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.
LD: You recently posted AN INTERNET BARD AT LAST!!! (ARS POETICA) on YouTube about your vision of poetry on the internet. You talk about the importance of poets harnessing social media as a powerful way to change the life of someone else, anywhere in the world. Why is it so important for you to share this message at this time?
SR: the importance of sharing this message now is that our whole society is currently struggling to determine the role of these social platforms. corporations are trying to learn how to make money from them, families are trying to learn how to stay connected through them, everyone is asking "what value can there be in a 6-second video?" and it's all moving so fast, Vine blew up to 40 million users in its first 7 months. but the poetry world has largely been ignoring social media, mainly just using twitter and facebook to post links to standard, plain-text poems. my message is this: if our job is to move people with our language, these platforms give us endless and powerful new ways to do that. the tools to make our language visual and auditory have been democratized; the ability to maintain actual relationships with hundreds of our closest readers across the world is now a reality. i have no publisher, i've only been working at this for ~3 years, and my poems reach thousands of people each. i think social media represents the biggest set of new opportunities for poetry since the printing press.
Douglas Coupland, I Miss My Pre-Internet Brain (2013). Pigment on lacquered apple plywood 22" x 17". Courtesy of The Daniel Faria Gallery, Toronto.
With the Frieze Art Fair now in full swing, London is undeniably where the art world is at. For those not exhausted by art fairs and panel discussions about postinternet art, we encourage you to keep up the (pun intended) pace for the 89plus marathon at the Serpentine on Friday night and all day Saturday. Curated by Ben Vickers, notable vestment-wearing participant in yesterday's "Post-Net Aesthetics" panel organized by Rhizome at the ICA, and forming a part of Hans Ulrich Obrist and Simon Castet's long-term research project of the same name, the marathon focuses on concerns facing the generation born in or after 1989—those "Younger than Rihanna," as Harry Burke put it in an article for Rhizome—who have never known a world without Tim Berners-Lee's world wide web, or with the Berlin Wall.
A diverse range of performances, talks, screenings, and installations will consider the subjectivities that have emerged in this period in history and offer speculations about the future. Notable participants include Zaha Hadid, Brad Troemel, Jake Davis aka Topiary, Hito Steyerl, Smári McCarthy (Icelandic Modern Media Initiative), Douglas Coupland, Harry Burke, and Le1F.
For those not in London, the event will luckily be livestreamed via the 89plus Clubhouse, beginning at 2pm EST / 7pm GMT today.
Matthew Plummer-Fernandez, Digital Natives (2012)
“The internet changed the world in the 1990s, the world is about to change again,” read much of the promotional literature for the recent 3D Printshow in London. The commercial exhibitors might have benefited from a far more modest tag line, but the art work exhibited, separate from the main trade section of the show, gave much new to think about regarding the the relationship between technology and craft.
Frederik de Wilde, M1ne IIII (2012)
I was immediately intrigued by the two sculptural objects on display by Frederik de Wilde. The cobalt chrome models had been printed from data gathered from Belgian coal mines. They presented themselves as futuristic objects with a link to Europe's industrial heritage. The representations of the coal mines came to the 3D Printshow as seemingly abstract objects but, were actually formed by a much more political process. It had been a laborious process for de Wilde to get access to the data. He remarked that being granted permission to use a data source as an artist is almost an art form in itself. The Belgian government are protective over the information as the mines contain elements of interest to multinationals and other nations. De Wilde was not permitted in the work to reveal the location of the mines and had to abstract the forms so that interested parties could not gain commercial advantage. The custodians of the data had a large say in what the outcome of the piece would be. This is an intriguing collaborative process if it can be considered as such. The models of the coal mines had been stacked inside each other to create fragile vessels, that also further abstracted the context of the data. The production values of both objects were also noteworthy. I ...
Recently, Digital Sizzle staged a data and art hackathon at Mozilla HQ in London.There were no rules – the only expectation was to share ideas and skills. The hackathon began with a handful of participants pitching ideas. The weekend’s aim was to make art but, its context also showcased developers as creative practitioners who are just as engaged in the process of making as artists are. In the end, two themes of opposing approaches defined the weekend: generating data vs. using data sets and material outcomes vs. screen based outcomes. Tonight a selection of the projects will be shown at Whitechapel Gallery...