Exhibition at Old Fire Station, Oxford, 17 January – 14 March 2020
Opening: Thursday 16 January, 6-8pm
Microscopy of the Union Flag is a forensic visual examination of the Union Jack. Utilising progressively greater magnification, the exhibition is a photographic exploration of the physical aspects of the national flag intended as a reflection on the crisis of national identity in which Britain currently finds itself.
Utilising extreme macrophotographic and microphotographic techniques, the work offers a literal parallel to the frantic introspection of a country seeking a definition of itself. The national collective self seems characterised by its rifts as much as common values; rifts between the constituent nations of the Union, as well as the potentially deeper rifts between those of diverging views about the nation’s place in the world at large. The work is a reflection on nationalism and patriotism and is in a literal sense a search for meaning within these concepts; patriotism has vastly different meanings and emotional weight between individuals.
Global Control and Censorship
26.01.2018 – 01.03.2018
Opening: 26.01.2018 / 18.00
Venue: Arsenal Gallery, ul. A. Mickiewicza 2, Białystok
Artists: Hamra Abbas, Selma Alaçam, Halil Altındere, Daniel G. Andújar, Osman Bozkurt, James Bridle, Alice Cavoukdjian dite Galli, Michael Grudziecki, KIT – KASTEL, Fréderic Krauke, Marc Lee, Virginia Mastrogiannaki, Erik Mátrai, Chris Oakley, Ruben Pater, Dan Perjovschi, Ma Qiusha, R.E.P., Oliver Ressler, Bernhard Serexhe, Christian Sievers, Kota Takeuchi, Wilko Thiele, Ivar Veermäe, Alex Wenger & Max-Gerd Retzlaff,
Curators: Bernhard Serexhe, Lívia Nolasco-Rózsás
Collaboration on the part of Gallery: Eliza Urwanowicz-Rojecka
Knowledge is power. And power is possessed especially by whoever controls the flow of information. This applies particularly in digital culture, where all the information in the World Wide Web can be manipulated, uncontrolled.
For a long time, a hope for new forms of democratic participation arose from the use of these digital instruments, but recently they have been misused as the ideal door opener for the surveillance of billions of people. Democratic states have long reserved the right to spy even on their »friends«, in all military, economic, and social aspects, and on all levels: governments, organizations, NGOs, and individual citizens are all under surveillance.
The Nuclear Culture Sourcebook launches 18th October, ICA London, and features work by Chris Oakley and other members of the X-10 group.
The Nuclear Culture Source Book is a resource and introduction to nuclear culture, one of the most urgent themes within contemporary art and society, charting the ways in which art and philosophy contribute to a cultural understanding of the nuclear. The book brings together contemporary art and ideas investigating the nuclear Anthropocene, nuclear sites and materiality, along with important questions of radiological inheritance, nuclear modernity and the philosophical concept of radiation as a hyperobject.
Contributing writers: Peter C van Wyck; Gabrielle Hecht; Timothy Morton; Jahnavi Phalkey; Noi Sawaragi; Eiko Honda; Susan Schuppli; Victor Gama; Di McDonald and Nicola Triscott.
Contributing artists: James Acord; Shuji Akagi; Lise Autogena and Joshua Portway; Erich Berger; Chim↑Pom; Thomson & Craighead; Nick Crowe and Ian Rawlinson; Gair Dunlop; emptyset; Merilyn Fairskye; Nina Fischer and Maroan el Sani; Victor Gama; Joy Garnett; Giuliano Garonzi; Grand Guignol Mirai; Dave Griffiths; Annie Grove-White; Helen Grove-White; Isao Hashimoto; Hilda Hellström; Cornelia Hesse-Honegger; Hollington and Kyprianou; Martin Howse; Pierre Huyghe; Ai Ikeda; Robert Jacobs and Mick Broderick; Miyamoto Katsuhiro; Yoi Kawakubo; Bridget Kennedy; Yves Klein; Erika Kobayashi; Karen Kramer; Sandra Lahire; Jessica Lloyd-Jones; Veronika Lukasova; David Mabb; Cécile Massart; Eva and Franco Mattes; William Morris; Yoshinori Niwa; Takashi Noguchi; Chris Oakley; Uriel Orlow; Trevor Paglen; Yelena Popova; Monica Ross; Susan Schuppli; Taryn Simon; smudge studio; Isabella Streffen; Shimpei Takeda; Nobuaki Takekawa; Kota Takeuchi; Mika Taanila and Jussi Eerola; Robin Tarbet; Suzanne Treister; Alana Tyson; Mark Aerial Waller; Andy Weir; Jane and Louise Wilson; Louise K Wilson; and Ken + Julia Yonetani.
Nuclear power is and has been a frequent presence in the news and is particularly pertinent within current debates surrounding pressures of energy supply around the world. The artist group X-10 bring together the fruits of two years working together around the closure and decommissioning of Wylfa on Anglesey, the last nuclear power station in Wales and the last and largest of the Magnox stations. The final shutdown in December 2015, marked the end of an era for the local community and brings to the fore the question mark over the next generation of nuclear power.
The artists in X-10 present a range of compelling responses through video, photography, sound, sculpture, installation and alternative photographic processes to try and come to terms with the conundrums of nuclear power, our future energy requirements and environmental concerns. The group, who practice both in Wales and England, worked closely together through visits to Wylfa and ensuring a process of continual dialogue. Each artist has made an individual response to the physical and energetic presence of the power station, the future legacy for the Anglesey site and to the complex associations of nuclear power.
Merging art, science and technology the show presents new questions and thoughts to the nuclear debate. The works present a breadth of ideas such as responses to the often-hidden and somewhat mysterious physical actions of the reactor, the sensitive issue around containment of radioactive waste and to the wider associations of nuclear power. The artists are interested in looking at the site’s physical, political and cultural contexts as well as surveying the actual landscape and its geographical situation.
X-10 are Alana Tyson, Annie Grove-White, Ant Dickinson, Bridget Kennedy, Chris Oakley, Helen Grove-White, Jessica Lloyd-Jones, Robin Tarbet, Teresa Paiva, Tim Skinner
Supported by the Arts Council of Wales.
Datacide speculates on the future of data and digital culture. A sculptural installation, created from the remains of destroyed Hard Disk Drives, both reflects upon the meaning of data in a digitised culture and considers a possible scenario where technology has become irrelevant and is reduced to its material qualities alone. It is also intended as a reflection on the consumption cycle quietly inherent in digital culture, and the downstream disposal of electronic waste in the developing world.
The work questions our relationship with data itself, inviting reflection on the connections between data and our physical world. At the same time the work forms a kind of mausoleum, where the data has departed the physical media that housed it. In an increasingly cloud-based, online and remote world of digital media that we inhabit, we operate under the illusion that data has been somehow freed from the need to exist in a physical location (as magnetic recordings) on the surface of a hard drive.
In Datacide punched and shredded hard drives are used as materials analogous to those employed in landscaping and early stone construction. These ‘raw’ materials are used as building blocks to create a form reminiscent of a conical cairn, a structure widely used as a location marker from prehistory to the present.
As an artist with a history of working primarily in video and video installation, this work investigates sculptural installation as a new approach to some of the themes implicit in his work for a number of years. The idea for the piece is inspired in part by reflection on the future of much of the artist’s work to date, much of which exists solely as digital files on hard drives.
Datacide open 6th February 2016, 5-8pm, Oreil Davies Gallery, Newtown, Powys, UK.