Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial | Post-Post-Industrial |
This exhibition was part of Newham Heritage Month with support from the National Lottery Heritage Fund
Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus | Interrestris Macrocosmus |
The exhibition addresses how we interface with digital landscapes. Rather than treating the tangibility of hyper realistic scenes, whether computer or oil paint generated, as ornamental, we believe it to be worth considering the consequences of the act of world-building, and our perceived proximity to the world rendered.
The works in this exhibition create new unearthly landscapes through re-embodying the act of physical craft while working in digital media. Through painting, choreographing, and sculpting a route from tactility to tangibility these artists reveal their relationships to physical environments, grasping the ephemeral and rendering it material in digital worlds.
Designed and Curated by Tom&Tom (Tom Hunter and Thomas McLucas)
Participating artists:
Camille Dunlop
Gabriel Good
Xinming Cai
Liminal Archive | Liminal Archive | Liminal Archive | Liminal Archive | Liminal Archive | Liminal Archive |
The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting | The Quiet Enchanting |
These visualisations have been installed at a large scale on the Strand as a speculative reflection of Somerset house.
Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina | Aurora Ex Machina |
Developing methodologies of architectural masking and glitch, the project uses various methods of data-bending in order to create disturbances to undermine the normative and idealised vision of Puutalo Oy. The starting point was using the sauna as a typology to sit in opposition to this model housing. The sauna contaminates the image of Puutalo Oy and resists its normativity.
See an in depth project overview here
Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance | Body Surveillance |
The project opens the black box of proprietary wearables and displays associated technologies spread across the body, making explicit the body being mined. The resultant device establishes a connection across the body, between ECGreadings and bodycam imagery. The device takes readings and photographs the user’s surroundings simultaneously, highlighting actors within around them. This acts as a clear trade-off between surveillance and sensing of the self. Surveillance technology in this instance acts as a way to recontextualise bodily readings, connecting statistics to a time and environment. The data collected is stored openly online, devaluing the information through accessibility. The process both reclaims the user’s biometric data but also appropriates images of other bodies, placing the user in the position of both mined body and platform.
The collected data is exhibited in a performance of the device. The strength of electrical heart signals modulates the user’s environment. The bodycam imagery and collected biometric data are reunited with the body through a projection which acts as the final transformation of the data.
Performance here
Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction | Platform Jurisdiction |
Through a focus on the English Channel I investigated physical border infrastructure and government policy in order to understand how a digital hostile environment functions as part of a larger border apparatus.
Calais is a hotbed for the generation of media relating to migration. Stakeholders project contrasting pictures of life along this border. In June 2021 a TikTok video went viral, showing an overcrowded dinghy full of people speeding across the Channel. The content was similar in appearance to any of the supposedly journalistic reporting in the Channel the year before. The only noticeable difference was that the camera was in the hands of a migrant. Priti Patel sent a letter to social media companies calling on them to remove ‘posts which promote and even glamourise these lethal crossings’ calling them ‘totally unacceptable, the argument being that ‘they encourage others to leave a safe European country and put their and their family’s lives at risk.’
The frequency of the forms which make up the physical security infrastructure at the Port of Calais offers the possibility of interventions which hack these structures in a manner which is scalable through repetition, allowing sensitive data to transverse this border.
In developing this phased approach I aim to suggest a speculative proposal which adapts to the temporality of the conditions along the border and reacts to the choreography of movements across the border.
Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar | Kasputin Yar |
Our competition entry for ‘The Last Nuclear Memorial’, was situated on Kasputin Yar, a nuclear weapon and rocket development/testing site in Russia. The intervention reimagined the site as a nuclear waste storage facility, uilising the site’s geometry as a logic for entombing nuclear waste. This plane was interupted by a disk shaped object, presenting as something not of this world. Internally the space was mirrored to produce the effect of an infinite bubble chamber (a nuclear testing device). This hard contained exterior and seemingly infinite interior allude to the containment of peternatural nuclear power.
Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure | Altar of Contemporary Pleasure |
The project treats Albertopolis a ‘holy site’. It is designed to accommodate the mortal characters of Plato’s Republic (aspects of which exist in all of us) rather than the divinities of semester one. The architecture is imagined from relics of 18th century typologies from the English pleasure garden as well as relics from ancient Greek art and architecture. These relics serve as the physical embodiment of civilisations at a moment in time. This attitude towards the preservation of culture comes from an 18th&19th century antiquarian mindset, one which saw ancient art and mythology inform their ideals, easily seen when aligning ideals of beauty which we have inherited from that period with those of classical sculpture. This manifested itself architecturally in revival buildings, where historic aesthetics were adopted. My project borrows from this language and by contrasting classical and contemporary elements which instigates an anthropological study of how our culture and civilization has been informed by these ideals which were in turn informed by ancient culture which they imported as part of their expansionist programme.
Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai | Salon to the Mousai |
The three interventions are set in the Bacchic ruin of the Natural History Museum, which becomes the garden in which the follies can be orchestrated. The mise-en-scene resembling that of a picturesque painting, the Roman Campagna or Tintern Abbey.
The museum has been flayed in this way as punishment for presenting an overly picturesque vision of nature. Flaying was a common method of torture in Greek mythology, often in response to undermining the gods, as can been seen in the tale of the satyr Marsyas who challenged Apollo to a musical duel. As Hellenists worshiped pantheistic gods, divine embodiments of aspects of nature, censoring the ugliness and wildness of nature, taming it for display as part of a controlled carefully careless picture, 18th and 19th century methods of natural representation and study are sinful. These picturesque ideals alongside scientific truths conjured by the dominance of visual study at the time were at odds with one another and the museum became an embodiment of this.