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 (1674) Opportunities (12) Events (175) Jobs (2)

DIWO: Do It With Others – No Ecology without Social Ecology.

DIWO: Do It With Others – No Ecology without Social Ecology.


By Marc Garrett, Ruth Catlow.

The acceleration of technological development in contemporary society has a direct impact on our everyday lives as our behaviours and relationships are modified via our interactions with digital technology. As artists, we have adapted to the complexities of contemporary information and communication systems, initiating different forms of creative, network production. At the same time we live with and respond to concerns about anthropogenic climate change and the economic crisis. As we explore the possibilities of creative agency that digital networks and social media offer, we need to ask ourselves about the role of artists in the larger conversation. What part do we play in the evolving techno-consumerist landscape which is shown to play on our desire for intimacy and community while actually isolating us from each other. (Turkle 2011) Commercial interests control our channels of communication through their interfaces, infrastructures and contracts. As Geert Lovink says 'We see social media further accelerating the McLifestyle, while at the same time presenting itself as a channel to relieve the tension piling up in our comfort prisons.' (2012: 44)

Many contemporary artists who take the networks of the digital information age as their medium, work directly with the hardware, algorithms and databases of digital networks themselves and the systems of power that engage them. Inspired by network metaphors and processes, they also craft new forms of intervention, collaboration, participation and interaction (between human and other living beings, systems and machines) in the development of the meaning and aesthetics of their work. This develops in them a sensitivity or alertness to the diverse, world-forming properties of the art-tech imaginary: material, social and political. By sharing their processes and tools with artists, and audiences alike they hack and reclaim the contexts in which culture is created.

This essay draws on programmes initiated by Furtherfield, an online community, co-founded by the authors in 1997. Furtherfield also runs a public gallery and social space in the heart of Finsbury Park, North London. The authors are both artists and curators who have worked with others in networks since the mid 90s, as the Internet developed as a public space you could publish to; a platform for creation, distribution, remix, critique and resistance.

Here we outline two Furtherfield programmes in order to reflect on the ways in which collaborative networked practices are especially suited to engage these questions. Firstly the DIWO (Do It With Others) series (since 2007) of Email Art and co-curation projects that explored how de-centralised, co-creation processes in digital networks could (at once) facilitate artistic collaboration and disrupt dominant and constricting art-world systems. Secondly the Media Art Ecologies programme (since 2009) which, in the context of economic and environmental collapse, sets out to contribute to the construction of alternative infrastructures and visions of prosperity. We aim to show how collaboration and the distribution of creative capital was modeled through DIWO and underpinned the development of a series of projects, exhibitions and interventions that explore what form an ecological art might take in the network age.

Featuring: A Abrahams, Kate Rich, IOCOSE, Helen Varley Jamieson, Paula, Feral Trade Cafe, make-shift, Do It With Others (DIWO) E-Mail Art, If not you not me.

First published in Remediating the Social 2012. Editor: Simon Biggs University of Edinburgh. Pages 69-74

An ebook version of Remediating the Social is freely downloadable.


New Review - Experimental Theatre: Public Domain by Roger Bernat.

Experimental Theatre: Public Domain by Roger Bernat.


Review by Esther Belvis Pons.

Esther Belvis Pons' writes about Roger Bernat's experimental theatre work 'Public Domain'. The piece, still on tour, has been performed in public spaces around the world. This audience-centred project invites individuals to participate in an engaging experience that emerges as a sociological choreography. The audience gathers in a public square and they are given a pair of headphones, fulfilling the narrative possibilities of the group using statistical tools.

Pons is a researcher-artist and educator that has worked with experimental theatre companies around Europe. She holds a PhD in Theatre and Performance Studies by the University of Warwick and the Autonomous University of Barcelona. Her main interests include audience participation and mediatized performance, collaborative methods of research and transductive pedagogies. She collaborates with different journals as a writer and she is co-editor of Efímera, a biannual journal specialized in Live Art in Latin America and Spain.

Roger Bernat - After studying architecture, he discovered theatre and at the age of 25 he entered the Institut del Teatre in Barcelona to study directing and dramaturgy. Soon after, he founded and directed, with Tomàs Aragay, the company General Elèctrica. Well known in Catalonia for their daring and engaged projects, General Elèctrica (1997-2001) created a dozen remarkable productions. Roger Bernat often concentrates on a variety of social groups (heroes, transsexuals, cab drivers, etc.) in his ongoing search for new theatrical forms. His best-known plays include Que algú em tapi la boca (2001), Bona gent (2003) in collaboration with Juan Navarro, Amnèsia de fuga (2004), LA LA LA LA (2004), Tot és perfecte (2005) and Das Paradies Experiment (2007). Apart from his stage work, Roger Bernat also directs videos.


A disjointed conversation – Claire Bishop, The Digital Divide, and the State of New Media Contemporary Art.

A disjointed conversation – Claire Bishop, The Digital Divide, and the State of New Media Contemporary Art.


By Patrick Lichty.

I found Claire Bishop’s landmark essay on Digital Art, ‘The Digital Divide’ in Artforum’s 50th Anniversary issue three months late through Lauren Cornell and Brian Droitcour’s equally polemic response, ‘Technical Difficulties’ in the January 2013 issue. Since September, there have been excellent conversations, both inside and outside the New Media community. There are a plethora of positions on Bishop’s highly successful essay; success in that it has created such a stir. The problem with the conversation, and I dare not say dialogue, is that the rhetoric resulting from ‘The Digital Divide’ is disjoint along several lines, in some ways schematizing some of the reasons for her polemic. Secondly, the resulting cross-takedown between Lauren Cornell/Brian Droitcour and Bishop remind me that I no longer live in the relatively generous era in which we built the genre of New Media in the 90’s.

On Furtherfield's Community Blog.


Algorithms and Control.

Algorithms and Control: Behaviour of computational programs in arts, media theory & political activism.


By Robert Jackson.

Algorithms have become a hot topic of political lament in the last few years. Such "step - by - step" procedures, the common logic which underlies the behaviour of computational programs are now a key area of research both in the arts, media theory and political activism. Robert Jackson argues that more can be done to prise apart how contradictory algorithms are, and thus the contradictory levels of control.


One Minute Volumes 1-6 curated by the film-maker Kerry Baldry.

One Minute Volumes 1-6.

Portrait No.88 by Marty St.James

In partnership with 20-21 Visual Arts Centre, Furtherfield Gallery is pleased to host One Minute Volumes 1-6 curated by the film-maker Kerry Baldry over three consecutive weekends in January and February 2013. The programme will also be shown at 20-21 later in 2013.

Screening schedule:

Sat 19 - Sun 20 January 2013: One Minute Volume 1-2
Sat 26 - Sun 27 January 2013: One Minute Volume 3-4
Sat 02 - Sun 03 February 2013: One Minute Volume 5-6

One Minute Volumes 1-6 are an eclectic mix of artists moving image constrained to the time limit of one minute and include over 80 artists at varying stages of their careers.

The artists involved range from established figures, such as Guy Sherwin and Catherine Elwes, to comparative newcomers through a multinational roster of those in between; and the methods deployed and content treated of are hugely diverse, a master class in the very short form film.

Open 12-4pm