I have always been drawn to destructive processes in art. The art practice of Sebastian Wickeroth intrigues for sure however combined with its simplicity of form and palette asks more. These considered works seem to create layers no matter what angle you approach them. Whether just visually or by their orientation, textures, concept or existence. If you would like to see more works by Wickeroth click here to see his website.
I am not one to normally care or even look at who has been nominated or won certain prizes. To be honest I am not sure how I ended up looking at the shortlist for this years New Sensations. However I am glad I did as there are some works that really interested me. Here is the link to the 25 artists who have been shortlisted. I have posted a few photos of those that I liked their process or output.
Click here: New Sensations 25
THE SPACE WHERE I AM | GROUP EXHIBITION
THE SPACE WHERE I AM | GROUP EXHIBITION
17 July 2014 – 27 September 2014
London Hanover Square
The Directors of Blain|Southern are delighted to present The Space Where I Am, a group show exploring ideas of the void and emptiness from the 1960s to the present day.
The exhibition’s title is taken from philosopher Gaston Bachelard’s book The Poetics of Space (1958), which describes the lived experience of space and where he contended “it is better to live in a state of impermanence than in one of finality”. All of the assembled works examine the dialectic between absence and presence, primarily valuing absence in the construction of form.
An element of faith or belief is often required when encountering Tom Friedman’s (b.1965) works; the viewer is invited to engage with the idea of the work, which might not be immediately visually apparent. Upon first encounter, Untitled (A Curse) (1992) appears as an empty pedestal. However, the sculpture actually comprises an invisible globe of space, as a witch has been asked to cast a curse on an 11-inch sphere floating 11 inches above the top of the pedestal.
Donald Judd’s (1928-1994) Untitled is a historical work from 1969, exploring how sculptural space cannot exist without empty space. A long, hollow aluminium beam rests on blocks of various sizes, the spaces between these corresponding to the blocks in identical proportions (based on the Fibonacci sequence). Judd felt that both positive and negative spaces were integral to form, with the relationship between the artwork and its environment also being key. Indeed, Carl Andre’s (b.1935) 36 Aluminium Lock Square(1968), a tile pattern arranged on the floor, directly explores space and form, removing sculpture from the plinth so that it expands into the space of the gallery and physical remit of the viewer.
Based on the principle that in our age matter should be transformed into energy and invade space in a dynamic form, Lucio Fontana’s(1899-1968) Concetto Spaziale (1964) consists of cuts and slashes to the surface of a bright monochrome painting. This gestural aesthetic blurs the distinction between two-and three-dimensionality, opening up sculptural possibilities with the appearance of a void behind, giving the spectator a sense of ‘serenity in infinity’. In a similar vein, work by Michelangelo Pistoletto (b.1933) addresses the spectator directly through a mirrored surface, blurring the line between the space of the work and the space of the viewer, unifying art and the changing realities of everyday life.
Integral to defining the aesthetic possibilities of video, one of Bill Viola’s (b.1951) rarer sound works, Presence (1995), offers a sensitive interpretation of human existence. First exhibited in the rotunda of the US Pavilion at the 46th Venice Biennale, voices from early childhood through to old age can be heard at the edge of audibility, whispering secrets and personal stories. The presence of the work can only be heard and felt, as sound vibrations pulse through the space.
In Schwarz, Rot, Gold (1999), Gerhard Richter (b.1932) abolishes form in favour of blank, reflective spaces; black, red and gold rectangles — recalling the German flag – become relational to the painting’s environment. Created alongside Richter’s commission for the entrance hall of the Reichstag in Berlin, celebrating the reunification of Germany, the work emphasises history’s untold stories, emptiness and reflectivity providing a vehicle to evoke memory.
James Turrell’s (b.1943) work is primarily concerned with light and space, and Pullen (Red) (1968) is created by projecting a single, controlled beam of light from the opposing corner of the room, so that it appears as a three-dimensional form. Working with simulation and real-time 3-D, John Gerrard’s (b.1974) work Sun Spot Drawing (Guantanamo City) 2012 (2012) is also created purely using light. The artist’s hand holds a magnifying lens which simultaneously casts a shadow and concentrates the sun’s rays into one pure white spot in its center. The work unfolds in this way, dawn until dusk, every day for a full 365-day solar year.
Taking a closer look into travelling sound and light waves, Continuum (2013) by the artist collective United Visual Artists (UVA), was born out of studies into interference and the way in which waves are refracted by environments that we occupy. Among other media, the sculpture uses coded LED lights in an attempt to merge the visible and invisible.
Best known for his paintings and sculptures that reflect concerns with the social ills of urban living, Keith Coventry (b.1958) often signals absent presences. Bench (1995), suggests an act of urban vandalism, presenting a bench characterised by its loss of function, its wooden seat gone to reveal a lonely skeleton. Rachel Whiteread (b.1963) actively casts negative space, inverting the presence of objects and nothingness. A work from the late 1990s, Untitled (Paperbacks) formally recalls minimalist sculpture, while incorporating hues of subtle colour; casting an impression of the pages of books, rather than their spines, it marks the removal of the object’s function and suggests absence or loss. Gordon Matta-Clark’s (1943-1978) silver-dye bleach-print Office Baroque (1977) marks the artist’s site specific work in a derelict building in central Antwerp where he made cut-aways in the different stories of the building, creating a vertical deconstructive sculpture.
Lawrence Weiner’s (b.1942) ROLLED INTO & ONTO THE SEA (1999) draws into question the relationship between sculptural form, signification and meaning. In the 1960s, Weiner challenged traditional assumptions about the status and nature of art. In doing so, he offered a unique insight into the difficulties of ascribing fixed forms and definitions, or perhaps even meaning, to both the practice of art-making and to the art object itself.
Rosy Keyser’s (b.1974) painting reaches beyond the limits of the canvas, inspiring a bodily response to our existence in the material world. Interested in the intersection between people and the matter that surrounds us, she forages for materials which she then gesturally moulds, tears or deconstructs to reveal their intrinsic fragilities. Using large stretchers that seem window-like and operate as a grid, these materials are applied upon voids of space to suggest a sense of ritual and renewal. Decay and absence are in flux, emphasising past presence and action; a palimpsest of existence that waxes and wanes.
Spinning Heads in Reverse (2006) by Tim Noble & Sue Webster (b.1966; b.1967) actively plays with positive and negative space. Self-portraits of the artists appear to be both physically absent but simultaneously present, perhaps only truly resonating in the viewer’s imagination.
Employing a metaphorical interpretation of absence and obstruction, Michael Joo’s (b.1966) Emigrant (2012) explores notions of exclusion and socio-economic division. Delicate self-entwining rope and stanchion forms are constructed of mirrored borosilicate glass, both absorbing and reflecting their own surroundings. As familiar objects that define space and segregate people, Joo suggests a new space, a cyclic space, which breaks down any social or physical divide.
Through the dialogues created by the juxtaposition of these artworks, the exhibition assesses how absence can actively give form to space, a subject that has preoccupied artists over the past half century, as well as examining how viewers might encounter these ‘empty’ spaces.
For further information on the exhibition, please contact Mark Inglefield
T: +44 758 419 9500 | E: firstname.lastname@example.org
Mirrored borosilicate glass
Approx. 139.7 x 61 x 81.3 cm (55 x 24 x 32 in)
Photo: Peter Mallet 23.04.2012
There seems to be an obvious juxtaposition between the mathematical logic of symmetry and the mind-expanding potential of a parallel world. Yet the two are mutually inclusive in Tauba Auerbach’s first UK solo exhibition at the ICA where a series of immaculately conceived and crafted sculptures (and one photograph) represent theories on an alternate universe, existing parallel to our own.
‘The New Ambidextrous Universe’ is not just a dumping ground for all those left-handed people you never meet, it’s the space where Tauba Auerbach pairs physics and art, where sculptures almost intertwine but never quite (Square Helix II) and reflections are captured, distorted and reflected back to the viewer (Prism Scan II). It’s a collection of considered, visual palindromes.
It’s testament to Auerbach’s art that she is able to distil such complex theories into the sparsely arranged gallery; there are just seven works of art in total and the colour, texture and form of each are as controlled as her ideas. As ever in her work, the intellectual concept is deeply imbedded in the process, placement and materiality of her sculptures. The title of the exhibition is taken from Martin Gardner’s ‘The New Ambidextrous Universe’, a tome which explores the duality of a mirror universe and the idea of ‘chirality’ (when an opposite is not exact). Inspired by this concept, Auerbach has created powder-coated steel sculptures reminiscent of knit stitches and hook-and-eye closures, which mirror each other in form, interlocking, but never touching. On the floor two almost identical installations – ‘The New Ambidextrous Universe III’ and ‘The New Ambidextrous Universe IV’ – are constructed from raw plywood, but have been manipulated by hand to create parallel, but unidentical versions of one another.
Auerbach’s precise aesthetic and colour palette fits neatly into the ICA’s Lower Gallery. There’s an inherent tactility to her work and it’s no surprise that in the past she has dabbled in the design world too. She has a natural instinct for colour and space. And if this is what the other world looks like, I want in.
This year has been going well for me in Athens with events unfolding from my time spent on the SNEHTA Artist Residency last Autumn. This week saw the opening of Art Athina 2014. SNEHTA used this art fair to showcase the second set of residents from their residency.
SNEHTA Press Release:
“Things are Different Now”
Snehta Resident Artists Annual Show (2013-2014)
Booth P13, Art Athina Platforms Projects, Faliro Pavilion (TaeKwon Do), 2 Moraitini Str., Faliron Delta
Elliott Burns, Jack Burton, Catriona Gallagher, Boris Lafargue, Andrew Peter Mason, Dickie Webb
Irini Bachlitzanaki, Becky Campbell & Augustus Veinoglou for Snehta Residency, Athens
Things are Different Now brings together work by six artists who completed an artists’ residency at Snehta in
the past year and is the second annual show of residents. The works on show were either created in Athens
or shortly after the resident artists’ stay at Snehta. While they are the result of distinct artistic practices,
seen together they bring to the fore issues of location and dislocation, change and movement as well as the
experience of time and space and the way this is worked through and inscribed on an individual piece of art.
I made a new version of a work that I have continued to use as the basis of my thoughts since Athens, the work titled;
Concept of Since: 24 Options,
Merleau-Ponty described space, as having many meanings and it is only how it is phrased/spoken that gives it meaning.
The current Athenian landscape can be read in different ways by those who live/visit here. It has multiple meanings and like most cities and countries are hard to interpret. This work asks people to consider these short statements in relation to their current landscape, asking them to question their own experience of the here and now. Whilst some viewers will be hung up on the negative others will see opportunity in with each rendition.
Thanks for the SNEHTA team for organising this and making this a success.
Art Athina runs from 15th – 18th of May click here for the website.
Click here for SNEHTA website
Matt Calderwood – Interrupted Projections sees 3D and 2D meet with direct prints taken from 3D and presented in 2D. A simple yet effective translation which creates a dialogue between the two dimensions. It is however the decisions and errors in this translation that intrigue me, like with a lot of visual attraction its the flaws that have the detail and interest. This exhibition for me portrays this in a straight up fashion, with such simplicity leading to so much more. The 2D prints deliver new narratives and readings of what came before.
opening Saturday 1 March 2014, 6–9 pm
exhibition 2 March – 12 April 2014
Wednesday–Saturday 11 am – 6 pm and by appointment
Sommer & Kohl are pleased to present the first solo exhibition of new works by British artist Matt Calderwood (*1975 Northern Ireland).
The title of the exhibition Interrupted Projections refers to mapmaking processes which translate the curved, three-dimensional terrestrial surface onto a flat, two-dimensional plane. No map projection can preserve shape and size simultaneously, and the larger the mapped area, the more pronounced the total distortion. Interrupted maps were developed in order to represent specific map characteristics more accurately or to achieve the best possible compromise for certain sections of a map.
Calderwood is interested in the fact that compromises are necessary when transferring a three-dimensional surface onto a two-dimensional plane. Where does the space between a sculpture and its flat representation get lost? Recently the artist has been producing printed images from a range of rubber and plywood sculptures using printers ink and household gloss paint on large sheets of paper. These works have always recorded one side of the sculpture resulting in something like a drawing of the object.
For Interrupted Projections, Matt Calderwood deals with the object’s entire surface. His central theme, how to follow the logic of objects with an economy of means, is always present in the background. For the exhibition, the raw plywood form is painted on all sides with gloss paint, placed onto a tyvek sheet and wrapped on all sides with the material. After a few moments the now gloss printed wrapping is removed and both it and the sculpture are left to dry. This process is repeated several times. The sculpture hereby becomes subject, tool and object for the image production. At the same time the images resulting from this process are like a set of maps for the sculpture. Like a cartographer’s interrupted projection where there are cuts in the image to allow the flattening of the globe’s surface with minimal distortion, the necessary folds in the fabric as it negotiates the three-dimensional surface create similar interruptions and compromises within the prints.
Matt Calderwood lives and works in London. 2013 he had solo exhibitions at the De La Warr Pavilion in Bexhill On Sea (UK) and at Baltic 39 in Newcastle upon Tyne (UK).
For further information and/or images please contact Sommer & Kohl.
I am happy to be part of this upcoming exhibition BOUNDARIES – Curated by Becky Campbell.
Curator and artist Becky Campbell and the newly established cultural spaces Artscape Athens and Snehta Residency invite you to the opening of the exhibition, Boundaries.
We are continually crossing and encountering boundaries in our daily lives, sometimes aware and sometimes oblivious. We cross over districts of a city; through doors; we shift between being awake (vertical) and asleep (horizontal); between hungry and full.
Boundaries presents the works of 32 creators: 28 artists, two writers, an actor and a musician. The two spaces (Artscape Athens and Snehta) are filled with videos, photographs, paintings, drawings, collages, sculptures, structures and installations as well as performances and interventions in the five-minutes’ walk between.
Each work explores a particular angle related to boundaries – the uncanny, the shadow, liminality, non-spaces, being segregated from a home country, the impossibility of fully comprehending the thoughts of another being, political change, geographical shifts and many others. By bringing such a variety of approaches and mediums into dialogue within and across the two hosting locations similarities and connections of these encounters become prevalent.
21-30 March 2014 Opening 20 March 8-10 pm
Artscape Athens | Moschonision 5, Plateia Amerikis, Athens 112 52
Snehta | Aghias Zonis 1, Kypseli, Athens 113 61
Monday-Friday 5-9 pm
Saturday | Sunday: 12-9 pm
Curated by Becky Campbell
Alexandros Laios | Andrew Mason | Christos Vagiatas | Christos Papamichael | Despina Flessa | Despoina Sevasti | Dickie Webb | Dimitris Papoutsakis | Dimitris Patsaros | Elliott Burns | Elli Paxinou | Foteini Palpana | Giannis Amanatidis | Giannis Cheimonakis | Giannis Sinioroglou | Irini Bachlitzanaki | Ivan Masteropoulos | Jack Burton | Konstantinos Kotsis | Kosmas Nikolaou | Kostas Tzimoulis | Maro Fasouli | Matina Charalambi | Panos Mattheou | Panos Profitis | Pantelis Yiannakis | Rachael Cloughton | Rilène Markopoulou | Stephanie Mann | Vasilis Gerodimos | Vassilis Noulas | Zoe Hatziyannaki
The exhibition is being hosted by Artscape Athens and Snehta Residency:
Artscape Athens – An Open Cultural Landscape. Artscape Athens is located at Moschonision 5 Street, in between the borders of Kypseli and Amerikis Square. Since the beginning of 2014 it constitutes the space for cultural expression and artistic creation of the non-profit organisation, Hellenic Museum of Fairytales. Artscape Athens aims to support every act of artistic making and promote local creative ideas. The participatory aspect of its actions constitutes an ongoing motive; therefore it is open in receiving applications for projects and exhibitions from those interested in introducing their work to the broader public.
Snehta Residency is a small private organization that was formed in 2012 in Athens with the purpose to bring international artists in contact with the Athenian art scene. The artists are selected to live and work in Athens for two months in the Kypseli apartment. Snehta – (Athens in reverse) is a metaphorical name suggesting a deeper reading of the city. Snehta aims to expand artistic activity and research in the City, whilst supporting practices focusing on contemporary issues through an experimental and ingenuous approach. Snehta fosters new relationships and collaborations internally and beyond the confines of Athens, Greece.
Becky Campbell is a Scottish artist and curator living in Athens. Previously she has worked for The Fruitmarket Gallery in Edinburgh and DESTE Foundation in Athens. She is part of the team running Snehta Residency in Kypseli, Athens, as well as an organiser of independent projects. Curated projects includeVirtual Materiality for ekthesis-online.com, a at The Demarco Archive, Edinburgh and The WOT Gallery, Edinburgh. She has exhibited internationally in exhibitions including: Gaesahud, Konseptheimilid Sigmar, Reykjavik, Iceland; YELLOW, 2025 Kunst und Kultur e.V., Hamburg, Germany; Short-lived Settlements, Snehta, Athens; Come Ye Hither, Crofter’s Lodge, Loch Eport, North Uist, Scotland; three thousand seven hundred and two, JDM Foundation, Chicago, Illinois, USA.
For further information contact: Becky Campbell & Snehta Residency: email@example.com Artscape Athens: firstname.lastname@example.org | τηλ. 211 1829117
This Place Is Nowhere
This Saturday is the opening of the “This Place Is Nowhere” at the Paul Loya Gallery in Los Angles. The first art show curated by my good friend Gus Cawley this show will feature the work of Corey Smith, Gordon Holden, and Scoph. If you are in the Los Angeles area you should definitely stop by… with this combination of guys it is guaranteed to be a good time. Check out the Facebook event page here. And the full press release after the jump.
This Place Is Nowhere
December 14th – January 4th, 2013
Opening Reception: December 14th, 6-10 pm
Paul Loya Gallery is proud to present a group exhibition, This Place Is Nowhere.
This Place Is Nowhere, which features the works of artists Gordon Holden, Schoph and Corey Smith, brings together three artists who take a serious (or not so serious) look at the society that surrounds us. In a “selfie”-saturated world, these artists create works that are provocative and often satirical or
sarcastic remarks on pop-culture and the masses. There is a synthesis of playful curiosity and critique of the contemporary culture which calls the viewer to both internal and external discernment and reflection. Each artist works with mixed media, composing images and materials into a thoughtful perspective.
Corey Smith is a multi-media visual artist who currently resides between Los Angeles, Lake Tahoe and Portland, OR. He has been exhibiting his work in galleries throughout the US for over a decade. Smith has been featured in countless print magazines and online sources.
Gordon Holden was born in 1985 in suburban United States of America. After graduating from the University of Vermont, never having studied fine arts, he soon discovered that the only way to live in a world that strives for perfection is to do just the opposite. He describes his creations as a collection of things to like and things to
Originally from Yorkshire in the North of England, Scophe is currently living out of a bag in his studio, travelling and showing his art at successful group and collaborative shows from the UK, throughout Europe and the US.
For more information or images, please contact the gallery at email@example.com
Simple yet really effective use of collage by artist Ed Spence. These works give me ideas about maybe working more analog with the sound and audio collages I am working with currently. Click here for Ed Spence Website
In todays art world we are blessed to have such interaction on a global scale where you can see and be inspire by work from all corners of the globe. The only hard part is actually seeing these works in person. Unfortunately this is an exhibition that I missed whilst overseas which is a shame as it would have been good to see the artworks using glitched technologies. I am currently working with glitch sampling here in New Zealand and building sound collages from these samples. The manipulation or creation of works through active errors is interesting. Removing the artist hands from the direct control always opens new means of understanding and possibilities.
Here is a review of the exhibition re-posted from we make money not art website
Only a few days left to see Glitch Moment/ums at Furtherfield Gallery in Finsbury Park! The show is about glitches or those malfunctions, bugs or sudden disruptions to the normal running of machine hardware and computer networks.
From a video tutorial on how to make your own glitched visuals to screen captures of glitches weaved in black and green, the exhibition shows various approaches by artists hacking familiar hardware and their devices which include mobile phones, and kindles. They disrupt both the softwares and the digital artefacts produced by these softwares, whether it be in the form of video, sound and woven glitch textiles.
It’s a stimulating show for anyone who is already interested in glitch culture. And it’s an eye-opening experience for those who have only vaguely heard of the artistic approach to tech errors. I’m somewhere in the middle. I’d never pass for a glitch expert but over the past few years, i’ve encountered a few artworks that make a creative use of accidents or create them on purpose.
Glitch Moment/ums was curated by Rosa Menkman and Furtherfield. One can’t dream of a more competent curatorial team: Rosa is the editor of The Glitch Moment(um) book (which i can’t recommend enough) and the organizer of theGLI.TC/H festival. Among their many activities, Furtherfield are running one of the most approachable and though-provoking galleries dedicated to practices in art and technology i’ve ever visited.
Because i still have much to learn about everything tech & glitch, i contacted visualist, theorist and curator Rosa Menkman and asked her a few questions about the show and about glitch culture in general:
What does moment/ums – the title of the exhibition – refer to?
The title of the exhibition ‘Glitch Moment/ums’ references ‘the Glitch Moment(um)’ book I released in 2011. In this book I describe how my first encounter with a piece of glitch art came hand in hand with a feeling of shock. What had once been a first person shooter was now a broken, pixelated vortex of confusion (Jodi, Untitled Game, 2006). I was lost and in awe, trying to come to terms with an experience that seemed unforgivable. But finally, these ruins of expected functionality revealed a new opportunity, a spark of creative energy that showed that something new had taken shape. I felt questions emerge; what is this utterance, and how was it created? Is this perhaps …a glitched video environment? But once I had named the glitch, the momentum -the glitch- was gone …and in front of my eyes suddenly a new form had emerged.*
These days I try to understand glitches as a manifold of moment/ums, having their meaning depend on time, discourse and context from which they are perceived. First, the glitch is a break from an expected flow within a (digital) system. Here, it is perceived as an absence of (expected) functionality and often experienced as an uncanny, threatening loss of control. This moment itself then can become a catalyst, with a certain momentum – a power that forces knowledge about actual and presumed media flow, onto the viewer. What was voided of meaning, becomes interpreted and gains new meaning.
But as I wrote in the (Glitch) Art Genealogies catalogue: [the meanings of] these glitches are constantly subject to revision: their language systems emerge, their meanings shift, idioms ossify and standardize into a fashion or genre.
…and then they change again.
The glitch thus heralds a transformative power – a potential to modulate or productively damage the norms of (techno-)culture. To study glitch is to engage a study of the succeeding turns and changes of failure and functionality, revolutions and ossification. A concept represented in Antonio Roberts work ‘What is Revolution?’.
Antonio Roberts, What Revolution?, 2011
How come something that used to be regarded as a problem has been elevated to a phenomenon that is exhibited online and in art galleries?
I feel that many people have lost the ability to formulate questions – this generation has become good at researching and finding answers or creating new datasets: In university, in the library, or on google (‘the internet’) we are conditioned to find and formulate answers. However, I feel there is a general inability for conceptualizing new questions. Maybe this is because we don’t understand things well enough to be able to formulate the questions we have or because we have been conditioned to see things in a certain way, making it difficult to shift our perspective.
Personally I think that one of the most important roles of art is to create problems that provoke curiosity – the impulse to investigate the limits of what we know and to ask questions. I understand glitch studies as a field investigating dis-functionality that can be co-opted into a desired functionality.
Melissa Barron, numbermunchers from the untitled [screencaptures] series
And because glitch art is so seducing, i’ve also been wondering whether or not it has already been translated into a more mainstream commercial world?
The concept that a glitch can be designed or distributed through standardized glitch software, seems at first maybe a-typical, but has in fact become a more and more common tendency and even important tradition in recent glitch art. More and more ‘new’ glitch art is being modeled after authentic glitches inherent within older media, perpetuating a shift from destabilizing breaks within technology or information-based processes towards a generic and associative display of more or less ‘retro’ effects.
Besides this, mainstream media have a tendency to leach onto any emerging aesthetic and try and capitalize on it.
The biggest loser Australia in which glitches are used as transitions between spy cams that film ‘illegal’ activities of one of the contestants.
The MTV video music awards using glitches to make the sponsors (-Verizon-) look cool.
I actually created a youtube channel in which to collect glitches found in popular culture and media. It’s a very loose collection of snippets of advertisements, movies, videogames and television that use glitch effects for different purposes. I think these forms of glitch are examples of the growing vocabulary of media materialities in which different glitch effects gain meaning beyond their original technological /root. Some day I actually would like to write a dictionary of glitch effects.
What’s next for GLI.TC/H? Are you planning other exhibitions, publications or events?
GLI.TC/H is the title of a festival I co-facilitate with Nick Briz and Jon Satrom, which has been running for three years now. GLI.TC/H concepts and ideals are based on the free and open sharing of inspirations and theoretical and technological knowledge and maybe even more so on creative community building (DIT = Do It Together), poking and pushing. The GLI.TC/H happenings aim to bring like-error-minded bug collectors together IRL, to engage and share work/ideas/concerns and to foster collaborations.
So whats next? First off… we might be losing our domain in the near future due to “a personal dispute” based over the .tc extension (which is associated with the Caicos Islands). This is why the name of the GLI.TC/H festival might change to GLI.TX or maybe GLI.FK…
Besides this we are working on a GLI.TC/H 2112 READER[ROR} – a publication associated with last year’s festival.
Nick Briz, The Glitch Codec Tutorial, 2011
* A slightly re-written paragraph from: Menkman, Rosa. Tipping Point of Failure. Exhibition Catalogue. November 2010.
More photos in Furtherfield’s Glitch Moment/ums flickr set.
Glitch Moment/ums is at Furtherfield, London, until Sunday 28 July 2013. With works by Alma Alloro, Melissa Barron, Nick Briz, Benjamin Gaulon, José Irion Neto, Antonio Roberts Ant Scott and 0p3nr3p0.net.