A Left: Alana Kushnir, Tabularium Archive, 2014 – ongoing, publications with an online ethos unavailable in digital form, server rack. Centre: Rachel de Joode, Hanging Marble, 2014, digital print on vinyl, MDF. Right: Katja
Novitskova, Shapeshifter X, 2013 (left) and Shapeshifter V, 2013 (right), broken silicon wafers, epoxy clay, nail polish, appropriated acrylic case, appropriated wooden capital. Ph: Christo Crocker.
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into newer information, or at least, can appear to do so. This façade is made especially apparent by Ry David Bradley’s observations for his diptych print, Flowers for Ukraine, 2014. As an experiment, David Bradley altered the Wikipedia page on the Ukraine, ( 1 2 ) replacing the Location of Ukraine map with an image of a flower. Within a few hours another user had replaced the image added by Bradley with the previous Location of Ukraine map. What occurs in this experiment is a literal uncovering of “a stage for struggles for freedom and control, [as Lars Bang Larsen suggests] the Net variously accommodates, on the one hand, individual trajectories and anti-authoritarian forces, and on the other, the potential for the centralization of information and surveillance”. ( 1 3 ) Bradley’s print on suede acts as a form of documentation of his momentary erasure of and addition to the Wikipedia page on the Ukraine. In this way Flowers for Ukraine consciously takes