1. by Niamh White .

    Noritaka Tatehana LiveStudio marks opening of our SHOWcabinet exhibition

    To celebrate the launch of his SHOWcabinet exhibition this week, Noritaka Tatehana will take up residence at SHOWstudio on 9, 10 and 11 September 2014 to create a pair of his vertiginous heel-less shoes during a live broadcast. Revealing his process for the very first time, the shoemaker will give a step by step demonstration of the techniques used to create his gravity defying designs. Viewers of the stream can submit questions directly to Tatehana through, so whether you want to know which university he went to, what he's inspired by or how he came to be the shoe designer of choice for Lady Gaga and Daphne Guinness, now is your chance to ask. When the shoes are complete, Nick Knight will shoot them on Daphne Guinness, a longterm champion of Tatehana, in a finale that marks the opening of the exhibition. The shoot will result in a series of editorial images and a fashion film that depicts Tatehana's latest creation.

    The live studio kicks off tomorrow, 9 September, from 14:00 - 18:00. Submit your question to Noritaka Tatehana now!

  2. by Niamh White .

    Charles Jeffrey draws Grace Wales Bonner's CSM graduate collection

    SHOWstudio friend and collaborator Rei Nadal introduced us to the wonderful artist Charles Jeffrey. He illustrated the Spring/Summer 2014 haute couture collections for SHOWstudio capturing gowns from Jean Paul Gaultier to Maison Martin Margiela through a series of abstruse, colourful drawings on found detritus, torn paper and even his own chest. Jeffrey has now depicted the CSM graduate collection of Grace Wales Bonner in these fantastic illustrations. Ethan O'Connor writes about them here:

    'Afrique. C’est chic. Ideas of African masculinity and its trans-Atlantic mutation is the basis upon which Grace Wales Bonner made her A/W14 collection. Depicted through Charles Jeffrey’s elegantly scratchy illustrations, the graduate collection that gained notoriety for its multi-layered approach to wearability is now translated by Jeffrey for SHOWstudio. Figures in flares amidst sandy smudges, flowery cutout borders and scanned plastic wallets combine “art materials” with visually stimulating primitivism. The setting of Bonner’s collection was a landscape which provided the flamboyance of 1970’s black dress, with the attitude of artists like Kerry James Marshall and Samuel Fosso, a hybrid of West-African ideas about being male. Noticeably, the inspiration of Jean-Michel Basquiat flutters above the heads of the illustrated models. Jeffrey’s clever, Crayola-esque idols in their mohair suits and beaded bags allow us to absorb a welcome, refreshed image of Bonner’s vision.'

    View more of Jeffrey's artworks on SHOWstudio now.

  3. by Niamh White .

    Upcoming exhibition: Noritaka Tatehana

    SHOWstudio is delighted to announce our upcoming SHOWcabinet exhibition is devoted to Japanese shoe designer Noritaka Tatehana and launches on 10 September 2014. Lauded as one of the most important shoe designers of our time, Tatehana mines Japan's vast cultural heritage to produce shoes that re-think the very notion of the 'high-heel'. Favoured by Lady Gaga and Daphne Guinness, his soaring heel-less shoes shift the wearer's balance forward onto the toes and are elaborately adorned using avant-garde techniques that have emerged out of a mastery of traditional Japanese crafts.

    Tatehana draws particular inspiration from the 'Oiran', a group of visually alluring courtesans that were present in Japan's tea houses during the vibrant Edo and Meiji periods. For these figures, appearance was paramount. Their delicately embroidered kimono, elaborate make up, towering geta shoes and mother of pearl hair pins created a veil through which to seduce their clientele. Each piece of apparel was crafted with the finest and most intricate means and each accoutrement demanded the heights of artistry.

    For Tatehana's SHOWcabinet exhibition, the designer will showcase his proficiency in these traditional crafts and demonstrate the ways in which he has incorporated them into the realms of contemporary high fashion. The display will include shoes, garments, sculpture and painting that employ the arts of katazome, katakana and yuzen, in surprising and innovative ways. It will also feature new work by the artist Taisuke Mohri, whose photorealist portraits embrace both eastern and western motifs, and embrace the hybrid sensibility of Tatehana's work.

    Prior to the exhibition opening, Tatehana will take up residency at SHOWstudio to create a new pair of heel-less shoes. He will demonstrate the intimate making process of his signature design during a live online broadcast. The exhibition will also mark the debut launch of Noritaka Tatehana's range of leather accessories.

  4. by Niamh White .

    Niamh White on Abramovic and adidas

    Marina Abramovic is an artist that courts adoration and disdain simultaneously. While her current exhibition 512 Hours at the Serpentine gallery in London has received rave reviews, her recent collaboration with adidas on their All in or Nothing World Cup campaign has been the subject of some scrutiny. This and her high profile associations with celebrities like Gaga, James Franco and Jay-Z jar, for some, against the academic and critical work that she continues to amass.

    Abramovic’s artistic career spans over 40 years. She began performing in 1973 in Serbia, and over a short time became fully immersed in what was a highly political medium. Much of the performance art of the sixties and seventies developed as a reaction against a number of factors- art institutions' involvement in the Vietnam war, the commodification of art, discrimination and elitism in the gallery and museum systems, as well as widespread gender inequality. Abramovic, both individually and in her collaborative work with Ulay, contributed considerably to this movement and has continued to tirelessly expand the field where others fell away from it.

    Part of this has been to establish an archive for performance. Now the self professed 'grandmother of performance art', Abramovic has witnessed the turbulent reception and treatment of the medium throughout her career. The eighties heralded a certain amnesia that somewhat sidelined the performance art of the previous decade as an extreme reaction to an extreme time and it was largely replaced by an influx of painting and sculpture. The inevitable commercialisation of performance art took place. The editioning of documentary film and photography became the means by which these works were eventually transitioned into the market place. Theoretically, performance has also been continually re evaluated. The primacy or authenticity allocated to encountering the 'original' performance has been undermined as fallacy and the audience's original reception of the work is thought to be as mediated as any resulting footage or commentary. And so questions arise as to how to archive this medium without stagnating it. How to engage with the debate and enliven it. How to remember without assimilating into systems to which performance artists were so vehemently opposed.

    Abramovic is tackling these questions. Her performance Seven Easy Pieces at the Guggenheim in 2005 saw her re-stage key performances from the 70's including Acconci’s Seedbed, Valie Export’s Action Pants: Genital Panic and Joseph Beuys' How to Explain Pictures to a Dead Hare. Each performance was revived in a different guise, finding relevance in a new time and living on through the flesh of their latest performer. The Marina Abramovic Institute is another step towards this. It is a centre in Hudson, New York that aims to be a home for long durational performance work. The artist came under fire for crowd sourcing the funding to open the museum, with the implication being that she was wealthy enough to fund it herself. But I'd challenge the mentality of this. By opening up the ownership of the institution and naming the contributors as founders, Abramovic undermines the very nature of an 'institution' and the hierarchy inherently associated with it. Her many founders feel an ownership and a belonging. They have an opportunity to engage with the space and shape the activities that are happening there. Abramovic is building a participatory and active community.

    Marina Abramovic's collaboration with adidas is the latest project to incite confusion and some derision within the art press. It is a commercial for a pair of trainers, but it's a cerebral one. The artist takes the opportunity of the World Cup- a global phenomenon that engages more of the world's population than almost any other event, and harnesses that community to introduce them to her craft. During the film, Abramovic explains the performance in a very accessible and clear voice over. She gives the context of the piece and details regarding its relevance, drawing on the parallels she finds between performance art and sport. The message is unabashedly positive, encouraging us to find strength in togetherness, commitment and perseverance. Amidst a sea of advertising that is seemingly hell bent on both overtly and subliminally bashing our self esteem into submission, this campaign is a welcome relief.

    This project and the others like it, introduce performance art to the masses and explain why it might have some application for people outside of the contemporary art sphere. This is an essential activity if the medium is to maintain the momentum it has gathered and create it's own history.

  5. by Niamh White .

    SHOWstudio to host first major exhibition on fine artisan jeweller Shaun Leane

    SHOWstudio will launch the first major exhibition dedicated to fine artisan jeweller Shaun Leane on 22 May 2014. The show will offer an unprecedented opportunity to delve into the psyche of Britain's leading avant-garde jewellery house and debut eight highly imaginative bespoke creations that each represent a key motif from their collections. The gallery will be transformed into a chamber of curiosities with each piece of jewellery being accompanied by an artwork, fashion piece or natural history specimen that has served as an inspiration to the house.

    The show features a finely crafted single diamond tusk earring as an ode to Leane's very first creation that was first seen on Alexander McQueen's catwalk in 1994. It will also present a vibrant gem set butterfly brooch displayed alongside an original Damien Hirst painting, an elaborate pair of feather hoop earrings with a Philip Treacy hat, and a piece accompanied by the largest natural emerald in the world. An artwork by Korean light sculptor Ahn Chulhyun will inspire a new aurora ring and an antique kimono from the archive of Daphne Guinness will be the impetus for a set of statement cherry blossom cuffs.

    Highlighting Leane's unparalleled ability to combine exquisite metalwork with innovative design, the exhibition will be a visual spectacle of artisan jewellery.

    Image: 22ct Gold Jewel Beetle Brooch by Shaun Leane photograph by Nick Knight’s SHOWstudio

  6. by Niamh White .

    Simon Costin's Museum of British Folklore
    A Case for Support

    This week, SHOWstudio hosted a very special event in support of Simon Costin's Museum of British Folklore. Costin is a long term SHOWstudio collaborator and world renowned art director whose fascination with folk traditions has lead him to embark on the mission of preserving and cultivating them. At present, there is no museum dedicated to British folklore in the UK, and within an increasingly globalised and digitised world, Costin feels that it is ever more urgent to engage with and educate in these particular heritages. For the past 2 years, he has been touring the country in a specially customised caravan staging events and exhibitions that celebrate various folk customs, but now is ready to set down firm roots for this very important project. Architect Adam Richards has designed a wonderful and environmentally friendly building that could house the museum. Set amongst a grove of trees, it has been conceived as a cluster of interlinked buildings that embrace the shapes and patterns associated with the seasons. The museum's programme will engage directly with its content and encourage the people and communities involved with these traditions to shape and mould its development, switching the conventional museum model on its head.

    The project now needs an influx of funding to realise this next step and is now seeking support. On Wednesday night, guests were invited to pledge to the cause, and now you can too by becoming a friend of the museum through the website. This is a wonderful cause and a unique opportunity to help initiate the preservation and investigation of these important traditions and customs.

  7. by Niamh White .

    Happy Birthday Burroughs!

    Today would have been the 100th birthday of William S. Burroughs, one of the most visionary writers of the twentieth century. To mark the occasion, and the year of Burroughs that is being celebrated through 2014, SHOWstudio Shop will host a solo exhibition of portraits of the late author by Kate Simon. The show will mark the debut release of Simon’s Cibachrome Edition portfolio, which is comprised of 11 iconic shots of the literary master printed in the now extinct cibachrome medium. These rare photographs will be displayed alongside a selection of black and white limited edition prints. Taken over a 20 year period, Simon has amassed a critical body of work that is widely unseen and captures the many faces of one of the most illusive cultural characters of the last century. SHOWstudio will also be programming an online series of events to commemorate the author, the most exciting of which promises to digitally transport you into Burroughs' long time residence 'The Bunker'.

    The exhibition and accompanying content will launch on 14 March, so keep watching the blog for more details. Happy Birthday Burroughs!

  8. by Niamh White .

    William S. Burroughs Portraits by Kate Simon at SHOWstudio Shop

    SHOWstudio Shop will host a solo exhibition of portraits of William S. Burroughs by Kate Simon to celebrate the occasion of his centenary. The exhibition will mark the debut release of Simon’s Cibachrome Edition portfolio, which is comprised of 11 iconic shots of the literary master printed in the now extinct cibachrome medium. These rare photographs will be displayed alongside a selection of black and white limited edition prints. Taken over a 20 year period, Simon has amassed a critical body of work that is widely unseen and captures the many faces of one of the most important American writers of the twentieth century.

    Merging the formality of high literature with the allure of the low brow detective novel, Burroughs unapologetically addressed controversial subjects of narcotic abuse, erotic sexuality, criminality and excess in his work. The legendary persona of the author has also garnered unbridled fascination. Purposefully weaving elements of his autobiography into his fiction, Burroughs obscured readings of his own character and rendered himself inextricable from his writing. He also appears in the literature of his contemporaries in a number of contradictory guises, most notably as Jack Kerouac’s Will Dennison and Old Bull Lee. At one moment, he is a grey, anonymous spook with the capability to cast a manipulative spell over his peers, and the next he is warm, mannerly, adored, even kind.

    While Simon’s portraits capture the familiar image of Burroughs with his glasses perched on his hollow cheeks, his suit, his trilby hat and often a gun in tow, they also reveal the many facets of the man. But to try and identify the secret of Burroughs’ persona would be as futile as seeking out a fixed narrative within his literature. Here, Simon’s candid portraiture embraces these various copies, simulations and projections of the writer in a show that reflects Burroughs’ own presentation of himself.

    The exhibition opens on 14 March and will run through until 9 May at our Motcomb Street gallery in London. Don't miss it!


    Image copyright Kate Simon

  9. by Niamh White .

    Men in Motion returns to London

    Ivan Putrov will once again celebrate the majesty of the male dancer in the latest iteration of his Men in Motion ballet. Billed for only two performances in London on 30 and 31 January, Putrov compresses 100 years of beguiling choreography for men into a concise 100 minutes. From L'Apres-midi d'un Faune by Vaslav Nijinsky to Russell Maliphant's duet Two x Two, Putrov has selected an array of classic to contemporary choreography to showcase both the relevance and beauty of male dance and the talents of the best performers of the day. Putrov pays particular homage to Le Spectre de la Rose, the first ballet to present a man in the starring role. The piece, which has its central character dressed completely in rose petals, made a controversial statement in 1911 when it premiered.

    Putrov performed in London to great acclaim last year for the Pet Shop Boy's ballet The Most Incredible Thing- a Hans Christian Andersen fairy story told to the back drop of film maker Tal Rosner's wonderful psychedelic video works. He has also collaborated with SHOWstudio on a number of projects including Bring and Buy and Score.

    Men in Motion is set to be a dazzling show that presents a rare opportunity to see a pivotal collection of choreography that has contributed to elevation of the male dancer throughout the last century. The performance takes place at the London Coliseum and you can book tickets now.

  10. by Niamh White .

    Hormazd Narielwalla collages available from SHOWstudio Shop
    Browse these beautiful artworks now

    To coincide with menswear collections, SHOWstudio Shop is delighted to be able to make artworks by Hormazd Narielwalla available for sale. Narielwalla uses bespoke tailoring patterns from a variety of sources to create these intricate collages. Reading each pattern's web of lines, dots and numbers as complex traces of the human body, Narielwalla is heavily influenced by cubism and abstraction.

    The works at SHOWstudio are composed from the tailoring patterns featured in Le Petit Echo de la Mode, a popular domestic fashion magazine published in Paris between 1897 and 1983.  For efficiency’s sake, the publication layered life-sized templates of entire garments onto a single sheet of paper. Predating Futurism and prefiguring Cubism, these patterns abstracted the body to a degree more radical and precise than the highest aspirations of the 1912 manifetso Du Cubisme. It is the precise relationship of these patterns to their human counterpart that so fascinates Narielwalla and forms the fundamental basis of his work.

    Discover these unique artworks now.


  11. by Niamh White .

    Fashion illustration is championed by Christies this week

    Historically, fashion illustration is a medium that has been continually undervalued and trivialised. Potentially due to its attachment to commercial enterprise and potentially because its subject is fashion, the work of fantastic draughtsmen and women are consistently undervalued in the market. It's an oversight that makes the medium a great collecting opportunity. If you study the work of Rene Gruau, Antonio Lopez or Erte, or more recently Mats Gustafson and Francois Berthoud, it's clear they are examples of important contributions to art history. The situation was discussed at length during a panel discussion hosted by the Fashion Illustration Gallery, Issa London and Christie's South Kensington this week. Featuring Tim Blanks and David Downton, the panel discussed the changing role of fashion illustration and the importance of instilling value in these works as original drawings, rather than constantly reducing them to the confines of printed reproduction.

    SHOWstudio has been slowly building a repertoire of the most exciting up and coming fashion illustrators for the past 2 years, and we're encouraging this very interaction with the craft. We ask these artists to cover the collections as they happen, and then share their drawings immediately on SHOWstudio's Tumblr page. Even more excitingly, we are fully dedicated to championing the medium as a collectable art form and have been making the original drawings available through the Shop at affordable prices. From the gestural sketches of emerging talent Fiona Gourlay starting at £50, to the refined silhouette's of Piet Paris at £1,600, we accommodate every budget and encourage the activity of investing in this widely underestimated medium.

    With the eye of the art world shifting onto these illustrators, the pieces are a perfect entry  into collecting art and are set to gain attention more and more swiftly. Have a browse through these important works now and keep an eye out for the new round of drawing coming in during A/W 14 collections early next year.

  12. by Niamh White .

    Jowy Maasdamme creates drawing for upcoming Margiela exhibition

    Our upcoming exhibition in collaboration with Maison Martin Margiela is beginning to take shape! Centred around memory and the way reminiscence can be triggered by scent, the exhibition will feature 21 original drawings of personal memories inspired by Margiela's Replica perfumes. Jowy Maasdamme is one of the artists invited to take part and was given Margiela's Promenade in the Garden fragrance to evoke a memory. You'll be able to see the finished drawing from 28 November when the exhibition opens at 19 Motcomb Street, London.

  13. by Niamh White .

    TOME screens fashion film at the Hayward Gallery

    This week saw a screening of a new fashion film by TOME at London's Hayward Gallery amongst their current exhibition of work by Ana Mendieta. The designers, Ryan Lobo and Ramon Martin were asked by the gallery to create a piece in response to the show after it was announced that their S/S14 collection was inspired by the artist.

    The importance of the exhibition should not be under estimated. Ana Mendieta is an artist whose life and work has been largely overshadowed by her death. In 1985, Mendieta died after falling from a window of the Manhattan apartment she shared with her husband Carl Andre. Andre was tried for her murder, but later acquitted due to a lack of evidence. While the case failed, the murder and scandal lingered on. With her death shrouded in mystery, Mendieta's story rather than artwork, became the focal point of remembrance. Jane Blocker in particular made her disappearance the subject of her 1994 publication Where is Ana Mendieta as a means to examine the emission of female artists from the art historical canon.

    In her life time, Ana Mendieta's continued aligning of the female body with the earth  garnered widespread criticism as being essentialist feminism. However, this exhibition re stages her work in a new light. Gender politics were of course central to Mendieta's practice and the show highlights her complex treatment of the subject. She used pagan and shamanistic imagery as an antidote to the male centred, industrially produced minimalist work she was surrounded by. She researched these subjects intensely and chose symbols specific to particular cultures; often the Cuban Taino culture from which she was removed when her family emigrated to the USA. Her inclusion of these subjects can be more closely linked to the French masters like Matisse and Gauguin than her feminist contemporaries, and address a number of additional political and formal concerns. Particularly evocative are her Blood Sign pieces for which she covered her arms in paint and dragged them down the surface of a canvas. The piece mocks the objectification of the female body in Yve's Klein's Anthropometries when he used naked women as paint brushes for his signature blue tone.

    It is amongst this seminal artwork that TOME screened their fashion film. Immersing their latest collection amongst the undergrowth on models wearing a palate of pinks and pale flesh tones, the designers pay tribute to the artist that influenced their designs. It's not the first time the team have drawn on 20th century feminist art for inspiration, they credited Georgia O'Keefe as the muse for their previous collection. By engaging with audacious, self assured and historically established female artists, TOME are creating the kinds of garments I'd like to wear. 


    1. pietro
      12:15 21 Nov 2013
      Really love this !
  14. by Niamh White .

    The Photography of Punk closes Friday
    Final Week of the Exhibition

    It's your final chance to see our current exhibition at SHOWstudio Shop, The Photography of Punk. Closing on 22 November, the show sets out to debunk the caricature of punk and trace the images and objects that honed its legacy. Focusing specifically on fine art and reportage photography, the show compiles a series of images that capture both this explosive moment, and the various elements that informed it.

    Bruno Barbey's iconic shot of the 1968 student riots in Paris is one of the central photographs of the show. Inspired by the writings of Guy Debord's Situationists and their assertion that the misery of social alienation and commodity fetishism had spread itself into all aspects of every day life, the students instigated a volatile series of demonstrations that lead to a nation wide general strike. Both their actions and the Situationists' engagement with the idea of the 'spectacle' were crucial in the establishment of punk values and its aesthetic. In this striking composition the spirit of insurrection is almost palpable. One figure hurls a rock while another swings a bat; the image captures a moment that has descended into chaos and rebellion.

    It is this spirit that is so present in the selection of images displayed in the exhibition. From Bob Gruen's shot of Sid Vicious with the words 'GIVE ME A FIX' scratched into his chest and covered in blood during a gig in Dallas on the Sex Pistols' American tour to Jonh Ingham's photograph of a frantic performance by The Clash during their Night of Treason gig at the RCA, the imagery captures the energy the punks embodied. Soo Catwoman's cat attire and fierce stare down Ray Stevenson's lens, and the latex bondage garb worn by Siouxsie Sioux also reveal the important role of fashion in creating a visual language to deliberately shock and outrage.

    From the scandalous and aggressive to the experimental and politically confrontational, the exhibition showcases the many facets of a movement that went on the infiltrate nearly all aspects of life and culture. View important works by Jim French, Jon Savage, Robert Mapplethorpe and more before the show closes on Friday.


  15. by Niamh White .

    Working with Art:I:Curate

    New digital art platforms are springing up every day. From Paddle 8 to Artsy, the art world is desperately trying to find a way to translate the gallery experience online. It's not easy. The gallery system depends on very strict measures of control. The encountering of the art object is crafted in itself and maintaining the primacy of the original copy is key. But breaking down the domination of the white cube is not by any means a new concept and the de materialisation of the art object has been a recurring theme for nearly 50 years. While the distribution capabilities of the internet are antithetical to the standard one on one art experience, the potential in the digital sphere is too great not to try to harness. Art:I:Curate attempts to merger these two worlds together. They're creating an online community of artists and curators who submit artworks to be liked by their wider followers. The most popular works are selected for physical exhibitions, mostly in London and New York and so potentially you can have the best of both worlds. The initiative has also cleverly engaged with art professionals through their Curated By feature. Every 2 days, a new curator, writer or artist is given free reign to post imagery to Art:I:Curate's home page and their respective social media sites.

    This week, I've been asked to be one such curator. I began posting yesterday and shared a number of artworks that have featured in SHOWstudio's gallery venture, the SHOWcabinet. We also tread the fine line between a physical and online space with a format that avoids the traditional white cube and is always supported by informative digital content. I've showcased a fantastic collection of artists and designers that we're really proud to call collaborators, including Iris van Herpen, Una Burke and Tobias Klein to name just a very few. And for my second day of curation, I've decided to propose a mini online exhibition titled Grey Matter which thinks about photography and film as sculptural mediums. The selection of images includes predominantly emerging London artists like Ella McCartney, Alex Ball and Sophie Clements, interspersed with some major heavy weights like Alina Szapocznikow and Phyllida Barlow. The works chosen engage with sculpture and photography simultaneously, and so lend themselves to a digital presentation and play around with this idea of shared space.

    The curation ends today, so take a look!

  16. by Niamh White .

    Rhizome Seven on Seven comes to London

    Yesterday, Rhizome hosted their first international Seven on Seven conference at the Barbican's new Milton Court venue. The event pairs 7 contemporary artists with 7 technologists who are given just 24 hours to devise a project, which they must present to an audience in its raw state on the following day. Having gathered momentum in New York, the initiative takes steps to cultivate the use of technology within creative practice at the highest level. The organisation is a media-art affiliate of the New Museum in New York and it's a partnership that yields a fine crop of artists. Recent exhibitors at the museum bolstered the roster including Turner prize winner Mark Leckey and Haroon Mirza (who unfortunately couldn't make his presentation). They were joined by less established but equally engaging artists including Cecile B Evans and Aleksandra Domanovic. The technologists also boasted impressive resumes like Alberto Nardelli of Tweetminster and Smari McCarthy of IMMI.

    Our attention was focused very much on creative software developer Ryder Ripps. Associated with a particular group of creatives that could equally inhabit the role of artist or technologist including Ryan Trecartin, Brad Troemel and Olia Lialina, Ripps' presentation was by no means hampered by the absence of his partner Mirza. Ripps developed a website called  that allows users within 0.1 miles of one another to post messages anonymously to its home page. Determined by geographical proximity, it is the kind of tool that could allow free discussion on an art object in a gallery or conversation on a film in a cinema or indeed allow audience participation during a presentation as was the case here. The site was inspired by his dad's reply of 'People don't look at one another any more' when he asked if the world 'sucked' before the internet. In one way, Ryder's solution perpetuates the same behaviour Mr Ripps laments, in another it facilitates an initial connection. Crucially it is democratic in its nature, all participants are stripped down to an equal footing, encouraging involvement and engagement with art objects displayed in institutions. Or indeed it can be used for anonymous gutter talk, 'Ryder Ripps is hot' typed one enamoured audience member.

    Ryder was in the minority having produced a functioning product at the end of his somewhat one sided collaboration. The other pairings came up with various methods of intervening with major digital platforms. Alice Bartlett and Cecile B. Evans' app Entropy randomly adds users to your twitter feed. They claim unexpected behaviours help you to allude algorithmic categorisation and will scramble the type of tailored advertising you receive. Why? They say 'just because it's annoying'. Jonas Lund and Michelle You developed, which sends an already sent email from your inbox to a random contact. Reminiscent of Miranda July's inbox exhibition We Think Alone where members sign up to receive 20 previously sent emails for 20 weeks from its collaborators, the project removes any original context and reveals the various ways one might comport themself through their correspondence.

    One of the most illuminating talks came in fact from the introduction by technologist Jamie King. His musings on ownership and value in the digital sphere laid bare the decreasing 'cost' of data sharing and the turbulent challenge to instill and maintain 'value' in an easily transferable creative product. His series  of documentaries Steal this Film is a technological re imagining of Abbie Hoffman's 1970 book Steal this Book that examines piracy, grass roots distribution and file-sharing and encourages fresh thinking on the concept of intellectual property within this realm.

    Rhizome is an important and worthwhile venture, recognising the potential one day can hold and pushing leading creatives to make technology and artistic practice co habit. Looking forward to the next one.


    1. piers1
      13:33 29 Oct 2013
      It is brilliant and highly encouraging to see this.
      I also completely agree with the stated objectives.
      It is a very different world out there visually and we need art that talks with the new language of this new world.
      Great review too.
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