Recalled from composite memory in 2061, Self Portrait: Arnolfini is a relational timeline of institutional self-consciousness. The complete timeline is being tweeted @SP_Arnolfini as part of the Samsung Art+Prize: 17th - 29th January 2012

Self Portrait: Arnolfini













address data spriteAs part of the Samsung Art+Prize, I  tweeted the whole of the data sprite timeline of Self Portrait: 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.



I contributed a presentation to the International Conference: Free/SlowUniversity of Warsaw in October 2011, and two month later a beautiful 430 page publication is out. Amazing! 

An English version of the written-up presentation, without footnotes, is here


Free/Slow University of Warsaw. Volume 4

Self Portrait: Arnolfini

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 performatively inhabited 2061 and recalled from composite memeory, how we got there. 

 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

Thames, RotherhitheGates of Heaven


Sunday 20th November, on my way to the Critical Practice Walk and Talk at the Royal Observatory. The walk (we were to meet at at 1pm) started at the Prime Meridian, Longitude 0° Latitude 51° 28' 38 N........ even if it rained. The walk was entitled from Science to Culture........


Anyway, on my way there I stood stunned before the gates of heaven in Mile End, and the walk unfolded through banks of fog pierced by sparkling winter sun, like in a Turner painting. Beautiful.


See Man on a Plate

FSUWExhibition Experiments (working title) 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


See the project blog or


St Pauls, London

As part of Self Portrait; Arnolfini we produced a beautiful celebratory publication, designed by Stephen Coates and developed in close collaboration with archivist Julian Warren.  

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

You can view, or download a .pdf, read a data sprite snippet, or see how we developed the raw-text on this wiki.

A print version is published by Arnolfini and available from Cornerhouse.

FSUWI'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]

description: there

program: here

In December, just two months later a beautiful 430 page polish language publication was produced, it has a written version of my presentation A Joy Forever .

7pm Thursday 6th October 2011

Studio, 1st floor

ZKM Museum of Contemporary Art, Karlsruhe, Germany

As part of the reflexive research program accompanying the exhibition The Global Contemporary. Art Worlds After 1989  I participated in a workshop screening of Museum Futures: Distributed (2008) followed by a lively discussion on the future of museums, art and its markets, the financial crisis, the forces of globalisation, technocity and much else besides.

Globalization as a phase in the geo-political transformation of the world is at once a transformation of art – of the conditions of its production, and possibilities of its diffusion and dissemination and presence. At the same time, artists, and above all the institutions of art, are faced with the questions as to the extent to which the concept global can and must be thought – and how this reflects back on its own methods of working. The Global Contemporary. Art Worlds After 1989 examines the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception. A critical analysis of the key institutions of the art world seeks to illustrate the manner in which globalization has both shaped and itself become a theme in artistic production that intentionally creates and reviews its own conditions of possibility. With The Global Contemporary. Art Worlds After 1989  ZKM Karlsruhe, imagines itself as a utopian factory a place in which local experiences of time subvert the unity of the new universal time.


Forsythe's  dance soloBarn doors, RiocalienteBat-eared kittenAngel MoneyRoof AccessBasia