Marc Garrett interviews artist, Eugenio Tisselli about his collaborative project with Tanzanian farmers currently being shown as part of a larger, touring exhibition 'Monsters of the machine: Frankenstein in the 21st Century', at Laboral, in Spain, until August 31st 2017.
'In Defence of Serendipity : For a Radical Politics of Innovation' by Sebastian Olma asks how the creative industries got creativity so wrong and describes the conditions needed to enable a creative culture that inspires radical visions of the future.
Since 2005, Inke Arns is curator and artist director of Hartware MedienKunstVerein, an institution focusing the cross-section between media and technology into forms of experimental and contemporary art. This year, she was the curator for the exhibition during transmediale festival's thirty year anniversary titled alien matter - an exhibition looking at the naturalisation of technological artifacts and 'intelligent' liquid.
For its thirty-year anniversary, transmediale in collaboration with curator Inke Arns, fabricate a space for exhibiting alien matter. The exhibition features thirty artists from Berlin and beyond envisioning the Earth as inhabited with terrestrial materials that are warped by man and technology thus encompassing the possibility to be or become alien to humans.
Bringing together young asylum seekers and refugees, family, friends and other professionals to re-animate a disused corner of Finsbury Park the ‘Seeds From Elsewhere’ project by They Are Here, based at Furtherfield Commons, supports each participant to grow flowers, plants or edible produce from their respective homeland.
Rosa Menkman looks at 'the art of creative problem creation' through digital art works which open up spaces for alternative discourses, comparing these works with the Dadaist 'logic of the madmen' and questioning the historical framing of certain artforms as 'weird'.
The reason many people on the left are excited about proposals for a Universal Basic Income (UBI) is that it acknowledges economic inequality and its social consequences. In reality, however, UBI provides political cover for the elimination of social programs and the privatization of social services.
An appreciation of David Daniels, the great shape-poet, who died in May 2008. one of those figures who straddles the divide between digital and pre-digital art and literature. His art is about liberation, uninhibited outpouring, spontaneity and fun. Co-published by Furtherfield and The Hyperliterature Exchange.
From Vooks to ebooks, from the iPad to the Google settlement, and from print-on-demand to new styles of writing, Edward Picot attempts to analyse the effects of the digital revolution on the publishing industry, and to make some educated guesses about how things may develop in the next few years.
The New Aesthetic is a new art meme, originally defined by James Bridle as a method of collecting materials which point towards an infatuation with the agency of computing. Although it has existed in it's current form since last year, it's sudden emergence has set off plenty of scholars, writers and artists into profuse flusters. But here's the question - can the new aesthetic be more than a meme? More to the point, does it want to be? Is it capable of a direction?
In Part Four of his series on classic Videogames and their appropriation into contemporary art. Mathias Jansson explores Pac-Man, with a selection of examples of how the game has impacted artists' work and contemporary art culture.
Furtherfield presents Please identify yourself, a new exhibition by artist collective THEY ARE HERE, informed by their residency at Furtherfield, as well as online & offline activities across Finsbury Park.
Furtherfield Presents Offline Is The New Luxury, an exhibition by Alison Ballard. It is a collection of works exploring our relationship with technology and the Internet. When daily encounters are increasingly mediated by online technology, how is this affecting our experience of live-ness, presence, and time?
Re: development – Inside The Green Backyard is a collaborative, networked, online exhibition, which celebrates the success of The Green Backyard's campaign to safeguard land. The exhibition features cyanotypes (camera-less photographs of objects from the site) and voice recordings (oral testimonies by the volunteers) from Jessie Brennan's work Inside The Green Backyard (Opportunity Area), 2015–16, an outcome of Jessie's year-long residency with The Green Backyard and arts organisation Metal. More about Jessie's residency project can be found here in an article she wrote for the Guardian.
Furtherfield presents Superdiversity: Picturing Finsbury Park, an exhibition collaboration between researcher and artist Katherine Stansfeld and local people and communities in London’s Finsbury Park. The exhibition maps a multiplicity of meaning and experience of Finsbury Park in an exploration of what place and difference mean in today’s global London. Support gratefully acknowledged from Ordnance Survey, the Economic and Social Research Council, and the Royal Holloway Centre for the GeoHumanities.
The Games for Cities programme is hosting the first international conference with leading ‘city-game’ design experts from around the world. Games for Cities is an initiative started by Play the City...
Furtherfield is a Not-for-Profit Company Limited by Guarantee registered in England and Wales under the Company No.7005205. Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally Ho Corner, London N12 0EH.