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

PORTFOLIO (4)
BIO
Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities – Furtherfield.org, Furthernoise.org, Netbehaviour.org, also co-founder and co-curator/director of the gallery space formerly known as 'HTTP Gallery' now called the Furtherfield Gallery in London (Finsbury Park), UK. Co-curating various contemporary Media Arts exhibitions, projects nationally and internationally. Co-editor of 'Artists Re:Thinking Games' with Ruth Catlow and Corrado Morgana 2010. Hosted Furtherfield's critically acclaimed weekly broadcast on UK's Resonance FM Radio, a series of hour long live interviews with people working at the edge of contemporary practices in art, technology & social change. Currently doing an Art history Phd at the University of London, Birkbeck College.

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) with Heath Bunting on Cybercafe BBS with Irational.org.

Our mission is to co-create extraordinary art that connects with contemporary audiences providing innovative, engaging and inclusive digital and physical spaces for appreciating and participating in practices in art, technology and social change. As well as finding alternative ways around already dominating hegemonies, thus claiming for ourselves and our peer networks a culturally aware and critical dialogue beyond traditional hierarchical behaviours. Influenced by situationist theory, fluxus, free and open source culture, and processes of self-education and peer learning, in an art, activist and community context.
Discussions (1677) Opportunities (12) Events (175) Jobs (2)
DISCUSSION

Selected Interviews on Art, Technology & Social Change by Marc Garrett


Selected Interviews on Art, Technology & Social Change by Marc Garrett

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http://marcgarrett.org/selected-interviews-by-marc-garrett/

Through the years I have interviewed all kinds of people. And yes, it is has been an absolute privilege to be part of a brilliant culture, where there are so many amazing and interesting minds. Some view this vibrant culture as media art or new media art as it has developed in parallel to the mainstream art world. However, out of this societal shift a whole new breed of art practitioners has founded a form of controlling the means of art production on their own terms. This leads us to questions concerning what values we can now interpret as contemporary art?

Well, without any doubt I personally view all of these artists, theorists, coders, hacktivists and tinkerers, as part of larger field of contemporary art practice. As someone who has been deeply entwined in the history of this expanding field; I know, just like many others, that the most interesting and critically engaged art happening out there, does not only contribute merely as a reflection of the world, but it also plays a vital role in changing its reality. This means something…

DISCUSSION

A glitch in the matrix: Computer Art Image of the Month


A glitch in the matrix: Computer Art Image of the Month

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By Catherine Mason.

"Now there is a show - Glitch Moment/ums, at Furtherfield Gallery (http://alturl.com/3tyoy) in London (until 28 July 2013), which exhibits some of this fascinating and varied aesthetic and introduces us to artists working in a variety of forms including video, music and even found objects, as with our artist this month - Benjamin Gaulon who has a unique way of considering current technology and teasing art from it.

DISCUSSION

Outsider Art: The Art Market's 'Cultural Capitalism' Moment.


Outsider Art: The Art Market's 'Cultural Capitalism' Moment.

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New article on Furtherfield by Robert Jackson
http://www.furtherfield.org/features/articles/outsider-art-art-markets-cultural-capitalism-moment

We all know what Outsider Art is, and the fallaciousness of the term - yet, why is the mainstream art world suddenly turning towards it?

"The 55th Venice Biennale has arrived, and with it brings a new state of trends which are pontificated around, with a chuckle, a sense of forced opportunity and the shrugged sigh of 'well, everyone's doing this now apparently.' Outsider artworks (echoing Dubuffet) are aesthetically valuable, precisely insofar as they haven't been created for the sole purpose of critique, nor for being deliberately market-friendly (the last point is quite contentious). They are what they are. Or at least, 'what they are' is grouped around a deviation from the mainstream 'norm'."

Robert Jackson, is currently studying an MPhil/PhD at Lancaster University. His thesis focuses on Algorithmic Artworks, Art Formalism and Speculative Realist Ontologies, looking at digital artworks which operate as configurable units rather than networked systems, and attain independent autonomy themselves which are capable of aesthetics, rather than any supposed primary function as communicative, rational tools. The working title is Algorithm, Contingency and The Non-Human: The Aesthetics of Undecidability in Computational Art.

DISCUSSION

Drone: Camera, Weapon,Toy: The Aestheticization of Dark Technology


Drone: Camera, Weapon,Toy: The Aestheticization of Dark Technology

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Patrick Lichty in his essay explores the aestheticization of unmanned mobile devices more commonly known as drones. What emerges is a cultural landscape where a burgeoning remote air force polices the globe while the images generated by them elicit a perverse visual fascination amongst certain subcultures, whilst also being flown by techno-enthusiasts. What is developing is a complex set of relations that is abstracting power, interaction, and representation.

http://www.furtherfield.org/features/articles/drone-camera-weapontoy-aestheticization-dark-technology

DISCUSSION

Glitch As Symbolic Form


Glitch As Symbolic Form

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Image by David Szauder (http://pixelnoizz.wordpress.com)

Rob Myers takes us on a short historical journey of Glitch as an aesthetic signifier of technological presence that dates back at least to the 1980s. Referencing the Vaught-Kampf machine in Blade Runner (1982), the titular character in Max Headroom (1985). And how the use of Glitch as an artistic aesthetic in itself has accelerated with the democratisation of new technologies.

http://www.furtherfield.org/features/articles/glitch-symbolic-form