹ´â´€ăŁ–ä˜°âœŤď˜šâŤšäŠ§â˝ŤĺľłăœĄâ™§ĺžşăş‚ĺƒ’ď˜šâžƒâŚ› 㟊姽ä–Žę¨ˆäąşă€Œď˜ˇé¸?溍朸ĺƒ˝ä–Žë ‡掯朸âœ˛äž•ď˜ˇ

"35 ;*1ä?Ąé’˘ć?€č° é Żă„¤äŞŽé Żâ›“ę&#x;Śĺ‰¤âĄŚęĄ â¤šîšŽäŞŽé Żă€Ťĺƒ˝ äŒ&#x;⢾âœŤĺ€žäŠ¨â°¨ăŒ¨îšŽ韊ĺƒ˝ă¸?ä˝–éšśâœŤč° é Żćś¸çœ•ćŻ‘îšŽ

.- 䧎é’˘ć?€é¸?â°?ç˝?ĺƒ˝â™śč?ˆâšşă–’ćšąâœ˝äŞœä­°ă‚…ď˜šé¸?㽠⍚♧âŚ?

äš“ă•–ď˜ˇâĄšâ˘ŞćŹ˝â™§ç??äŠ¨â°¨ćś¸ĺ€°ĺ˛ ⽿ă€łč…‹â™śĺƒ˝âľ–鸤ç˝?⌛䨞➲

⯓é?¤ä&#x;?朸ď˜ˇâžƒâŚ›çą?ĺƒ˝ä˛€âš›襽â™§â´—âľšéšŽď˜ˇâžƒâŚ›çą?ĺƒ˝ĺ‰šď˜šç˝œâš‚ ĺ‰¤ĺ§ťćŽšćś¸ć¤šć­‹ď˜šćŹ˝ďšłę?Ťé“?ďš´ćś¸ĺ€°ĺ˛ ⢪揽äŠ¨â°¨ď˜ˇâĄšçą?剚揽玥

çŽ‘âžƒă†žâ™śĺ‰Žé?¤ä&#x;?éş•朸倰䒭⢪揽厼ç??估揽äŠ¨â°¨ď˜šé¸?ĺƒ˝â™§â&#x;? 㼪âœ˛ď˜šă””ć?€é¸?ă˝ ĺƒ˝âžƒäš?ď˜ˇ

Mark Lyken. Photographed by Harry Liu.

to the person living next door. So I m really interested in those stories. I m

ę&#x;š㨼✞⥲揰塆朸

tools incorrectly. You ll use the application in a way that the programmer never intended, and that s good because that s humanity.

ART.ZIP: You re also inuenced by GraďŹƒti culture‌

ML: GraďŹƒti teaches you. You go into places that you really shouldn t be

and you size them up, you regard them dierently, as a canvas. It makes

you really good at interacting with spaces. So there are lots of lessons that

quite scary characters in these places. I was never into mass acts of

vandalism, I like to ďŹ nd an abandoned place and try and work with it as harmoniously as you can be. I then decided that, after so many years of using spray paint, it was starting to aect my health. Particularly in the

80 s when it was car paint, now it s formulated. I still do mural works from

time to time, but it s more with emulsions, acrylics and things. As I do

ĺ€°ď˜šć?­ä–•⍚㟊ä–ŠăŁ?掼ä‹’â™§ĺžşäŠ§ę†€ç‘ ę&#x;Śćś¸ăŁ?ăź­ď˜ˇé¸?ç??獤ĺ¨œ

inside them.

ART.ZIP: There is, perhaps, a criticism that a new generation of digital artists cares more about the aesthetics of a work rather than a concept behind it. They are busy chasing the new eect. What do you think? ML: I think it s like anything. It is quite exciting, but the last thing you want

to do is to make work that follows any kind of fashion because it s going to

date. It s like when lens are came out, now you look at advertising from the

90 s and everything has lens are, it s just horrible. Personally, I like to use the

technology in the same way as if I was cutting actual ďŹ lm or tape. I like to use digital tools in the same way as if I was doing an analogue process. It s just

much easier, that s why I use it. You can have everything in your bag that you

need. There s no reason to be scared of that. I think it s crazy that people would regard it as any dierent. It s all about output, that s the problem with digital art. It s printed out; people have a problem with that process as if it s just a

雊⥚ćšśâ´˝ăŠĽĺ€´čŽ…ç‘ ę&#x;Śâœ˝âš›ď˜ˇä¨žâ&#x;ƒä–°ă?¤ë’Şé˝Ąé…­ä§Žăˇ¸âľŒâ™śăźą

ĺŒŒéŠŻď˜ˇćŽšä§ŽéšŽâ°…â™§âŚ?䨟ę&#x;Śď˜šä§Žă€łč…‹ă˝ ♜⹄â&#x;ƒ粭掼朸倰䒭

ç˝ŒäŁ‚ă¸?âœŤď˜šä§Žĺ‰šç˝ŒäŁ‚䧎č…‹㟊ă¸?⨞â?‰âžŠëž†ď˜ˇâ˘żăĽśä§ŽâŚ›ć¤?ă–ˆ

䨞ă–ˆ朸䨟ę&#x;Śď˜šä§Žč…‹č ƒâľŒă”?č€Ťď˜šä§Žĺ§ťă–ˆç˝ŒäŁ‚ă€łâ&#x;ƒä™Śĺžşč´–椚 é¸?âŚ?ç‘ ę&#x;Śď˜ˇă?¤ë’Şĺƒ˝ä–Žĺ‰¤ä ‘ä™źćś¸ĺŒŒéŠŻď˜šă¸?雊⥚éšśä–¤ăŁ?č‹ ď˜ˇ

䧎ă‹?姚✞⥲ă¸žęŹ†ç˝œâŻ?ć€?âżžä™źä ‘ă„‚朸⥲ă…ˇď˜ˇâĄ˛ć?€ă?¤ë’Şč° é Ż

ăšťď˜šćŽšéšŽé ¤âśžâĄ˛ćś¸ĺ„˜⌏ď˜šâĄšâ™śăŁ–ĺ‰šęĄ ĺ˛¤č?ˆäŠšď˜šç˝œĺƒ˝é›Šč?ˆäŠš éšśä–¤ęŹŒäŒ˘ă¸žęŹ†ď˜ˇă–ˆé¸?â?‰ă–’ĺ€°ď˜šâĄšé¸’äŒ˘ĺ‰šéş‚âľŒĺ‰¤éŚąď˜šĺ‰¤ĺ„˜揊

č?›ă€łä™˛ćś¸âžƒď˜ˇä§Žä–°â™śă‹?ĺ§šç śăĄ?äš?朸ăŁ?ćťžé ¤ć?€ď˜šä§Žă‹?姚⿥ 䪪♧â?‰ä‘›ĺ”łćś¸ăœĽä¨žď˜šć?­ä–•čŽ…â°Śćšˆă€łč…‹ă„¤é•œâ°&#x;č´–ď˜ˇä§Žä–•⢾ 朎ć¤?ď˜šâ˘ŞćŹ˝ă‘‘ć€šé¸?랆㢾äŽƒäŠşçŤ¤ä•§ę° âœŤä§Žćś¸â¨´ä? ď˜ˇćšśâ´˝ĺƒ˝

ă–ˆ äŽƒâžżď˜šé˝Ąĺ„˜䧎⌛揽朸ĺƒ˝éŽŚć€šď˜šç˝œć¤?ă–ˆ揽朸ĺƒ˝ę‚‚âľ– ć€šď˜ˇä§Žĺ„˜â™śĺ„˜韊ĺƒ˝ĺ‰š✞⥲♧â?‰ă —掼ď˜šâĄŽ揽ä–¤ĺˆżă˘ľćś¸ĺƒ˝âœŒ 芣ㄤ⚋ćŽ?ę˛?俲ç˜žç˜žď˜ˇä–•⢾ꌑ襽䧎⿎čŽ…âœŤéŚŠ⢾錊㢾朸ćŠ‡âĽƒ 갪暥ď˜šä§Žă˝ â™śâą„揽ă‘‘ć€šâœŤď˜ˇ

poster. It s a really strange thing.

"35 ;*1ä?Ąĺƒ˝ă‚„剤⽰ăź&#x;㸤䧭䧴ĺ‰“éľœ㸤䧭朸갪暥

ART.ZIP: What do you think the relationship is between art and technology? Is technology just for bringing out the new tools, or is it changing the ďŹ eld of art?

é…­ď˜šĺ‰¤â°™âŚ?剢䧎㟠耡」⨞é¸?â&#x;?⥲ă…ˇď˜ˇę¤‘姽⛓㢍ď˜šä§ŽéźŠâśž

ML: I think they can t help but feed of one another. It s like a loop. You use

the tools, and then maybe use them in a dierent way that the programmer intended. People drive it forward. People will always, and rightly so, use the

.-îš‰ĺ‰¤ćś¸ď˜šé˝Ąă˝ ĺƒ˝ďˆŁĺ€žć™?ĺŠĽćś¸Őˇçˆšĺ˛š⿞估ոď˜ˇéş•⿥♧䎃 ⥲âœŤâ™§éżˆâˇœäž•ć™šď˜šé¸?ĺƒ˝ä§Žç—§â™§ĺŚ„ĺś?駈é¸?âŚ?ęą†ăš–ď˜šĺƒ˝â™§éżˆĺ‰¤ 佌âœ˛č‰ ĺŠĽćś¸ä•§ć™šď˜ˇă„¤ä§Žă –⥲朸韊剤♧⥙⾖⥲âžƒă„¤â™§âĄ™玥

âˇœď˜šä§ŽâŚ›朸갪暥ă€­ŐˇéĽĽâ´€ăž”âš†ď˜šĺ§żâ°…â˝ˆć™‹ĺ‘”Ő¸ď˜ˇâ˝ˆć™‹ĺ‘”ĺƒ˝ 蹤ĺ‘”貽ę€śä’źę…˝ĺ€›čŚˆ峍ꯂ⟌ăš–朸♧âŚ?ăź­ę”Šď˜šĺ‰¤čĄ˝âš†㢍ĺ‘ ĺ˝‚ 朸皥éš˜ď˜ˇă””姽ď˜šä§ŽâŚ›朸ä&#x;?ĺ˛ ĺƒ˝ĺ‘?äş™ĺ‚?⾚朸â™§éżˆč° é Żç§ ę?—

more and more of these environmental projects, I can t be spraying.

ART.ZIP: Do you have any upcoming or recently completed projects?

ML: The Oscillon Response, it s brand new. I ve been working on that

for about six months, well for a year actually, but six months full-time.

So beyond that, I ve developed a feature ďŹ lm, my ďŹ rst foray into drama, so it s a scripted work. I have a producer and a screenwriter and we re working on a project that s called Out of the World and Into Borgue. Borgue is a little town in Dumfries and Galloway that s always has a

ML: No, I haven t. What I m interested in is the parallels village in the highlands I m very interested if there are

parallels between China or wherever. I m just interested in the everyday things. There s real poetry in people s everyday life and I like to try and reveal that. Going

somewhere as an outsider you would see things, that

you if lived there, you wouldn t, because you re used to it. I quite like being on the periphery.

晚⢾乳éŽŁâžƒâŚ›㟊倴贖㖒朸ćş?ĺ˛ ď˜šâą„颭âœŽâ°Śâˇœäž•âť‹朸䗹椚崞⚛

éş•çŽ‘ď˜ˇé¸?ĺƒ˝ĺ€ž朸äŽ‹ä¨žď˜šâĄŽé¸?â›łä ‘ă„‚襽䧎č…‹â&#x;ƒ⥲ĺˆźăšťćś¸é­¨â&#x;¨ć?€ é¸?éżˆć™š㜊ę‚‚ĺ?żď˜ˇ

"35 ;*1ä?ĄâľŒéş•âšĽă•œăŒ¨îšŽ

.-ĺ°?ĺ‰¤ď˜ˇä§Žä ŽčŽ‡錹朸ĺŒŒéŠŻĺƒ˝ă–’ĺ€°â›“ę&#x;Śćś¸ćšąâĄ‚äš?ď˜šä¨žâ&#x;ƒď˜šăĽś ĺ?“䧎ă–ˆë„žă–’朸㟭ć€’ĺ‹ éšŽé ¤âśžâĄ˛ď˜šä§Žä ŽčŽ‡錹朸ĺƒ˝ă–ˆâšĽă•œĺƒ˝ă‚„ĺ‰¤

暹겳⥂朸ă–’ĺ€°ď˜ˇä§Žă€ŤăźŠĺ‚ˆäŒ˘ćś¸âœ˛ćš&#x;ä ŽčŽ‡錹ď˜ˇĺ‚ˆäŒ˘ćŹ°ĺ´žäŒ&#x;剤襽

溍姝朸é‘˜ä ‘ď˜šä§Žä&#x;?é‘‘襽⿥ăƒ„ć¤?ď˜ˇâ&#x;ƒ㽡㢍➃朸魨â&#x;¨âľŒč´–鼼ď˜šâĄš

⤑腋朎ć¤?é?Şă˘ľćŽšă–’➃ć?‚ĺ˛ ăťŒéŒ?朸â™§ęŹ—ď˜šă””ć?€⥚㟊♧ⴗ䊺獤睢 â&#x;ƒć?€äŒ˘ď˜ˇä§Žä–Žă‹?姚č?ˆ䧎韚玔❋朸㽡㢍➃魨â&#x;¨ď˜ˇ

Mark Lyken, Oscillon Response. Photo by Tommy Ga Ken Wan

Mark Lyken, The Terrestrial Sea. Performance at Sonica 2015. Photo by Tommy Ga Ken Wan

to yourself, you have to be quite quiet. You meet some interesting, often

.-䖰ă?¤ë’Şé˝ĄâŻĽč…‹㡸âľŒâ™śăźąď˜ˇâĄšâżĄé˝Ąâ?‰ĺŠĽâ™śé‘ŞâżĄćś¸ă–’

means that I can score it as a composer as well.

between places, so if I m making work in a little ďŹ shing

you re painting places, as a graďŹƒti artist, you don t want to draw attention

so you had that hands-on feel. My parents made them, so I knew what was

psychological way. It s a brand new challenge, but it

We re in this room now and I can hear the echo and I m thinking how I

you to be bold. I like to make work that is quite quiet and reective. When

that you could open them up and repair them, because they were quite simple,

and documentary work, but taking it into a scripted

ART.ZIP: Have you been to China before?

could work with the space. The graďŹƒti thing is really interesting. It teaches

"35 ;*1ă?¤ë’Şäż’âť‹ĺƒ˝ă‚„â›łăźŠä?Ąĺ‰¤čĄ˝ä•§ę° ď˜žď˜ž

investigating people s idea to place from a previous art

I took from graďŹƒti. When I go into a room, I might not think of it in terms of painting any more, but I think of it in terms of what I could do with it.

That kind of digital way feels natural. The thing about those computers was

reputation of being otherworldly, so it s an idea of

LU SISI: THE AGE OF DIGITAL/ANALOGUE 㼠鏞ス䙼倛 垷亻 侷㶶⻊儗➿

Lu Sisi is an award-winning artist from Inner Mongolia who now works out of London, his work combines electronic music, film,

and live performance. In 2013 he was awarded a Sky Academy Arts Scholarship to create The Age of Digital/Analogue. This takes an

ス䙼倛僽♧⡙⢵荈Ⰹ褑〢涸倞欰➿谁遯㹻植假㾀⧍侚ス涸⡲

ㅷ鸒䌢僽⟃ꨶ㶩坿ꨶ䕧ㄤ植㜥邍怵穡ざ涸䕎䒭ツ植 䎃ス

囙栽✫㣔瑠谁 遯㷸ꤎ䱇✮涸栁㷸ꆄ䱺罜ⶾ⡲ⴀ✫Ⱖ➿邍⡲ㅷ

շ侸㶶⻋ 垸亼涸儘➿ոՂ♧媯瑭馊薊⧍涸鋕聃⛓假谁遯㹻劥

audio-visual journey across the UK and explores how our industry

➃㼟捀錚滞⦛ツ植薊㕜䊨噠ㄤ兞錚❜籽涸渿兞

a number of international festivals including the Glasgow Short Film

ス涸⡲ㅷ剎㖈㢵⦐㕜ꥹ谁 遯眏♳㾝ⴀ⢿㥶呔䬘倛ㆥ瀊晚ꨶ䕧

and landscape is intertwined. His work has since been showcased at Festival. On top of this, he has also produced work for the BBC, Sky

Arts, and has been the creative director and composer for Haizhen Wang at Fashion weekends in London and Shanghai.

眏姽㢫➮⛳「鼝捀薊㕜䑞久Ⱇ぀㣔瑠谁遯ⶾ⡲ず儘二⟤桬

嵳꩏ㅷ晦㖈⧍侚ㄤ♳嵳儘酤猗涸ⶾ䠑籏湌ㄤ갉坿醢⡲➃

Lu Sisi. Still image of Forest Rising (2016)

*/5&37*&8&% #: 䱰鏞  )"33: -*6 ⷠ畹兑 53"/4-"5&% #: 缺陼  /*$)0-"4 "/%&340/ 㽲〢䬘倛v㸝䗞啿 **."(&4 $0635&4: 0' 㕭晙䲿⣘  .*(3"/5 #*3% 41"$& ⦫둷瑟꟦ -6 4*4* ス䙼倛

from the machines themselves, I re-edited the ďŹ lm to try and embody their

é‚?朸㖒倰买兞â&#x;ƒâżťę?—ę°‰ď˜ˇäŹ?䟢㸤â&#x;ƒä–•䧎⹄㎲鑑䪞č?ˆć?­ă„¤

between its industrial development and the natural environment. I hope using

鹀⢾ë„“ć¤?➎⌛ă ?č?ˆ朸ďšłäš?呔 ď˜šĺ‰“ä–•â&#x;ƒę°‰ĺ?żă„¤é‹•깽朸ä•Žä’­

personalities , ďŹ nally using music and video to show the country s connection

this new language will allow young people to connect with their cultural past.

While I was producing this project, I actually had many struggles and moments of deep contemplation, at points I was even ďŹ lled with self-doubt, so speaking personally, I also think this was a journey of self-exploration.

ART.ZIP: The language that you use in this project is very visually captivating, but behind the imagery, what is the message? LSS: In this excessively information driven age, it is rare to be given the

behind the scenes work, for example, when the shooting team and I spent 5 days and nights in the remote Scottish mountains. We saw many trees that

Lu Sisi

reached almost to the sky, but we never saw another person, we actually only

combines 13 dierent soundtracks with various visual eects. The performance

䒭⥲ć?€鯺ë„“ď˜šé¸’éş• ꝡ♜㠚⚺겗朸ę°‰ĺ?żę‚‚㠖♜㠚⚺겗朸

digitally simulates the development of modern society. Visually it incorporates a number of natural and industrial elements which I feel also share a

connection with my past. I grew up in Inner Mongolia and my father worked

in a factory, so my thoughts are always revolving around these points, I grew up loving both machinery and the great grass plains. At the same time I also felt my surroundings change and because of this I often think about the

complicated relationship between nature and industry. Later on, I came to the UK to study design at the University of Glasgow. Scotland has a long history of industrial development, and signs of the industrial revolution can still be seen

everywhere you look. I then embarked on further research into the relationship between nature and industry which I feel led to the creation of some

interesting pieces. I am also really grateful for meeting a tutor who encouraged me to develop myself, to study and master dierent styles of production

like music, animation, video, and other techniques. In 2011, I then moved to London and took part in Sky Academy s national competition, fortunately

winning a ÂŁ30,000 scholarship and at the same time gaining extra ďŹ nancial

support from the Arts Council and via crowdfunding. I then spent nearly three years travelling all over the UK and ďŹ lming at many dierent types of factory, both new and old. I had the opportunity to see every type of industry and visit many sites of natural beauty. After shooting was ďŹ nished, I tried again

to combine these two ideas of nature and industry. Using sound collected

é‹•éŒ?䕧⍚⢾✞鸤♧âŚ?ç‘ ę&#x;Śë„“ë€żď˜ˇé¸?âŚ?铭겗㕠粕襽ć¤?âžżçˆ˘

剚朸䞸㜜垸亟넓ć¤?ç˝œăž?ę&#x;šď˜šé¸’麕倞čŽ?㯯ë„“朸犥㠖莅ⴗ䳖

⢾é‚?麨â°?ç˝?ę&#x;Śćś¸é źç‘łď˜šă–ˆé‹•éŒ?â™łăƒ„ć¤?âœŤé?Şă˘ľč?ˆć?­čŽ…äŠ¨ĺ™ 朸âŻ‹ç¨‡ď˜šä§Žä&#x;?é¸?ĺƒ˝é¨ˆ䧎䖰㟭䧭ę&#x;€鼹⢾朸ćŠ‡ăžŻĺ‰¤ęĄ â¤šď˜ˇä§Ž

ă–ˆâ°‰č¤‘ă€˘ę&#x;€ăŁ?ď˜šć˜żé‹ˇă–ˆäŠ¨ä‘–äŠ¨âĄ˛ď˜šä¨žâ&#x;ƒ䧭ę&#x;€ćŠ‡ăžŻč†¨ę¨†â™ś âœŤă šĺ„˜㟊虋➲ă„¤ăźŠĺ Ľĺ”’朸ă‹?姚ď˜ščŽ…姽ă šĺ„˜ď˜šä§Žâ›łćş?襽抇

㞯♧姿♧姿㖒朎揰éšśâť‹ď˜šă””姽䧎獤äŒ˘ĺ‰šä™źç˝ŒäŠ¨ĺ™ čŽ…č?ˆć?­ ⛓ę&#x;Śćś¸ä—?ăŚŤęĄ â¤šď˜ˇä–•⢾䧎âľŒâœŤč–Šă•œĺ‘”äŹ˜ĺ€›ă†ĽăŁ?㡸㡸睢é‹•

éŒ?⍄麨é?¤éŽ™ď˜ˇčą¤ĺ‘”貽⼥剤ä?‘⛉朸äŠ¨ĺ™ 朎ăž?ĺ¨œă€ˇď˜šä¨žâ&#x;ƒäŠ¨ ĺ™ ęŹ ă„?朸ĺ¨œă€ˇćąšé¨‹ă–ˆă™šä‹‘é…­ęŚ‘č´–ă€łé‹…ď˜ˇč?ˆć?­ç˝œć?­ă–’ď˜šä§Ž ⤑ä&#x;?éŠ´ĺš€â°…ç ‡ç‘–é¸?âŚ?ęĄ ĺ€´äŠ¨ĺ™ čŽ…č?ˆć?­ęĄ ⤚朸é“­ę˛—ď˜šä–°ç˝œ ㎲鑑♧â?‰ĺ‰¤éŚąćś¸âśžâĄ˛ď˜ˇä–ŽäŽ‹éşŒă–’ď˜šä§Žéş‚âľŒâœŤâ™§âĄ™ä–Ž㼪朸

㟏äŒŒď˜šâžŽë ˝âş‘䧎⿥㎲鑑ă ?ç??ä•Žä’­ćś¸âśžâĄ˛ď˜šč€Ťę°‰ď˜śâš›掼ď˜śâ&#x;ƒ

âżťă ?겳ä•§âŤšäŞŽé Żç˜žď˜šä§ŽéżŞĺƒ˝ă–ˆ齥ĺ„˜⌏č?ˆäŠšę&#x;š㨼㎲鑑 犥

ă –朸ď˜ˇ 䎃䧎âľŒâœŤâ§?äžšď˜šâżŽâ¸ˆâœŤ4LZ "DBEFNZ朸ďˆŁă•œ 卲éŁ“ď˜šäŽ‹ éşŒ ă–’ć ˝ ä–¤âœŤâ™˛č ?ę“›朸ć 㡸 ę†„ď˜šă šĺ„˜â›łć ˝ ä–¤âœŤ

č–Š ĺ‘”č˛˝č° é Żă¨˝ă†žĺ‰šă„¤ćťžçĄ ę°ŞćšĄćś¸éĄťę†„ä˝…ä­°ď˜šć?­ä–•䧎莅䎙 âŚ?㼪剌⿟犉䧭朸㟭ă˜—ă•°ęĽ™ă˝ č”…âœŤâ°?䎃㢾ăź&#x;éľœâ™˛äŽƒ朸ĺ„˜ę&#x;Ś 鼼éş’âœŤč–Šă•œă ?ă–’ď˜šäŹ?䟢âœŤä–Ž㢾â™śă šĺ„˜ĺŠ?â&#x;ƒâżťâ™śă š겳ă˜—朸

äŠ¨ä‘–čŽ…ĺ Ľĺ”’ď˜šĺ€ž朸ㄤčŽ?朸鿪ĺ‰¤ď˜šä–°âšĽćş?âľŒâœŤă ?ä’­ă ?垺朸

援ĺ™ ď˜šéźŠĺ‰¤éĽĽéšŽâœŤé?Şă˘ľäšŠĺ‰¤č–Šă•œĺŠĽă•źč?ˆć?­ă–’é —卲鯹剤➿

ä˛€çźşâœŤď˜šâĄ˛âœŤé?Şă˘ľč?ˆ䧎䎋䨞ㄤ䪥é?ąď˜šä¨žâ&#x;ƒ㟊č?ˆäŠšâ˘ľé“žé¸?⛳ ĺƒ˝â™§âŚ?ä–Ž㼪朸乳ç¨‹éş•çŽ‘ď˜šç˝œ卌♧匄怾ⴀ鿪剤倞朸éšśâť‹ď˜š 鿪ĺƒ˝ć?€âœŤă¸¤ăŠĽé¸?âŚ?⥲ă…ˇç˝œâ¨žâ´€ĺ€ž朸âœ˝âš›ă„¤äŽ‹ä¨žď˜ˇ ä•Žä’­čƒ?ä–•ď˜šâĄšćś¸â´€朎ë&#x;Šĺƒ˝âžŠëžƒîšŽ

ĺ‰šä–Žĺ‰¤ęŁłď˜šä¨žâ&#x;ƒ䧎ă–ˆä•Žä’­â™łä‹žĺŠ†č…‹ăş‚ĺƒ’é„„éŒšćťžäąşă€Œď˜šćŹ˝ 䎃鰋➃朸é“ƒéŽŠă„¤ćŹ˝ĺ´Šé ¤äż’âť‹朸é‚?麨äŠ›ĺ˛ â˘ľäŒ&#x;â´€䧎朸ç ‡ç‘–

é“­ę˛—ď˜ˇç§ ę?—â™śĺƒ˝ä§Žĺ‰“ä–•ä&#x;?éŠ´ăƒ„ć¤?朸ä•Žä’­ď˜šćŽšć?­ă–ˆäŹ?䟢é¸? â?‰äŠ¨ä‘–ㄤč?ˆć?­ćś¸éş•çŽ‘âšĽä§ŽâŚ›éş‚âľŒâœŤä–Ž㢾ĺ‰¤éŚąćś¸âœ˛ď˜šä¨žâ&#x;ƒ

ę¤‘âœŤć€ľâ´€â&#x;ƒ㢍韊剚朎ăž?ä?Œä–•朸é†˘âĄ˛č”…çŞ›ď˜ˇé™śăĽśä§Žă„¤äŹ?䟢 ă•°ęĽ™ă–ˆ蹤ĺ‘”貽嚀㿋酭äŹ?䟢âœŤâ?€ăŁ”â?€㢚ď˜šâżŽăŁ”ăŁ?ĺ&#x; ä–Ž㢾ď˜š âĄŽĺƒ˝ă€Ťç„Ľâ™łâœŤâ°?ă€ŤęŤ­čˇ¨ă„¤â™§ęŚˇë›Šď˜ˇâ°Śăťœă–ˆ 㢾䎃⾚朸

Lu Sisi. Making of The Age of Digital/Analogue (2013-2016)

themselves. Other than the performance itself, I hope to release more of the

-44é¸?ĺƒ˝â™§ăœĽ ⴕꗝ朸ć¤?ăœĽé‚?ć€ľď˜šäžŽâŚ?⥲ă…ˇâ&#x;ƒę°‰ĺ?żä•Ž

剤麕䖎㢾乣äŠ&#x;ă„¤ä™źç˝Œď˜šâ›“âľšę°¸ä&#x;?㼪朸鎙⡔鄄č?ˆäŠšâ™śâ¨˘ă–’

-44îš‰ă–ˆć¤?ă–ˆé¸?âŚ?âĽŒäœ‚éş•ä?ž朸ĺ„˜âžżď˜šćŽ†çŞ?♧âŚ?⥲ă…ˇćś¸ĺ Ľ

and natural landscapes we encountered many things that were interesting by

朸ć¤?ăœĽé‚?ć€ľď˜šâĄšč…‹çŞ?䧎⌛ç&#x;Śéś¤â™§â™´é¸?âŚ?é“­ę˛—ăŒ¨îšŽ

âť‹ď˜šă””ć?€é¸?â?‰ĺ Ľă?źćşŤćś¸ä–Žęƒ?ď˜ˇâ¨žé¸?âŚ?铭겗朸麕玑掚⚼䧎

I hope I have made something that will especially appeal to young people,

ďŹ nal desire for the project, although of course during the ďŹ lming of factories

LSS: This is a 45-minute performance, which uses music as a vector and

揽é¸?ĺžşćś¸ĺ€žé“ƒéŽŠé›ŠäŽƒé°‹âžƒ⿥㎲鑑乺é?¸é¸?â?‰éş•⿥朸ĺ¨œă€ˇäż’

"35 ;*1⥚䨞揽朸é“ƒéŽŠă–ˆä•Žä’­â™łä–ŽďšłäŤŒâžƒćťšć¤•ďš´ď˜šâĄŽă–ˆ

and bring across my own research into this topic. A documentary was not my

"35 ;*1 ա垸亟 䞸㜜âť‹ĺ„˜âžżŐ¸ĺƒ˝â™§âŚ?犥㠖耍갉莅䕧⍚

⢾ë„“ć¤?♧âŚ?ă•œ㚝朸äŠ¨ĺ™ 朎ăž?ㄤč?ˆć?­ćŠ‡ăžŻćś¸ęĄ â¤šď˜ˇä§Žä‹žĺŠ†

opportunity to present your own ideas, so with this project I hope I can

meaningfully connect with the audience. Using music, ďŹ lm and pop culture

ART.ZIP: The Age of Digital/Analogue is a combined audio and visual performance. Could you give us an outline of what it s about?

äŠ¨ĺ™ â°?ç˝?犥ă –鼹⢾ď˜šé¸’éş•äą°ę§Œâ˘ľćś¸ĺ Ľă?źćś¸č€Ťę°‰ď˜šę…žĺ€ž玥

ever saw a deer and two frogs. In fact, 200 years ago during the industrial

revolution, people cut down all of the trees on the mountain and not long

after that the animals also died out. 100 years later, people were paying more attention to the environment and started replanting those trees, now the

trees are towering high once again but the mountains themselves still have no trace of man and there aren t many animals. It is striking to think that it

was against this kind of serene backdrop that the industrial revolution took

place, destruction then restoration. This generation of youth might feel that

the industrial revolution is distant from them, but it was these developments

that led to our modern age, we are all still aected. Personal experiences aect us more than a documentary could, but the environmental problems aren t

something we can just discuss, mankind does need to live, but we also need to consider the environmental impact. In my opinion we need to live in balance, both protecting the environment and developing industry. At the same time

we should develop new techniques for tackling the environmental issues, this

Lu Sisi. Still image of The Age of Digital/Analogue (2013-16)

way we can attain a measure of balance.

ART.ZIP: How would you describe your occupation? More of an artist or a designer? I think that I am an artist that uses logic to create my work. In fact, I may not be

so much of an artist, although my work includes many visual and audial motifs. I use digital means to carry out my creativity, but my ideas are sometimes

deeply thought out design. I don t start work from a client s brief, I d much rather develop my own ideas.

ART.ZIP: How do you feel about digital art?

In my opinion digital art is this generation s art style, it represents a unique

attitude. In the beginning when everyone was trying digital art, it was novel and fresh, but with continued technological development, what was new is

no longer new. I still feel that artwork s meaning remains the most important factor and I have been slowly reducing my use of digital art. The foundation of my artwork is built on ďŹ lm, the application of digital is secondary; digital editing, digital eects and so on. Even so, the ďŹ rst time after I watched my

work, I started to wonder whether I was using digital art for digital s sake and

I decided to delete the purely digital sections. The intentionally showy display

äŠ¨ĺ™ ęŹ ă„?ĺ„˜ĺŠ?ď˜šâžƒâŚ›䪞㿋酭朸ĺ&#x; 鿪瀡⯕揽倴醢鸤ę?ˆę˜Žď˜š

led to many unexpected results but in creating new work like this, accidents

"35 ;*1⥚㟊č?ˆäŠšćś¸ăš âĄ™ĺƒ˝âžŠëžƒîšŽ

can still feel the work contains a number of digitally artistic parts. I feel digital

ă‰?겗䊞ꅞ倞ę&#x;š㨼ç??ĺ—ƒĺ&#x; ĺŠ ď˜šć¤?ă–ˆ齥â?‰ę…žĺ€žç??ĺ—ƒ朸ĺ&#x; ĺŠ â›ł

have the perfect quality of ďŹ lm on YouTube, and my source material is ďŹ lm

✞⥲ç˝?ď˜ˇä§Žâ¨ž朸⥲ă…ˇĺˇ’čŚˆâœŤä–Ž㢾é‹•éŒ?ă„¤č ƒéŒ?ㄤć¤?ăœĽë„“

was obscuring the cinematic and visual language. However, despite this, you art is a good method of expression, but it is the content that separates the good and bad parts.

ART.ZIP: During the production of this work, have you encountered any technical diďŹƒculties? How do you approach conict between the technical issues and the artistic presentation? LSS: I have encountered more than one technical problem during my

performances but I don t see this as a major failure. To explain a bit, my

performance shows my live experience with multiple machines, I call it the

Grand Array . It is the grafting of many dierent types of media. Using a variety

of technologies I created a platform to generate my performances, which has

揰䢀猺窥č?ˆć?­ă˝ é„„ç śăĄ?âœŤď˜ˇă˘ľäŽƒä–•âžƒâŚ›ę&#x;š㨼岤ä ‘âľŒćŠ‡ăžŻ 䊺獤ę&#x;€䧭âœŤâżŽăŁ”ăŁ?ĺ&#x; ď˜šăż‹é…­âžƒé¨‹ç¸‚č?›ď˜šâš›ćš&#x;â›łâ™śă˘ľď˜šé¸?ĺžş

䎖嚀朸抇㞯čƒ?ä–•朸佌âœ˛ĺƒ˝äŠ¨ĺ™ ęŹ ă„?äŒ&#x;⢾朸ä–•ĺ?“ď˜šĺŤ†垧âą„ ä›Ťä—‚ď˜ˇä§ŽâŚ›é¸?â™§âžżäŽƒé°‹âžƒă€łč…‹ä ŽéŒ?äŠ¨ĺ™ ęŹ ă„?ꨆ䧎⌛㣖麜

éť‡âœŤď˜šâĄŽ掚é¸?â?‰溍ăťœ朸é˜Žäş™ă˝ ăž?ć¤?ă–ˆ䧎⌛ꏗ⾚朸ĺ„˜⌏ď˜š

䧎⌛鿪é„„ęŠ?äš&#x;âœŤď˜šé¸?â?‰é‹ˇé­¨ë„“뀿卲ćş?ç§ ę?—晚⢾ä–¤ęŠ?äš&#x;ä–¤ 㢾ď˜ˇă€łĺƒ˝ćŠ‡ăžŻă‰?ę˛—â™śĺƒ˝ä§ŽâŚ›ă€Ąęą§é“žé“žă˝ ă€łâ&#x;ƒ朸ď˜šâžƒ겳銴 揰㜸ď˜šâĄŽă šĺ„˜â›łéŠ´ç˝ŒäŁ‚âľŒćŠ‡ăžŻćś¸ă‰?ę˛—ď˜ˇă–ˆ䧎ćş?⢾ď˜šä§ŽâŚ›ꨞ

銴⨞朸ĺƒ˝çŞ?â°?ç˝?䲿âŁ˜â™§âŚ?äŽ‚é‚‚ď˜šâĽƒéšŒćŠ‡ăžŻď˜šćśŽăž?äŠ¨ĺ™ ď˜šă š

ĺ„˜â›łéŠ´ćśŽăž?ĺ€žçŒ°äŞŽâ˘ľâźżé”…ćŠ‡âĽƒă‰?ę˛—ď˜šä–°ç˝œ麨âľŒâ™§âŚ?䎂邂 朸ä—…ćŠ‡ď˜ˇ

are hard to avoid. With the limitations of internet speed it is impossible to

quality. In the performances, there are more than 400 clips that need real time synchronized rendering to deliver 2K quality whilst at the same time I also

need to deliver the music. Altogether the platform itself actually has over 900 clips that could be run, and so for both hardware and software this is a big

struggle. After I ďŹ nished building the platform, I really didn t know what the results would be, for me that was the challenge. I m still not keen on simply showing a pre-edited output, for me faking a performance would be like

-44䧎éŒ?ä–¤ä§Žĺƒ˝â™§âŚ?â&#x;ƒé?¤éŽ™äŒŒä™źçŹžé˝…鹀⢾é‚?麨ä&#x;?ĺ˛ ćś¸ ë€żćś¸âŻ‹ç¨‡ď˜šä§Žă€Ťĺƒ˝éşŒ揽çŒ°äŞŽäŠ›媯⢾ĺˆżć?‚簧㖒䞎ă –䧎朸ä&#x;?

ĺ˛ ď˜šâ˘ľéšŽé ¤â™§âŚ?ĺšŒä™‚é‚?麨ď˜ˇă€łĺƒ˝ä§Žćś¸ć¤šä™‚ĺ‰¤ĺ„˜⌏⿜ä–Žé?¤ éŽ™äŒŒä™źçŹžď˜šę§Şć?­ä§Žâ™śĺ‰šä­­â™§âŚ?ďšłăš?䨊朸ç&#x;ŚăœĄâ˘ľćśŽăž?âśž

ä ‘ď˜šä§Žă‹?姚ć­‹č?ˆäŠšâšşâš›⿥é‚?麨ä&#x;?ĺ˛ ď˜ˇä§Žé¸’äŒ˘ĺ‰š䲿⾚㟊é“­ ę˛—éšŽé ¤ăŁ?ꆀ朸ç ‡ç‘–ď˜šć?­ä–•âą„ă–ˆé¸?âŚ?ă›‡ç‡Šâ™łäŞŞâľŒč?ˆäŠšä ŽčŽ‡ 錹朸ë&#x;Š⿥朎ăž?ď˜ˇ

miming a song, there isn t much point. I like to move with the audience and so

"35 ;*1⥚ĺƒ˝ä™Śëžƒćş?ä–Šäž¸ăśśč° é Żćś¸îšŽ

a stronger connection and that feedback is vital. I need that process of mutual

é Żä•Žä’­ď˜šă¸?âžżé‚?âœŤâ™§ç??ć Źâ™§ć?‚âœłćś¸ä˘€ä?žď˜ˇĺ‰“â´˛ăŁ?ăšťă–ˆăŽ˛é‘‘

each performance is dierent. Whilst performing with an audience, I can build stimulation, with every new performance I don t know what will happen. I

-44㟊䧎⢾é“žď˜šäž¸ăśśč° é Żĺˆżę˛łâĄ‚ĺ€´é¸?âŚ?ĺ„˜âžżćś¸ćŽšâžżč° äž¸ăśśč° é Żćś¸ĺ„˜⌏⛳é?Şă””ć?€ä•Žä’­ä–Žĺ€žç??ď˜šä–Žęƒ?ćŒĄď˜šâĄŽęŚ‘襽

Lu Sisi. Still image of The Age of Digital/Analogue (2013-16)

Lu Sisi at performance

hope that through performing with dierent

çŒ°äŞŽćś¸ćśŽăž?ď˜šćŽšâ´˛ćś¸ďšłĺ€žďš´äŠşçŤ¤â™śďšłĺ€žďš´âœŤď˜šâĄ˛ă…ˇćś¸â°‰ĺˇ’äŠžĺƒ˝ĺ‰“ę…žéŠ´ćś¸ď˜ˇä¨žâ&#x;ƒ䧎ę&#x;š㨼䢊䢊ä“ł

That sort of openness is what I hope to see.

ăśśč° é Żćś¸éżˆâ´•ď˜šăŽ˛é‘‘ă ?ç??ăŁ?č‹ 朸ăŁ&#x;溍čŽ…ç śăĄ?佪ĺ?“ď˜šă€łĺƒ˝ćŽšä§Žćş?㸤ç—§â™§ăœĽć€ľâ´€ä•™äą–ę?—⍚朸ĺ„˜

audiences the piece will continue to improve.

ART.ZIP: Some comment that your work is stunning but lacking in artistry, seeming more commercial than artistic, how do you feel about this opinion?

âť‹äž¸ăśśč° é Żćś¸ĺšŒä™‚ď˜ˇĺŤ˛ăĽśé“žď˜šä§Žćś¸âĄ˛ă…ˇĺƒ˝ä’Šç”¨ă–ˆꨜä•§ä•§âŤšćś¸ă›‡ç‡Šâ™łćś¸ď˜šâš›âš‚䧎čź‘â°…ä–Ž㢾䞸 ⌏ď˜šä§Žę&#x;š㨼ä§ƒćŻ č?ˆäŠšĺƒ˝â™śĺƒ˝ă€Ťĺƒ˝ć?€âœŤéˇ†ĺŽ ä•Žä’­ç˝œ暹㟊朸ä™?ćŽœâœŤĺŠĽé­¨â°‰ăş‚âŤ„麨朸ꅞ銴äš?âœŤď˜ˇ 䧎嚞⿥âœŤä–Ž㢾âš›â™śĺƒ˝ęŹŒäŒ˘ĺ‰ŞâšĄĺ€´â°‰ăş‚朸佪ĺ?“ď˜šă””ć?€ĺ‰¤â?‰ĺ„˜⌏ă¸?朸佌ä ‘ćŒĄäŞŽâ°ŚăťœäŹ€⿥âœŤâ°‰ăş‚

ĺŠĽé­¨ď˜ˇâ­˝ç›˜㼜姽ď˜šâĄ˛ă…ˇćś¸ć€ľâ´€佪ĺ?“韊ĺƒ˝č…‹ä Žă€ŒâľŒä–Žă˘ľäž¸ăśśč° é Żćś¸éżˆâ´•ď˜ˇä§ŽéŒ?ä–¤äž¸ăśśč° é Żĺƒ˝ ä–Ž㼪朸é‚?ć¤?ä•Žä’­ď˜šâĄŽâ°‰ăş‚ĺŠĽé­¨äŠžĺƒ˝ĺŻšăš ⥲ㅡ㼪ăĄ?ćś¸ęĄ ę’łď˜ˇ

LSS: I think that dierent opinions are good. I

"35 ;*1怾ⴀ朸ĺ„˜⌏éş‚â™łéş•äŞŽé Żă‰?ę˛—ăŒ¨îšŽ⥚ä™Śëžƒćş?ä–Šé¸?ĺžşäŞŽé Żä˝ŚęĽťă„¤č° é Żä•Žä’­â›“ę&#x;Śćś¸

a bit dazzling for some people, but once they

-44îš‰äŞŽé Żä˝ŚęĽťâ™śĺƒ˝ç—§â™§ĺŚ„âœŤď˜šä§Žé’˘ć?€â›łâ™śĺƒ˝â™śăź ĺ™ 朸é‚?ć¤?ď˜ˇć¤?ăœĽć€ľâ´€ĺˆżâŤšĺƒ˝ä§Žă–ˆ䚽⥲♧

can t deny that the results of my work can be hear about my artistic process, or after they see my documentary, I believe they will be

surprised to see the depth of work that goes

into the production. The performance shows hobbies are broad; music, art, performance and ďŹ lm, no matter whether it is classic or modern, I like to try new things out. This

whole project is an experiment and I believe that in the future I will continue to develop

it further. I think my study is still continuing, fortunately I still have a real passion for

ă€ľă˘ľâŻ‹ćś¸ĺ Ľă?źď˜šä§Žă€­ăĽ ę¤?ďš´ď˜šă¸?ĺƒ˝ć­‹ä–Ž㢾♜㠚㯯ë„“ę•–乺鼹⢾朸ď˜šę¨śčˆĄď˜šă ?겳乞âľ–ă?źď˜šâ&#x;ƒ ⿝䞸㜜âť‹朸佪ĺ?“ă?źä§´ĺƒ˝äŽ™⟧䎃⾚朸垸亟鋕éŒ? 耍갉垸ă?†ç˜žç˜žď˜šäŞžé¸?â?‰â™śă šćś¸äŞŽé Żă šĺ„˜估揽

ă–ˆ䧎✞ä’Šćś¸ĺ Ľă?źâ™łĺ‰šâ´€ć¤?ä–Ž㢾ä ‘ä&#x;?â™śâľŒ朸犥ĺ?“ď˜šä ‘㢍â›łę¨ˆâ&#x;ƒéźšâŻ?ď˜šé¸?ĺˆżâŤšĺƒ˝â™§âŚ?ĺ Ľă?źç†Œă – 朸éş•çŽ‘ď˜šâ›łĺƒ˝ć€ľâ´€ĺŠĽé­¨ćś¸â™§éżˆâ´•ď˜ˇä§Žćś¸ç¨‡ĺ‹ž鿪ĺƒ˝ä­žć’‘ꨜ䕧朸崊玑⢾éŠ´ĺŽ 朸ď˜š 㢾哭ꨜ䕧

晚媯ď˜šę¨žéŠ´ă–ˆ溍ăťœĺ„˜ę&#x;Śă š姿ăƒ„ć¤? L朸颜ę†€ď˜šă šĺ„˜韊ꨞ銴耍갉朸ă š姿â&#x;ƒâżťâ™śă šă –䧭ă?źă„¤ĺž¸ă?† 朸ę‚‚ă –ď˜šé¸?㟊ç‚˝â&#x;?ㄤ鎿â&#x;?⢾é“ž鿪ĺƒ˝â™§âŚ?ä–ŽăŁ?朸äŽ‹ä¨žď˜šä¨žâ&#x;ƒ掚䧎玥鹀㼪玑䎸侊䒊㸤é¸?âŚ?䎂〾

ä–•ď˜šä§Žâ™śćżźéşĽć¤?ăœĽĺ‰šĺ‰¤ä™Śĺžşä ‘ä&#x;?â™śâľŒ朸佪ĺ?“ď˜šăźŠä§Žâ˘ľé“ž齥ĺƒ˝â™§âŚ?äŽ‹ä¨žď˜ˇä§Žă‹?姚⥲ă…ˇčŽ…éŒšćťž

朸âœ˝âš›ď˜šĺŤŚâ™§ĺŚ„ć¤?ăœĽéżŞĺ‰šĺ‰¤â™śâ™§ĺžşćś¸ä˝Şĺ?“ď˜šă””ć?€éŒšćťžă–ˆă€ľâ™´ćś¸âżžęşˆă€łâ&#x;ƒčŽ…é‚?ć€ľćŹ´ćŹ°ĺˆżĺ‰¤éŚą 朸âœ˝âš›ď˜šç˝œâš‚ă–ˆć¤?ăœĽćś¸â™śă€łę°¸ćżźäš?〳â&#x;ƒé›Š䧎㟊č?ˆäŠšćś¸âĄ˛ă…ˇâĄ˛â´€â™śâ™§ĺžşćś¸ć¤šé?‘ď˜ˇä§Žę¨žéŠ´é¸?âŚ? â?œ崊朸éş•çŽ‘ď˜šä§Žä‹žĺŠ†é¸’éş•ć¤?ăœĽćś¸éŒšćťž朸âœ˝âš›⿥âľžć…¨é¸?âŚ?⥲ă…ˇç˝œ⿥ä˝–éšŽď˜šé¸?ç??ę&#x;šä˝žäš?ĺƒ˝ä§ŽĺŠ? ä–Šćş?âľŒ朸ď˜ˇ

the topic. In the end, I believe that before

"35 ;*1剤♧â?‰âżžęşˆé“ž⥚朸⥲ㅡ佪ĺ?“ä–Žęƒ?ćŒĄď˜šçˇ„ăźąč° é Żäš?ď˜šćş?鼹⢾剤ë&#x;Šă‰‚ĺ™ âť‹ď˜ˇâĄšä™Śëžƒ

yourself.

-44䧎éŒ?䖤剤♜㠚朸č€Ťę°‰ĺƒ˝â™§ăš 朸ď˜ˇâ™śă€łă‚„é’˘ä§Žćś¸âĄ˛ă…ˇä¨žăƒ„ć¤?â´€⢾朸佪ĺ?“㟊剤â?‰âžƒ⢾é“ž

you move other people, you have to move

ćş?ä–Šé¸?ç??é?ąâ­†îšŽ

ĺƒ˝ďšłęƒ?ćŒĄďš´ćś¸ď˜šâĄŽ䧎âš›ĺ°?ĺ‰¤ä ŽéŒ?é¸?ĺ‰¤âžŠëžƒâ™śăĽŞď˜šé¸?â™śâŤšĺƒ˝ă–ˆäŹ?ç§ ę?—晚ꨞ銴㓂č ?é’˘ćşŤă–’ăƒ„ć¤?

溍ăťœ朸éş•⿥ď˜šăźŠä§Žâ˘ľé“žé¸?ĺƒ˝âŚ?âžƒâšşéŒš朸朸✞⥲ď˜šč?ˆäŠšâŻ“ć™Šč‚Ľăš ĺƒ˝äą–ç—§â™§âĄ™朸ď˜šćŽšć?­ä§Žâ›łä–Ž

䋞劆ăŁ?ăšťćş?éş•č ƒéş•ä–•鿪ĺ‰¤ă šĺžşćś¸ä Žă€Œď˜ˇä§ŽćšąâĽŒĺŠ˘â˘ľĺ‰šĺ‰¤ĺˆżă˘ľćś¸ćśŽăž?ä’‚â ˝ď˜šé¸?âŚ?铭겗韊剚䭰 çłľéšŽé ¤ćś¸ď˜ˇäŽ‹éşŒ朸ĺƒ˝é¸?âŚ?铭겗㺂ꆀ䖎ăŁ?ď˜šç˝œâš‚䧎溍朸㟊é¸?âŚ?铭겗䖎ă‹?姚ď˜šä§Žâ™§ćšŹé’˘ć?€éŠ´äŠ§ âš›â´˝âžƒ朸⾚䲿ĺƒ˝âŻ“éŠ´äŠ§âš›č?ˆäŠšď˜ˇ

Lu Sisi. Making of Taoda (2015)

only 60% of the whole project. In fact, my

濨暽

NeĂŻl Beloufa, Lifestyles, 2013, installation view Emotional Supply Chains at Zabludowicz Collection, London, 2016. Photo: David Bebber

20TH ANNIVERSARY OF ZABLUDOWICZ COLLECTION INTERVIEW WITH ELIZABETH NEILSON čŽŒä‹’㢴珞㣟Ⰺ该âœłâź§äŽƒ ăź é?žâ&#x;ťëœ¨č›Ž术v㽲晋啿

&%*5&% #: çŽ é°ż  ,& 2*8&/ ĺ?•塯ꨚ 53"/4-"5&% #: 矺陟 $"* 46%0/( čŠ?蹣ĺŒŒ *."(&4 $0635&4: 0' ă•­ć™™䲿âŁ˜  ;"#-6%08*$; $0--&$5*0/ čŽŒä‹’㢴珞㣟Ⰺ该긏

The Zabludowicz Collection, founded in 1994 by Poju and Anita

Zabludowicz, is dedicated to fostering new audiences and a sustainable environment for contemporary art. The Collection contains over

3,000 works of art by more than 500 artists, spanning four decades

of art production. Regarded as one of the world s most outstanding

ć?€âœŤă›†ꡢ倞朸éŒšćťžçşˆë„“ă„¤ă€łä­°çłľćśŽăž?朸掚âžżč° é ŻćŠ‡ăžŻď˜ščŽ?ä‹’

㢾珞㣟㚝ĺ œă–ˆ äŽƒâśžç”¨âœŤă šă ?Ⰺ询긭Ő‚čŽ?ä‹’㢾珞㣟Ⰺ

询긭ď˜šé„„éš˜ć?€ďˆŁć¤•ĺ‰“ę°Ľăźşćś¸ć Źç”¨ćŽšâžżč° é Żĺ Ľĺœ“â›“â™§ď˜šé‘Şę¸­çŚş

窥ĺ”šć¤šâœŤä–° âš†ç§ ĺŠŁč?›âž›ćś¸č° é ŻčŻ˘ă…ˇč… çŞ„ď˜šâš›âš‚䭰糾㠢⾚朎

ăž?ď˜ˇé´ťâž›ć?€姺ď˜šéľœă”‹⟧䎃⢾â?€ćś°ę¸…âĄ™č° é Żăšťćś¸â™˛âźŞă˘ľâ&#x;?⥲ă…ˇ

independent contemporary art collections, its focus is on emerging

䊺⴪ć?€긭询ď˜ˇ

development. Taking the recent digital art exhibition Emotional Supply

â&#x;ƒăŁ?ă˜—äž¸ăśśč° é Żăž?éŒ’Őˇäž•ä ŽâŁ˜估ę•–Ő¸ć?€çŽ ç¨‹ď˜š"35 ;*1äą°é?žâœŤ

art from the late 20th century to the present day and is still in constant Chains as a starting point, Collection Director Elizabeth Neilson talks about her approach to collecting and her future strategy .

긭ę&#x;€â&#x;ťëœŠč›?术Ë™㽳ć™‹ĺ–€ď˜šč ƒ㼠⢾é—?é?°é‘Şę¸­ă–ˆäž¸ăśśč° é Żĺ€°ă ˘ćś¸

ä˝?询倰䒭ㄤ劢⢾朸朎ăž?ç˜źćŽœď˜ˇ

combination of ways of working to facilitate art practice. Also, we very rarely

"35 ;*1鑪긭朸ä˝?éŁ‘ç˜źćŽœĺƒ˝âžŠëž†îšŽ

are known for searching out artists and not just going with what is "hot" or

é¸?âŚ?갪暥犥ă –âœŤé?Şă˘ľäŠ¨âĄ˛ĺ€°ä’­â˘ľä˛€âš›ć¤?掚âžżč° é ŻăťœéŠ?ď˜ˇ

sell the works we hold - so it s a growing and very much living collection. We shown at art fairs - and that takes time and patience.

ART.ZIP: Do you still remember the very ďŹ rst digital art pieces? What are they and how do you make the decision? How are they special and distinct from the others?

what it does in context but also autonomously.

ART.ZIP: Are there any issues or challenges when collecting and exhibiting digital art works? EN: Conservation is still in development - we keep ďŹ les in dierent places and Zabludowicz Collection, London

formats - in case of ďŹ re or theft but also corruption and obsolescence.

People often think that presenting new media work - including moving image

work - that is cheap or easy - it can be... But the hardware can also be expensive and changes so quickly. And spatially the works can be demanding - often an environment will need to be specially created. I don't think we have done one

倞询ă…ˇćś¸ćŽšâžżč° é Żä˝?čŻ˘ĺ Ľĺœ“ď˜šâšşéŠ´â&#x;ƒ 䎃⛓䖕朸掚âžż

and a programme of exhibitions, residencies, commissions and publicly facing projects working with living artists. It was founded in the mid 1990s by the

Zabludowicz family - from the start they were not just buying art works but also supporting other art organisations.

ART.ZIP: How do you position the Zabludowicz Collection?

EN: It's a non market orientated family collection with a philanthropic aim to

nurture and support art and the surrounding culture that makes that possible.

ART.ZIP: What is the Collection s strategy on acquisition?

EN: We are not just buying works but also commissioning and exhibiting so it's

&/é¸?âŚ?Ⰺ询긭剤â°?âŚ?č€ˇč…‹îš‰â°Śâ™§ď˜šă¸?ĺƒ˝â™§âŚ?♜倏ă&#x;žâ¸ˆ č° é ŻâĄ˛ă…ˇć?€âšşď˜šę§Şć?­ĺ‰¤â?‰询ㅡ〳â&#x;ƒéˇ†彸âľŒ äŽƒâžżîšŠâ°Ś âœłď˜šă¸?剤č?ˆäŠšćś¸č° é Żę°ŞćšĄď˜šâŤšăž?éŒ’ď˜śč° é Żăšťę˝?ă–’ď˜śč° é Żă¨˝

ART.ZIP: What's the dierence between collecting other art forms and digital art? Is there a dierence in preservation, ensuring that you have the correct technology to show to work on, even when the technology becomes out of date? EN: I think I answered that above. It's a little more demanding than painting.

ă•źăĄ?朸ăƒ°éźšäż’âť‹ď˜ˇ

ă…ˇď˜šé¸?â?‰⥲ㅡ朸ä˝?询ĺ‚?ă–ˆ䧎⸈Ⰵé¸?âŚ?갪暥â›“âľšď˜ˇä¨žâ&#x;ƒď˜šäž¸ 㜜㯯ë„“çą?ĺƒ˝ä§ŽâŚ›갪暥朸â™§éżˆâ´•ď˜ˇă¸?ㄤⰌ➎朸询ㅡĺ°?剤♜ ă šŐ‚鿪ꨞéŠ´ćšśâ´˝ćś¸ęĄ 岤ă„¤âĽƒ㜸ď˜ˇä§ŽâŚ›éŠ´éŁ‘éĄ ă†­â?‰⥲ă…ˇ

《寚ĺ€´âĄ˛ă…ˇă–ˆ齥ĺ„˜朸é“ƒăžŻâ™´ćś¸ä ‘çş?â&#x;ƒ⿝⥲ㅡ劼魨朸č?ˆĺą› äš?ď˜ˇ

"35 ;*1îš‰ă–ˆä˝?询ㄤăž?â´€äž¸ăśśč° é ŻâĄ˛ă…ˇćś¸ĺ„˜⌏剤ĺ°?剤麂 âľŒéş•ă†­â?‰ă‰?겗䧴䎋䨞

&/îš‰âĽƒăś¸äŞŽé ŻéźŠă–ˆâ™śĺ€ŹćśŽăž?ď˜šä§ŽâŚ›䪞äż’â&#x;?揽♜㠚朸呔䒭 âĽƒ㜸ă–ˆâ™śă š朸ă–’ĺ€°ď˜šâ&#x;ƒęŁˆćŠĄć‹…ď˜śâŠ”ćš ď˜śä´ŚăĄ?ㄤăŁ&#x;佪ď˜ˇ

♜饼ę??䧴ç˝?ç&#x;Śă‹˛ćś¸âœ˛äž•ď˜šâœ˛ăťœĺ‰¤ă€łč…‹ĺƒ˝é¸?ĺžşď˜šâĄŽç‚˝â&#x;?⛳ ㅡ朸ăž?â´€â›łĺƒ˝ä–Žę¨ˆ朸ď˜šă””ć?€é¸’äŒ˘ä§ŽâŚ›éŠ´âśžé¸¤â™§âŚ?ćšśĺŠŒ朸 ăž?â´€ćŠ‡ăžŻď˜ˇä§Žâ™śé’˘ć?€䧎⌛剤ㆭ♧匄䋒ăž?朸ĺ„˜⌏剤ć¤?䧭朸 é?¤âŞ”ă€łâ&#x;ƒ揽Ő‚䧎⌛çą?ĺƒ˝éŠ´éĄ ĺˆżă˘ľćś¸î™°é¸?ă˝ ĺƒ˝âŚ?äŽ‹ä¨žâœŤî™°

䧴é?Şč° é ŻçŠ‰çą˝â›“ę&#x;Śę¨žéŠ´ĺ‰¤â™§ç??âźżé”…â°&#x;â?§é¸?â?‰獤뀿ㄤ饝彂 朸ĺ€°ĺ˛ ď˜ˇ

Hence it doesn't have the same hype or market around it. That gives a certain

"35 ;*1ä˝?čŻ˘äž¸ăśśč° é ŻâĄ˛ă…ˇă„¤â°ŚâžŽä•Žä’­ćś¸âĄ˛ă…ˇĺ‰¤âĄŚâ™ś

used in the 60s and 70s as a way of staying outside of the art market.

éť ćś¸äŞŽé ŻäŠ›媯⢪ăž?â´€䧭â¸†ď˜šă˝ çšżé¸?â?‰äŞŽé ŻäŠşçŤ¤éş•ĺ„˜âœŤîšŽ

freedom and for some is a reason to use it in the same way performance was

(brought up using digital devices and media rather than my generation that

朸朸ď˜šć?€âœŤă›†č‚Źă„¤ä˝…ä­°ć¤?掚âžżč° é Żď˜šâżťć?€ć¤?掚âžżč° é Żä˛żâŁ˜

ę?—⍚猺窥ď˜ść…¨âŻ•âŻ•ćš?䧴ç˝?â°ŚâžŽäŠşçŤ¤éş•ĺ„˜朸呔䒭ę?—âľ–朸⥲

ĺƒ˝ä–ŽéĄœ朸ď˜šç˝œâš‚ĺˆżĺ€žäł–âžżâ›łä–Žä˜°ď˜ˇä–°ç‘ ę&#x;Śâ™łâ˘ľé“žď˜šäž¸ăśśâĄ˛

é Żă…ˇď˜šă šĺ„˜â›łâ™§ćšŹä˝…ä­°â°ŚâžŽč° é Żĺ Ľĺœ“ď˜ˇ

&/ă¸?ĺƒ˝â™§âŚ?ęŹŒä‹‘ăœĽâť‹朸㚝ä?­ä˝?询긭ď˜šă¸?ĺƒ˝â&#x;ƒ䥚㊼ć?€暥

㜜㯯ë„“鿪韊č´– ĺ€´äŽ“äŽƒĺŠ?Ő‚䧎⌛剤齥âŚ?ĺ„˜ĺŠ?齥â?‰⢪ 揽

sharing these experience resources amongst art organisations.

ART.ZIP: What do you see as the future of digital art?

"35 ;*1⥚ĺƒ˝ä™Śëž†ăš âĄ™čŽ?ä‹’㢾珞㣟Ⰺ询긭朸

&/ äŽƒâžżä§ŽâŚ›朸갪暥âś?ę&#x;š㨼朸ĺ„˜⌏ď˜šä¨žĺ‰¤ä•Žä’­ćś¸äž¸

âžƒâŚ›çą?ĺƒ˝ĺ‰šé’˘ć?€ăž?ⴀ倞㯯ë„“⥲ă…ˇď˜šâşŤä­?ä•§âŤšâĄ˛ă…ˇď˜šĺƒ˝â&#x;?

鎡ㄤ莅Ⱇ杞♧鼹⿎莅朸갪暥ç˜žď˜ˇă¸?ĺƒ˝ć­‹čŽ?ä‹’㢾珞㣟㚝ĺ œ

倴 äŽƒâžżâšĽĺŠ?é?¤ç”¨ćś¸Ő‚➎⌛䖰♧ę&#x;š㨼㽠♜⍌ä˝?飑č°

⥚⌛䙌랆寚㚠ä˝?询é¸?ĺžşćś¸âĄ˛ă…ˇćś¸îšŽă„¤â´˝ćś¸âĄ˛ă…ˇćšąĺŤ˛ď˜šé¸?

show where we have had the right equipment in stock - we have always had

to buy more! That's a challenge! There needs to be a better coordinated way of

concentrating on art since 1990 but going back to the 1940s in a few instances,

ăœĽâ™łĺˆ•âŻ•楧ë„ž朸ĺŒŒéŠŻŐ‚é¸?âŚ?麕玑ꨞéŠ´ĺ„˜ę&#x;Śă„¤ç˝Łä—ąď˜ˇ

â?‰⥲ă…ˇĺ‰¤âžŠëž†ćšśĺŠŒ朸㖒倰

and conservation. Decisions on what is purchased are based on the work itself -

EN: The collection is two things - a growing collection of contemporary art,

ăŠĽĺ€´ăźŚäŞŞč° é Żăšťď˜šç˝œâ™śĺƒ˝éˇ†ęŚ‘齥â?‰ďšłăŁ?攨䧴ç˝?č° é Żä‹‘

obsolete formats from this period and these predate my work with the

distinct from the rest of the collection - everything requires special attention

ĺƒ˝ä™Śëž†ä’Šç”¨ćś¸îšŽ

倏揰ę&#x;€朸ä˝?询갪暥ď˜ˇä§ŽâŚ›ć?€âžƒ䨞濟朸➲ă””â›“â™§ă–ˆĺ€´ä§ŽâŚ›

"35 ;*1ä?ĄéźŠéŽšä–¤âĄšâŚ›ꝡ䪥ä˝?čŻ˘ćś¸äž¸ăśśč° é ŻâĄ˛ă…ˇăŒ¨îšŽ

collection. So digital media has always been part of the collection. It's not

"35 ;*1锞ä?Ąç&#x;ŚéŠ´ă–’âž?稲♧♴čŽ?ä‹’㢾珞㣟Ⰺ询긭ă¸?

ç˝œâš‚ď˜šä§ŽâŚ›ä–Žăźąâ´€ăˆ’询ă…ˇŐ‚䨞â&#x;ƒă¸?ĺƒ˝â™§âŚ?䧭ę&#x;€âšĽćś¸ď˜śâ™ś

EN: In the 1990s when the collection begun digital media of all forms was in its infancy - we have works by artists that are on VHS or laser discs or other

ART.ZIP: Would you please give us a brief introduction of Zabludowicz Collection? How was it established?

&/䧎âŚ›â™śâŤŚâŤŚĺƒ˝ä˝?飑⥲ă…ˇď˜šéźŠä–°âœ˛ă¨˝äŠŻă„¤ăž?éŒ’ď˜šä¨žâ&#x;ƒ

EN: I think that there is so much potential and for those that are digital natives adapted to them in their teens) it's going to be more unusual to think of art in a massive white gallery space than it is on a screen or server. As with industry or photography in the nineteenth century technology will heavily inuence the development of art.

ă šîšŽĺƒ˝â™śĺƒ˝ă–ˆâĽƒăś¸äŞŽé Żâ™łĺ‰¤âźŚâ´˝ď˜šă””ć?€çą?ĺƒ˝éŠ´ç„ˇâĽƒĺ‰¤ă – &/䧎ä&#x;?䧎䊺獤ă”?ç˜¸éş•é¸?âŚ?ă‰?ę˛—âœŤď˜ˇé¸?卲ä˝?询粭掼ĺˆżĺ‰¤

ę¨ˆä?žď˜ˇă””姽é¸?âŚ?깆㚖ĺ°?ĺ‰¤ă„¤ç˛­ćŽĽâ™§ĺžşćś¸ć‹°âĄ˛ä§´ä‹‘ăœĽď˜ˇâĄŽ é¸?⛳çŞ?äž¸ăśśč° é ŻăšťäŒ&#x;⢾âœŤâ™§â?‰č?ˆć­‹ď˜šăźŠâ™§â?‰č° é Żăšťç˝œéŽŠď˜š é¸?⤑⍚ĺƒ˝ ď˜ś äŽƒâžżé ¤ć?€č° é Żâ™§ĺžşď˜šäŞžé¸?掚⥲ĺƒ˝â™§ç??麉 ę¨†ĺ€´č° é Żä‹‘ăœĽâ›“㢍朸ç”¨ăœĽď˜ˇ

EN: We often joke about looking for "genius" - a short hand for something unnamable but important - we seek out

Daniel Keller, Onanet Spiruline 1, 2015 (detail). Photo: David Bebber

"35 ;*1ä?Ąä™Śëž†ćş?äž¸ăśśč° é Żćś¸âľšĺ…žîšŽ

The decision to pilot our residency in Las Vegas with artists that we planned

䧎âŚ›ă–ˆäŹ˜ĺ€›çŹžâ¸ˆĺ€›朸ę˝?ă–’갪暥銴éź?é”žâžŠëž†ĺžşćś¸č° é Żăšťă„¤

ăśśé?¤âŞ”ă„¤ăŻŻë„“朸抇㞯⚼ę&#x;€ăŁ?朸â™§âžżď˜šç˝œâ™śĺƒ˝âŤšä§ŽâŚ›é¸?â?‰âľŒâœŤâź§â˘ľĺ¨”䊞⿥éť

those artists. The possibility for them to make new work in Las Vegas wasn't so

â?‰č° é Żăšťă–ˆäŹ˜ĺ€›çŹžâ¸ˆĺ€›朸갪暥♳⨞ⴀ➊랆倞늍朸䧭ĺ?“ď˜š

&/䧎é’˘ć?€é¸?âŚ?깆㚖剤襽ăŁ?朸ć‚´â¸‚ď˜šăźŠĺ€´é˝Ąâ?‰ďšłäž¸ăśśâž˛âĄžĺ­—ďš´ î™ˇă–ˆ⢪揽䞸

估䞸㜜é?¤âŞ”ă„¤ăŻŻë„“朸âžƒî™¸ď˜šâžŽâŚ›ä—ąćšĄâšĽćś¸č° é Żĺˆżă˘ľćś¸ĺƒ˝ă–ˆăž“ä?Œâ™łä§´ĺ‰ŞâšĄă?ź

é…­ćś¸ĺŒŒéŠŻď˜šç˝œâ™śăŁ?ĺ‰šĺƒ˝ă–ˆăŁ?ă˜—术č’€掼ä?¤é…­ćś¸ĺŒŒéŠŻď˜ˇă˝ ⍚ âš†ç§ äŠ¨ĺ™ ď˜śäź˘ä•§ăźŠ č° é Żćś¸ä•§ę° â™§ĺžşď˜šäŞŽé Żĺ‰šăŁ?ăŁ?ă–’ä•§ę° č° é Żćś¸ćśŽăž?ď˜ˇ

works which speak to our time and to each other across

"35 ;*1îš‰ä­­Őˇäž•ä ŽâŁ˜估ę•–Ő¸ăž?錒ć?€⢿ď˜šä?Ąă–ˆéź‡äšľč° é Żăšťä§´âĄ˛ă…ˇćś¸ĺ„˜⌏䨞

what it is to live today, but also somehow transcends that!

&/䧎⌛獤äŒ˘ä­­ďšłăŁ”äŠžďš´â˘ľę&#x;šć˘–ç–ŽŐ‚䨞閗㣔䊞 ď˜šă˝ ĺƒ˝é˝Ąâ?‰ĺ°?ĺ˛ é“žĺƒˆ术⥎

time. We are hoping to make a collection that embodies

From the works on show in Emotional Supply Chains I

think you can see a multitude of approaches to art making - from autobiographical and narrative, to more materially

ęĄ ĺ˛¤ćś¸ĺ‰“ę…žéŠ´âŻ‹ç¨‡ĺƒ˝âžŠëž†îšŽéź‡äšľę˝?ă–’č° é Żăšťćś¸ĺ„˜⌏⿜ĺ‰šęĄ ĺ˛¤ă†­â?‰ĺŒŒéŠŻăƒ¤îšŽ

⽿ä–Žę…žéŠ´ćś¸âžƒŐ‚䧎âŚ›éŠ´äŞŞćś¸âĄ˛ă…ˇä—łę°­ĺƒ˝é˝Ąâ?‰čŽ…䧎⌛朸ĺ„˜âžżâź‘ę‚‚朸ď˜šâ&#x;ƒâżť é¨—éŚŠĺ„˜âžżâœ˝ćšąă„Ž估朸⥲ă…ˇď˜ˇä§ŽâŚ›ä‹žĺŠ†䧎⌛朸询ㅡ腋㣠ë„“ć¤?掚â™´â¸˝â¸˝ćŹ°ĺ Ľď˜š ⥎⿜腋錄錊ć¤?ă–ˆ朸ĺŒŒéŠŻď˜ˇ

focussed. All have a conceptual rigour that is tempered

ä–°Őˇäž•ä ŽâŁ˜估ę•–Ő¸ăž?éŒ’â™łćś¸âĄ˛ă…ˇď˜šä§Žä&#x;?⥚č…‹ćş?â´€â˘ľč° é ŻâśžâĄ˛ćś¸ă˘ľç??ĺ€°ĺ˛ ď˜šä–°

viewers.

ĺƒ˝ă””ć?€ĺ‰¤âœŤĺˆżé‹ˇéľœ朸ďšłäąşâ°…ďš´ĺ€°ä’­ď˜šâĄ˛ă…ˇă˝ ĺˆżăş‚ĺƒ’é„„éŒšćş?ç˝?äąşă€Œď˜ˇ

with approachable and accessible ways in to the work for

č?ˆâŤ„ä’­ćś¸ď˜śäžƒâœ˛ä’­ćś¸ď˜šâľŒĺˆżâŠŽę…žĺ€´ćš&#x;颜朸ď˜ˇé¸?â?‰ĺ€°ĺ˛ 鿪ĺ‰¤ĺšŒä™‚â™łćś¸ă“‚č•™ď˜šâĄŽ

to include in this exhibition related to the concepts and working methods of

much the aim rather we wanted to foster a slower and more engaged way of

working with those artists and gain a deeper understanding of their practices.

é¸?â?‰č° é Żăšťćś¸ä&#x;?ĺ˛ ă„¤äŠ¨âĄ˛ĺ€°ĺ˛ ĺ‰¤ęĄ ď˜ˇčŽ…â°Śé“ž䧎⌛㺕劆é¸?

âŚ?♜㼜铞䧎âŚ›ĺˆżä‹žĺŠ†âśžé?¤â™§ç??莅é¸?â?‰č° é Żăšťâ°&#x;âœ˛ćś¸ä˘Šçœ? ă¤‰ď˜śâżŽčŽ…ä?žĺˆżë„ž朸äŠ¨âĄ˛ĺ€°ä’­ď˜šâ˘Şä§ŽâŚ›㟊➎⌛朸✞⥲ăťœéŠ? ĺ‰¤ĺˆżĺš€â°…朸âœŤé?‘ď˜ˇ

ART.ZIP: Are there any more upcoming projects/programmes related to digital art?

"35 ;*1îš‰äąşâ™´â˘ľéźŠĺ‰¤ă„¤äž¸ăśśč° é ŻćšąęĄ ćś¸ę°ŞćšĄä§´ç˝?鎙⡔

exclusive focus - we have an upcoming project looking at the rise and eect of

ĺ‰šâŤŚâŤŚęĄ ĺ˛¤é¸?âŚ?ď˜ˇä§ŽâŚ›ă–ˆ äŽƒĺ‰ščŽŠéłľâ™§âŚ?ęĄ ĺ€´ä•§âŤšâľ–

EN: We continue to research and acquire digitally based works but it's not an

the digital on image making that will take place in 2017, as well as continuing to collect the works that are produced via the Daata Editions platform.

ăŒ¨îšŽ

&/䧎âŚ›ĺ‰šçł’çłľç ‡ç‘–ď˜ść ˝ă€Š䞸㜜ä•Žä’­ćś¸âĄ˛ă…ˇď˜šâĄŽ䧎⌛♜

⥲âšĽäž¸ăśśäŞŽé Żćś¸ę…ˇćŹ˝ă„¤ä•§ę° 朸갪暥ď˜šă šĺ„˜䧎⌛⛳剚糒糾 ä˝?ę§Œé¸’éş•ďšłäž¸äş™ć™?劼䎂〾⾖⥲朸⥲ă…ˇď˜ˇ

Ed Fornieles, Dorm Daze, 2011-16 (detail). Photo: David Bebber

ART.ZIP: Taking Emotional Supply Chains as an example, what s the most important quality you would pay attention to when selecting artists or works? What about choosing artists for residency programmes?

*/5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒  3"+&4) 16/+ 榰⪁銯v륓屛 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘  4&%*5*0/ 侷㶶谀遮䎂〵

The condition of being modern, of our living through modernity has

been effectively harnessed by new technologies that predict precisely our thoughts as a set of rudimentary likes and dislikes, so that industry can

more easily package all of our sensations back to us. As a consequence of such invasive innovation, we are able to be less active and more efficient in our unconscious search for the simple pleasures. The major industries

have modernized and culture and creative aesthetics have come to bear a more sophisticated fruit. Animation, video, sound performance, light

installations, and digital displays have become the major background for

modern life. It allows non-physical forms, or virtual artworks, to effectively enter into the physical domain by communicating remotely by new

devices. Art has replaced corporeal materials, (paints, wood, steel, plastics and the readymade), with the apparatus of a mechanical age, in order to better serve artificial endeavour.

㥶⡦珖⛓捀植➿植➿䚍♴䧮⦛涸欰崞捀ㆭ菛倞䪮

遯䊺剤佪㖒䱍䱾✫鸏❉㉏겗涸㔐瘸㸐䪾䧮⦛涸䨾䙼䨾䟝ⴕ

Ꟍⴽ겳捀䎙珏剓㛇劥涸㥪䟅䖰罜彋焷㖒⡲ⴀ갸ⴼ鸏垺♧

⢵ぐ珏欴噠⛳〳刿鰋匡㖒䪾䧮⦛꨾銴涸䨾剤䠮「䩧⺫❜➰

窍䧮⦛鸏珏噲Ⱘ殜䚍涸ⶾ倞䌟⢵涸穡卓僽㼩倴㼦宠矦

㋲涸❧坿Ղ鸏珏♶꨾銴㣖㢵䠑陏⿮莅涸麕玑䧮⦛〳⟃㼱

顥럊⸆㣗㢵♧럊❧「罜莅鏪㢵㣐欴噠㻜植植➿⻋ず姿涸

僽俒⻋ㄤⶾ䠑繡㷸⛳㻜植✫刿幀ⵠ涸踙隶

⹛殥鋕걽耫갉邍怵敚⯕酤縨ㄤ侸㶶곏爚䊺竤䧭捀植➿

欰崞涸ꅾ銴胝兞ꬌ㻜넓䕎䒭贡亼涸谁遯⡲ㅷ鹎Ⰵⵌ㻜넓

걆㚖Ⱖ佪卓㥶ず䧮⦛⢪欽倞鏤⪔鹎遤黇玑❜崩♧垺곏衽

谁遯⛳䱰秝✫侸㶶䕎䒭欽堥唒儘➿涸⭑㐼《➿✫㻜颶涸勞

俲㥶겝俲加걧ꏈ꘮㝖俲⟃⿻Ⱖ➮植䧭涸勞俲䖰罜

刿㥪㖒剪⹡倴➃鸤걆㚖涸䱳程

Casey Reas，100% Gray Coverage,（2013）on iPad

SEDITION: PATRONISING THE PRODUCT INTERVIEW WITH RORY BLAIN 4&%*5*0/ 谀遮䋑㜥涸倝毐歲 㼠鏞繏ꅽv䋒蟚䛸

Sedition is essentially a virtual platform for international artists creating

visual art as audiovisual artifacts. Short animations, video and digital displays

encompass a new element of the artist s practice, and are available as animated editions for one s laptop, smartphone, and iPad. Allowing an interactive

audience the ability to acquire limited edition works by leading artists for the

cost of one s lunch, and the opportunity to create a digital collection as easily as messaging friends.

Where once art was distinguishable from music, and architecture was an industry entirely separate from design, now aesthetics, virtual and visual,

are an amalgamation of ideas and industries that ceaselessly cross over one

another. The machinery of the modern has only positively complicated matters further, by equipping aesthetics with the facility for new possibilities that

are as responsive to the audience as they are to the artist. A sophisticated

art engine that exists entirely in the virtual realm, Sedition is part of such an

inclusive platform for video and animation. Sedition have introduced new art

to a populous that indulge in the immediacy of new technologies; so that they

can adorn our smart devices with an aesthetic skin. By positively mimicking the to audiences required them borrowing from the existing appeal for physical

Cheng Ran, Joss, 2013

artworks, in order to operate dematerialised art as virtually viable. Moving

forward in Sedition s hands, art as an animated form has become an attractive, aordable product that is likely to become as integral to our lives through our

smart devices, as our relationship to the art object in the public realm. Allowing for the virtual to become visual, Sedition sees new technology oering

aesthetics a greater elasticity and mechanised emotional charge, which takes

us all into the new age as agents of art; individually able to cultivate and curate our own cultures.

"35 ;*1䧎⌛ä&#x;?锞ä?Ąâ˘ľé”“锓4FEJUJPO朸é’˛ćŹ°ď˜šâ&#x;ƒâżťä?Ą

ç€Šć™šď˜śé‹•ęą˝ă„¤äž¸ç„şâĄ˛ă…ˇç˜žď˜šă šĺ„˜ď˜šé¸?â?‰âš›掼ć™?劼朸⥲ㅡ〳

3 #4 F EJ U JPO朸椚 䙂 ㄤ é’˛ 揰無 ăťœĺ‰¤ 襽 ♧媯剤錹 朸 佌

ĺƒ˝ăĽśâĄŚć¤šé?‘ďšłäž¸ăśśč° é Żďš´ćś¸ď˜ˇ

â&#x;ƒă–ˆâŚ?âžƒç˜˜éŽšĺŠĽę¨śčˆĄď˜śĺ…°č…‹äŠ›ĺ Ľă„¤J1BEâ™łé°‹ĺŒĄć ˝ä–¤ď˜ˇéŒš

âœ˛ď˜ˇă–ˆ 韊 ĺ°? 剤 ć¤? 䧭 䪎 é Ż ä˝… ä­° 朸 抇 㞯 â™´ 䧎 ⌛ ă˝ ę&#x;š 㨼 ä&#x;?

杞〳â&#x;ƒâ&#x;ƒâ™§ę°žâźŻęˇ­ćś¸â­†ĺ‘”ă˝ č…‹ć ˝ä–¤ćżźă ?č° é Żăšťćś¸ęŁłę†€⥲

⍚ďšł4FEJUJPOďš´ćś¸ĺšŒä™‚âœŤď˜ˇä§Žćś¸âŻŒä“?ă† ę…˝ĺƒ˝â°—ă €ç˝‰ę ¸ď˜šäšŠ

ă…ˇď˜šäž¸ç„şâĄ˛ă…ˇćś¸ä˝?询â›łéšśä–¤ă„¤ĺ‰ŚâżźćśŽç€ŠâĽŒâ™§č?›ăş‚ĺƒ’ď˜ˇ

剤#MBJO 'JOF "SU掼ä?¤ď˜šä–•⢾ä˝–ă ?ć?€)BVODI PG 7FOJTPOď˜š

âą„âľŒ㼜âž›朸#MBJO 4PVUIFSOîšŠĺƒ˝âžŽâśžç”¨âœŤ4FEJUJPOď˜ˇéźŠ

ă–ˆâ&#x;ƒâľšď˜šč° é Żă„¤ę°‰ĺ?żâ›“ę&#x;Śćś¸ćšąćŽŻĺš˘ĺ… ă€łéłşď˜šä’ŠçœĄé ¤ĺ™ čŽ…

éŽšä–¤é˝Ąĺƒ˝ă˘ľäŽƒ⾚朸♧匄çż?ăŁ”ď˜šćŽšĺ„˜ç?ľâ�