- 1.1 – A PIXELATED APOCALYPSE - 1.2 – THE GLITCH UNLOCKED - 1.3 – BEAUTIFUL FAILURE
- 2.1 – ARTISTS AND THEIR ARTWORKS - 2.2 – OUTSIDE - 2.2.1 – THE GLITCH IS A MUTATION - 2.2.2 – THE GLITCH IS A MEME - 2.3 – ROOM 1 - 2.3.1 – THE GLITCH IS SPIRITUAL - 2.3.2 – THE GLITCH IS INTERPLANETARY - 2.3.3 – THE GLITCH IS HUMAN - 2.4 – ROOM 2 - 2.4.1 – THE GLITCH IS ARCHAELOGICAL - 2.4.2 – THE GLITCH IS DECAY - 2.4.3 – THE GLITCH IS A GAME - 2.4.4 – THE GLITCH INVADES
3.1 – LOCATION
3.2 – THE MIRRORED BUILDING - 3.3 – INTENDED AUDIENCE
4.1 – LITERARY INCLFUENCES
4.2 – FAUNA FOR THOUGHT
ACKNOWLEDGEMENTS:
I would like to give a huge thanks to my wonderful dissertation advisor, Ellie Harrison. Your widespread knowledge, creativity and enthusiasm are truly inspiring. I’m glad that the “dreaded” dissertation of fourth year was a delightful experience instead. I thoroughly enjoyed each of our discussions and cannot wait for them to continue this upcoming semester!
I would also like to thank the head advisor of the dissertation module, Helen Gorrill Your kind words at the start of the semester were extremely reassuring and I appreciated it greatly.
My sincere thanks also goes to my flatmates and close friends: my “fly ladies”.
I cherish our friendships dearly, and now we are forever bonded over our long shifts at the Dundee University library.
Last but not least, I would like to thank my parents: Dorothy MacDonald and Rory McCrimmon. I am very grateful to have you both supporting me over the winter break.
LIST OF FIGURES:
Figure 1 Exhibition floorplan. Original image courtesy of author
Figure 2
Figure 3
Figure 4
SimMet, M. (2022) Return of the Herd. Available at: The artists – Arcadia Original image courtesy of Peter de Kan
Mattes, E; Mattes, F (2022) Panaroma Cat. Available at: Panorama Cat (2022) < Eva & Franco Mattes Original image courtesy of the artists
Mattes, E. & F. (2020) Half Cat Available at: "Half Cat", "Ceiling Cat", and "Catt" · Issue 34: InVisible Memes for Cultural Teens Original image courtesy of Melania Dalle Grave and Piercarlo Quecchia for DSL Studio
Figure 5 Montoya, R. U. R. (2022) A being that guides the souls of centaurs into the afterlife. Available at: The Rebel Legacy of LA’s ASCO Chicano Art Group Original image courtesy of Matt Stromberg/Hyperallergic
Montoya, R. U. R. (2022) As I willed myself out of entropy. Available at: Ruben-Ulises-Rodriguez-Montoya-SkinchangersBegotten-of-my-Flesh Original image courtesy of Museum of Contemporary Art Cleveland
Figure 6 Meyer-Brandis, A. (2011) The Moon Goose Analogue: Lunar Migration Bird Facility Available at: The Moon Goose Analogue: Lunar Migration Bird Facility – We Make Money Not Art Original image courtesy of Colin Davison
Figure 7 Heyman, F. (2017) In the unlikely event of (cluster E). Available at: In the unlikely event of (cluster E) - YouTube Original image courtesy of the artist
Heyman, F. (2017) Waste Mould (cluster B) Available at: Waste Mould (cluster B) Original image courtesy of the artist
Figure 8 Behar, K. (2014) E-Waste Available at: Katherine Behar, "EWaste" - Lateral Original image courtesy of the artists
Figure 9 Bismarck, J. (2023) The Elephant in the Room Available at: Monumental! Julius von Bismarck Original image courtesy of Roman März
Figure 10 Zetterstrand, K. (2003) LowMist; clear_close; sunset_dense; blue_distant; sunset_average. Available at: 2003 | Kristoffer Zetterstrand Original image courtesy of the artist
Figure 11 Garrelfs, I. (2008) Dumplinks Available at: Dumplinks Original image courtesy of the artist
Figure 12 Image of exhibition model. Original image courtesy of author
Figure 13 Images of exhibition model. Original image courtesy of author
ABSTRACT
This exhibition proposal is an exploration of the Glitch, critically analysing it as a symbol of environmental decay The fate of humanity is tragic, and extinction is on the horizon: an impending doom that has become ignored with the digital world as a barrier As it invades our screens, the Glitch removes humanity from this virtual immersion and provides an honest vision of the future. By analysing the abundant messages the Glitch can communicate, the proposal investigates a series of artworks that embody different aspects of this ecological symbol The exhibition will transpire in an empty lot in Dundee City Centre, a site that sits directly behind the Overgate shopping centre. Audiences will be invited to reflect on humanity’s position in our deteriorating world, provoking contemplation on the natural environment’s adaption to our growing Anthropocene
INTRODUCTION
Let’s get one thing straight: global warming is not real.
You now may be thinking: “Is this exhibition curated by a gun-slinging republican in a red MAGA hat?” No, the natural world is dying. I base this statement on the belief that this term is deceptive. ‘Global warming’ implies that there is an incoming threat: ‘warming’ being the key word that suggests a gradual, relatively benign process. In reality, the impact of mankind’s sustained assault on the environment has progressed far beyond the stage of a gentle ‘warming’ of our atmosphere and, in my opinion, we’ve entered a distinct stage of ‘boiling’. Therefore, for this exhibition the term “global warming” will be replaced by a far more appropriate title: “mass extinction”.
“In a funny way it’s as if the end of the world has already happened, if by the world we mean a stable set of reference points that guide our actions…Now that there is a bewildering variety of scales on which to think and act…it’s already the end of the “world.”” – Timothy Morton, Being Ecological (2018)
Now don’t panic. This does not mean that in a singular snap Earth will explode, like a scene plucked from a science fiction film. Historically, extinctions don’t occur at a singular point in time, but rather take place across years, decades and even centuries; like a series of “invisible nuclear bombs”, a phrase coined by ecology philosopher Timothy Morton (2018). He continues, stating that humanity’s extinction has been an ongoing process since 1945. This point in time signifies the dawn of the Anthropocene – a term that indicates the beginning of society’s consumerist boom that propelled humanity itself into becoming a “geophysical force” (Morton, 2018). It is an era that symbolises an expanding impact with an endless appetite for environmental domination, extending from microplastics in the oceans to CO2 emissions damaging the stratosphere
There are many influential factors that inform as to why we have reached this position in such a short period of time relative to human evolution, but this
exhibition focuses on our growing digitalisation as a primary catalyst. As the electronics industry continues to accelerate its production, this inevitably results in a growth of E-waste that contributes to the decay of the natural world; an eco-death that has become overshadowed by the façade of technological evolution (Gabrys, 2013). With every upgrade, our screens are increasingly focused on transporting society away from the Anthropocene, creating a barrier between virtuality and a decaying reality.
There is, however, an aspect within this technology that also removes us from the digital landscape. In a virtual world that pursues perfection, occasionally we witness slight glimpses into the inner workings of our machines that pulls us away from this fantasy; a burst of “machine anxiety” that reveals itself in a timid second, or a complete overthrow (Russell, 2020). Let me introduce the centre of my curatorial thesis: the Glitch.
The etymology of ‘glitch’ originates from German or Yiddish language, meaning ‘to slip’ or ‘to slide’ (Moradi, 2009). Then, in the 1960s, the word became frequently used in the American space programme and became popularised as we now understand it: a technical error in the digital world (Russell, 2020). It should be to no surprise that these devices experience Glitches. Afterall, human hands create these machines; therefore, human error becomes embedded into them (Gabrys, 2013). But in the context of this exhibition, the definition of the Glitch can be expanded beyond simply existing as an “electronic hiccup” (Moradi, 2009). If the Glitch is essentially a technological ‘whoopsie’, don’t we encounter it frequently in real life (Russell, 2020)?
The following exhibition proposal provides a critical analysis of the Glitch, exploring its relationship with environmental decay. The unpredictable chaos that approaches creates the perfect opportunity for creative freedom, where artists can explore the multitude of communicative capabilities of the Glitch. In the rebirth of a barren plot in Dundee’s City Centre, the exhibition provides a vision of the apocalypse that invites audiences to contemplate humanity’s positionality in this dying world.
CHAPTER 1: CURATORIAL THESIS
1.1 A PIXELATED APOCALYPSE
“We like our energy invisible…so that we can enjoy the view” –Timothy Morton, Being Ecological (2018)
Establishing a clear distinction between “global warming”’ and “mass extinction” is essential when envisioning an apocalyptic view of the future. It is a decision that could undoubtedly accelerate collective anxiety but as I write this now, on my computer, sat comfortably with an americano, listening to Ethel Cain, I don’t feel anxious at all: in fact, I feel quite wonderful! Timothy Morton argues that this complex feeling – this “not-quite-reality” – represents how humanity experiences catastrophes (Morton, 2018). Our current environmental situation is a dark, alarming and threatening force; and yet I sit here comfortably, theorising around the fate of the humanity, reduced to a fleeting frenzy of notifications on my phone. How is this fair? How can this profound eco-death feel so minute? How can this global catastrophe, humanity’s greatest threat, become distilled into mere pixels; yet another crisis to be scrolled past?
This detachment of society’s perception of reality is deeply intertwined with our relationship with digital technology. Electronic evolution is undoubtedly a wonder, but it also obstructs our connection with the natural world, and thus effects our perception of its physical condition. Intentions aside, virtual spaces have become a retreat; a refuge where the potential of mass extinction doesn’t look as tragic behind the safety of a digital screen.
We can see early evidence of this reliance in the 1990s. During this period, Japanese society experienced an increase of extreme social withdrawal that quickly became labelled as “Hikikomori”: ‘hiki’ meaning ‘to withdraw’, and ‘komori’ meaning ‘to be inside.’ The mental health phenomenon made a resurgence across the globe during the Covid-19 epidemic, forcing many into an enforced period of lockdown. As restrictions began to ease, many relished the
opportunity to exert their social proclivities, however some continued to indulge in the social withdrawal, observing the world through the digital realm (Rooksby, Furuhashi and McLeod, 2020). Like most viral pandemics, the Covid virus naturally grew weaker with each strain, but camouflaging behind the façade of ‘modern technological evolution’, Hikikomori continues to linger within society: an invisible epidemic of social isolation
Let’s expand upon this theory: Hey, are you hungry? There’s an app for that! Need new clothes? They can be there tomorrow! Stressed about that big meeting? At least it’s virtual and not in person! Our essential needs are now easily obtained in online shopfronts, accessed by its consumers in seconds Now, electronic technology has essentially evolved into an extension of the human body: handheld, close-by and easily accessible. Jennifer Gabrys argues that this increasing reliance on technological devices creates an immaterial quality, rendering the discarded waste inherent to latest technologies, to an extent, unimaginable. She writes:
“When electronic devices shrink to the scale of paper… they appear to be light weight and free of material resources. But this sense of immateriality also enables the proliferation of waste” (Gabrys, 2013).
There are approximately 35 million tonnes of rubbish dumped on Earth in a singular year, which Jennifer Gabrys compares to the equivalent of 1,000 elephants slumping themselves on our growing anthropocentric landscape every hour (Gabrys, 2013) E. F. Schumacher elaborates on this rise of technological impact in his book Small is Beautiful: a study of economics as if people mattered:
“Our scientists and technologists have learned to compound substances unknown to nature. Against many of them, nature is virtually defenceless. There are no natural agents to attack and break them down Because they have no natural enemies, they tend to accumulate, and the long-term accumulation are in many
cases known to be extremely dangerous, and in other cases totally unpredictable.” (Schumacher, 1974)
Schumacher is stating that the world of technology, including electronic industries, is so otherworldly that its threat against natural environments is heightened. Because of its multitude, it is easy to overlook the unstoppable force of technology’s evolution as it is so widespread. Imagine it is a sentient beast roaming our world: as the use of technology has become more affordable and frequently used, we realise its expansions are no longer controlled by our weak grasp; technology is the apex predator.
Circling back to the concept of Hikikomori, studies suggest that the best remedy for the social withdrawal must exist in; “virtual reality and digitally-delivered psychological treatments” (Rooksby, Furuhashi and McLeod, 2020). It seems counterintuitive, that to remedy technophiles immersed in virtuality, we too must utilise that same thing: curing; “a disease by intensifying its causes” (Schumacher, 1974). There is, however, another aspect to technology that counteracts the allure of this immersive world It is a chaotic force that interrupts the technological pursuit of perfection, withdrawing its users that have become absorbed in its glow and returning them to a decaying reality. This burst in question, is the Glitch.
1.2 THE GLITCH UNLOCKED
In this exhibition, it is important to recognise the multiplicities of the Glitch, especially within contemporary art. The Glitch is failure, a notion artists can explore in a variety of different complex interpretations: it rejects perfection; it embraces uncertainty. Perfection is only capable of communicating specific concepts; failure, however, is a powerful voice of a multiplicity of messages. As Glitch feminist Legacy Russell writes:
“To glitch is to embrace malfunction, and to embrace malfunction is and of itself an expression that starts with no.” (Russell, 2020).
When used in art, the Glitch holds a great power against this new immersive world behind our digital screens by simply saying “no”. It rejects perfection; it embodies honesty, a value humanity lost long ago at the dawn of our mass extinction (Russell, 2020). Similar senses of authenticity often appear in the contemporary art world. When artists approach different themes with an open outlook, this act of honesty often results in a personal connection created between the artwork and audience. Artists are constantly navigating the world with an exploratory lens, approaching the intricacies of life in states of observation and contemplation, therefore it should be to no surprise that we have “Glitch Art.” The specific origins of the art movement are mysterious, as said by writer John Elmore:
“uncertain who “invented” glitch art but it is the result of creative ferment that has characterised the digital age” (Elmore, 2024).
In the 1960s and 70s, our present-day established technologies – such as electronic music and videogames – were developing. In the naïve pursuit of perfect outcome, different errors began to ambush these technological explorers; virtual explosions in a digital world that began to shape Glitch Art (Elmore, 2024). However, circling back to the etymology of the Glitch, this exhibition aims to demonstrate that the Glitch is not exclusive to digital screens. It is a vast and powerful abnormality that has manifested itself throughout art history, as understood by Peter Krapp, a professor in Film and Media studies:
“…expressions of cultural creativity operate in embracing rather than overcoming or ignoring limitations, whether those of a hairy brush and oily paint on canvas or those of a highly regimented calculating machine and its peers on a mycelium of nodes. In what is still essentially a modernist paradigm, aesthetic expressions in digital culture seek to be recognised as both entirely new and
inheriting the legitimacy of any serious art that proceeded it.”
(Krapp, 2011)
Jackson Pollock’s unpredictable dripping technique was an act of embracing chaos. The visible brushstrokes in the work of Vincent van Gogh – a blatant rejection of realism and harmony – again, embraced man-made error. When artists indulge in failure, the infrastructure of their process becomes revealed: it is an act of honesty, that brings audiences closer to it. Glitches are everywhere: in contemporary art; in our digital screens; in society; but globally, it is most prominent in the natural world. It is important to acknowledge this expansive power as I begin to curate this imaginary exhibition (which itself, feels like a Glitch to me).
1.3 BEAUTIFUL FAILURE
This chapter has established two absolutes happening around the world: the constant rise of technological forces fuelled by consumerism, and the continuous decline of the environment. In these two opposing worlds, there must be a crossover: like an intersection on a graph. But what symbolises this collision? The Glitch – a man-made error – is a ‘memento mori’; a reminder of the inevitability of mass extinction that invades the digital universe. Labelling the errors birthed from the Glitch as simply ‘failures’ is too simple. Through the exposure of a fault, the Glitch removes the filter of the digital world (Moradi, 2009). The purpose of this exhibition is to explore the multiplicities of the Glitch, represented and handled in various forms of contemporary ecological art. The selected artworks, staging and location all unite to serve Glitches, weaponising them to voice societal critiques, and present us with an honest future: an anthropocentric vision of our decaying world. To quote Legacy Russell:
“The glitch is a tool: it is sociocultural malware” (Russell, 2020).
Let us embrace failure. Let us bathe in the chaotic nature of the glitch and make failure our ally. We really have no other choice! Afterall, we have already failed.
CHPT 2: CURATORIAL CHOICES
2.1 ARTISTS AND THEIR ARTWORK
This exhibition will feature the multidisciplinary work of nine different artists It will transpire upon an empty plot behind the Overgate shopping mall in Dundee city centre, sitting on a corner where Barrack Street and Willison Street meet Two of the artworks are exhibited outside, whilst the other artworks will be in the interior of a large, mirrored cuboid with two rooms The purpose behind these decisions will be analysed further in Chapter 3. What follows in this chapter are discussions regarding each artwork and its relevance to my curatorial thesis, in a style inspired by the formatting of Legacy Russell’s book, Glitch Feminism: a manifesto
2.2. OUTSIDE
2.2.1 THE GLITCH IS A MUTATION
In Marianna Simnett’s Return of the Herd, we see a large 3-headed skeleton of a mutated deer. It stands tall upon its four hind legs, energised in a majestic composition. Simnett has stated that this is a memorial piece paying homage to the animals killed via culling, encapsulating and immortalising them in this hybrid form (Ontwerpers 2022). Simnett is providing us with a possible vision of nature’s future. The pose, skeletal form and plinth all encapsulate a scene reminiscent of a historical museum suggesting this piece does not simply function as an artwork, but also as an artifact. Could this be a relic from the future? Technology is a vampire, constantly becoming more powerful after each advancement by draining the life of nature itself. To overcome it, the beasts of our ecosystem must evolve with it. It is not enough to simply witness the Glitch. You must become the Glitch to survive the Anthropocene. This sculpture will be exhibited at the entrance of the site, establishing a clear concept of ecological death for the viewer to acknowledge throughout
2.2.2 THE GLITCH IS A MEME
In Eva and Franco Mattes’ practice, they find themselves fascinated with the widespread yet anonymous nature of ‘memes’, viewing them as “a new form of myth-making or even folk art” (Carrigan, 2020). For example, in Half Cat and Panaroma Cat, they have constructed a taxidermy recreation of what once was a meme and brought it into the physical world; an imitation of an image which then itself becomes circulated as a meme once again. By blurring the boundary between virtuality and reality, Mattes have both manifested a Glitch within the perception of their sculptures. The hyper-realistic nature of taxidermy blends seamlessly into our environment, concealing it as simply just an imitation and inciting questions of what is truly real: a Glitch in sheep’s clothing – or rather, cat. These sculptures will be exhibited outside, lingering in the corners of the exhibition site; the same way cats navigate this new urbanised world.
2.3 ROOM 1
2.3.1 THE GLITCH IS SPIRITUAL
The central focus of Ruben Ulises Rodriguez Montoya’s sculpture practice are “Nahuales”, mythological mages with abilities to transform themselves (Museum of Contemporary Art Cleveland, 2022) Montoya reinterprets these legends in the modern age, creating narratives that combine sci-fi themes with a celestial air. Technology has spread into Earth’s ecosystems like a virus, forcing these once-powerful deities to adapt in poisoned landscapes that were once their refuge As seen in A being that guides the souls of centaurs into the afterlife and As I willed myself out entropy, Montoya utilises the Glitch as he creates chaotic and mutated Nahuales The Anthropocene – the land of man-made error – is now the home for these natural beings, and human waste has become ingrained within their DNA These sculptures are one of the first the viewer will see as they enter the mirrored cube and establish the tone of a destructive future.
The Moon Goose Analogue: Lunar Migration Facility is an interactive installation in the form of a control panel with an unusual process:
“One of the works on show is the extremely long-term project that sees Asnes Meyer-Brandis training a flock of young geese to fly to the moon” (Regine, 2012).
Under the guise of whimsy and warmth, a solemn message reveals itself. As our planet continues to die, astronauts will now prepare for life beyond Earth. This could be rooted in humanity’s constant desire for discovery, but truly reveals an acceptance of Earth’s fate. Brandis’s interactive control panel displaces the natural world in a realm beyond our own; one that continues to experience the Glitch, with technology as its catalyst. By exhibiting this beside the work of Montoya, this artwork creates a sci-fi narrative where our planet has been abandoned in a chaotic and destructive spree.
2.3.3 THE GLITCH IS
There is no doubt that Frederik Heyman’s artworks feel rooted in science fiction, but Heyman produces his 3D artworks using scans and textures present day ( experiencing a great imbalance, with technology continuously interrupting natural functions in the form of waste. Heyman envisions this overthrow in the video pieces placing technological advancements in a destructive lens no longer a natural being, but merely a lifeless prop in the storyline of the Anthropocene By displaying the video works in the corner of Room 1, the viewer begins to feel overwhelmed and surrounded by these chaotic scenes.
In her series of sculptures titled E-waste, Katherine Behar fabricates a glimpse into a future where technological devices continue their functions in the form of “half-fossilized mutants” (Behar, 2014). Encased in stone, the technological gadgets blur the boundaries between the natural and technological worlds, almost creating a sort-of ‘what came first, the chicken or the egg’ scenario: has technology invaded natural forms, or are these relics of an electronic future? What is clear within these sculptures is Behar’s statement on society’s intensive production of technological devices that we cast away, in this context in the corner of ‘Room 2’ This functions as a prophetic reminder of Ewaste functioning as a Glitch, removing the viewer from the mesmerizing digital world and presenting them with the consequences of virtual immersion
2.4.2 THE GLITCH IS DECAY
In his sculpture The Elephant in the Room (Giraffe), Jonathon van Bismarck has constructed a large life-sized sculpture of a giraffe. What separates this piece existing simply as stationary taxidermy is its kinetic element. Overtime the giraffe, standing proud, will collapse and its segmented figure will reveal itself as it hangs lifelessly. To Glitch, as stated previously, is an act of error. It has corrupted the integrity of the giraffe, piece by piece – like a slow poison. The viewers must helplessly witness overtime the inevitability of failure, which in the form of animal becomes a reflection of the condition of the natural world.
2.4.3 THE GLITCH IS A GAME
After Kristoffer Zetterstrand was killed in the virtual battlefield of an action-packed in a state he refers to as “Free look Mode”. In this state, he could roam freely in this digital world, existing beyond the gameplay into nothingness series of paintings from 2003, Zetterstrand depicts dramatic mountainous landscapes transformed under the revealing lens of “Free-look Mode.” In the same way that the Glitch rejects immersion, these paintings provide us with an honest depiction of a fragmented eco-scape: it is a ghost. To mimic these fractured landscapes, Zetterstrand’s painting will be displayed sporadically on a wall, as if the Glitch has travelled outside the paintings and transformed the typical, balanced curation of 2D artworks
2.4.4
THE GLITCH INVADES
As a part of her installation Dumplinks, Iris Garrelfs created a 3 minute and 36 second video piece. In the short film, we see long shots of a family of geese living upon a trash-piled riverbed In this instance, the Glitch reveals itself sporadically, acting as a symbol of disruption as it follows the birds like a predator (Garrelfs, 2008) This specific work embodies the Glitch in a form that directly communicates the curatorial thesis of this exhibition By utilising the Glitch’s ability to interrupt, we can begin to recognise and contemplate technology’s poisonous presence in nature. By projecting this piece at a large scale on a wall, the viewer becomes more involved in the artwork. When their shadow obstructs the projection, they are reminded of the role they play in this polluted habitat.
CHAPTER 3: CURATORIAL AIMS AND INFLUENCES
3.1 LOCATION
“The subsequent nature of art means that ecological art…must include ugliness and disgust, and haunting weirdness, a sense of unreality as much as of reality.” (Morton, 2018)
Human error is the root cause of both the Glitch and environmental decay To truly convey the gravity of humanity’s mass extinction, this exhibition must exist in a wasteland, a deconstructed frame for the chaotic artworks within
On the 12th of November 2022, the old Robertson’s Furniture store in Dundee was set ablaze due to the reckless act of fire-raising by a group of young people. In a singular night, the once-statuesque art deco building was left in ruins leaving a bleak wasteland behind, devoid of any hint of previous architectural substance (BBC, 2022). Now, the site is fenced off with only a large stone entrance facing Willison Street remaining – an architectural corpse formed by the same hands that created both Glitch and environmental decay.
In close view of the proposed site is the Overgate: a large shopping mall in the heart of Dundee’s city centre. The Fraser Group – known for their large department stores across the country – bought over the establishment in 2023 and has swiftly brought in 15 new shopfronts (Malik, 2024). Right outside these pristine walls, a site of debris and dust remains untouched, devoid of care or recovery Situating this exhibition in such proximity to the Overgate renders this exhibition as a tangible wake up call to the everyday customers of the mall. The consumers of the Overgate, a symbol of human greed, have been lulled into a cycle of feeding the capitalist machine. It is a twisted dynamic developed under the guise of progressive renovation that cannot be resisted, because:
“ the present consumer society is like a drug addict who, no matter how miserable he may feel, finds it extremely difficult to get off the hook.” (Schumacher, 1974)
Consumerism is deeply interlinked with present-day electronic evolution, functioning the same way as virtuality: behind its evolutionary façade exists the growing Anthropocene, conquering our natural world with the waste of humanity’s consumerist desires as its artillery The customers, currently cushioned from reality, will be confronted as they depart their materialistic endeavour in the form of a dystopian exhibition waiting for them outside.
The building constructed for this exhibition will have a mirrored exterior, camouflaging into Dundee’s urban environment where the collision between nature and humanity’s technological hand is more present than ever. It is easy to overlook the ethics mirrors hold due to their typical status as common household items. However, in the context of this contemporary art exhibition, mirrors immediately implicate the viewer and become a prophetic reminder that this is our mass extinction occurring. The Literary theorist Lubomìr Dolezel analyses the art of imitation – one that is embedded in mirrors – that, in Plato’s theory, is referred to as “mimesis”:
“Mimetic semantics “works” if a particular prototype of the fictional entity can be found in the actual world…The real test of this semantics comes when we not only do not know who or what the prototype is but, more importantly, do not even know where to look for it” (Dolezel, 1988).
Mirrors are undoubtedly tools of mimesis. They can create a pristine and polished illusion that disguises whatever may lurk behind it: all that glitters is not gold. Therefore, we can argue that it functions like virtuality: an immersive world radiating in the light of technological progress that hypnotises its viewers, distracting them from the surrounding chaos and ruin persisting in the real world.
Exhibiting these artworks in an entirely mirrored building was influenced by the Maraya in Saudi Arabia, a large venue known for hosting numerous events, such as concerts and exhibitions When he submitted the design, Florian Boje – the architect of the Maraya – discussed his design process:
“…the first thing we wrote was ‘Nothing visible should be built here, so if we really have to, it should be a silent mirror cube’” (Marcus, 2023).
The design proposition is truly ironic: in acknowledgement of natural beauty, the architects of humanity have manufactured a method of urbanisation that attempts to disguise human contamination of the environment We have become
addicted to the presence of technology, almost like a safety net in the unfamiliar natural world By utilising this design in the context of this exhibition, the landscape of Dundee city becomes reflected. In the surface of this cube, both the modern renovations and ruins of the past collide in its image. The mirrors literally reflect humanity’s capitalist motives at such great scale that make contemplation of our surroundings impossible to avoid. Beyond this clean, pristine and illusionary cube, the landscape of Dundee city is reflected: both the modern renovations and ruins of the past
3.3 INTENDED AUDIENCE
This exhibition has been curated with the intent to engage with numerous different audiences and will succeed on many different levels. The primary audience will be comprised of academics and critical thinkers engaged in contemporary art and ecology, especially in relation to technology. Students, philosophers, artists, activists, writers, scholars and curators will be presented with a new perspective towards environmental issues By curating an exhibit set in a wasteland, the viewer begins to realise that the extinction is truly unavoidable.
This disheartening aspect to the exhibition is undeniable, but equally is the absurdity of the artworks: from a flock of geese who migrated to the moon, to a cat with multiple legs roaming this dystopian environment. Yes, it is a twisted therapy, but what greater act of protest it is than to laugh in the face of the apocalypse? As said by comedy legend Joan Rivers:
“…if you can laugh at it, you can deal with it ” (Powers, 2014)
The primary audience is a key success factor for the impact of this exhibition, but of equal importance is the secondary audience: the general public Humour, again, becomes a key factor in bridging a connection between artist and viewer, as this same bridge is no different to how we connect with one another But their
role in this exhibition is larger than simply entertainment purposes In fact, as Schumacher states, their engagement in this ecological exhibition is crucial:
“The case for hope rests on the fact that ordinary people are often able to take a wider view, and a more ‘humanistic’ view, than is normally taken being taken by experts.” (Schumacher, 1974)
Mass extinction concerns all of us, so it is only logical that this same principle is applied to this exhibition. The contemporary art world is infamous for its exclusivity, often manifesting itself in the form of pristine white galleries that are intimidating, quiet and characterless. These characteristics are ever-present in Brian O’doherty’s love letter to these typical art settings, titled Inside the White Cube O’doherty proclaims:
“For many of us, the gallery space still gives off negative vibrations when we wander in. Esthetics are turned into a kind of social elitism – the gallery space is exclusive…Never was a space, designed to accommodate the prejudices and enhance the selfimage of the upper middle classes, so efficiently codified.”
(O’doherty, 1986)
The unusual presentation of this work – in a large, mirrored cube sitting amongst rubble and debris – separates this artwork from existing in a pretentious lane that nurtures an elitist audience Indeed, the exhibition’s interior is itself a direct refusal of the White Cube’s standards. The artworks in the mirrored cube will be exhibited in a black room, with nothing lit except the exhibited pieces Once entering the space, all viewers must navigate their journey with caution, care and hesitation. These feelings truly prepare humanity for our impeding extinction and leave little room for elitist judgements to develop amongst the audience
Even those with little interest in the contemporary art world would find it quite difficult to ignore the sudden appearance of this futuristic structure amongst the traditional architecture of Dundee city centre: it is a contradiction that ignites curiosity and intrigue. As previously stated, this exhibition is a wakeup call for the everyday consumers of the Overgate. It forebodes the reality of
environmental decay beyond the shadow of specious technological evolution that even the sceptics and theorists, who believe that the Earth melting is somehow a liberal power ploy, can’t ignore Some audiences may believe a more statisticsbased representation conveys our situation more effectively, which may become lost under the lens of creative interpretation in artworks such as Half Cat. But even faced with factual evidence of environmental decay, scepticism persists in the positions of power that fail to steer humanity in the direction of survival. However, even this ignorance is truly an act of recognition, as argued by Timothy Morton:
“…feelings of indifference are also relevant. Feeling disconnected from ecological awareness is another mode of “ecological awareness”” (Morton, 2018)
It is this same human ignorance that created the Glitch, which in this case has become what defines environmental decay. This cult of ignorance functions as proof as to why – as a society and a species – we are doomed. To truly represent mass extinction, we must acknowledge the blatant denial ingrained in humanity This cult of ignorance functions as proof as to why – as a society and a species – we are doomed
CHAPTER 4: OTHER SOURCES
4.1 LITERARY INFLUENCES
Amongst the conflict between technology and nature, where can one situate themselves in this ever-changing world filled with passionate proclamations and absurdity? Timothy Morton’s philosophy on mass extinction, in his book Being Ecological, has been a key influence in this exhibition; a theory that recognises the varying ecological stances amongst its viewership in the same way Morton does to his readers Conversations surrounding ecology in present-day society can become a very polarizing issue: either side with climate activists in continuous protest or become another follower of the capitalist machine; and if you don’t pick a team, that is utterly irresponsible If you find yourself on the sidelines of humanity’s game, uncertain of what team to join, Morton suggests a result that although morbid, may create a bond amongst this disagreement: we are all going to die
“It’s like those horror movies in which the hero finds out that she or he is already dead. If you’re already dead, there’s nothing to be afraid of, is there?” – Timothy Morton, Being Ecological (2018)
This exhibition, which encapsulates a human-less future, is a manifestation of Morton’s ecological philosophy. On one side, capitalist consumers are faced with a call to action. On the other, activists are given recognition for their actions, and an opportunity to laugh at this twisted world As a result, a bridge between these conflicting perspectives becomes established, one that is embodied in the form of this twisted exhibition: a direct vision of mortality for the very species that has curated, visited and witnessed it.
Furthermore, E. F. Schumacher’s book Small is Beautiful: a study of economics as if people mattered provided numerous stimulating theories on human society that had a great influence on this exhibition, especially in Chapter 3 of this curatorial proposition Schumacher maintains throughout the book that modern economy – in its treatment of humanity and nature alike – has become unbalanced, unchecked, and exploitative. He writes:
“Strange to say, technology, although of course the product of man, tends to develop by its own laws and principles, and these are very different from those of human nature or of living nature in general” (Schumacher, 1974)
Technology is no longer in the grip of human control. Schumacher highlights this in the text, calling for systemic change in an age of accelerated evolution. Perfection is an idea that humanity believes can be achieved with an electronic hand, therefore we continue to push its limits that now consequently absorb the land and nature. The Glitch not only represents nature’s fragility but is a necessary hurdle in the trajectory of rising consumerist electronics. This exhibition communicates Schumacher’s theories on technology, in a wasteland that represents where this thirst for technological evolution will lead us and in artworks that emphasise the importance of the Glitch.
Additionally, Legacy Russell’s GLITCH FEMINISM: a manifesto provided an empowering insight into the Glitch and the societal critiques it can hold Russell discusses the work of numerous queer, feminist and/or POC artist that embody the Glitch in multiple facets: as “cosmic”, as a “virus”, and as an “antibody” to name a few examples (Russell, 2020). By formatting her creative analysis as an extensive manifesto – in the same style that inspired Chapter 2 – it is truly emphasised to the reader how adaptive the Glitch is, not only as a symbol but also in what it communicates In the final chapter of the manifesto, Russell states the following:
“The glitch pushes the machine to its breaking point by refusing to function for it, refusing to uphold its fiction” (Russell, 2020)
Russell is emphasising the critical importance of disrupting convention, structure and expectations. This perseverance is a vital element in the curation of this exhibition, where the Glitch is intertwined in the different artworks. The framework of society is collapsing. Instead, up upholding this flawed system, we must disrupt it; let it crumble; cultivate a new fiction shaped by artists, by people, and by the Glitch.
4.2 FAUNA FOR THOUGHT
Call me pessimistic, but I believe there must be a certain level of acceptance in mind when curating an exhibition that portrays environmental decay. It’s easy to hear “mass extinction” and envision the entire Earth suddenly exploding in a quick snap, however this is our own survival we are discussing. Ms. Earth will be quite alright and has already survived 5 extinctions in her lifetime (Ritchie, 2022)!
Chernobyl, for example, is a symbol of our planet’s perseverance. As David Attenborough narrated in Our Planet:
“The [Chernobyl] fallout zone was declared uninhabitable for the next 20,000 years – yet, despite the radiation, there has been a remarkable recovery.” (Our Planet [Nature Documentary], 2019)
This symbol of human error is now rebirthed as a refuge for the animals that once called it their home: horses, badgers, wolves, boars, bison, and foxes now roam the abandoned landscape, liberated from the grip of human industrialisation (Wendle, 2016). Could this be a foreshadowing of what is to become of the planet we call our own? Writer Helene B. Ducros may provide us with an answer:
“From large mammals to tiny insects, all animals have lessons to teach us as we attempt to reimagine our positionality in a posthuman order” (Ducros, 2021).
Selecting artworks that primarily utilise animals as their subject matter is not a coincidental curatorial decision. When the non-human is brought to the forefront in an artwork, questions of where humanity places, finds and understand themselves in the piece begin to appear This exhibition bestows the non-human a platform. Earth does not need humanity, a truth that becomes reinforced by the artworks selected. Nature will survive the chaos that humanity presents it, and once we become removed from the narrative, it shall blossom once more
Indeed, this adaption against the Anthropocene has already begun. In 2017, a molecular biologist named Frederica Bertocchini was cleaning out her beehive of waxworms – pests, in this regard, that feast on the wax produced by bees to store their honey After disposing the larva into a plastic bag, Bertocchini later found that holes began appearing in the plastic. In this very moment, it was revealed that the larva had found a new appetite (Agustin, 2024). How humiliating for humanity, that an insect is greater at breaking down plastic than humans themselves; the very things who created it. It is truly fascinating when the animals of our planet embody the Glitch, corrupting their own biological instincts when faced with threat to their survival The artworks of this exhibition are creative interpretations that capture these scenes of nature’s perseverance, displayed in both the ecosystem of Chernobyl and in waxworms. Could this be the next stage of nature’s evolution? This may be the end for humanity, but the natural world will mutate in the anthropocentric aftermath we leave behind.
This concept becomes reinterpreted not only in this exhibition – with mutative deer skeletons and ominous pixelated geese – but also occurs in the animated film Pom Poko, a story about two fighting clans of raccoons that form an alliance in the face of a new enemy: the humans. When their homes quickly become taken over by high-rise flats and convenience stores, the raccoons of Pom Poko reconnect with the ancient art of transformation to save their home. At the climax of the film, the raccoons push their powers to the limit, parading as ghouls and monsters in the city built upon their flattened homes to scare the humans away. But, in this the new, modern world, the plan quickly backfires when a human – the CEO of a theme park – proclaimed the spectacle as his own creation; a desperate lie in the sweat of capitalist greed (Pom Poko [Animated Film], 1994).
Behind the whimsy of this cartoon animation lies a very upsetting reality. The film places the viewer in the position of the raccoons, following their stories alongside casual narration as if we were engaged in a conversation with them through the screen. From this anecdotal perspective, we learn that this is not solely a stolen eco-system: it is also a home. Furthermore, the humans play
such a large role in this film, viewed as the antagonists towards to raccoons, but the viewer is not introduced to a single one. This directorial decision to create anonymity – especially in comparison to the relationship built with the raccoons – amplifies the human presence as an impersonal, cold and threatening force of destruction in the natural world Could it be that the raccoons, with soul and warmth, may possibly be more “human” than you and I?
Pom Poko communicates an important message that directly coincides with this exhibition’s curatorial thesis. The raccoon’s ability to transform is metaphorically present in the artworks of this exhibition, creating visuals that represent nature as a survivalist. The Glitch is a transformative symbol that awakens those consumed in virtuality, and the raccoons carry its powers to remind humanity of their position in the world.
CONCLUSION
This exhibition emphasises the importance of the Glitch as a symbol of human failure. It is a force that lingers in our electronic technologies, disrupting our obsessive immersion in the virtual world. The natural world is collapsing, a global phenomenon that is diminished when it simply exists as a brief image on our digital screens. The Glitch removes this filter, and therefore our immersive gaze along with it. Bringing this force into the context of an ecological exhibition truly brings the disparity of the humanity’s fate to the forefront, alerting us of the ruin that approaches.
In a world as chaotic and absurd like Earth in the present day, why not theorise a new horizon where sci-fi Nahuales roam the polluted skies and electronic pebbles are scattered across the land? Proposing theories of our apocalyptic future is, strangely, quite fun because realistically there is only so much an individual person can do other than creatively interpret it to their own content. Humanity is only capable of achieving so much now that we have designed our own fate. In our current conditions, climate activism can be a disheartening lane that often upholds a daunting position for its participant. It often feels like a series of debates with a brick wall, or yelling into a cave, with your points echoing continuously in your own head.
If this is the end, it becomes easy to pose the question: “Why keep fighting?” But this statement is a double-edged sword: “Why not keep fighting?” We may be approaching extinction, but our hearts are still beating; and with that, our passion. This exhibition is only a singular context of which the Glitch is utilised, but it is a powerful tool that we can employ in multitudes: in our society; in our leadership; in our capitalist system. Society’s current trajectory needs to Glitch: after all, look where it’s got us! Let us rattle the gates and embody the Glitch in our every movement I’d like to conclude this exhibition proposal with the powerful closing words of Glitch Feminism: a manifesto:
“Let the whole goddam thing short-circuit” (Russell, 2020)
REFERENCES
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APPENDICES
APPENDIX A: IMAGES OF SITE
Here are images I have captured of the proposed site that sits on a corner, where Willison Street and Barrack Street meet, in Dundee City Centre. The images have been arranged in a collage alongside a screenshot of the location on google maps.
APPENDIX B: UNSUCCESSFUL LAYOUTS
The following images are mock-ups of the proposed exhibition. Originally, I intended for there to be two mirrored buildings for artworks to be displayed in. However, I felt this suggested an order or system as to how the artworks have been curated, an idea that counteracts the spontaneity of the Glitch.
APPENDIX C: FURTHER RECOMMENDED RESEARCH
The concept of the Glitch as a symbol of environmental decay is a topic I have thoroughly enjoyed researching, not only for this dissertation but also in my own artistic practice. The following list is comprised of a variety of influences that unfortunately I could not discuss further due to the word limit. I would recommend these to anyone exploring the Glitch, ecology or both as sources of inspiration:
- The Matrix (1999) – science fiction film
- Rewilding Witchcraft (2013) – a lecture given by Peter Gray
- Crude (2009) – documentary film
- Ghost in the Shell (1995) – animated science fiction film
- New Dark Age (2018) – book by James Bridle
- Digital Art: 1960s – Now (2024) – book by the V&A
- The Spam Book: On Viruses, Porn and Other Anomalies from the Dark Side of Digital Culture (2009) – book by Jussi Parikka
- The Blood of the Earth (2012) – book by John Michael Greer
- On Fire (2019) – book by Naomi Klein
- Nausicaä of the Vallery of the Wind (1984) – animated science fiction film
- A Bestiary Of The Anthropocene: Hybrid Plants, Animals, Minerals, Fungi, and Other Specimens (2023) – book by Nicolas Nove and Maria Roszkowska
