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 (1673) Opportunities (12) Events (175) Jobs (2)
DISCUSSION

Re: what if and tid bits i cry to much


Hello Eryk,

I came to the same assumption at the end of my writing... Hence my confusio=
n.

marc

I'm not sure what you read, but you aren't disagreeing with me at all.

Cheers,
-e.

furtherfield wrote:

Hello Eryk,

I don't know. It does seem strange, almost useless arguing such a thing=
as this with you once again. We had a similar discussion about a year ago =
(I think) on this and I remember that we did not agree then and it does not=
seem will budge on our original interpretations on this (as you might agre=
e, very worn out) argument. But just like you, I enjoy getting shifting cra=
nium into gear and having a good chat about such issues every now and then.=
So with a warm respect for your position and ideas on such a thing, I will=
put my pennies worth into the glut. On an issue that probably will not be =
resolved until the market & Academia decides something must change for its =
own greedy-like intentions.

What you believe is of course your own take, and it just so happens due=
to circumstance it seems that you reside in the 'painting is dead' camp. A=
nd it is lucky for you (and me) that we have decided not to explore the act=
ivity of painting and therefore are not branded, or stigmatized as second-r=
ate citizens because of this. I personally feel a sense of regret that cert=
ain 'arts' activities have been and are pushed aside for the sake of new pr=
actices, I also do not trust many people's motives to kill something of whi=
ch is not theirs to kill.

For I believe that art (the act of creating) is a personal choice and w=
hen someone is told that they are doing something wrong or not relevant, es=
pecially when it is something that they enjoy, and people say 'ah, that's d=
ead, long gone'. I get goose pimples all over (almost). On who's terms is p=
ainting dead? I am not arguing that painting should be saved or anything li=
ke that but what I am questioning is people's urgency to kill a dream, or a=
n intimate function that can bring beauty or a certain poetic reasoniong to=
someone's life via a process of making art. To take that away by devaluing=
it via terms of art domination over creative choice I feel is wrong. All t=
hough, there could be some positive outcomes of such things happening for p=
ainting. For me, if people just painted outside of the art arena, it would =
give it more credence, in fact more value. The Art arena is yet another soc=
ial construction it seems to seperate the valid and the invalid. This is ne=
w, so therefore better...

Those who have decided to for whatever reason to pursue or partake in s=
uch a so called, labeled 'dead thing' must of course come to terms with the=
fact that the moving image, recent strategic shifts of net creativity and =
the academic, are holding the 'Vanguard reigns'. I do not feel comfortable =
with this 2-tier situation of market led & academic led control. This means=
that there is a type of thought control on what one must pursue as a creat=
ive individual or group. We must not forget that just because we have the p=
rivilege or advantage to be seen as exploring 'cutting edge' work in the we=
stern hemisphere, does not mean that it is a valid or right right thing to =
be doing.

I am not an anti capitalist in respect to it being an everyday function=
or in the very real sense of survival, and of course we all must eat. Yet =
I am not happy to be told what is good and what is bad by people who I do n=
ot know or respect. This does not mean you of course. I mean higher up, the=
'Thought Police', those people who for some reason have convinced themselv=
es that what they say must be- the be and end all. It's like having a paren=
t telling us 'You're too old for this now, or this is not appropriate'. And=
I am not a child so I listen to my own heart in relation to what I believe=
and learn from real experience (outside thought police perameters) whether=
it may seem misguided or not. And on that premise I can gather 'embodied k=
nowledge' on a subject. Whether painting is dead is not the issue, it's muc=
h more to do with why people wish to say such about harsh things in the fir=
st place that I question.

I am very interested in the variants on code as art, but that does not =
mean that my eyes are closed from appreciating a message, a concept in a pa=
inting just because it is not conforming to a protocol. I know that I will =
not budge you on this one Eryk, and our ideas can sometimes clash. But I ap=
preciate where you are coming from conceptually and in respect of historica=
l events. I knid of agree with a lot of what you say but have a deep doubt =
to trust the way things are panning out. So - I agree a lot, but in pricipl=
e feel alarmed. I have yearning of a luddite, to smash up all this computer=
stuff that I myself am using, yet enjoy the adventure of exploring new str=
ategies at the same time. What a confused bunny I must be eh!

marc

I think "careerism" is a good catch all phrase for explaining away ev=
ery aspect of the art world we don't like,
but in this case I have to disagree, and I'm disagreeing based on a p=
osition of 1) I am not a careerist and
2) I believe painting is an obsolete art form.

Here are the reasons I give for 2) since position 1) is arguable depe=
nding on who you ask. I will make clear
that I fervently believe that _any_ form of expression is a valid art=
form. Look at the Salvaggio-Museum if
you want money where my mouth is. I do not believe we even need to de=
clare an area of art an "art form" in
order to make it valid art. Yesterday, I was in an art supply store, =
and considered stealing the notebooks they
leave out for people to test pens. They were beautiful collaborative =
drawings- squiggles, unicorns, calligraphy
and multitudes of colors and random phrases- but I got nervous becaus=
e the woman just told me my friend
had been fired and I didn't want to be the guy who went in there to s=
teal used notebooks. But I digress [that's
really how you use the word "digress" by the way].

So, I want to say something: There is Art1 and there is Art2. Art1 [a=
nd the numbers are arbitrary] are the
artifacts created by anyone who aims for any external expression of a=
n idea or emotion or concept; but also
deals specifically with beauty and aesthetics. This is the category I=
have dedicated the Salvaggio-Museum to,
the idea of every day artifacts and accidental manifestations of inhi=
bited creative energy.

Art2 is the academic side of art, fueled by innovative ideas fused wi=
th innovative techniques. This is the art
that most art museums are dedicated to and the stuff that most people=
pay for. This art is created on a
line from cave paintings to Eduardo Kac. But because it is on a line,=
there is a need for this art to swim or
drown. It must always be absolutely modern if it is going to catch us=
in an unexpected way. Too often, Art2
is replaced by Art2a and Art2b; Art2a being a preoccupation with hist=
ory and personal expression, that is,
people who create art solely for the purpose of expressing continuing=
concepts, and Art2b consisting of
people solely interested in innovating technology for the sake of art=
, with the concept of personal, emotional
expression coming secondary to the "shock of the new." [Rhizome consi=
sts mainly of Art2b; it's only been
recently that I have accepted that this is not an entirely bad thing;=
just not my most preferable.] I'd much
prefer to see a union between Art2a and Art2b, which could lead us to=
Art3, which is what all of us are
waiting for. [Last metaphor would be to look at music and technology:=
You have the Art2b music of
Autechre; the Art2a of Annie Difranco, and the Art3 of say, Aphex Twi=
n. Nothing wrong with any of
them.]

Anyway; painting as Art1 is fine. But when painting declares that it =
is Art2, Art2a, 2b or 3, we fall into
the concern that just maybe it isn't. It is an antique as far as inno=
vation is concerned and so therefore can't
be considered in the same world. And it shouldn't be. People who are =
insulted by this concept of Art1 not
being Art2 need to figure out why Art2 is so important to them. The a=
nswer, usually, is that Art2 carries
the "scene." It is where people get paid, it is where people say "Hey=
, you're a star!" The reason for this,
in my own opinion, anyway, is that Art1 is too embarrassed of its own=
sincerity in an ironic world. Sincerity
is also an antique. But when the value judgements of Art2 are sought =
out for someone making Art1, it's
just like Billy bringing his Baking Soda Volcano to the NASA conventi=
on. It's the wrong scope. It's a fallacy
to assume that the larger the scale the more valid; which is why I ca=
n't understand why so many Art1's need
the validation of an Art2. You paint because you love to paint, okay.=
You paint to express ideas, fine; there's
nothing wrong with painting, poetry or good wine. But why anyone need=
s to assume that good wine is a kind
of television is beyond me. It's confusing a Pit Bull with a Bulldog.=
Both are Dogs, but they're both very
different kinds of dogs.

Cheers,
-e.

furtherfield wrote:

Hello Natalie,

I appreciate your question in relation to why people are so eager t=
o dismiss one type of art/method to put another in its place. The answer is=
that it is political and careeer led - if one advertises their own practic=
e enough by promoting that activity as new, the best, better etc, in the en=
d everyone looks in that direction like frightened sheep with a self - cons=
cious glance. In a system that is led by trend it is important to have scap=
egoats that can be cast in the realm of the past, that historical trash can=
of what is known as obsolete. It is about supply and demand - and it certa=
inly is not about philosophical reasonong as you yourself might yearn it to=
be. All products must have an expirary date in the land of plenty, a moder=
nist strategy in the cumfy misleading guise of postmodern ideoligies. There=
is nothing wrong with people creating their art work on their own terms bu=
t if one expects to be taken on as an equal when creating an art such as pa=
inting do not expect to be respected by those who rule the day via digital,=
installation, code - for they are re-inventing the future with their own n=
ames, instigating the process of branding for all to see. Claiming new lang=
uages, claiming power, claiming a space in the future, discounting the past=
as dead, the future as alive because they are potentially part of that idi=
om. That is how things work and in a world that places the delusion over hu=
manity, what else can you expect? The function contradicts their words...

marc

is it normal to turn into the person you always hated ?

why do some people think a painting is a canvase and not philosop=
hically something else

why can't everybody under stand potential

i am dead .......................................................=
...........................................................................=
.....................

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DISCUSSION

FBI terrorizing people AGAIN!


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BlankFBI terrorizing people who use the Internet...

'the FBI is going to be tagging people as terrorists based on what
they say online," said Jim Dempsey, deputy director of the Center for Democ=
racy and Technology.'

You thank Your Government for caring so much about freedom...

http://news.com.com/2100-1023-933183.html?tag=dd.ne.dht.nl-sty.0

marc garrett

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href="file://C:Program FilesCommon FilesMicrosoft SharedStationery">
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</STYLE>

<META content="MSHTML 6.00.2716.2200" name=GENERATOR></HEAD>
<BODY id=ridBody bgColor=#ffffff
background=cid:007001c20e08$85d4d3c0$7b28fdd5@FURTHERFIELD>
<DIV><STRONG><FONT size=4>FBI terrorizing people who use the
Internet...</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=4></FONT></STRONG>&nbsp;</DIV>
<DIV><STRONG><FONT size=4>'the FBI is going to be tagging people as terro=
rists
based on what<BR>they say online," said Jim Dempsey, deputy director of the=

Center for Democracy and Technology.'<BR><BR>You thank Your Government for=

caring so much about freedom...<BR><BR><A
href="http://news.com.com/2100-1023-933183.html?tag=dd.ne.dht.nl-sty.0"=
>http://news.com.com/2100-1023-933183.html?tag=dd.ne.dht.nl-sty.0</A><BR>=
<BR></FONT></STRONG></DIV>
<DIV><STRONG><FONT size=4>marc garrett</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=4></FONT></STRONG>&nbsp;</DIV>
<DIV><BR></DIV>
<P>&nbsp;</P></BODY></HTML>

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DISCUSSION

SONICblue saved...?


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BlankSONICblue Granted Reversal of Customer Tracking Ruling

http://www.sonicblue.com/company/press.asp?ID=554

marc garrett

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE id=ridTitle>Blank</TITLE>
<META http-equiv=Content-Type content="text/html; charset=windows-125=
2"><BASE
href="file://C:Program FilesCommon FilesMicrosoft SharedStationery">
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 25px; COLOR: #000000; FONT=
-FAMILY: Arial, Helvetica
}
P.msoNormal {
MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
}
LI.msoNormal {
MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
}
</STYLE>

<META content="MSHTML 6.00.2716.2200" name=GENERATOR></HEAD>
<BODY id=ridBody bgColor=#ffffff
background=cid:007c01c20e08$e19cebc0$7b28fdd5@FURTHERFIELD>
<DIV><STRONG><FONT size=3>SONICblue Granted Reversal of Customer Tracking=

Ruling<BR><BR></FONT></STRONG></DIV>
<P><A
href="http://www.sonicblue.com/company/press.asp?ID=554">http://www.son=
icblue.com/company/press.asp?ID=554</A></P>
<P>&nbsp;</P>
<P>marc garrett</P></BODY></HTML>

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DISCUSSION

Jordan Punishes Net Critic


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BlankJordan Punishes Net Critic
By Julia Scheeres
2:10 p.m. May 17, 2002 PDT

Reporters Without Borders protested Friday the imprisonment of a former Jor=
danian legislator and television reporter who published a letter on a U.S. =
website accusing government officials of corruption.

http://www.wired.com/news/print/0,1294,52631,00.html

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<HTML><HEAD><TITLE id=ridTitle>Blank</TITLE>
<META http-equiv=Content-Type content="text/html; charset=windows-125=
2"><BASE
href="file://C:Program FilesCommon FilesMicrosoft SharedStationery">
<STYLE>BODY {
MARGIN-TOP: 25px; FONT-SIZE: 10pt; MARGIN-LEFT: 25px; COLOR: #000000; FONT=
-FAMILY: Arial, Helvetica
}
P.msoNormal {
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AMILY: Helvetica, "Times New Roman"
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MARGIN-TOP: 0px; FONT-SIZE: 10pt; MARGIN-LEFT: 0px; COLOR: #ffffcc; FONT-F=
AMILY: Helvetica, "Times New Roman"
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</STYLE>

<META content="MSHTML 6.00.2716.2200" name=GENERATOR></HEAD>
<BODY id=ridBody bgColor=#ffffff
background=cid:009701c20e09$7f5c38c0$7b28fdd5@FURTHERFIELD>
<DIV><STRONG>Jordan Punishes Net Critic</STRONG> <BR><FONT
face=Verdana,Geneva,sans-serif color=#000000 size=1><B>By <A
href="mailto:jscheeres@wired.com?subject=Jordan Punishes Net Critic">Ju=
lia
Scheeres</A></B> </FONT>
<P><FONT face=Verdana,Geneva,sans-serif color=#ff0000 size=1>2:10 p.m=
. May 17,
2002 PDT</FONT> <BR><FONT face=Verdana,Arial,Geneva,sans-serif color=#0=
00000
size=2>
<P>Reporters Without Borders protested Friday the imprisonment of a former=

Jordanian legislator and television reporter who published a letter on a U.=
S.
website accusing government officials of corruption. <BR><BR><A
href="http://www.wired.com/news/print/0,1294,52631,00.html">http://www.wi=
red.com/news/print/0,1294,52631,00.html</A></P></FONT></DIV>
<P>&nbsp;</P></BODY></HTML>

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DISCUSSION

Re: what if and tid bits i cry to much


Hello Natalie,

I appreciate your question in relation to why people are so eager to dismis=
s one type of art/method to put another in its place. The answer is that it=
is political and careeer led - if one advertises their own practice enough=
by promoting that activity as new, the best, better etc, in the end everyo=
ne looks in that direction like frightened sheep with a self - conscious gl=
ance. In a system that is led by trend it is important to have scapegoats t=
hat can be cast in the realm of the past, that historical trash can of what=
is known as obsolete. It is about supply and demand - and it certainly is =
not about philosophical reasonong as you yourself might yearn it to be. All=
products must have an expirary date in the land of plenty, a modernist str=
ategy in the cumfy misleading guise of postmodern ideoligies. There is noth=
ing wrong with people creating their art work on their own terms but if one=
expects to be taken on as an equal when creating an art such as painting d=
o not expect to be respected by those who rule the day via digital, install=
ation, code - for they are re-inventing the future with their own names, in=
stigating the process of branding for all to see. Claiming new languages, c=
laiming power, claiming a space in the future, discounting the past as dead=
, the future as alive because they are potentially part of that idiom. That=
is how things work and in a world that places the delusion over humanity, =
what else can you expect? The function contradicts their words...

marc

is it normal to turn into the person you always hated ?

why do some people think a painting is a canvase and not philosophically =
something else

why can't everybody under stand potential

i am dead ...............................................................=
...........................................................................=
.............

---------------------------------------------------------------------------=
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Sign-up for Video Highlights of 2002 FIFA World Cup