n a g a n g a o o g L L o l l L e e l e h C h C yyC eddbbby ted at r e a u t r C u a C r u C er antoNia SAdL ty eR ib L by E CaTalogu
ADAM J WALKE R (U.K) AMY CECILIA LE IGH (U.K) ANA PASTOR (S PAIN) ANNA F.C. SMIT H (U.K) CHEL LOGAN (U .K) DAN FARRIMOND (U.K) DANIEL DEVLIN (E.U) DANKA NISEVIC (FORMER-YUGO SLAVIA/U.K) DEMETER DYKE S(U.K) MICROCOLLECT ION (ITALY) EMILIA MARYNIA K (POLAND) HELENA DENHO LM (U.K) JACQUI PRIEST LEY (U.K) JAMES BROOK (U.S.A) JOSHUA Dâ€™YARB O (NOMAD) KAT BUTTON (U .K) LIBERTY ANTON IA SADLER (U.K ) LIZ CHAPMAN (U .K) NAI-FEI WU (TA IWAN) NATALIE ANAST ASIOU (U.K) RAQUEL MEYER S (SWEDEN) SAMANTHA COR DERY (U.K) SHAKESMYTEET H (U.K) SONIA WYNN (IR ELAND) TASH LOFTHOU SE(U.K) DEB COVELL
ALLERY g D O o W R E ThE IsH wiGAn , s T R U O C d tHE OL 7 21-30 ApRil 1
WHAT IS GLITCH? WHAT IS GLITC GLITCH WHAT IS GLIT In failure and the everyday we encounter a level of Artificial intelligence with the interactions with the digital and virtual world. These
parallel with our lives as a living breathing organisms. When we encounter Failure within our own experiences it is put down to â€˜Being Humanâ€™ but how do we deal with it when it involves the Failure in the Virtual sense. Through the mediums of Mobile phones, flat screen televisions, Monitors, Game Consoles and
interaction. When we fail, do we Glitch?
? CH? H? TCH? When we fail, do we Glitch?
R E K L A W B J R E M K L DA A AA W B J M A D M J B WALKER (U.K) ADA Mother (c. 2004-5? / 2017) video, text
mum / ma /
mama / mater / mom / mam / mummy / mommy / MAMMY / WELL-
SPRING / source / origin /
stimulus / fountain / genesis / fount / produce /
forth / nurture / raise / protect / tend / nurse / rear / care for / cherish / pamper / baby / spoil / indulge / fuss over / cosset / bear / bring
mollycoddle / overprotect / natural / innate / i n b o r n
Amy Ceci lia Leigh
s, vinfrom VHS tape chnocials and te er mm co TV tage as Videodrome. ch su s lm ﬁ t surrealis part l her video work as She imagines al bizarre plotof on ti ec ll of a co l TV from a ﬁctiona less broadcasts ‘Pleasure Dome’. station titled
://WW httpsW HANCE :/./BwEw w.beh. anNcEeT.n/eAMY-C t/AmyE- CILI CeciliaA- -LEI Leigh GH https://vimeo.co
R o t S A p ) A n N A I A P S (
In my work there is a mixture of Existentialism and irony. â€œERROR 404â€? exposes the dichotomy of pretending normality, while we may be devastated inside. It is a translation from the virtual to the everyday life. This is the error that normally appears as NOT FOUND when someone is looking for a site on the net and the server cannot find what was requested. It is really frustrating and we can relate it to many aspects of our life, where very often there is no answer to our questions, there is no sense for life and death and anguish. I wrote the message ERROR 404 with a pin, making scratches on a paper, which are indistinguishable with the naked eye.
I scanned the letters with a SEM (scanning electron microscope). When they are magnified, the small scratches that form the letters become DEEP GROOVES that show a devastated landscape. The photographs are exhibited together with a blank paper. The viewers try to find the message in it, but they will never
DNUOF TON DNUONOT F TFOUND ON get it, it will always remain NOT FOUND.
W W W. W AN W N .A A NN P APAS ATSO R. TO RC.O CM OM
7 scanning electron microscope photographs from scratches on a paper, and 1 paper.
FDN TOUNOF TON
ANNA F.C. SMITH
) K . U (
___Smithâ€™s recent work explores caricatured humanoid forms as a schematic for the essence of humanity. With her piece for Glitch she takes the vessel as an early manifestation of technology, using mud and clay found by the River Douglas, Wigan, to mimic prehistoric art. Unfired and roughly made, the piece is the antithesis to sleek contemporary machines. The work is a metaphor for FIRST MAN, and the fragility and fallibility that underpins being human is embodied in the physical glitch of cracks and breakage ____
Anna FC Smith is a Wigan based multimedia artist with a longstanding interest in history, folk culture, and communal traditions. As a practitioner she locates herself between artist, historian and anthropologist, with historical and anthropological research forming the basis of much of her work. Through her practice Smith celebrates â€˜LOW CULTUREâ€™ and the links contemporary society has with its predecessors, she also explores the limitations of art in recounting history and experiential folk customs____________
@ANNAFCSMITH @ANNAFCSMITH http://annafcsmith.tumblr.com
N A G O L L E N N H A A C G O G L N O L L A N E G A H L E O C G H L O C (U.K) L L CCHHE EL
‘I took an abandoned shopping trolley loaded it with Candy canes took it back to its original destination the canes fell as I trundled along , hitting various terrain the bare glitching wheels I will stop if all have fallen
…will I fail to make it?’
make it?’ …will I …will fail toI fail maketo it?’ …will I fail to make it?’
…will…will I failI fail to make it?’it?’ to make …will I fail to make it?’ el-logan
r A _ n a g o l l e @Ch
…will I fail…will to make I fail toit?’make it?’
TeletextR: tive c e l l o C t x e t le The Te (U.K) A collective submission by the
data sion left the televi mast, it was always
pixel perfect. But by the time it reached your house, it had been attacked by invisible gremlins that rendered everything totally unintelligible.
Sometimes the interference would result in much more subtle adjustments to the teletext signal. A single altered letter could entirely change the meaning of an entire sentence, maybe even a whole story. This ‘glitched’ collection contains new teletext pages created by collective members in addition to pages pulled from actual broadcasts… after the gremlins had chewed them!
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DANKA NISEVIC IC DANKA NISEVIC V E IS N A K N A D DANKA NISEVIC (FORMER-YUGOSLAVIA/U.K)
GLITCH. Amputation. Severed familiarity. Liberation. Abyss. I am. Not anymore. Beloved. I do not belong. So I cry. Tears. For you. PETALS they become.
My love tears My love tears for you are for you are now turning now turning My love tears into petals into petals for you are
now turning into petals
Palaces of memory lead me to objects, which have been brutally removed from their origins. Through an aesthetic intuition, I collect and process evocative remnants and I experience narratives they luggage. With sensitivity and assemblage, fragments are articulated into inconclusive narratives, lingering between what once was and what now is...Oscillating between memory and present time, they radiate an iconic, spiritual function and project a volatile sense of consonance. Open to everything and anything, wild streams of palindromes are suspended. Anticipating. Contemplating. Through accelerated technology and virtual territory we increasingly inhabit, geography has become increasingly annihilated. Origin is estranged, architecture impermanent, possessions ruthlessly disposed, future never certain...Instant gratification, by which existence is sustained, promotes fear, anxiety, emptiness and yearning between what once was and what now is...Spirit we embrace is a palindrome, continuously in flux.
Lingering. Awaiting. Searching through virtual wilderness... Labyrinthine quest commences and indecipherable governs. There
is no solidity, no perspectives, only riddles, which simultaneously entice and reject. With no regards for time nor place, objects suppose a disquieting territory. Absence, yearning and bewildered loss, create a trajectory, with an ambiguous nature. Imprisoning and disorientating, it is both enveloping and deceptive. Seducing into its own apparition, it is constituted by an inferiority which is excluded and an exteriority which is included. Suddenly, transition occurs and
everything is put at risk.
Deb Covell Deb Covell Deb Covell Glitch
I like the word - it says somethi ng about what it means to be human, make errors, trip up- fail. Taking risks ofte n leads to mistake s and failure but what if we never took risks never failed what then? I feel uncomfort able when looking at the chine precision in maa series of Donal d Judd’s Boxes or Brigitte Rile y’s tight optical st ripes without a brush hair out of place. I
like glitches they mak
e me feel relieved. I remember feeling a ‘thank god for th at’ moment in front of a Fran k Stella painting as his wobbly lines jarred agains t the austere repe titive black classical stripes and whilst scruti ni zi Newman’s paint arnett over the carefully plangcedBma taped lines of his ‘zbleipeds’ing sking . I remember sm iling when I saw an impossibly beautiful all white silent painting by Robert R yman with a dum b brush hair trapped in the pa int and I absolute ly love Blinky Palermo’s scruff y,
scuffed up, heavily brushed
These artists have no
tention of apologising these apparent m for isgivings in their work- on the contrary they ce lebrate these an omal are renegades, an archists testing systies. They ems, going against the grain, throwing sp anner upon spanner in the works. Failure is in-bedded and inevitable in the process of br eaking new ground - embrace it, use it …I do.
l.co.uk www.debcovel k o.u l.c vel o c eb .d k w .u o w .c w l l.co.uk el www.debcov www.debcovel o.uk ovell.co.uk
DEMETER DYKES DEMETERDYKES DYKES DEMETER (U.K) Sometimes all one can do is rant and rave Sometimes all one doin is rant and rave and lose it. It’s the can glitch the psyche. Sometimes all one can do is rant and and lose it. It’s the glitch in the psyche. Sometimes onecan can dois isrant rant and raverave Sometimes allallone doone and rave Sometimes all can do is rant and rave and lose it. It’s the glitch in psyche. Sometimes can do is and rave and lose It’s the glitch inrant thethe psyche. its all It sone psyche it and Itit. psyche and lose it. It’s the glitch in the psyche. Somelose it. It’s the glitch in the psyche. it It s psyche Sometimes all one can do is rant and rave and lose it. it It’s It s the glitch in the psyche. psyche SomeSometimes all one can do is rant and rave times all one can do is rant and rave and lose Sometimes all it. do one is in rant and rave Sometimes all can do is rant and rave itone It scan psyche and lose It’s the glitch the psyche. 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the invisible side of art Elisa Bollazzi started her Microcollection in 1990 at the Venice Biennale when, almost by chance, picked up a fragment accidentally fallen onto the floor from a work by Anish Kapoor, the intuition of a new form of creation. Since then she has been collecting art fragments, re-experiencing each time the magic of the creative act. Now Microcollection owns more than a thousand art-particles visible under a microscope: the public can sense the invisible and the creative freedom. Microcollection is a mental art experience that changes the boundaries of art, mainly focusing on immateriality, mythology and
Sometimes Microcollection lab slides break and fit art shows
MICROCOLLECTION MICROCOLLECTION MICROCOLLECTION MICROCOLLECTION MICROCOLLECTION (Italy)
AK IK N Y R A A M I A N I Y L R I A M M AK E I A I N L Y I R M E A M A I L I M (Poland) E
Noises. Sentences about. Sentences around. I hear I am. There-
for I am. I am description of your words as they are leaking inside my body. Mirror through my red veins. Inside them. I am letting them speak. Light where only darkness howl. I don’t want to hear it. I don’t want to hear it. I am changing my blood into the green. My body is not biological.
My body is a noise. Don’t scream. Keep silence.
emiliamaryniak.com emiliamaryniak.com emiliamaryniak.com emiliamaryniak.com emiliamaryniak.com emiliamaryniak.com
M L O H M N L E D O A H N (U.K) E N L E E H D A N E L HE American astronaut John Glenn in his 1962 book Into Orbit, described the glitch as ‘a spike or change in an electrical cir-
cuit which takes place when the circuit suddenly has a new load put on it’.
My own painting practice examines the glitch as it occurs when the digital encounters the analogue. The remediation of the digital through means of non-mechanical reproduction, in this instance painting, inevitably introduces chance into a circuit. While the departure point for my recent paintings are pixelated digital photographs, the translation of these images into paint, places the digital under pressure. The act of painting introduces a degree of uncertainty and indetermination into an autonomous and rigid system. The non-mechanical remediation of the digital, the attempt to mix and match colour, and the desire to create compositional equivalence, must by the nature of non-mechanical processes of reproduction, fail by degree. This failure, I would argue, allows the glitch an agency within the field of painting. What the glitch allows in this approach to image making, therefore, is difference. The glitch is the material manifestation of the play of differences that differentiate copy from original. The circuit, to follow Glenn, has been placed under stress by a new load. The new load, in this case, is painting.
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(U.K) Y E L T S E I R P I JACQU
I am visual artist employing a variety of media with drawing
as primary means of expression. I have a natural inclination towards abstraction with a strong conceptual thread running through much of my work. I am Interested in exploring aspects of memory and its relationship to identity and physical location, my work draws on memories of interaction with my surroundings. From
the mundane to the extraordinary it engages with the idea and structures of memory traces and triggers reflecting my fascination with imperfection and impermanence.
‘These Memories I Keep’ explores the phenomenology of memory in relation to human ability to recall some things and not others, a memory ‘glitch’. A 12 month long daily documentation of my work space through the medium of graphite drawings produced images that recorded a specific time and place and the objects present within. Half way through the year these drawings were randomly selected and erased, leaving ethereal images that still carry a variety of marks reflecting the transience of life and the imperfection of memory. The residue from these erased drawings was preserved as a record of the process and of the futility of the search for perfection –
an artistic ‘glitch’.
eyartis l t s ie r ip u q c a .j p://www
K O O R (U.S.A) B S JAME
2009 which is when I Analogue TV went digital inima ge collapse through
first experienced a moving ss, erratic and pixelated glitches. It looked mindle beautiful and made me think of loading screens, Harald Stoffers Gerhard Richter’s letters to mum and Francis Bacon. color charts came to mind too. ial, conducting the I began experimenting with the aer ch, a type of reantenna to force the image to glit movements of verse tuning. Like painting, ies of the my hand control the qualit other hand I picture on the screen. In the the unfolding meld take snapshots with a camera of breakdown of of channels and try and capture the forms. my whole I have watched television firmly embedded life and anything that becomes d to examine and into my daily existence I feel the nee rference to cultidisrupt in some way, acting as inte format. vate new textures within a familiar
Cubism, Pollock, Tom
JO SH UA D’D’ JO YA SH RB UA OO D’ YA RB JO JO O SH SH UA UA UA D’ D’ YA YA YA RB RB RB O O JOSHUA D’YARBO (Nomad) a RoAdmaP foR fAiluRe ‘ART comes out OF FAILURE. YOU HAVE TO try THINGS OUT. YOU CAN’T SIT AROUND, TERRIFIED OF being INCORRECT, SAYING ‘I WON’T DO ANYTHING UNTIL I DO A masterpiece’ Baldessari & Thornton, 2008 Art and design practitioners often experience glitches, errors, crises and failures in their individual practices. Failure, as a concept, is a common aspect of art and design pedagogy and practice. Failure is also a psychological affliction often accompanied by feelings of rejection, loneliness, rumination, and loss and trauma, which groups and individuals often experience whilst developing and maintaining a professional creative practice. A problem arises, when confronting failure and its unfriendly bedfellows, which requires a reframing of its negative connotations. So how can art and design practitioners
respond to failure in their individual and collective practices?
To address this question requires a set of practical strategies and techniques that could be utilised to remedy the inaccurate and distorted conclusions that failure may cause. The theory and practice being suggested here are based on the argument that failure is a positive aspect of fine art pedagogy and practice that provides opportunities to learn and strengthen one’s understanding of one’s practice and, potentially, provides roadmaps for creating work in the future. Addressing failure in art and design practice is by no means a subject of new enquiry. In 2013,, Lisa Le Feuvre compiled a collection of artistic and lit-
erary works into an anthology on failure. Le Feuvre’s survey is contextualised by artists inhabiting spaces of resistance against unreliable concepts of value and success in art and design practice, where the process of experimentation and risk are viewed as more valuable than the manufacturing of cultural products deemed successful by the institutions of art. Set against a backdrop of , failure is seen as a counter-position and valid space in which to explore and critique contemporary cultural production, where doubt and uncertainty are embraced and made significant (Le Feuvre 2013).
In the same year, the Korean based Gwangju Biennale Foundation produced a volume of NOON about ‘THE POWER OF FAILURE’, which pointed to practices of the anti-aesthetic and the history of the avant-garde. Established in 2008
as a journal of contemporary art and visual culture, NOON is the foundation’s response to the failure of biennales and global art fairs to reach beyond a signal exhibition held at a fixed location over a limited amount of time, predominantly attended by a privileged minority, who have the means to access these one-off events. The foundation’s objective is to communicate with a broader audience, through connecting the discourses of art, culture and society (E-Flux, 2013).
The history of the avant-garde provides multiple examples of failing to meet established concepts of art and design in favour of producing new organisations and understandings of what art and design practice could be. One example in particular includes the Salon des Refusés (1863), which broke away from the terms and culture valued by the established Salon (de Paris) in favour of a new space and a new set of terms through which to comment on cultural production (Boime, 1969; Encyclopaedia Britannica, 1998). The Salon (de Paris) was a sanctioned exhibition by the Académie des Beaux-Arts that represented the dominant institutions of taste and culture in Parisian society. Generally referring to any exhibition of works from a juried exhibition, Salon des Refusés was specifically significant in 1863 as a counter-exhibition made up of works rejected by the Académie for Salon exhibition in 1863. The works included in this counter-salon are now considered masterpieces but, at the time, failed to meet the traditional taste and standards upheld by the establishment. What is significant, in this example, is the practical strategy provided by the formation of an alternative space of display that created an
extra-institutional space, in opposition to established institutions.
The creation of extra-institutional spaces is a practical technique for engaging strategically with failure in art and design practice and implies physical, social and discursive sites for communities to share ideas and display products of cultural production. In creating extra-institutional spaces for failure within art and design practice, there are three sites to consider that include a physical site, the social conditions of those sites and a discursive ‘site that is delineated as a field of knowledge, intellectual exchange, or cultural debate’ (Kwon, 1997 p.92). These sites become the content and context of art and design practice, where artists and designers can use these forms of site to create spaces outside of dominant cultural institutions, with the objective of engaging practically and critically with the concept of failure. Reflecting on anthropology and critical theory provides an opportunity to frame established cultural institutions’ control on patterns of thought and behaviour, through institutionalised thinking. According to the anthropologist, Mary Douglas, institutional thinking is used to explain the role institutional contexts have on individual subjectivity and can be defined as cognitive processes produced by physical, social and discursive manifestations of institutions. Douglas gives examples that include language and religion, which can be used to control memory and ; define systems and enforce governing categorise thought; principles of social behaviour (Douglas, 1986, p.111-113).
set terms of knowledge and identity
The term double occupation, as defined by Irit Rogoff (2003), is used to describe a dual position of criticality where an individual is aware of and capable of critiquing the conditions influencing their subjectivity, whilst, at the same time, implicitly being involved in creating, maintaining and altering these conditions. This dual occupation is interstitial in its perspective of critique, both in its simultaneous occupation within institutional conditions and through a departure from these conditions in favour of an outside perspective. The space being proposed, where this position of criticality can be created, is a point of departure and re-entry into institutional conditions that vary between spaces of pedagogy (art schools, libraries, archives) and spaces of display (museums, galleries, biennials and art fairs), with the knowledge of the duality of critique and the intention to act in some way. In order to counter the effects of institutional thinking on art and design practice, alternative spaces are needed to produce extra-institutional spaces of criticality. Using the term, spaces of criticality, combines the aforementioned criticality proposed by Rogoff and the manifestations of institutions proposed by Douglas, to produce extra-institutional spaces. Criticality is a duality between the ability to be critically self-aware of the conditions that affect individual subjectivity, whilst simultaneously being implicit in the conditions that produce new subjectivities (Rogoff, 2003).
By questioning assumptions of institutional roles and individual subjectivity, spaces of criticality allow an exit from and Shifting from anthropology and critical theory to psychology gives yet another understanding of failure that can be used to create extra-institutional spaces of criticality, in opposition to established institutions of art and design, and counter negative emotions experienced by individuals when confronted by failure as they advance their professional creative practice.
The specific example of creating extra-institutional spaces of criticality has been presented as one form of art and design practice that can be strategically utilised to counter concepts of value and success established by prevailing institutions of art. Techniques of practice that confront the negative effects of failure on creative practitioners and reframe failure into productive and subversive aspects of art and design practice are required in order to make these spaces of criticality functional. These techniques include indiAs previously surmised, failure is a psy- vidual reflective and collective reflexive chological affliction that affects a wider practices that are used to: create new public that is not specific to art and de- organisations of meaning; provide signsign practitioners, but is being framed posts for navigating confrontations here as a fundamental part of developing with institutional contexts; and re-evalan art and design practice. Failure has uate established concepts of value and a distorting effect on how an individual success. views their own goals and self-worth. In addition, when individuals experience In this context, collective reflexive pracfailure their perception of their abilities is based on developing and mainis distorted, which creates a sense of tice a community of practice. Most taining helplessness and, therefore, an inability notably contextualised by Lave and to accept failure as part of a learning r (1991), a community of pracprocess, which could, potentially, pro- Wenge based on groups of individual is tice result The duce new understanding. who share values and/ of this distortion in self-perception practitioners , in this case, culand confidence is a conscious or sub- or modes of practice art and dethrough ion product tural (Winch failureâ€› of â€˜fear conscious ities can commun These . practice sign 2015). , as a
re-entry into institutional contexts.
Returning to art and design pedagogy and practice, it is this fear of failure that needs to be countered through practical strategies and techniques which embrace experimentation and risk-taking as modes of exploring the possibilities and potentialities available to art and design practitioners. In art pedagogy, we are taught authenticity through experimentation and to avoid contrived, trite and vague responses by embracing the mistakes and failures in
the creative process of producing arts. and design objects and/or concept we ini-
If we succeed in realising what tially intended to realise through art and design practice, we have failed to enable the full potential of possibilities to present themselves and provide representation of new organisations of meaning and understanding. It is entirely possible to fail at failing and, as such, miss the greater possibilities of originality that are made possible from disruptions inherent to art and design
evolve naturally or deliberately
result of learning through sharing expertise and/or experience (Lave and Wenger 1991). As a mode of reflexive practice that is given agency through extra-institutional spaces, communities of practice can be used to create and replenish social connections with other creative practitioners and occupy spaces, where failure is embraced as a form of experimental learning and practice exchange.
, a community of As a form of practice can be used to establish new relationships, nurture existing relationships and provide a source of support with a community of art and design practitioners. The nature of the collective reflexive practice of forming a community is social and based on learning and acting as a group. In this case, a community of practice serves a social function as a place to go for experimentation and operates in an extra-institutional space.
mode of practice
As a suggested , the collective efforts of a community of practice require a dynamic structure designed by individuals that are maintained by specific activities, again, in this case, experimentation in art and design practice. The sustainability of this form of social practice is dependent on the participation of its members. Building communities of practice is a major concern for art and design schools and universities and the focus of ongoing research that is beyond the scope of this text. Instead, here, forming and sustaining a community of practice is broadly presented as a mode of practice to be used to practically respond to multiple forms of failure experienced in building a professional art and design practice.
Moving from collective action to individual reflective practice requires a different set of con-
siderations to be addressed through art and design practice. Individual reflection is not exclusive of collective reflexivity, but operates simultaneously and in parallel to the reflection on individual and group experience, in a continued process of learning. Reflective practice enables groups and individuals to recognise patterns of thought and behaviour produced by certain institutional contexts. In the case of art and design practice, reflection on our individual values, assumptions and intentions can be mapped against the failures we experience in our attempts to develop a creative practice involving cultural production. Part of the process of failing,, as we develop an art and design practice, requires accepting and arguing criticism, often found in the critiques of individual studio practice in art colleges or rejection in professional contexts, such as exhibitions, competitions or proposals. Individual reflection provides practitioners with the opportunity to revive self-awareness through contemplation and growth, which can be gained by inhabiting an extra-institutional space of criticality and through sharing a community of practice. Practitioners have the opportunity to establish priorities for their individual creative practice that can be shared and further discussed with a community of practice, by creating and inhabiting these spaces and reflecting on experiences of failures. Forms of reflection can take on reflexive qualities, where adjusting to rejection can be reached through desensitisation. Failure and rejection are part of the process of developing a professional practice and the more experience individuals have with confronting failure (or the fear of failing),, the more desensitised individuals become to the negative aspects of rejection and failure.
Another useful technique for reflecting on failure is based on changing a self-centred perspective on individual failure into in to a detached perspective regarding the inevitability of failure in art and design practice. By shifting focus from an individual experience of failure to a more balanced perspective concerning the field of art and design, it is possible to enhance a sense of purpose in contributing to the field, by providing a road map of failure for other practitioners to learn from. Being able to provide examples of what not to do to your community of practice can be much more helpful and valuable in advancing perspectives regarding art and design practice than providing examples of success, whatever that might be. Bibliography
Boime, A., 1969. Thomas Couture and the Evolution of Painting in Nineteenth-Century France. The Art Bulletin, 51(1), p.48.
Rogoff, I., 2003. From Criticism to Critique to Criticality. [online] Available at: http://eipcp. net/transversal/0806/rogoff1/en [Accessed 1 February 2016].
Douglas, M., 1986. How Institutions Think. New York: Syracuse University Press.
“The Power Of Failure: Issue 4 Of NOON Out Now - Announcements - E-Flux”. E-flux.com. N.p., 2013.
Encyclopedia Britannica., 1998. Salon | French art exhibition. [online] Available at: https://www. britannica.com/art/Salon-French-art-exhibition [Accessed 12 Jan. 2017]. Kwon, M., 1997. One Place After Another: Notes on Site Specificity. October, 80, pp. 85 -110. Lave, J and Wenger, E., 1991. Situated Learning: Legitimate Peripheral Participation. Cambridge: Cambridge University Press. Le Feuvre, L., ed., 2013. Failure. 1st ed. London: MIT Press / Whitechapel
[online] Available at: http://www.e-ﬂux.com/ announcements/32843/the-power-of-failureissue-4-of-noon-out-now/ [Accessed 23 March 2017].
Thornton, S., 2009. Seven Days In The Art World. 1st ed. New York: W.W. Norton & Company. Winch, G., 2015. “10 Surprising Facts About Failure”. Psychology Today.. [online] Available at: https://www.psychologytoday.com/blog/ the-squeaky-wheel/201501/10-surprising-factsabout-failure [Accessed 23 March 2017].
ON (U.K) T T U B KAT UTTON KAT B TON AT BUT
A was observed and videoed in 2015. In a digital world where everything seems to run smoothly, this one off glitch provided me with dreamy colours and patterns that compelled me to video the whole thing. Often the malfunction of technology is viewed as inconvenient and annoying but in this instance a digital failure is embraced and celebrated.
www www.k.katb autttbou n.ctotmon.com www .k a t utto www.crossstreb etarts.comn.com www.axisweb.org/s /?q=kat+button
LILiberty BERTY ANT NIA AntoniaOSA Sadler DLER
s of drawing, text works with medium dy politics, with ues of 21st century bo iss e lor exp to e ag im g ‘photo-shopped’ and movin ng in a female body in a livi of ce en eri exp the ital manipulaa focus on of perfection through dig ic tor rhe l ua vis w ne uses character world; the litical context, her work -po cio so a hin wit ing ’ and sexuality. tion. Work mes of food, ‘femininity the ss cu dis to ss lne scussion and playfu aims to open di rk wo s a’ ni to An equality, Liberty perfection and in im y, it il ab er ln ique is the about vu technique of crit a as ur mo hu of ng to use the use a’s practice, aimi ni to An y rt be Li BODY BEING basis of spoken dogma of ONE’S un the er sw an to e vic it as a de ONE’S COLLATERAL. in London. Her ist & filmmaker based art an is r dle Sa ia ton , HOME, ManLiberty An echapel Gallery, London hit W at ed tur fea en be and in Nywork has Gallery, London O OX w, go as Gl A, CC Magazines. chester, Grazia & Sukeban o, tr Me r, te es ly AVIFF Cannes lon, Po reened as part of sc en be ve ha s lm Her fi Programme and eoclub’s Selected Six Vid , 17 20 al iv st Film Fe y Attic, London. Tour, 2016, and Hackne
libertyantoniasadler.c toniasadler instagram: @libertyan
HOW TO BEGIN PAINTING FOR
The collection is a light-hearted and somewhat paradoxical or ironic response to the idea of a Glitch as an �Aesthetic of Failure’ and successful or unsuccessful approaches to
By calling on artistic approaches of the past and working with images of 1960s art instruction magazines, one in particular called ‘How to Begin Painting for Fun’ in which budding artists are instructed on the correct compositional values of paintings; the collection essentially aims to create a new “instruction” manual by showcasing artistic freedom, the aesthetic value of glitches and expression through the use of
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U o i s A t s a N A NataliE (U.K) Natalie Anastasiou is a London-based artist, working around the themes of identity, alter egos and . Working with these themes, she has created a variety of events, blurring the boundaries between art, dramatic
performance and music.
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Samantha Cordery â€˜s paintings are based upon her interest in the relationship between painting and photography. Within this work, photographyâ€™s visual characteristics and phenomena, the blur and glitches for example are instead consciously recreated in paint, openly acknowledging the relationship between these mediums. Through the physical transformation that takes place between photography and paint a temporal transformation also occurs; these split second moments can be considered in the measured nature of the painting. The painting becomes a contemplation or reflection of the swift decisions and conventions of the photographic image. In paint, the usually unconsidered becomes considered. Her recent body of work also explores moving imagery, using stills extracted from film as sources for her paintings. She is interested in the images fragility as a moment in time, the manipulation that occurs from light and the cameras struggle to then compose the image. Samantha is currently completing her MA in Fine Art at Manchester School of Art (2015) and also holds a BA in Fine Art (First Class Honours) from the University of Chester.
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Pacific Tsutsumi was stranded on the otherwise uninhabited island of Mata Toku after the fall of Japan in 1945.
ing Despite several searches of the island in the years follow saboWW2, the only trace found of Pte. Tsutsumi, was his taged radio set.*
, photoUsing phrases from a Victorian childrenâ€™s spelling guide a multi graphed illustrations, and found objects, I have made ic layered construction utilising prints on acetate and acryl sheets. * WARNING: May contain fiction.
I am trying to explore how I see visual culture and myself in it; I want to push the boundaries of what is learnt through it. I draw with paint, presenting what I find in a fast and direct visual language. The challenge is in finding its simplicity and keeping the balance between the considered and the spontaneous. I incorporate line, bold colour and abstracted elements; working from memory childhood photographs, film and collected imagery of the body, I have explored themes around the feminist body. I balance the use of personal history with a tongue-in-cheek sense of humour, which is often reflected in the titles. For me painting is an experience that often asks more questions than provides answers. It is this complicated and veiled communication between painter, painting and viewer that gives me freedom to discuss what is often too painful
or uncomfortable through verbal language alone.
TASH LOFTHOUSE (U.K)
‘The Uncanny was not to be found in the exotic but the everyday’ ‘The
Sigmund Freud, Uncanny’ (1919)
@tashlofthouse @tashlofthouse @tashlofthouse @tashlofthouse @tashlofthouse @tashlofthouse @tashlofthouse @tashlofthouse
My painting practice has evolved in direct response to the theoretical discussions that surround the relation between the uncanny and photography. They are everyday images of an average family just like mine and yours, they are familiar yet unfamiliar. The paintings are snapshots of an unknown familyâ€™s memories that have been lost and given new life.
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Published on Apr 4, 2017
What is Glitch? In failure and the everyday we encounter a level of Artificial intelligence with the interactions with the digital and virtu...