Artist Profile: Harry Sanderson

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The latest in a series of interviews with artists who have developed a significant body of work engaged (in its process, or in the issues it raises) with technology. See the full list of Artist Profiles here.

Harry Sanderson, Human Resolution (2012). Installation view at Arcadia Missa for PAMI, London. Digital video, perspex, monitor.

Harry Burke: Your "Human Resolution" project, which you exhibited as part of PAMI last year in London, comprised of a 3D hologram projector and accompanying sound piece, which translated the body of the viewer standing before it into a glitching but uncannily faithful grayscale projection (3D object). It was an attempt to reinsert the body into ubiquitous computing environments, which are too often conceptualized as immaterial, virtual, or idealist, and to re-emphasise the corporeal within the predominantly visual regimes of these technologies. Do you think it was, in this regard, successful?

Harry Sanderson: I think that rather than reinsert the body or to attempt to repair anything, it was an attempt to exhibit a kind of a lack that occurs when something is represented in that sort of way. There is a common conception that images work on a flat plane, for example in a regular movie file, and this was an attempt to show how imaging technologies are moving beyond that into something that actually apprehends physical space. It wasn't just a grayscale projection but it had depth; it would turn and you would see that it understood the contours of your body in a way that's much more physical. 

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Who Sleeps? Jonathan Crary's "24/7"

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Andy Warhol, Sleep (1963). 

Labor Day is supposed to be a day that honors those of us who work for a living with an extra day of rest. I'm writing this on Labor Day, at home on my own laptop, avoiding a long list of other tasks I need to attend to in order to keep my work, and my life, manageable. That work happens all the time and increasingly also at the worker's own expense isn't news, but it helps bring into sharp, urgent focus the arguments in Jonathan Crary's terse, polemical new book, 24/7: Late Capitalism and the Ends of Sleep.

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RECOMMENDED READING: Marx After Duchamp, or The Artist's Two Bodies

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Excerpt from Marx After Duchamp, or The Artist's Two Bodies by Boris Groys on e-flux. Groys offers a portrait of artistic production and labor as it relates to technology, Duchamp's readymade, and the artist's body:

Gillian Wearing, Everything in life…, 1992-1993, from the series Signs that say what you want them to say and not signs that say what someone else wants you to say, color coupler prints. via e-flux

At the turn of the twentieth century, art entered a new era of artistic mass production. Whereas the previous age was an era of artistic mass consumption, in our present time the situation has changed, and there are two primary developments that have led to this change. The first is the emergence of new technical means for producing and distributing images, and the second is a shift in our understanding of art, a change in the rules we use for identifying what is and what is not art...

 As masses of people have become well informed about advanced art production through biennials, triennials, Documentas, and related coverage, they have come to use media in the same way as artists. Contemporary means of communication and social networks such as Facebook, YouTube, and Twitter offer global populations the ability to present their photos, videos, and texts in ways that cannot be distinguished from any post-Conceptualist artwork. And contemporary design offers the same populations a means of shaping and experiencing their apartments or workplaces as artistic installations. At the same time, the digital “content” or “products” that these millions of people present each day has no direct relation to their bodies; it is as “alienated” from them as any other contemporary artwork, and this means that it can be easily fragmented and reused in different contexts. And indeed, sampling by ...

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DIS Magazine's "Labor Issue"

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DIS Magazine are killin' it again with their newly released "Labor Issue" which examines work in the culture industry in an unstable, recession-ridden world. Jenna Sauers recounts how her modeling career kicked off her descent into debt, W.A.G.E share some of their propaganda, Marco Roso's photo essay shows how one can travel if a "fetishized commodity," Paul Mpagi Sepuya documents Chelsea gallery receptionists, and much more.

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