This is the workspace of Magda Tyzlik-Carver.
News and Projects:
Ghost Factory at Dark Sounds: Destructive Pop Conference at Falmouth University, Performance Centre
23-25 April 2015 [co-curated and developed with Andrew Prior]
Ghost Factory at Dark Sounds conference is a performative exhibition addressing the ambiguous character of participatory culture in digital and networked media. We invite the audience to experience divided appeal of technology in popular culture through Ghost Factory which arranges people, machines, software, sound and text, in unknown combinations.
Pop music is defined as much by its mode of cultural consumption as it is by engrained musical qualities - its name refers not to a style, but a level of recognition: whatever is trending; a lightening quick flash in public consciousness before the dark creeps in. Here we propose a parallel production process, an audio-visual factory for the networked culture. If the economics of pop music have imploded with the likes of Spotify, it is because it conforms to the flows and conditions of disembodied information. Consumers and producers alike sit side by side in the digital factory.
What used to be called ‘artistic integrity’ and was traditionally confined to the creative powers of an artist genius is now arranged as a process, distributed and shared across human and non-human others. Creativity managed by technology is often considered to be a result of ‘empowering’ potential that technologies bring allowing masses to release their imagination. However it is also mundane and rigid, organising creativity through bureaucracy. This exhibition will attempt to reveal many of the elements of such systems, the black, white and grey zones, the sleek machines and the DIY interfaces, the factory and playground of digital labour, and the cloud in which it is stored as a ghostly presence. We suggest that creativity is neither the exclusive realm of the artistic genius, nor encoded in pro-sumer software applications that over-determine our output. It is a ghost, a play of absence and presence woven into the factory as a playground.
The posthuman character of contemporary pop is revealed in this exhibition as contingent gesture and a challenge. We will produce ghosts that occupy forgotten depths of Internet. We might create zombies as the result of an experiment gone wrong. And we will definitely open the posthuman experience to the willing participator. In any case, there is considerable doubt it will be of any use in this life or thereafter. Consider it a voluntary work experience.
Go here to see the previous manifestation of Ghost Factory.
Towards an Aesthetics of Common/s. Beyond Participation and its Post
20 October 2014
This article has been just published on New Criticals. It is a short fragment taken from my PhD thesis. The emphasis on participation as the core of many projects and artworks requires material examination that includes the social but is not limited to it. In other words the questions of participation should include considerations of what is produced in the process beyond the community and the social, that is what material and discursive results are created by participatory practices and artworks.
This article probes these concerns in order to propose aesthetics of common/s. See the article on here.
Art as Exhibition, Conference, Academy of Fine Arts Vienna, Secession Gallery Vienna
26 June 2014
I will present essay and presentation titled Breathing Data: thoughts on curatorial systems at the conference Art as Exhibition organised by Academy of Fine Arts in Vienna and Friends of Secession. The conference seeks to investigate how exhibition formats may be inherent in specific modes of artistic production and subsequently in an artwork itself. Significantly an interweaving of both artistic and curatorial practice is involved, which on the one hand documents a development toward formats of presentation, and on the other hand coincides with the rediscovery of the object as an independent agent. The interlocking of exhibition, mediation, collection and archive conflates aesthetic and education policy agendas in occasionally indistinguishable ways. Thus it becomes clear that those fields of education, knowledge and information regarded as "common goods" introduce a dynamic into the work-as-exhibition event in the sense of a medial information process. To explore what this implies for the perception of the increasingly reevaluated physical object will be one of the common threads of the panel and the subsequent artist talks at the Secession.
Cultural Transformation, Technology and Urban Development, Roundtable Symposium, Aarhus University
27 March 2014
In my paper presented during this roundtable symposium, and titled Common Practice: what art worlds are created? I locate my curatorial practice within the many dimensional situation created by intersections of technology, public institutions, artistic practices, audience participation, language, and the self. The task is to think of material arrangements created as the result of practices that bring together all these elements, and the desire behind it to rethink the relations created together with others – human and non-human participants.
Common practice is a curatorial research project that brings together practice of curating and commons/commoning to perform non-representational manipulations of text, language, people, and other things. The investigation looks at what is materialized as result of common practice beyond the systems, organisms, communities and resources. In other words: what art worlds are created?
Perpetrator: the Human in the Machine at the u s e r u n f r i e n d l y
The first UK solo exhibition for Ubermorgen 'u s e r u n f r i e n d l y' opens on 11 October in Caroll/Fletcher gallery in London. In the accompanying catalogue my essay 'Perpetrator: human in the machine'. The publication can be downloaded here U S E R U N F R I E N D L Y
from the press release:
u s e r u n f r i e n d l y is the first solo exhibition in the UK for UBERMORGEN - the Swiss-Austrian-American duo founded in 1999 by lizvlx and Hans Bernhard. The exhibition features installations, videos, websites, actions, pixellated prints, digital-oil paintings and photographs in a hyper-active, super-enhanced exploration of censorship, surveillance, torture, democracy, e-commerce, and newspeak. The works seek to destabilise our understanding of the influence of technology, corporations and governments on our everyday lives and subvert the dominant networks of power that structure our world.
(...) The exhibition will be accompanied by a 32pp publication featuring an essay by curator Magda Ty?lik-Carver and conversations between UBERMORGEN and Austrian quantum physicist Dr. Tobias Noebauer and between UBERMORGEN and Edward Snowden.
exhibition and series of linked events (co-curated with Janet McEwan)
14-21 June, CMR, Redruth, Cornwall, UK
Gaslighting opens on 14 June in CMR in Redruth. Among artists: Dom Allen, Chris Anthem, Ismet J Khawaja, Moe Satt, Tim Shaw, K K Stone, Systaime, Ubermorgen, Kate Walters, Ian Whitford, Tintin Wulia and others.
For more information visit the Gaslighting website
exhibition of Ghost Machine (work by Andrew Prior and Magda Tyzlik-Carver)
22 -23 March, CMR, Redruth, Cornwall, UK
Documentation of this short work-in-progress exhibition is now available on the Ghost Machine website here
from the invitation to the Ghost Factory:
"This is a voluntary work experience and there is considerable doubt it will be of any use in this life or thereafter.
Ghost Machine is an application [*] for instant remediation. It translates pdf files and quicktime movies into sound and video format. It is built with MaxMSP and can be downloaded on the Ghost Machine website."
To find out more about the project go to Ghost Machine
for previous projects see Archives.