marc garrett
Since the beginning
Works in London United Kingdom of Great Britain and Northern Ireland

PORTFOLIO (7)
BIO
Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80's from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular 'Savage Yet Tender' alternative broadcasting 1980's group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) for a while with Heath Bunting on Cybercafe BBS, dedicated to arts, technology and hacking.

Co-director and co-founder, with artist Ruth Catlow of the net arts collectives and communities- furtherfield.org, furthernoise.org, netbehaviour.org, also cofounder and co-curator/director of the gallery space called HTTP Gallery in London, UK. Currently involved in co-running, collaborating with many others on Node.London. Also co-curating various contemporary Media Arts exhibitions, nationally and Internationally such as Game/play a touring exhibiton.
Discussions (1661) Opportunities (12) Events (175) Jobs (2)
DISCUSSION

Die GstettenSaga: The Rise of Echsenfriedl. A post-apocalyptic aftermath of the “Google Wars”


Die GstettenSaga: The Rise of Echsenfriedl. A post-apocalyptic aftermath of the “Google Wars”.

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"A mad post-collapse satire of information culture and tech fetishism, in a weird sort of melding of Stalker, Network, and The Bed-Sitting Room." (Richard Kadrey)

Stefan Lutschinger Reviews Die GstettenSaga: The Rise of Echsenfriedl, an Austrian hackploitation art house film by Johannes Grenzfurthner, mastermind of the international art-technology-philosophy group monochrom, co-produced by the media collective Traum & Wahnsinn. Reimagining the makerspace as grindhouse, the story is set in the post-apocalyptic aftermath of the “Google Wars” – an armed global conflict between the last two remaining superpowers China and Google - which has turned what remained of the Alps into a Gstetten.

http://t.co/SEUZuW032e


DISCUSSION

The ABC of Accelerationist Blockchain Critique


The ABC of Accelerationist Blockchain Critique.

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By Rob Myers - http://go.shr.lc/1jvMf3d

With sculptures that sell themselves on eBay & cryptocurrencies for owning GIF images, art is already in the era of smart contracts. It's time to use the same technology to solve the crisis of art cirticism. Ready for the Accelerationist future of critique on the blockchain?

Accelerationism came to prominence in 2013 with Nick Srnicek and Alex Williams's hashtag-titled manifesto. A cloud computing-era spin on the old Marxist argument that we first need to perfect capitalism in order to transcend it, its lineage is fleshed out in a new book from Urbanomic. Urbanomic claim (among others) Nick Land's skynet midwifery, J.G. Ballard's science fictionalization of culture, and Marx himself as precursors to Accelerationism, establishing it as a serious anti-humanistic response to the challenges that humanity faces if it is to avoid extinction. Similar to Christine Harold's strategy of "intensification", Accelerationism calls for us to appropriate the value of capital's developments and transform them materially into something else rather than attempt to resist them head-on or refuse them in our hearts.


DISCUSSION

Prometheus 2.0: Frankenstein Conquers the World!


Prometheus 2.0: Frankenstein Conquers the World!

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Marc Garrett writes about Mary Shelley’s Frankenstein and looks at science and technological determinism, and humanity’s bond with digital media and social networks. It includes human-machine relations, cyborgs, theories in cyber-culture, classical and SF literature and contemporary art practices across the fields of media art, hacktivism, activism, feminism and cyberpunk. http://go.shr.lc/1v2AoRK

Mary Shelley’s Frankenstein is the focus for this text but it also brings into the mix, Greek mythology and Prometheus - the Titan, and what the myth symbolizes, asking, in what form does he exist in the world today? It is a playful assemblage of unresolved contemplations that have been sitting around asking for light in the back of my mind. This is a stripped down version of the original study about mythology, technology, fear and revolution.

http://www.furtherfield.org/features/prometheus-20-and-our-god-complex

OPPORTUNITY

SEFT-1 Abandoned Railways Exploration Probe: Modern Ruins 1:220


Deadline:
Fri Jun 20, 2014 18:00

Location:
London, United Kingdom of Great Britain and Northern Ireland

Next show Furtherfield: SEFT-1 Abandoned Railways Exploration Probe: Modern Ruins 1:220

The Arts Catalyst in partnership with Furtherfield
http://www.furtherfield.org/programmes/exhibition/seft-1-abandoned-railways-exploration-probe-modern-ruins-1220

Ivan Puig and Andrés Padilla Domene (Los Ferronautas) built their striking silver road-rail SEFT-1 vehicle to explore the abandoned passenger railways of Mexico and Ecuador, capturing their journeys in videos, photographs and collected objects. In their first London exhibition, SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220, commissioned by The Arts Catalyst and presented in partnership with Furtherfield in their gallery space in the heart of Finsbury Park, the artists explore how the ideology of progress is imprinted onto historic landscapes and reflect on the two poles of the social experience of technology - use and obsolescence.

Between 2006 and 2011, the artists travelled across Mexico and Ecuador in the SEFT-1 (Sonda de Exploración Ferroviaria Tripulada or Manned Railway Exploration Probe). In a transdisciplinary art project, they set out to explore disused railways as a starting point for reflection and research, recording the landscapes and infrastructure around and between cities. Interviewing people they met, often from communities isolated by Mexico’s passenger railway closures, they shared their findings online, www.seft1.com, where audiences could track the probe’s trajectory, view maps and images and listen to interviews.

Private View: Friday 20 June 6-8pm (Press preview 20 June, 5pm)
Open 20 June–27 July 2014
Friday, Saturday and Sunday, 11am-6pm

Gallery tour with the artists, Saturday 21 June 2pm.
Talk with Dr Malcom Miles and discussion with the artists, Saturday 21 June 3.30-5pm (booking required)

The SEFT-1 exploration probe will be on display next to the gallery 20–22 June, 11–13 July, 18–20 July and 25–27 July 2014.

EVENTS

Tuesday 17 June 6.30–9.00pm - artists Ivan Puig & Andrés Padilla Domene will be in conversation with The Arts Catalyst curator Rob La Frenais during London LASER 04 at University of Westminster (book here)

Saturday 21 June 2pm – Gallery tour with the artists, FREE

Saturday 21 June 3–5pm – A de-industrialised estate - Talk with Dr Malcom Miles and discussion with the artists at Furtherfield Commons - (limited capacity £5, details and online booking here)

Saturday 12 July 11.30am–1.30pm – Drop in to the gallery and meet model railway maker extraordinaire Neville Reid and artist Andrés Padilla Domene, FREE

Saturday 12 July 2–4pm – Death Collapsing Into Life - Guided walk along Parkland abandoned railway with landscape architect, urbanist and writer Tim Waterman (limited capacity £5 and up to two children under 15 free, details and online booking here)

Saturday 19 July 10am–12.30pm – Create your own Railway Exploration Vehicle family workshop for children 7-12 years led by Codasign (limited capacity, £30 one child £50 two children, plus one accompanying parent, online booking here)

Saturday 19 July 2–5pm – Code your own Retro Game with Python - a beginners workshop for young people aged 13-17 to learn coding led by Codasign (limited capacity, £36 please bring a laptop with you, online booking here)

With support from Embassy of Mexico, Arts Council England, Central de Maquetas.



DISCUSSION

Digital autopsies: The Negligent Eye at the Bluecoat


Digital autopsies: The Negligent Eye at the Bluecoat | Exhibition, Liverpool UK | Review by Nathan Jones

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Nathan Jones reviews the exhibition ‘The Negligent Eye’ on digital printmaking at the Bluecoat in Liverpool. He examines its paradoxical concerns as printmakers question printmaking practice alongside other artists engaged in digital production.

http://www.furtherfield.org/features/reviews/digital-autopsies-negligent-eye-bluecoat

The Negligent Eye
the Bluecoat
Liverpool
Sat, 08 Mar 2014 - Sun, 15 Jun 2014

Featuring artists: Cory Arcangel, Christiane Baumgartner, Thomas Bewick, Jyll Bradley, Maurice Carlin, Helen Chadwick, Susan Collins, Conroy/Sanderson, Nicky Coutts, Elizabeth Gossling, Beatrice Haines, Juneau Projects, Laura Maloney, Bob Matthews, London Fieldworks (with the participation of Gustav Metzger), Marilène Oliver, Flora Parrott, South Atlantic Souvenirs, Imogen Stidworthy, Jo Stockham, Wolfgang Tillmans, Alessa Tinne, Michael Wegerer, Rachel Whiteread, Jane and Louise Wilson.

The Negligent Eye revolves around the way a digitally-native generation of artists – particularly printmakers - are questioning their relation to the digital, using the notion of ‘scanning’ as a kind of mid-state of the creative process of the human-digital hybrid. The show is co-curated curated by the Bluecoat's Sara-Jayne Parsons and head of printmaking at the RCA, Jo Stockham, and features several works by her graduates, and other artists from around the RCA, such as Bob Matthews and Christiane Baumgartner.