(IN)visible networks
1 - 5 September 2008
Group Exhibition, co-curated with Kate Southworth
Spring Gallery, The Poly, Falmouth
commissioned for international conference Networks of Design

(IN)visible networks draws attention to different political, ethical and aesthetic strategies used by artists to expose the conditions and creative possibilities of network culture. Artists in this exhibition use ritual, sampling, real-time collaboration, reading, wikis, trans narratives, DIY installations and discussion to devise, facilitate and nurture social platform.

Artists and Works


DIWO,
2007 © Furtherfield
Do It With Others (DIWO) E-Mail-Art (2007)
Furtherfield.org

A Furtherfield.org project Do It With Others (DIWO) E-Mail-Art playfully developed the Do-It-Yourself ethos of early Net Art which used the early Internet as an experimental artistic medium and distribution system. DIWO highlighted a collaborative approach to making and appreciating art in the context of contemporary communication and creativity in online social spaces. Peers connect, communicate and collaborate, creating controversies, structures and culture.

During February and March 2007, 90 people signed-up and contributed to an exhibition at HTTP Gallery through the NetBehaviour email list, observed by another 200 subscribers. Participants worked across time zones, geographical and cultural distances with digital images, audio, text, code and software; they worked to create streams of art-data, art-surveillance, instructions and proposals, and in relay to produce threads. Many also participated in the experimental networked curation of the exhibition, facilitated by webcams, chat and VOIP technology.

Furtherfield.org is a not-for-profit organisation that provides online and physical platforms for creating, exhibiting, commissioning and discussing networked media arts. HTTP Gallery is Furtherfield.org’s dedicated space for exhibiting networked media art in London. This artist-led group utilizes networked media to create, explore, nurture and promote the art that happens when connections are made. Knowledge is shared across the boundaries of established art world institutions and their markets, grass-roots artistic and activist projects and communities of socially-engaged software developers. This is a spectrum that engages maverick media-artists and small collectives of cross-specialist practitioners, to projects that critique and change dominant hierarchical structures as part of their art process.


love_potion, 2008, © glorious ninth
love_potion (since 2005)
glorious ninth (Kate Southworth & Patrick Simons)

love-potion is a durational performance artwork in three phases that uses borage herbs, seeds, magic spells, aural-visual trance-narratives and DIY installations. There is no single focus to love_potion rather it weaves several elements together that exist in different places and times as different tempos and forms. Sometimes knowledge and memories of one element are transported across to another and back again. Some elements that emerge through the work cannot be brought into the gallery space, almost-always slipping back into everyday life before they can be organised as art. Yet threads of the work remain sufficiently visible to be picked up by invisible networks of participants.

love_potion uses only the most fragile protocols to draw attention to performance spaces, events and situations that can sometimes emerge within everyday life.

glorious ninth produces distributed artworks, DIY installations and invisible networks. Current experiments into co-poietic relationships between code and ritual find form as aural-visual works, installations, performative documentation and texts.


Department of Reading , 2007, © DoR
Department of Reading (since 2006)
Sönke Hallmann

The Department of Reading (DoR) is an online-based project displayed in different spatial configurations. It suggests a use of texts in such a manner that is always already linked to questions concerning the notion of community. In order to expose the act of reading in its communality the Department of Reading investigates, how the disposition of readers who comment and interfere with text can be made public. The Department of Reading addresses an experience of text that suggests indeterminacy between reading and writing. The textual place that comes to the fore is thus a space in abeyance. The DoR facilitates itself within a playful gesture a common use of text that allows for a state of vigilance, in which the indirectness of reading, the machinic aspects of technology and their different temporalities coincide. The DoR thus actualises a space of and within communication that is not limited to the production of discourse, but aims for other forms of intervention and encounter.

Since 2007 the DoR develops a digital platform that supports this process and provides the conditions for its different reading sessions.

Sönke Hallmann currently lives and works in Berlin. He studied German literature and philosophy at the University of Hamburg and has since then published about questions concerning new forms of community, the experience of language and contemporary conceptions of messianism. In 2006 Sönke Hallmann has initiated the Department of Reading.


Team Players for Plausible Artworlds” in Locally Localized Gravity, ICA, Philadelphia, 2007, © Basekamp
Plausible Artworlds: 01326 212 300 (since 2006)
Basekamp and friends

Plausible Artworlds was officially launched in 2006 by the Philadelphia-based collaborative group Basekamp and has since involved many groups and people from around the world in the planning and organisational phase of the project, using both virtual technologies and through on-site seminars.

The project’s premise is that those networks known as artworlds are not just places where art gets seen and talked about, but are no less integral to art production than artists themselves – for art cannot be sustained outside some form of artworld. The project provides a platform for examining and accompanying the emergence of plural artistic environments in the context of ever growing numbers of art and art-related practices both requiring artworld settings different from those currently on offer.

The project gives visibility to artists’ collectives’ experiments with alternative artworlds through a community web platform, email discussion list, and archive of selected projects exemplifying 'Plausible Artworlds'.

BASEKAMP is an artist-group and non-commercial space in Philadelphia (USA), which has researched and co-developed interdisciplinary, self-organised art projects with other individuals and groups in various authorship-blurring configurations for the past decade.


Drink, 2006, © D. Thomas
Provisional Newlyn (2006)
Dominic Thomas

Provisional Newlyn was a response to the invitation to make a proposal for a project that would coincide with the closing of the Newlyn Gallery for planned building work. A plan was sketched out in discussion with the gallery director Elizabeth Knowles. The idea was to develop a project that could serve the need of the gallery to have a presence when it closed, and that would operate both as a 'real' information point for the gallery and as an artwork in its own right.

Provisional Newlyn attempted to partially bridge this temporary interruption in the gallery's long and illustrious history. It was an alternative temporary space, serving as a point of focus for the 'missing' institution while, at the same time, attempting to critique the idea of 'the gallery' itself. It was an improvised social-cultural space, a brief experiment in the history of the art gallery, reinventing the past, imagining the future and struggling with the indeterminate reality of the present. It was a place of potential, of possibilities, constantly changing and challenging ideas about what it is or should be.

Dominic Thomas is an artist and cultural coordinator living near Stroud. His cross-disciplinary practice involves performance, photography, video, installation, sound, critical writing, web design, publication, horticulture and cookery. Much of his work is collaborative and he has a particular interest in self-organisation and self-education within artist-led activity. He is a founding member of the critical cultural collective a.Group.