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

Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities –,,, 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

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)

New Media Art Cybersalon - Next Sessions 27th March 2013.

New Media Art Cybersalon - Next Sessions 27th March 2013.


This month's Cybersalon is celebrating the past two decades of digital creativity in London and will look forward to the city's next burst of artistic innovation.

New Media Art in the 1990s was not about a particular art form, but rather about exploring the emerging medium itself. Some have called it techno-deterministic, others saw it as a rise of new digital aesthetics. What is now clear is that the best artworks from this pioneering decade explored how the decentralised and open structure the Net encouraged the development of virtual and real-life communities. It was this artistic avant-garde that would find its home in the rave scene, cybercafes and autonomist collectives. In 2013, learning from this formative experience, both veterans and newcomers are producing many weird and wonderful media artworks for our own times. Come to Cybersalon to discuss the past, present and future of new media art in this vibrant city. London's greatest contributions to digital aesthetics are yet to come!

Booking tickets and more details:


Artist William Latham will show and speak about his early experimental work on digital sculptures, developing Mutator and its influence on the aesthetics of the London club scene of the 1990s.

Ivan Pope, the founder of ArtNet BBS and co-director of Webmedia, will show the thinking, creation and impact of his first Web artwork - The Last Words of Dutch Schultz - and it's implication for today's Net innovators.

Sean Cubitt from Goldsmiths, University of London, will talk about how the interaction between electronic artists and their technologies creates a distinctive digital aesthetic.

Ruth Catlow and Marc Garrett will discuss Furtherfield, it's online community, and their physical Gallery space, and showcase the latest trends and up-and-coming artists of London's new media art scene.


Ilze Black, Queen Mary, University of London; co-founder of network media group Take2030; and OPEN art bureau in1990s post-Soviet Latvia.

Exhibits: new media artworks from London 1994-2013.

Tunes: Wildlife Display Team.

See you there!

Entrance is free but please book on
6.30pm: doors open and drinks
Discussion: 7.00 - 9.00 pm.
Followed by drinks in the pub: The Slaughtered Lamb.

The Arts Catalyst,
50-54 Clerkenwell Road,

London EC1M 5PS

Tubes: Old St/ Barbican

Barclays Bikes: Right outside the venue
Arts Catalyst is next to Foxtons on Clerkenwell Road.

Audio recordings, tweet timeline and transcript of the discussion will be available after each event.

About Cybersalon
A monthly meeting of minds on how the Internet is shaping society:
for artists, entrepreneurs, techies, activists, academics and designers.
--- Speakers, discussion, exhibits, presentations and performances --- and a cheap bar.
The last Wednesday of every month: 6.30 - 10.00pm
Twitter: @Cybrsalon #Cybersalon

In partnership with:
School of Media & Performing Arts, Middlesex University
Easynet Global Services

We’re collecting work to create an archive of the past twenty years of digital culture in London. We want your old hardware and software!


Being in the uncomfortable middle and the continued need for physical space.

Being in the uncomfortable middle and the continued need for physical space.


Annet Dekker interviews Eleanor Greenhalgh about her recent project The Dissolute Image (TDI) - a speculative, poetic image hosting technique that enables banned content to be secretly posted on corporate social platforms by splitting images into individual pixels and distributing them.

Eleanor Greenhalgh works in networked media and collaboration, where social & technical protocols are used to regulate (or resist) our experiences of sexuality and physical embodiment. Currently doing an MA in Networked Media Design at the Piet Zwart Institute, Willem de Kooning Academy Rotterdam.

Other reviews,articles,interviews


Furtherfield needs to raise £10,000 by the end of April 2013

Furtherfield needs to raise £10,000 by the end of April 2013.


Furtherfield - A living, breathing, thriving network for art, technology and social change since 1997.

For 16 years we have worked in solidarity with artists, techies, activists, adventurous art audiences to create and share a culture that means more to more people.

Last year 160,000 people visited Furtherfield's online platforms from around the world. At our new gallery ( in the heart of Finsbury Park, North London, we have connected with over 5000 more people from the local area, visitors from across London, the UK and internationally.

We have never asked you for money before. The talent and generosity of contributors and participants and the support of Arts Council England and Haringey Council have kept the engine running till now. But if we are to go on with this work we have to ask for your help.

Please visit the Donation page to see what it pays for & how you help.

Wishing you all well.

The Furtherfield crew...


New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy

New Aesthetics: Cyber-Aesthetics and Degrees of Autonomy. By Patrick Lichty

Five Thousand Feet is the Best by Omer Fast.

"In perusing Honor Harger’s recent missive on drone aesthetics and James Bridle’s ongoing posts of drone images at Dronestagram, taken in context with the Glitch un-conference in Chicago, some new questions have come to mind. These questions have to do with conceptions of New Aesthetics in its various forms in terms of interaction with the program/device and its level of autonomy from the user. In my mind, there seems to be a NA continuum from generative programs that operate under the strict criteria of the programmer to the often-autonomous actions of drones and planetary rovers. As you can see, I am still chewing on the idea that The New Aesthetic as it seems to be defined, as encompassing all semi-autonomous aspects of ‘computer vision’. This includes Glitch, Algorism, Drone imagery, satellite photography and face recognition, and it’s sometimes a tough nugget to swallow that resonates with me on a number of levels." Lichty.


Disrupting The Gaze. Part 1: Art Intervention and the Tate Gallery.

Disrupting The Gaze. Part 1: Art Intervention and the Tate Gallery.

The Goldsmiths Radical Media Forum is a lecture series.
Thursday, February 21, 2013, 5:30 (New Academic Building 102)

Marc Garrett will present the first section of his two part paper 'Disrupting The Gaze'. Part one 'Art Intervention and the Tate Gallery'.

We live in a world riddled with contradictions and confusing signals. Our histories are assessed, judged and introduced as fact yet there are so many bits missing. We accept what is given through sound bite forms of mediation and end up using misinformation as our cultural foundations, and then we build on these ‘acquired’ assumptions as our ‘imagined’ guidelines. This critique studies how contemporary artists are challenging these defaults through their connected enactments and critical inquiries of the existing conditions. It highlights a continual dialogue involving a historical struggle between what is condoned as legitimate art and knowledge, and what is not. It looks at a complexity, embedded in our culture and its class divisions in Britain. And draws upon struggles going as far back as the enlightenment, the industrial revolution, colonialism and slavery, to present day concerns with neoliberalism and its dominance. The Tate gallery is used as a reference point and a site of focus for these various historical and contemporary, political and societal conflicts.

The artists’ and art groups featured, such as Graham Harwood, Platform, Liberate Tate, IOCOSE, Tamiko Thiel, and Mark Wallinger; has each delivered a particular (unofficial and official) mode of art intervention at the Tate Gallery. Whether these artistic activities concern economic, ecological, historical, political or hierarchical conditions, they all connect in different ways. They meet, not through style or as part of a field of practice, but as contemporary artistic practitioners exploring their own states of agency in a world where our ‘public’ interfaces are as much a necessary place of creative engagement, as is the already accepted physical ‘inner’ sanctum of the gallery space. However, their work has become equally significant (perhaps even more) than, the mainstream art establishment’s franchised celebrities.