As part of the Samsung Art+Prize, I will tweet the whole of the data sprite timeline of Self Portrait: Arnolfini.  

Hashtag #SP_Arnolfini

Recalled from composite memory on the eve of our centenary in 2061, three relational threads are intertwined;

1. social and financial organisation

2. technological innovation

3. art and its institutions

The complete timeline of institutional self consciousness, 2061-1831; starts with riots.

You can read a data sprite snippet, or see the beautiful book designed by Stephen Coates, published by Arnolfini and available from Cornerhouse.

Friday 2nd and Saturday 3rd December 2011

I will be in Plymouth to participate in the Finale Symposium for the British Art Show 7. With Tom Trevor, Director of the Arnolfini and using Self Portrait Arnolfini as our guide, we will permormatively inhabit 2061 and recall from composite memeory, how we got there. 

2056
 Singularity is overwritten by difference

With the evolution of assemblies for replication, singularity is overwritten by difference.

Everything is at once singular, everything can be narrated into singularity. Yet nothing is singular, everything can be bedded down into a flow of precedents and antecedents. The singular only exist at the level of the ideology, it disappears as we advance towards it. The singular is in essence a generic artefact, assembled from the minute and relative differences from within a defined series.  And this drive to replicate, image for image, object to object, sound to sound, word for word is how we make the know world; and, that world known to one another.

Read the symposium twitter stream

Exhibition Experiments (working title)

Exhibition Experiments is a collaborative practice-based research project into histories of exhibition.  Students, staff, experts and others will together research the idea of exhibition as a bundle of technologies for display and exchange. There are an increasing number of academic publications and conferences in curatorial and exhibition history, although the premise of this project is research through practice; we will make things, and make things happen.

The project might construct key exhibitionary moments; for example architect Frederick Kiesler’s 1924 L+T System for museum displays; a fragment of El Lissitsky's Abstract Cabinet (destroyed by the Nazis in 1937) we may also re-enact projects such as op losse schroeven (Stadelijk Museum, 1969) the entrepreneurial Freeze exhibition of 1988, or maybe one of Rirkrit Tiravanija's convivial cooking exhibitions. 

These are mere suggestions - the plan would be to develop an exhibition of key exhibitionary experiments, collectively.  This will unfold through seminars and workshops before the Triangle ‘exhibitionary’ period, and during the physical construction of the exhibition itself. 

Exhibition: Triangle Space, Chelsea College of Art & Design

When: Monday 21st May – Wednesday 30th May 2012

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See the project blog or #ExhibitionExperiments

I'll be contributing to the International Conference: Free/SlowUniversity of Warsaw

The Free University of Warsaw is a nomadic centre of interdisciplinary studies, critical reflection, and independent thinking about art and society. The FUW operates parallel to the official centres of artistic and academic education. Its principle is to combine theory with praxis within culture while working as an informal research centre.

The Labour of the Multitude: The Political Economy of Social Creativity

when: 20th - 22nd October 2011


where: Warsaw, Campus of the University of Warsaw: Old Library (Hall 205) and Warsaw University Students' Council Hall, 26/28 Krakowskie Przedmieście, Warsaw

participants: Hans Abbing, Luc Boltanski, Neil Cummings, Diedrich Diederichsen, Isabelle Graw, Matteo Pasquinelli, John Roberts, Gigi Roggero, Martha Rosler, Hito Steyerl, Joanna Bednarek, Isabelle Bruno, Dusan Grlja, Precarious Workers Brigade, Johsua Simon, Stevphen Shukaitis, Britta Timm Knudsen, Ewa Majewska, Jason Francis McGimsey, Vlad Morariu, Yiannis Mylonas, Alexander Neumann, Bojana Romic, Massimiliano Tomba, Marina Vishmidt and Patricia Reed



the conference is free of charge, although the 
number of places is limited


reservations: szymon[at]funbec.eu


description: there

program: here


In December, just two months later a beautiful 430 page publication was produced, inspired by the conference.