'Curriculum Visiteur' Functions as a year-long subjective archive and case study.
By compiling the data of visited exhibitions into viewed artists, curators, and spaces, it will serve to provide listed data that can be organised into quantifiable fields. The list also serves as an exercise in accelerated viewer bureaucracy in an art world that values the frequency and volume of visits, serving as networking opportunities, and following the logic of show participation to add a line to a CV.
2016 Audience Member includes only artists born after 1900 listed in exhibited artists in temporary exhibitions. 2016 Audience Member excludes permanent collections, online exhibitions, and art fairs.
1 January - 31 December 2016
Top 10 Viewed Artists:
(6) Jon Rafman (b. 1981, Montreal, Canada)
(5) Frances Stark (b. 1967, Newport Beach, California)
(4) Debora Delmar Corp (b. 1986, Mexico City, Mexico)
(4) Adrian Piper (b. 1948, New York, United States)
(4) Neil Beloufa (b. 1985, Paris, France)
(3) Sophie Jung (b. 1982, Luxembourg)
(3) Charlotte Herzig (b. 1983, Vevey, Switzerland)
(3) Carles Congost (b. 1970, Olot, Spain)
(3) Thomas Ruff (b. 1958, Zell am Harmersbach, Germany)
(3) Mark Leckey (b. 1964, Birkenhead, United Kingdom)
(3) Jonathan Monk (b. 1969, Leicester, United Kingdom)
(3) Aleksandra Domanovic (b. 1981, Novi Sad, Serbia)
(3) Simon Denny (b. 1982, Auckland, New Zealand)
(3) Camille Henrot (b. 1978, Paris, France)
(3) Hito Steyerl (b. 1966, Munich, Germany)
(3) Ryan Trecartin (b. 1981, Webster, Texas, USA)
(3) Lizzie Fitch (b. 1981, Bloomington, Indiana, USA)
(3) Seth Price (b. 1973, Jerusalem, Israel)
Top 10 Visited Spaces:
(6) Koenig Galerie, Berlin, Germany
(6) Sprueth Magers, Berlin, Germany / London, United Kingdom
(6) Kuenstlerhaus Bethanien, Berlin, Germany
(5) KW, Berlin, Germany
(5) Schinkel Pavillon, Berlin, Germany
(4) Esther Schipper, Berlin, Germany
(4) House of Egorn, Berlin, Germany
(4) Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
(3) DUVE, Berlin, Germany
(3) Societe, Berlin, Germany
(3) Projektraum LS43, Berlin, Germany
(3) Insitu, Berlin, Germany
(3) FOAM Fotografiemuseum, Amsterdam, Netherlands
(3) KOW, Berlin, Germany
(3) Haus am Lutzowplatz, Berlin, Germany
(3) Green Ray, London, United Kingdom
(3) GASK - Galerie Stredoceskeho Kraje, Kutna Hora, Czech Republic
Angels Miralda (b. 1990, Princeton, New Jersey; lives and works in Berlin) Miralda is interested in mythological narratives, models of institutional critique, and pre- and post- capitalist economies. She holds degrees in Art History, Philosophy, and Italian Studies from John Cabot, Rome where she wrote about Arte Povera, Pier Paolo Pasolini, and Antonio Gramsci. She is currently on leave from a Ph.D. in Critical and Historical Studies at the Royal College of Art, London. Her dissertation covers topics of space, time, and value in exhibition making with a focus on Installation and Institutional Critique as a matrix for Contemporary Art.
Recent curated exhibitions include 'Open Process Number 5', Space Art and Technology, London - Thomas Yeomans, Jon Rafman, Sydney Shen, Joey Holder, Viktor Timofeev, 'Dissent as an iPhone App', Arebyte Gallery, London - Debora Delmar Corp, Saemundur Thor Helgason, Daniel Keller, Ella Plevin (both 2016) '...and the soft ground in the garden was also a constellation...', Lychee One, London - Salvatore Arancio, Mark Essen, Katrin Hanusch, Nicholas Johnson, Leonor Serrano Rivas, Alexandre Singh (2015), 'His Sprinkled Blood Served to Fructify Three Golden Apples', Atelier 35, Bucharest - Abraham Kritzman & Marlene Steyn, 'MNYITGHOHLOTGY', Modulab, Bucharest - Mathis Gasser, Itay Marom, Gilad Ratman, Lu Yang, 'Magic Hour', Area 51, London & LINK Castle of Brescia, Brescia - Simone Monsi, Frederique Pisuisse, Andrea Williamson (all 2015) 'Retour sur une exposition legendaire: Interviews with Daniel Buren and Rasheed Araeen', (Catalogue) Centre Pompidou, Paris - Daniel Buren & Rasheed Araeen (2014)
'Hidden Depths' is a computer animated video work with an accompanying collection of downloadable 3D props hosted on sketchfab.com.
At the moment of doubt, worlds open up, and each fresh report from those strange worlds leads to further doubt. This has been the century of the invention of the personal and collective unconscious, of anthropology, palaeontology, of science fiction and scientific cosmological speculation: the creation of thousands of other worlds, terrestrial and extra-terrestrial, apparent to the eye of a traveller or beyond the reach of the telescope, buried in the earth, hidden within an unsuspecting mind. ( . . . ) in the century of uncertainty, of mass man and the bombardment of images, one can see the world in a grain of sand only if one simultaneously sees the thousands of undressed oiled bodies baking on the beach, the web of their social interactions, the raw sewage pumped into the sea and the contaminated lives of the marine animals, the kiosks with their pink bunnies and rubber ducks, the thumping transistors and careening Frisbees, the bumper-to-bumper traffic snaking along the coast. A macrocosm without the microcosm.
— Eliot Weinberger, The Spider and the Caterpillar (1985)
In William S. Burroughs novel The Wild Boys (1972) feral boys roam what is left of a devastated earthly landscape, murdering, raping and pillaging. Leaving a trail of destruction in their wake. For Burroughs this was probably the ultimate erotic fantasy, youth running amok, destroying the past and creating an uncertain future as they go along, the goddess Kali on a hover-board. The cover of my pocket copy features the airbrush-painted ass of one of the Wild Boys covered in rainbow speedos with trickles of blood going down his thighs. However, as with Naked Lunch I didn’t enjoy the book at all, no matter how much I wanted to, it was more a chore than a pleasure to get through. But somehow the image of the Wild Boys is an exciting, if terrifying one; A sub-human torrent of self-indulgence, the id running amok, or to quote the earlier Weinberger text “raw sewage pumped into the sea”. What would wash up on shore after the wreck? What artifacts would be left next to the bodies of their victims? Imagine the morning after, would there be an inspector Morse or Barnaby arriving at the crime scene? A CSI forensic team in blue overalls and rubber gloves, marking the evidence with tiny yellow tents, mapping out the unconscious of the mindless. Surveying each millimeter of this strange new world of pink bunnies, Frisbees, instant noodles, plastic cutlery, rubber sandals, empty cigarette packages, doubt and uncertainty. A scene from dystopian krimi where everyone's a suspect.
Rustan Söderling (1984, Gothenburg, SE) lives and works in Amsterdam NL. He studied at Gerrit Rietveld Academie, Amsterdam NL, graduating in 2009. Söderling primarily works with video, print, writing, editing and design. Recent exhibitions and screenings include Feeling in the Eyes, Tenderpixel London, UK; Tenderflix, international film and video competition, Tenderpixel and ICA London, UK; Man in the Anthropocene, Harbinger, Réykjavik IS; The Post-Material Antiquarian, Fanfare, Amsterdam NL.
'The multiplying sun' is an essayistic tumour spreads across landscape of the web; a vegetarian spam fairly traded in the circular loop of exchange; a shattered poem from distracted articulation implanted in liquid labyrinth.
Sikarnt Skoolisariyaporn is an artist based in and out of Bangkok. Via moving image, performance, text and installation - her practice embraces perpetual complexity of space and time anomaly. She recently completed her MFA in fine art at Goldsmiths University in a state of weightlessness, and currently practice spinning and falling (level 2)
Recent exhibition included: Parabiosis: Regeneration-Expansion, Chongqing Changjiang Contemporary Museum, Chongqing, China; Guilt Complex, Chalton Gallery, UK; Laundry National Art Prize, Australia; When Body Moves City, CCLAP, UK; Pareidolia ll, SPILL festival, UK; No Electricity, No Gas, No Water, Germany. Recent performance included: Space in body in Space, Stanley picker gallery, London, UK;Ouroboros Month of Performance Art-Berlin, Cell 63, Berlin, Germany; Amnesia Liquidity, Gruentaler 9, Berlin, Germany; People of Atlantis, Bournemouth Thai Contemporary Art Festival, UK; Sinking un-reading, Reading – Writing, Five years, London, UK
'Signe' is a list of sounds from Periscope's users.
The list will change over the summer with the intention of using the collected material for the writing of a theater play. At present, the selection considers the following directions:
• Together, practise whispering and speaking in a low voice: this arouses attention and a kind of collective expectation. When we whisper, our gazes can cross again.
• Speak in a befuddling way: seek conversation situations in which the uses of language can be knocked together and mingled.
• Set words and bodies in a situation of negotiation. Encourage their reciprocal influences to act full throttle. Words should be able to carry bodily experiences and vice versa. It is not about rejecting language. Try to mingle words into bodies and bodies into words.
• Approach any deficit of embodiment or absence of physical presence as beneficial crises, as potential occasions to explore and learn.
• Observe the hollows: What is happening when we think nothing is happening? What are the continuities between the waves, between the intense moments? Try to put yourself in the position of these hollow passages.
• Faced with differences, exercise astonishment.
Balthazar Berling (b. 1985, Paris) is Currently based in Stockholm.
Berling’s working process is performance-based and happens in dialogue with others. His practice focuses on the body, its faculty of speech and its gestures. Since 2013 his research deals with the contemporary transformations of male subjectivities. His process is influenced by a growing understanding of feminist theories and practices. http://www.balthazarberling.com/ & https://vimeo.com/130481363 + 2015
'The Facebook Fake Profile Archive' acts as repository documenting fake Facebook profiles. The public group allows members to upload these fake accounts when they discover them, before they are eventually removed by the social media site.
Many of these profiles are created automatically utilising software to build potentially thousands of fake social media accounts, the software can randomly select images for the profiles along with other personal details, such as where they work and live. These accounts exist for a number of reasons, sometimes they are purchased by companies and individuals to act as fans for a page or they can also be created for spreading spam or data mining real accounts.
Fake Facebook profiles generally share similar characteristics to one another. Examples being that their profile pages are relatively empty aside from their birthdate and their profile picture. Other attributes are that they rarely display a cover picture, they usually have very little or no posts and they often have few friends. Finding a friend request from someone who you do not personally know or share any friends with, coupled with the previously mentioned attributes will in most likelihood mean that the profile is fake.
Perce Jerrom was born in the UK graduated from his BA at Oxford Brookes University in 2009, he also graduated from an unaccredited MA at School Of The Damned in 2015.
He has recently exhibited and organised shows at Bikini Wax (Mexico) Yautepec (Mexico) Turf Projects (Croydon) STCFTHOTS (Leeds) Welcome Screen (London) Bosse & Baum (London) Rogue Project Space (Manchester) and Platform 1 (London).
In 2015 he completed a residency at Casa Maauad in Mexico City, he also attended a residency at ESARQ (Escuela Superior de Arquitectura) in Guadalajara, Mexico in 2013.
Perce Jerrom’s practise currently draws from modern technologies, user-generated websites, search engines and their algorithms. He often uses existing online ephemera to discuss wider social and cultural issues; such as technology’s effect on language, the perpetual re-contextualizing of medias, the presentation of the self, and the democratization of information. He attempts to integrate elements from both high and popular culture, combining the humour and baseness of low culture but also often referencing contexts and theories devised by various Art movements throughout history.
Perce currently lives and works in London.
'Images:Images (2016-2021)' is an archive of the Google image search results returned by the search term ‘images’. Each entry of the archive will contain the two first pages returned by Google image search with its standard setting, as well as the first page returned with image size = large setting. Entries to the archive will be recorded each month for five years and stored in the Internet Archive.
In the five-year term the project aims to track the evolution of the online popular visual culture through the trends found in the image searches. At the same time, each entry to the archive is a snapshot of the present collective subconscious and shows us what we - together with Google’s crawling algorithms - consider to be a beautiful image.
Although these images can be dismissed as kitsch or tacky, their mesmerising quality is hard to resist. They certainly are attracting, reassuring us that there is hope for tomorrow and that life still has some magic left in it. In 1000 years, when one of our descendants stumbles upon the archive and understands that this is how we wanted to be remembered, I have succeeded.
TL;DR for the next five years I will be googling the word "images" in the Google image search and saving the archive for all eternity.
Aapo Nikkanen (b.1982, Finland) is an artist based in Paris, France. His current interests include online-based group intelligence, the development of AI theories in the new millennium and the notion of memory and the right to forget in the digital age. His longterm projects often include a significant research or collecting phase, which is counterbalanced with a more immediate practise, compromising of ephemeral works, installations and abstract digital prints. www.aapoaapo.com
'Alone is the new together’ is an ongoing curated collection of words.
Simone Monsi (b. 1988) lives and works in London where is currently studying at the MFA Fine Art at Goldsmiths. Recent exhibitions and projects include Binoculars Hands Emoji (Green Ray, London), Fate i buoni! (Placentia Arte, Piacenza), Feeling The Walls (The Breeder, Athens), Magic Hour (Area 51, London), 6PM Your Local Time Europe (Link Art Center, Brescia) and Can I Dream Alone published in The Standard Model (Hato Press, London). He also runs several tumblr blogs including spyemme.tumblr.com, wildsimo.tumblr.com, yesterdaymyflightwasprettyboring.tumblr.com and stillsfromevangelion.tumblr.com.
The 'psycho.gif', 2012–2016 is an animated .gif of the entire film 'Psycho', 1960 by Alfred Hitchcock.
David Hanes b. 1987 Toronto, is a visual artist and curator whose expanded sculptural practice examines the architecture of the Internet and the experience of art in the digital age. Exhibiting in both offline and online communities he was recently included in The Widget Art Gallery (Online), Seventeen (UK), Intimate (Berlin), and Birch Contemporary (Toronto). Commissions include a remixing of Frieze, NYC on artfcity.com and a weekly contribution on the Swiss art blog: we-find-wildness.com. David is the founder of the cloud based Later Gallery and a recipient of the TAC Individual Artists Grant, Hanes presently lives in Berlin and is represented by Birch Contemporary (Toronto). Website: http://davidhanes.info/
'CLEAN CARE', an offline retailer.
'1.7TB' is a downloadable torrent 1.7TB in size containing the complete contents of Joey Holder's hard drive.
Joey Holder, lives and works in London.
Holder received her BA from Kingston University (2001) and her MFA from Goldsmiths (2010). Recent solo/duo exhibitions include Lament of Ur, Karst, Plymouth (w/ Viktor Timofeev); BioStat., Project Native Informant, London (2015) and HYDROZOAN, The Royal Standard, Liverpool (2014). Recent group exhibitions include The Uncanny Valley, Wysing Arts Centre, Cambridge (2015); Sunscreen, online and at Venice Biennale (2015); A Plague of Diagrams, ICA, London (2015), #WEC - Whole Earth Catalyst, The Composing Rooms, Berlin (2015); h y p e r s a l o n, Art Basel Miami, (2014); Vestige: The Future is Here, Design Museum, London (2013) and Multinatural Histories, Harvard Museum of Natural History, Massachusetts, USA (2013). Upcoming exhibitions include projects at Glasgow International, LD50, Wysing Arts Centre and ANDOR.
(special thanks to Matt Woodham for coding the web platform)
'NOTES (for Cosmos Carl)' is the evolution of a series of video performances which started in Lisbon in 2013. For the first time, the expanding archive of sampled material is recorded and presented online.
Sam Smith currently lives and works in London. Upcoming exhibitions include ‘Ways of Looking’, Gallery of Contemporary Art, E-WERK, Freiburg; and Glasgow International 2016 at The Telfer Gallery. Recent projects include Centro de Artes Visuais, Coimbra; Screen Space, Melbourne; De Appel Arts Centre, Amsterdam; Australian Centre for Moving Image, Melbourne; Sandefjord Kunstforening and Larvik Kunstforening, Norway; Jupiter Woods, London; and insitu, Berlin (all 2015); KW Institute for Contemporary Art, Berlin; The Artists’ Film Biennial, Institute of Contemporary Arts, London; The Royal Standard, Liverpool; and Künstlerhaus Bethanien, Berlin (all 2014). He is currently part of ‘Objects from the Temperate Palm House’ at Bargain Spot, Edinburgh.
'Forgive and Forget But Get It!'
cause horses have to run not sit.
JKNET is a Membership Organisation and Cultural Production Label that was founded collaboratively by conceptual artists John Knight and Jarosław Kozłowski.
The aim of JKNET is to elevate art into the next level of consumption, where the art viewer not only becomes a participant within the art production but a Member of the vast community of the Artwork. An insider so to speak. Gradually this will lead to a change in the broader art-world's ecology and homogenise its power and value.
For this special occasion Cosmos Carl is inviting everybody to follow a unique link into the deep inside of JKNET, where you will have the opportunity to sign-up for an exclusive JKNET Membership.
Don´t hesitate. The Membership is absolutely free, although later some might request to become premium members. Become a Member now!
'Jólasveit og Jóladís' is a new christmas album and, acording to the artist, the second best christmas album ever made.
Released on December 12, 2015
All songs by Snorri Ásmundsson
Produced by Árni Grétar
Photo Jónatan Grétarsson
Design by Ámundi
Snorri Ásmundsson (b. 1966) is an artist who seeks to affect society through public events. He has intentionally disturbed the Icelandic community for some time with his extensive and remarkable performances in which he works with social taboos of politics, sex and religion. He has observed the reactions of society when commonly accepted values are turned upside down—for example, when a powerless individual takes into his own hands authority that normally is given to others by different predetermined rules. Howsoever people react to these grandstand performances, Snorri critically challenges social and religious values and seeks sharp responses, thus examining the limits of his fellow man and of himself.
http://snorriasmundsson.com/ & http://thecreatorsproject.vice.com/blog/seeking-one-dead-body-for-one-dance-performance & https://m.youtube.com/watch?v=1TVtha_luTI&feature=youtu.be
Anne de Vries
‘Submission’, an online extension of the work shown at Cell Project Space in London, Dec 2015.
Submission is an attempt to give form and purpose to our hyper connected world and reveals it as information driven reality where digital technologies are embedded in everyday life and feed a human desire to surpass the limitations of body and mind, where boundaries of accessibility and freedom can also question the realm of personal privacy and control. It deals with varying notions of ‘the individual’ inside mass collectivity of ‘pluralist culture’ bringing into question an evolving ideology of design and architecture in the public sphere.
The exhibition follows Anne de Vries’ current solo exhibition at Cell Project Space 'Submission' (2015), ‘E-Merge’ at Foam Museum Amsterdam (2015), and ‘Deep Screen’ at Parc Saint Léger,France (2015).
Selected group exhibitions include ‘Still/ Life’ at Three Shadows Museum, Beijing (2014), and ‘It aint whatcha write, it’s the way atcha write it’ at Manifesta Foundation, Amsterdam (2014) ‘Super cial Hygiene’ at De Hallen (2014), ‘The Dark Cube’ at Palais de Tokyo, Paris (2012), ‘Brands – Concept/Affect/Modularity’ at Salts Basel (2014) and ‘The Moving Museum’ in Istanbul (2014).
Leifur Ýmir Eyjólfsson
‘Monday Tuesday Wednesday Thursday Friday Saturday Sunday’ (numbered/52, signed) will be on sale on ebay starting on Friday the 27th of November.
I am a fisherman.
My leurre is my print,
ebay is the open sea.
the days of the week.
Leifur Ýmir Eyjólfsson is an Icelandic artists and fisherman based in Reykjavik working in a wide range of media. He graduated from an art school in Iceland in 2013. Recent exhibitions include '#KOMASVO' in ASI museum in Reykjavik, 'Standard euro instalation' in Gallery Better Wheather, Reykjavik (both in 2015) and 'What do you think about the European union' in Gallery Restroom at Bast (in 2014).
Starting from his own experience of being hypnotised, 'MIND AND BODY BODY AND MIND' sees Arancio humorously attempting an unlikely group hypnotherapy session, focused on a script extrapolated from a Youtube video, that aimed to hypnotise the unaware sitter to became a better artist.
Arancio proceeded to replace the video’ s initial images with its own psychedelic mash up of found and made footage, layered with flashing lights emulating similar alpha waves to the Dream Machine created by Brion Gysing and Ian Sommerville in 1959, as well as binaural beats and an actor’ s voice reciting the exact original text.
Both existing as a performance and a video, Arancio’ s immersive and hypnotic piece aims to questions ideas of perception, authorship and reproduction as well as the text somehow ordered description of what an artist is meant to be.
Commissioned by Whitechapel Gallery.
Salvatore Arancio uses a range of media including sculpture, photo etchings, collage, animation and video to produce works that look to science and nature as sources of inspiration. Fascinated by founding myths and legends, Arancio manipulates images to create new juxtapositions that are both beautifully evocative and deeply disquieting. Born in Catania, Italy, Arancio lives and works in London. He received his MA in Photography from the Royal College of Art.
Selected solo and group exhibitions include: Project 09 Salvatore Arancio, Contemporary Art Society, London (2015); The London Open 2015, Whitechapel Gallery, (2015); Fashioned to a Device Behind a Tree, Camden Arts Centre, London (2015); Une Taxonomie des Sens et des Formes, Centre d’art contemporain La Halle des bouchers, Vienne, France (May 2015); Cinéphémère, FIAC, Paris (2014); The Hidden, Ensapc Ygrec, Paris, France (2014); Cathedral, AV Festival, Northern Gallery For Contemporary Art, Sunderland, UK (2014); Curiosity: Art & the Pleasure of Knowing, Hayward Touring, UK (2013-2014); Cyclorama, Museo Tamayo Arte Contemporáneo, Mexico City, Mexico (2013); Alternating Layers of Contrasting Resistance, Rowing, London, UK, (2013); The Little Man of the Forest With the Big Hat, Federica Schiavo Gallery, Rome, Italy (2013); An Arrangement of the Materials Ejected, Spacex, Exeter, UK (2011); To See an Object to See a Light, Fondazione Sandretto Re Rebaudengo, Guarene d’Alba, Italy (2011); Forthcoming shows include a solo presentation at Kunsthalle Winterthur, Switzerland in 2016. Arancio recently completed the Ceramics Fellowship at Camden Arts Centre, London, UK (2014/2015).
Fan art is like a prayer to a deity of beauty or intrigue. The meditation upon a face of intrigue slows the drawer down line by line, stroke by stroke, until the faced mandala is perfected. However as prayers need to be repeated again and again, the face of a celebrity may be painted in series, coming across as obsessive compulsion. It is also just a prayer to a modern deity and an act of love.
This populist love can be put to use for the overall health of the planet:
"In 2006 when Knut, the polar bear cub born into captivity in a Berlin zoo, splashed across the front page of Vanity Fair alongside DiCaprio, the once-universal symbol for the world’s most popular soft drink was reframed to reinforce a different message. In this new image, the cuddly polar bear of Coca Cola’s “Northern Lights” commercials from the 1990s underwent a radical facelift. DiCaprio strikes a serious pose, engaging the viewer eye to eye from atop a Jökulsálón glacier in Iceland as Knut looks up at him with curiosity." (From Hijacking Sustainability by Adrian Parr)
Dear fans of Cosmos Carl, Leo and Knut are back with a most humble message of hope.
Andrea Williamson (Calgary, Canada) is pursuing a MFA at Goldsmiths University. She has written for numerous Canadian publications including esse, c magazine and Blackflash. Recent exhibitions include The Immortal Maker at Pith gallery, Calgary, #magichour at Area 51, London, and We at the Old Hairdresser’s, Glasgow.
'Questions for Meliza' is a week-long conversation I will be conducting privately with Meliza.
In February 2009 Google Earth was updated to version 5.0. Part of this update included a Mars-globe built from maps at a much higher resolution than those already available via the browser-based Google Mars. Google Earth’s Mars also has a population of one; a conversational bot called Meliza. Found at 40̊ 43’ 36.55’’ N 9̊ 29’ 15.79 W near the supposedly anthropomorphic ‘Face of Mars’, you can talk to Meliza in English about various things, mostly to do with Mars and other conversational bots.
Carl Gent born 1985, Bexhill-on-sea, UK.
Lives and works between Sussex and London, UK.
Recent exhibitions and performances include ‘Brimflód Sylfum Hréowa’ at Sky Burial Performance Space, London; 'Tongue of the Preinoculated #2’ at the Museum of Technology, Cambridge; The Space of No Exception at Sokol, Moscow; Ground Ground at Café Oto Project Space, London; IV Moscow Biennale for Young Art, Moscow; and ‘Gnats Inside the Wind Transposed for the Proterozoic Eon’ at all silent but for the broadcast, RCA Galleries, London and Facing Extinction, UCA, Farnham.
Debora Delmar Corp.
Keeping Up with the Kardashians (often abbreviated to KUWTK) is an American reality television series that has aired onE! since October 14, 2007. The show is currently in its tenth season and focuses on the personal and professional lives of the Kardashian-Jenner family. Its premise originated with Ryan Seacrest, who also serves as an executive producer.
The series mainly focuses on sisters Kim, Kourtney, and Khloé Kardashian. It additionally places emphasis on their parentsKris and Caitlyn Jenner (then known as Bruce), their half-sisters Kendall and Kylie Jenner, and brother Rob Kardashian, as well as Kourtney's ex-boyfriend Scott Disick. The significant others of the Kardashian sisters have also been featured on the show, including Khloé's ex-husband Lamar Odom. In season eight, Caitlyn's son Brody, who has made cameo appearances in the early seasons, joined the show to appear regularly, along with his brother Brandon, and Brandon's wife, Leah. Kim's best friend Jonathan Cheban and Khloé's best friend Malika Haqq have also been a part of the show.
Keeping Up with the Kardashians has received poor reviews from critics since its premiere. It has often been criticized for emphasizing the "famous for being famous" concept and for appearing to fabricate aspects of its storylines. However, the show has brought in very high ratings for the network and its success has led to the creation of numerous spin-offs, includingKourtney and Kim Take Miami, Kourtney and Kim Take New York, Khloé & Lamar, and Kourtney and Khloé Take The Hamptons, as well as the forthcoming Dash Dolls. It has additionally distributed all seasons to DVD.
Debora Delmar Corp. (b 1986, Mexico City) Lives and works between Europe, Mexico and the US.
Debora Delmar Corp. (DD Corp) is the name Débora Delmar adopted for the distribution of her artwork in 2009 reflecting on Capitalist Lifestyle and Aspirational Aesthetics.
The projects of DD Corp have explored topics such as trending color schemes in branding, corporate merchandising techniques irl and url, class issues created by producer and consumer relationships, international trading markets as well as local and mass production; real estate, home decor and commercial interior design as contexts for consumption, business ideology and the circulation of images from high to low culture as occurred with D D Corp’s logo which was commandeered by a chain of hospitals in Los Angeles and later permanently inked on Cara Delevigne and Jourdan Dunn´s hips.
Past exhibitions include a solo show at the Museo Universitario del Chopo in Mexico City, Mexico in 2014 titled Body Blend Trade Culture, a large installation of works stylized around coffee shop aesthetics and exploring their development in time as well as how this consumer product influences third world and first world markets, producers and consumers; Care Concepts at Mon Chèri, Brussels, Belgium and Upward Mobility at Modern Art Oxford, UK and the Biennial of the Americas in 2015.
The end is a location (outside or just beyond the penultimate location).
It is just a little bit further than the place where you would stop having ended.
The end is unrequited finishing – It lingers about outside of action.
It is a lost place where things probably end up having done all they were supposed to do.
Networks totally have an end. Even distributed ones.
Nicholas Brooks is a London based artist working across film, sculpture and installation and animation.
He did his MFA at the Slade graduating in 2011 and has since had shows at MOT Projects, V22, Vitrine, Bold Tendencies and the Jerwood Space among others
His films have been shown internationally at venues including the Garage Screen in Moscow, Rotterdam and Oberhausen International Film Festivals, Haus der Kulturen der Welt Berlin, Reina Sofia Madrid and have toured venues across the UK, United States and Japan. www.nickbrooks.info
'DullTech™’ has developed an honest plug and play video player, that loops and syncs video to the frame perfectly with the flick of a switch. An easy, USB media player, that works on all screens, and syncs without problems or cables. Technology that does not need to be exiting. It's boring, you know why? Because it just works.
You can help DullTech™ to make the first production run, by pre-ordering the DullTech™ media player, a custom signed player, or any of the brand new DullTech™ merchandise via kickstarter.
DullTech is a hardware startup and performative artwork concurrently. Created as a form of radical corporate publishing in an age of high efficiency capitalism, it creates technologically simplified or 'dull' products in order to distribute artworks in tribute to the late Ray Johnson. Initiated during a 2012 OCAT residency in Shenzhen China, with the company's motto 'neoliberal startup lulz', most products relate to production processes in the artist's studio. The company has exhibited in the Stedelijk Museum Bureau Amsterdam, HMKV Dortmund, Transmediale Berlin and the White Building in London.
'Free Software v.1.0.08.2015' is the first collection of an ongoing series of performance works that are made available for free, as a set of instructions and digital resources, for users to stage under the artists name without the need to secure permission. The Free Softwares made available for this Cosmos Carl download will all be produced and staged as prelude to the show ‘Abjects’ by Import Projects in Berlin on August 2015.
Paul Kneale (1986), is a Canadian artist based in London. He has exhibited at international venues including Evelyn Yard, London; TANK.TV, Musée des beaux-arts de l'Ontario; Fondation Galleries Lafayette, Paris; Haus der Kulturen der Welt, Berlin; First Biennale Online; David Roberts Art Foundation, London; ARTUNER and more. His recent ebook ‘New Abject’ is available for download at www.dreamingofstreaming.com. www.paulkneale.net
'The Gravestone Doji' explores the language of candlestick type financial analysis as a point of departure. Striving to understand trader sentiment, broker code, uncertain subjectivities, this type of analysis is mostly influenced by market emotionalism. Buy on greed, sell on fear. In 3 chapters,
Cultural artefacts stirred with the fates of abandoned airports | Subtitles as a necessary accommodation | For half a day I hiked around the abandoned runways and scrubby wastelands, everything was surrounded by wire fences and weeds had taken over wherever they could | Ghostly halls | smashed windows | broken doors | barking dogs | all expecting mountain top investments | A stalker in a car following me, maybe he is not a stalker, maybe he is just doing a u-turn | Small drones ascending and blocking the sky | the ally cemetery | luggage storage under capital controls | the market sentiment.
Valinia Svoronou (b. 1991 Athens) is an artist based in London and Athens. She graduated from the Slade School of Fine Art (2015) and the Athens School of Fine Arts (2013). In 2014 Imported Schemes, her first solo exhibition was presented by Radical Reading, an Athens-based curatorial project by Evangelia Ledaki and Petros Moris. Svoronou co-runs Low Impact, a digital and print publication. She co-organised the Ambiguity Symposiums presented at The Showroom Gallery and The Slade School. In 2015 she presented new work in the group exhibition Learning From Georges at Fokidos and Death Dealer, a collaborative project with Olga Papadimitriou.
Saemundur Thor Helgason
'Perspex vitrines for sale'
The Perspex vitrines were originally produced for displaying the packaging of Dyson AM05 Hot & Cool™ Nickel, Samsung UE48JU6500 Curved 4K Ultra HD Smart TV, 48″ with Freeview HD, Built-In Wi-Fi and Intelligent Navigation and a Panasonic SC-BTT505 Blu-ray Home Theater System, all custom made for the work ‘Things to return to the store’ exhibited during the Goldsmith MFA show 2015. The vitrines elevated the products while at the same time protecting their packaging.
The vitrines, with the production price of 680 GBP, will be sold to the highest bidder (starting price lies at 300 GBP) on www.ebay.co.uk.
Saemundur Thor Helgason (b. 1986, Reykjavik, Iceland) graduated from Goldsmiths university (2015) London, and the Gerrit Rietveld Academie (2012), Amsterdam. He is a co-founder of ‘HARD-CORE’, an Amsterdam and London based art organization. Recent shows include ‘Vanity Fair | Demo Mode’ at Project Native Informant, London, ‘#KOMASVO’ at ASI museum, Reykjavik and ‘Thank you’ at Jupiter Woods, London.
HOW MAJESTY ENDS is a “flat” and expanded video produced by artist Marguerite Humeau and designer Le Studio Humain for Cosmos Carl to be explored by means of searching scrolling. This tale of non-linear time and narration conflates the supernatural and post-human and unfolds around the mystery of an elephant ceremony: a mass graveyard elephants go to to die, lured by a seemingly supernatural force.
HOW MAJESTY ENDS demarcates the prologue, or initiation, of a larger project by Humeau - narrating the walk of an individual to the mysterious place.
A quest for the unknown as truth, a challenge to human primacy.
Marguerite Humeau (b. 1986, France) studied at the Design Academy Eindhoven and at the Royal College of Art, London, where she obtained her MA in Design Interactions in 2011. Her work was recently shown in a solo exhibition at Import Projects, Berlin and has been included in group exhibitions at TBA21 Thyssen-Bornemisza Art Contemporary (Vienna), the Serpentine Gallery (London), the Museum of Modern Art (New York), the Victoria & Albert Museum (London) and the Hayward Gallery (London). Her work is part of the permanent collection of the Museum of Modern Art, New York and of the Fonds de Dotation famille Moulin (Lafayette Collection), Paris. She lives and works in London.
Le Studio Humain is Benjamin Penaguin, a graphic designer and art director based in Paris, working with digital graphics, video, and print for editorial, curatorial and commercial projects: @[NjQyMTgzOTU5MjA4MTA3Omh0dHBcYS8vbGVzdHVkaW9odW1haW4uY29tLzo6:http://lestudiohumain.com/]
Anne de Boer
''8b6x7v17' is a continuation of Ecksenis, an investigation of the construction of works with open ends, to be altered by external factors. The series is dominated by the usage of algorithms and randomizers, but slowly inserts factors depending on local time and environment.
A senseless novel called 'the Fellowship of the Thing'2 written through the usage of a random text generator.3
A database of different ambient sounds.4
A self-portrait taken in the reflection of the laptop where this work is created on. This picture is set as the background of the >div that moves in random directions.
A graph7 changing its shape according to the amount of hours, minutes, seconds, milliseconds and changing throughout the year.
Anne de Boer (b. 1987, Enschede, NL) lives and works in London. Recent projects include: the new e-motion, FILE São Paulo 2015; var now = new Date(); La Scatola Gallery; www.asahi4.com, OPENYOURKIMONO; def shuffle(array, random), Lunch Bytes online Platform; xxxx-yyyy-pixeldrawing-####, Desktop Residency; the Mycological Twist, Jupiter Woods, London; Thank You, Jupiter Woods, London. In 2013 de Boer graduated with a BFA from the Rietveld Academy in Amsterdam. www.themycologicaltwist.info & www.ecksenis.net & www.annedeboer.net
Anne de Boer is participating in HARD-CORE since its foundation in 2011: & www.the-hard-core.eu & www.asahi4.com
Geirthrudur Finnbogadottir Hjorvar
The production of VESLA is supported by Mondriaan Fonds.
Icelandic artist Geirthrudur F. Hjorvar is attempting to re-institute symbolic meaning as a trend for a contemporary context. To this end, geometry turns out to be useful as a way to create allegories about the nature of perception; or as an explanation about how reality and its representation collaborate to form self-regulating feed-back loops.
Past works have been presented in Kunstverein Amsterdam (2015), Momart (2014), Stadhausgalerie Münster/Kunsthalle Münster (2013), W139 (2013), After the Butcher (2012), Kunstverein Milano (2012), Hafnaborg (2010), The Living Art Museum (2012), Motto Berlin (2012), Lettergieterij Amsterdam (2012), Hinerconti (2012), Kunstverein Ingolstadt (2011), SouthSouthWest (2010), Overgaden (2007), The Reykjavik Art Museum (2007), Bus Gallery (2006), etc.
For the relief of mild to moderate pain including headache, migraine, neuralgia, toothache, sore throat, period pain, aches and pains, sprains, strains, rheumatic pain, sciatica, lumbago, muscular aches, fibrositis, joint swelling and stiffness. It can also be used to relieve the symptoms of colds and flu.
How to Use:
Check the foil is not broken before use. If it is, do not take that tablet. Stir the tablets in a little water until dispersed and drink immediately.
Rob Chavasse (1984, UK) lives and works in London.
Selected exhibitions include; Groundwork, Roche Court, Salisbury (forthcoming), Earth wire, The Sunday Painter, London (2015), Drawing Biennial, Drawing room, London (2015) Ghostie! The Royal Standard, Liverpool (2014), Sand In The Disk Drive, Rod Barton, London (2014), Thank you, Jupiter Woods, London (2014).
'1014' re-purposed archive deconstructing the history of a persona as our common history and reality.
When Edward Snowden leaked the extensive materials on NSA phone and internet surveillance, he was sitting in a Mira Design Hotel in Hong Kong, the images of which are now well known and infamous. The video 1014 (http://1014.link/) Irish media artist Yuri Pattison later produced of this very hotel room, now appears like documentation of the scene of a spy thriller and emptied stage.
Between 2000 and 2002, Snowden was editor, webmaster and designer of Ryuhana Press, a small US based start-up and community website that had sold anime art. Archived under https://web.archive.org/web/20020620171530/http://ryuhanapress.com/ed.html, Pattison obtained the then expired rights of the website and has turned it into an archive of raw footage of a scene, that seems to be representing not just the Persona Snowden but the NSA and its operations as such.
Drawing an arch between Snowden's past and the present, raw elements of the work 1014 are hosted, to be discovered, and likewise unfold a web of links to discover Snowden’s past. Pattison explores the malleability of the architecture of the internet as a tool to link these events and thus malleability of the digital historical record and our perception of history through the filter of the internet.
'Eye Die Spy, a close reading'. Will be rewarded, or will it pervert the bigger picture?
Submit and receive information to collect clues and truths amongst lies and booby traps. Follow up on a chain of keys that will lead to an understanding of the world of Eye Die Spy.
To get involved in the ongoing game of Eye Die Spy, follow further instructions via www.cosmoscarl.co.uk, from Friday 7 pm (UTC+01) onwards.
Frederique Pisuisse (b. 1986, NL) Lives and works in London. She graduated from the Gerrit Rietveld Academy in 2013 and currently studies at Goldsmiths University. Recent shows include: “Office of Liquor Gaming and Regulation Dice Minimum Technical Requirements”, Luser Story, Brud, Warsaw, “NF presents: Vrom Ee toe Bie toe Zie toe Die”, NF group show Part II, P/////akt, Amsterdam, “NF presents: From A to Be to See to D”, NF group show Part I, Contemporary Art Centre Kim?, Riga, “Indian Summer”, duo show with Evita Vasiljeva, Galerie Fons Welters, Amsterdam.
Artun Alaska Arasli
Artun Alaska Arasli (b. 1987, Ankara) is an artist who lives and works in Amsterdam. He graduated from Gerrit Rietveld Academie in 2011 and continued his studies in Staedelschule until 2014. Recent shows include "My, My. A Body Does Get Around" at Wilfried Lentz Rotterdam and "How to Disappear in America (Recollection)" at Art Rotterdam.
‘CHAPTER 1’ is an online torrent of image and text material produced by the artist and available to download.
Torrent Files are computer files that spread in a peer-to-peer file sharing network across the internet. Torrent files hosted on servers are marked with trackers and allow for downloads to start from distributors (known as seeders) and requesting clients (known as leechers), thus multiplying themselves throughout the net.
I’ve started to think about what this means. The merging from me to you; transferring, receiving, a sort of bleeding from one source to another, perhaps as a way to give context to something perhaps as a thing in itself. A kind of container, a temporary architecture, a storage space for connective tissues. Maybe it’s a broadcast, a pirate radio station trying to be on point on the right frequency, on the correct bandwidth.
When we sit in this same room together and talk about weekend craft markets, DIY zine distro’s, pavilions, and biennales that have good wheelchair access, and how our interests span from sign language to gang signs, what we are really talking about is architecture. Structures for distribution, fleeting edifices, we construct the ephemeral. We want things to emerge so that they can disappear again, we want things to move and keep moving. Maybe we’ve had our best conversations at bus stops, orbiting around ideas, repeating ourselves, stuttering, changing what we are saying, always waiting, always due. A love affair with the elliptical, talking about the ellipsis. Coming back again and again, but never quite on the same path. No buildings were meant to last forever.
Jack Brindley (b. 1987, London) lives and works in London, and studied at the University of Reading and the Royal College of Art. Selected solo exhibitions include: Sweat, Pippy Houldsworth Gallery, London (2014); BC System, Public Work Solutions, with Lucas Clayton, Spike Island, Bristol (2013); and Blueprint, CSA Space, Vancouver, Canada (2013. Selected group exhibitions include: Group Show Jack, Neil, Shane, Gareth and Matthew, Choi & Larger, Cologne, Germany (2014); Tan Lines, The Drawing Room, London (2014); Chromatic Leak, Nam Project, Milan (2014); Foam, Project Number, London (2014); Mud and Water, Rokeby Gallery, London (2013); 21st Century Art and Design, Christie’s, London (2013); Slow is Smooth is Fast, Boetzelaer Nispen, Amsterdam (2013); Congratulations you are the most recent visitor, Kettles Yard, Cambridge (curated by Outpost gallery) (2013); and Bloomberg New Contemporaries, A Foundation Liverpool, ICA, London (2012).
'Hideaway (Bird remix feat Blackbird)' is the online release of this much anticipated remix of Hideaway - Keisza's praised debut single which hit the number one on the UK charts and dance floors from Blackpool to Brighton in the summer of 2014.
Bringing together a symphony of local birds from the seaside town of Blackpool this soundpiece features Blackbird accompanied by Canada Goose, Rock Dove, Coot, the Whooper Swan, Little Tern, Crow, Cuckoo, Tawny Owl and most most notably, the club legend, Snipe.
Emilia Bergmark (1986, SWE) is a visual artist living and working in London. Investigating the narrative of the everyday, her work rewraps phenomenological observations into poetic visual anecdotes in the form of writing, installation, film and printed matter.
Bergmark combined studies in art and graphic design at the Gerrit Rietveld Academie in Amsterdam and most recently she graduated from the selforganised MA program School of the Damned in London. Recent exhibitions include 'Problems, SOTD' The Horse Hospital, 'UK, Wiolators, Blackpool edition,' Supercollider (UK), 'Prospects and Concepts,' Art Rotterdam (NL) and 'Everything seems to happen to me one catastrophe after another,' Amstel 41 (NL).
'The Draining of the Mesopotamian Marshes of Iraq'
1. a painful freedom,
2. dry basin, harsh earth, fierce sunlight, volcanic lake, Euphrates Turtle, Western Wall, Temple Mount
3. pigment is used to carry mineral truth as well as lived feeling.
The Draining of the Mesopotamian Marshes of Iraq
The Aral Sea
'Another tab open on your desktop.' From Friday February 20th to Friday March 6th, Kulesh will maintain a comment-able Google Doc covering the events of AW15 fashion month (Feb 12 to Mar 11, 2015) as seen through the prism of Sylvanian Families; a line of collectible anthropomorphic animal figurines made of flocked plastic. This continues Kulesh's research into the acceleration of culture producing a byproduct of infantilism; also known as 'the kawaii-ization of everything.'
Leslie Kulesh (b.1982 Lake Forest, IL USA) produces performance and sculpture across multiple platforms, seeking to reveal the role of technology as a material labour that intersects with human-being as well as land-being, becoming a symptom of contemporary culture production. Her most recent project T.A.G. Temporary Autonomous Girl is a capsule collection of garments that protect the wearer from electromagnetic frequencies. Presenting the collection allows for experiments in performing networked capitalism, while the pieces themselves function as editioned artworks.
'Share This' is a research project by Stedelijk Museum Amsterdam, Het Nieuwe Instituut, The Netherland Institute for Sound and Vision and Upload Cinema. Their aim is to explore ways of collecting and presenting artists, designers and image creators currently active on social media.
Dan Walwin (1986, UK) studied at Goldsmiths College, London, and was resident artist at the Rijksakademie van beeldende kunsten, Amsterdam (2012-2013). Recent exhibitions include: Cess, jel ever terrass? at Playstation, Galerie Fons Welters, Amsterdam / Kazachenko's Apartment, Oslo (2014); Marl Media Art Awards, Skulpturenmuseum Glaskasten Marl (2014); University of Greenwich Galleries, London (2014); UTOPIA, Stedelijk Museum at Trouw, Amsterdam (2013); The Enormous Speed of Change, Hoog Catharijne/Utrecht Central Station, Utrecht (2013); tele-, P/////AKT, Amsterdam (2012).
'The Spectrum' is a hyper text.
Rebecca Lennon (b. 1981, Manchester) lives and works in London. She graduated from the Fine Art MA programme at The Slade, London in 2010. Solo exhibitions include ‘Don't let It End This way, Tell Them I Said Something’, Bloc, Sheffield, 2012; ‘We are Stuck Here Together’, Ceri Hand Gallery, Liverpool, 2010 and ‘Since they got rid of Time, Galerie Metro, Berlin, 2008. Recent group shows include Escape Routes, Limbo, Margate, Foam, Pro Numb, London, Dental Flux, The South Bank Centre, London, 2014, Transitio MX Festival, Mexico City, Fresh Trauma, Ceri Hand Gallery & The Everything & Nothing Problem, Jerwood, London, Writtle Calling, Essex, Notes on an Autobiography, Limoncello Gallery, London, 2013. In 2012, she participated in an EMARE residency at CANTE, SLP, Mexico.
Mark Aerial Waller
'Dust Storm Sense Memory' was originally commissioned by Jennifer Teets for Nero Magazine in the online exhibition 'A Clock That Runs On Mud'.
DENNIS HOPPER (1983) interviewed by John A. Gallagher
Phoenix Dust Storm Timelapse July 5, 2011
Text by Mark Aerial Waller
Living in London, Waller's current and ongoing art practice addresses questions of the encryption, transmission and interpretation of cultural data across time, through video, event, sculpture and audio. Earlier this year his work was commissioned by the ICA for Channel 4 and he recently made a three-day live video piece for Mirrorcity, Hayward Gallery, London. His video works are distributed by LUX and he is represented by Rodeo.
'Thinking Like A Mountian' is an ongoing project with a fluent research board, or map-out, on Pinterest, surrounding an upcoming video work.
The CC structure will provide further forms of dialogue with Bonneviot and TLAM within the process and its final presentation. The disclosure of the artist’s loosely collected strands is thus the starting point for an active and rhizomatic net/art/work.
Eloïse Bonneviot (b. 1986) is an artist living and working in London. She is currently completing an MFA Fine Art at Goldsmiths University, London. Recent projects include: Meditative Relaxation Cycle - EXTENSION, Tank.tv, London; The mycological Twist, Jupiter Woods, London; Tabularium, Slopes, Melbourne (AU), The Meditative Relaxation Cycle, Arcadia Missa, London, all 2014.
'Fieldwork' is a selected YouTube playlist concerned with the ideas of ecology and cultivation of (cyber)space.
"The limit is the empirical part of the space, and I realized how to establish borders, which is the beginning of the activity in each cultivation, is a way to manage large spaces into smaller spaces. Manage spaces, but also “to organize” spaces, and finally “curate” spaces... Cultivation is only an activity, human life, nothing about the order and the art. Before agriculture there is rhythm, and before the rhythm there are space and the limit."
- Luca Francesconi
Luca Francesconi was born 1979 in Mantua, Italy. Lives and works in Mantua, IT and Paris, FR. Recent solo exhibitions include: 2014, Pane pane pane vino canale di scolo, Umberto di Marino, Naples, IT; 2013, Geode Cupa, Fluxia, Milan, IT; 2012, Echo of the Moon, Crac Alsace, Altkirch, FR; Echo of the Moon, Musée Beurnier-Rossel, Montbéliard, FR; 2011, De labore Solis, Galerie Chez Valentin, Paris, FR. Recent group exhibitions include: 2014, Shanaynay, Paris, FR; Braccia, Marino Marini Museum, Florence, IT; 2013, Braccia, MAN, Nuoro, IT; Il fascino discreto dell’oggetto. Figura 2: Natura Morta, Galleria Nazionale d’Arte Moderna, Rome, IT; Art of Living (Goodbye Blue Monday), Chez Valentin, Paris, FR; 2012, Orlando, Broadbeck Foundation, Palermo/ L’A project space, Palermo/ BOCS, Catania, IT; Tumulus, MOTinternational, Brussels, BG; Cara Domani, works from the Ernesto Esposito Collection, MAMBO, Boulogne, IT; 2011, ILLUMInations, 54 Venice Biennal, Venice, IT, curated by Bice Curiger.
Styrmir Örn Guðmundsson
'Calling you from Cosmos Carl'
Styrmir Örn Guðmundsson (b.1984) is a storyteller, a performer, a dancer, an object maker, an illustrator. He has a love for the absurd, by which is meant less an obsessive passion for the ridiculous, nonsensical or the odd, than a tender and caring attitude: he takes care of the absurd, he helps it to develop, he gives it a place alongside everything else where it can be your most disturbing neighbour and your best friend. More often than not Styrmir uses the written language as a genesis of his work. Written pieces are then adapted into live performances that activate obects, things and gestures. The performances and their narrative, that often are delivered as monologues, serve as an exhibition device for autonomous art objects. Styrmir lives in Amsterdam & Warsaw. www.styrmir.eu