Daniel V. Keller 'MRR/ Modelling Rock Resilience'

MRR/MRP is a model proposing ideas on how to restore and reactivate landscapes such as mountain ranges that have been heavily disturbed by human interaction through mining for rare earth and stone. The hole that is left behind, a vacuum that reveals the stories written throughout millenias, marks a space of absence, but also of possibilities.

Extracted lithic material is cut to size, comodified, and repurposed elsewhere. A massife exploded into components and distributed worldwide following trade paths to materialize ideas on a built environment. The project is placed in Google’s warehouse for 3D models for immediate use and exchange.

Environmental transformations and the tension in the meshwork of human and nonhuman relationships are key subjects in Daniel V. Keller’s multidisciplinary practice. The shaping of deposited histories in earth layers and the architectural outcome as well as the ecological impact this has, is source for the development of his installations. The fictional spaces and spatial vocabularies are serving a surrounding for speculation around posthuman connections and deep time phantasies.

Please be patient when loading the model in the preview window.

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Daniel V. Keller lives and works in Zürich and London. He graduated from the Ceramic Design Class in Bern/CH (2009) and the Rietveld Academy in Amsterdam/NL (2012) and is currently in the MFA program at Goldsmiths University in London. He is member of the music collective Circumstances. Selected recent solo exhibitions include Container and Decay, High Gallery Poznan, A piece of cake ZQM, Berlin, Privacy Settings, Stadtgalerie Bern, Super Natural, Mikro Zürich, Attractions, SIGNAL Brooklyn NY, Rear Views, P/////AKT Amsterdam.

^{https://3dwarehouse.sketchup.com/model
/29aeada4-8572-4147-904e-702f3e0a1448/
MRR-Modelling-Rock-Resilience}

Jorik Amit Galama 'Cateater'

A few years ago I wrote a short story about a man who gets addicted to videos of extreme violence and forces his friends and family amongst others to watch them. After reading the story I was brought into contact with a man who shares some similarities with the man in my story.

'Cateater' is based on an interview with this man who watches mainly Liveleaks.com videos of extreme violence (like beheadings, suicides and traffic accidents) on a regular basis and shares them with friends. In one of the videos he showed me a homeless Russian woman is beaten to death by a group of teenagers with sticks and frying pans - apparently because she ate someone’s cat. The way this video haunted me led to a text on the difficulties of reclaiming and moulding one's memory.

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Jorik Amit Galama (1992) is a writer and visual artist. He graduated from the Text and Image department of the Gerrit Rietveld Academy, took part in the Slow Writing Lab of the Dutch Foundation for Literature and co-founded A day on the essay film. He writes for several art magazines and works on a collection of short stories.

^{https://www.liveleak.com/
view?t=aqvj5_1548981170}

Dominika Trapp 'Peasants in Atmosphere'

Peasants in Atmosphere is a research-based project which aims to counteract the nationalistic interpretation of folk culture, critically interprets the musical heritage of the Hungarian peasantry and tries to create subversive discussions by involving contemporary theories. It connects various art forms (folk music, experimental music, contemporary art) and its primary manifestation being a stage production, a lecture performance and a publication. From the discourses around the crisis of human-nature relations, our musical concept was mostly inspired by the branch that emphasises the importance of mourning in the face of scientific facts that bear witness to irreversible environmental change.

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Dominika Trapp (1988, Budapest, Hungary). Recent exhibitions and events include; Where Do We Go From Here?, Galerie Miroslava Kubika, Litomyšl (2018), La Cadute di Poseidone, Castello Dentice di Frasso, Carovigno (2017), Helsinki, Vantaa, Budapest Gallery Artist Exchange Programme (2019).

^{https://youtu.be/vs4WBPcOiWc}

Stephan Blumenschein 'How to make an exhibition opening'

In this work Stephan Blumenschein presents to us 11 points on the exhibition opening. The main reference for this work is a recording of a lecture by Allan Kaprow titled „How to Make a Happening“ which was released as an LP in 1966 by Mass Art Inc (available on youtube here link address: https://www.youtube.com/watch?v=8iCM-YIjyHE&t=789s). In 11 points Kaprow lays out the concept of happenings addressing aspects such as the relation of happenings to art in general, art and life, principles of giving form, the use of space and time, resources or rehearsal etc. In his video „How to make an exhibition opening“ Stephan Blumenschein translates these 11 points by following their underlying questions into his research on the exhibition opening as a independent medium. (http://so-bel.klingt.org/sblumen/exhibitionopening.php)

If the common exhibition opening provides us with the aesthetic experience of our time, corresponding with a „general performance“(Sven Lütticken), in which we potentially always work and perform and the distinct time zones of labour and leisure have dissolved: then the exhibition opening can potentially also be the locus from where we can practice new aesthetic experiences for corresponding new forms of organisation of labour. But where and what are the qualities of the exhibition opening if it is understood as a medium in its own right rather than the (social) foreplay to the exhibition? And what comes after an economy governed flexibility and availability?

„How to make an exhibition opening“ is performed by André Chapatte.

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Stephan Blumenschein is based in Amsterdam/NL and recently finished his MA at the Dutch Art Institute. Before that he studied art at Gerrit Rietveld Academy Amsterdam and the University of Applied Arts Vienna, and philosophy and art history at KU Linz. He works with architectural interventions, text and sound. The artist presented his work and research at ACF/Warsaw, Marwan/Amsterdam, State of Concept/Athens, GOLEB/Amsterdam or bb15/Linz a.o. www.stephanblumenschein.com

^{https://youtu.be/Kfx27-jXWDE}

Josephine Baan 'MOTHer'

(hybridize the permutations, streamline the form)

Two moths lie dormant in their pupal stage for winter. Until emergence, a periodical live stream of the pupae is broadcasted. Apparently nothing happens.

Proserpinus: there is still time Proserpina: … Proserpinus: there was moss Proserpina: living proof that you don’t need roots to grow

“The earliest written narratives of the Proserpina myth, from which all subsequent versions derive, animate a watershed cultural event: the replacing of the predominant matriarchal worship of the Great Goddesses of the earth (Demeter, Persephone) in ancient Greece by the patriarchal worship of the Olympian gods. These versions of the myth vivify the social codes of patriarchy, codes that have been passed down to Western societies as part of their Hellenic heritage.”

Lorraine Byrne Bodley, “From Mythology to Social Politics: Goethe’s Proserpina”

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Josephine Baan lives and works through movement and its margins. Materially and performatively thinking between things, beings and situations, she works with change; material change and repetitive reflection on works and moments. Consciously switching perspective to influence roles and readings of power and control in relation to affection and gestures of care. Process and time are both key to the practice.

She is a member of Friendly Stalking; a community of practitioners working in the fields of art, design and science, who engage in designing collaborative, non-hierarchical learning environments. Recent exhibitions and performances include; MOTH at Museum KKLB in Beromünster, CH; A Brief History of Becoming Rock at Art Rotterdam in Rotterdam, NL; The Benefits of Living in a Restaurant at Pavilion in Rotterdam, NL; Nothing 2 C Here at Alkovi Galleria in Helsinki, FI; and It’s a Dirty Job, with Maëlle Gross, at Foound in Geneva, CH.

^{https://www.youtube.com/user/
phiensflyingmachine/live}

Hugh Nicholson 'Vanish into Nothing'

Seven glass paperweights are purchased at auction on eBay. Each paperweight is subsequently re-listed on the auction website. Each bears a new and different description. Each continues to circulate.

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Hugh Nicholson lives and works in London. He graduated from the Ruskin School of Art (2010) and from Goldsmiths, University of London (2017). He is a member of Common Study – an artist-led working group currently in residence at Somerset House.

^{https://www.ebay.co.uk/sch/hnicholson-uk/m.html?_nkw=&_armrs=1&_ipg=&_from=}

Alex Frost 'Wet Unboxing (Big Mac)'

For Cosmos Carl, Frost has opened a Big Mac underwater and uploaded it to the free stock video sharing site Pexel.

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In Alex Frost’s ‘wet unboxing’ videos, time saving and energising ‘on-the-go’ products are unpacked underwater. These videos are made in response to the unboxing videos which enact a vicarious consumption, allowing the consumer to get their ‘hit’ without having to own the product. To date Frost has circulated his wet unboxing videos through prosumer formats like YouTube and Instagram and they have since gone on to feature in the broader worldwide network of online media with articles in The Guardian, Know Your Meme, Coeval Magazine, Mashable, Vice Motherboard. Circulating in this mediated way these videos echo the fluidity of the ‘on-the-go’ lifestyle of the products they feature. Just as the products are plucked from across food, drink and the medicine sections of the supermarket the videos themselves appear embedded in a spectrum of online media.

Frost tackles the ultimate ‘on-the-go’ food, by opening underwater the iconic Big Mac burger. This video has been circulated via the free stock video sharing site Pexel. The potential fluidity of this free sharing format is matched by the global ubiquity of this iconic fast food.

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Alex Frost is an artist based in London.
www.Instagram.com/alx_frst
www.youtube.com/alexfrost_whytho

^{https://videos.pexels.com/videos/1612305}

Victoria Sin Daddy issues, daddy figure, daddy porn, baby daddy, zaddy, a power that is not abused, a caring but firm presence who will take you by the hand, wipe your mouth, make you cum and tell you everything is going to be ok.

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Victoria Sin (b. 1991, Toronto CA) is an artist using speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification. Drawing from close personal encounters of looking and wanting, their work presents heavily constructed fantasy narratives on the often unsettling experience of the physical within the social body.

^{https://www.instagram.com/p/
BZmgoNqFCvn/?taken-by=sinforvictory}

Viktor Briestensky 'Feeling the weight'

A short narrative work weaving a seemingly abstract history of cheese and its entanglement with shoplifting, property crime and perversion. Investigating and creating visual, phonetic and metaphorical links between cheese as a slang for and as a form of currency while exploring various myths and truths surrounding the edible mold. The work investigates and creates visual, phonetic and metaphorical links between cheese as a slang for and as a form of currency while exploring various myths and truths surrounding the edible mold.

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Viktor Briestensky is an artist based in London and a recent graduate of the MFA program at Goldsmith’s University. Previous solo exhibitions and projects include “ Vaskning: To sink or swim” Changing Room, London; “Veins of Gypsum Mortar” Ashley, Berlin; “There’s always money in the banana stand” Sunset Terrace, Vancouver; “(M) (P) (R) / (W) : Same ends, different means” Other Projects, Berlin.

^{https://vimeo.com/280365351}

Kate Mackeson A series of works by Kate Mackeson made between 2017 – 2018 installed within her hallway made viewable using 360 panorama, best seen on iPhone.

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Morpheus: The Matrix is a system, Neo. That system is our enemy. But when you're inside, you look around, what do you see? Businessmen, teachers, lawyers, carpenters. The very minds of the people we are trying to save. But until we do, these people are still a part of that system and that makes them our enemy. You have to understand, most of these people are not ready to be unplugged. And many of them are so inured, so hopelessly dependent on the system, that they will fight to protect it.

Morpheus: Were you listening to me, Neo? Or were you looking at the woman in the red dress?

Neo: I was...

Morpheus: Look again.

Morpheus: Freeze it.

Neo: This... this isn't the Matrix?

Morpheus: No. It is another training program designed to teach you one thing: if you are not one of us, you are one of them.

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Kate Mackeson is an artist based in London, Recent exhibitions and collaborative projects include "Newstalgia", ACF, London; "Lovers", Sundy, London; "To tame a pack of dogs, Eileen, InExtenso, Clermont Ferrand; "To tame a pack of dogs, Zara", And/Or, London; "Kleingeld", Rolando Anselmi Galerie, Berlin; "The Dark Ages", Supplement, London; "Landlords are not currently collecting rent in self-love", Cell Projects, London and "Hygienic Sigh" at Mars!, Munich.

^{http://m.360.io/wLRRRp}

SHIFT 'SHIFT'

SHIFT engages with stages of automation of the trucking industry in Russia, working with the socio-political, physical, and spatial particulars of logistics in the country’s vast territory. In order to address this, Shift re-thinks the role of the truckers union, and engages with it structurally to facilitate its transformation along with the introduction of network effects and consolidation of data collection.

SHIFT team is a part of The New Normal think-tank at Strelka institute, Moscow. It is a team of four: Dmitry Alferov, a developer with a focus on machine vision technologies currently based in Berlin; Elizaveta Dorrer, an architect and researcher in urbanism and emerging technologies from Moscow; Christian Lavista, an architect from Buenos Aires; Arthur Röing Baer, Berlin-based critical designer.

For more details visit http://unionshift.com

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Project introduction by Benjamin Bratton:

SHIFT examines the perils and potential of automated transportation on Russia’s roads, but instead of driverless taxis in the city they look at automation of the trucking routes that link cities with the rest of the country.

The project directly takes on two of the thorniest issues: how can automation defend decentralized control of production and distribution, and even passage toward more centralized and more fully automated systems ensues in the long term, how can we ensure a soft landing for those most directly affected by labor displacement?

Filmed on the road in Dagestan and Moscow, and working directly with OCR Russian truckers union, SHIFT models a scenario in which trucker-owned driverless vehicles man the roads, connected through a shared platform applications.

^{https://youtu.be/5R4x77tiaWk}

Bora Akinciturk 'Café Earthbound Paradigm'

The shaman employs a mode of operation known as "bricolage" (from the French "bricoleur", "handyman"). Unlike the engineer, who has some idea of "theoretical principles" which underly a given "practical implementation", the bricoleur has a set of techniques from which they pick and choose the appropriate "tool" to be used in the situation at hand. It is not necessary to understand why something works, only that it does work. The shaman's set of tools include a set of symbolic associations to help determine how to affect certain spirits. For example, eagle feathers would be useful in contacting the archetypal Eagle.

Shamans traditionally are associated with a community, and serve as the community's healer/psychiatrist/miracle-worker. When the community has a problem that "mundane" means cannot solve, they go to the shaman for supernatural assistance. The shaman also orchestrates the rituals which bind the community together.

The techno-shamanic worldview is an extension of this. It involves a belief that humanity's technological infrastructure has become so complex and vast that it cannot be entirely understood through use of an engineering-type theoretical construct. However, this technological infrastructure obviously has a direct impact on how we live our lives. Thus, the techno-shaman serves the community by accessing the technological infrastructure, not as a tool-user ordering their machine to do something, but as one sentient being negotiating with another for the performance of a service.

- Erich Schneider, 28 May 1993

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Bora Akinciturk (b. 1982, Turkey). Lives and works in London. Selected exhibitions include I’m So Happy, Because, Pilevneli Gallery, Istanbul, Turkey, 2018, Keep Smiling is The Art of Living, Alyssa Davis Gallery, New York, USA, 2017, We’re All Dead, We Just Don’t Know It Yet, Ultrastudio, Pescara, Italy, 2017; Fallen Angels, in collaboration with Noemi Merca, Komplot, Brussels, Belgium, 2017; Say Yes, The Beautiful Erah, Salzburg, Austria, 2016; Politely Declined, Pilevneli Project, Istanbul, Turkey, 2012. His band Fino Blendax, in collaboration with Ahmet Öğüt at: The ICA, London; Chisenhale Gallery, London; VanAbbe Museum, Eindhoven; The 56th Venice Biennale, Creative Time Summit: The Night Art Made the Future Visible 2015. Akinciturk holds a BFA in Graphic Design, Yeditepe University, Istanbul, 2007; Fine Art Postgraduate studies at Middlesex University, London, 2008. Akinciturk's work addresses the staleness and terrors of present-day life and its online simulations, deals with themes such as aesthetics, social arrangements, feelings and expression in the digital age, working with various media, including painting, drawing, sculpture, performance, digital work, sound and video.

^{https://www.deviantart.com/thanateros87}

Arnar Ásgeirsson 'The Great Escape'

A mini comic by Arnar Ásgeirsson for Cosmos Carl

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Arnar Ásgeirsson tells stories in various forms, with text and spoken word, videos, drawings, performances, installations and sculptures.

By combining and mixing and applying the right spices, Arnar creates work that takes the viewer on a journey of new discoveries and perspectives. With appropriating objects and putting them in motion as characters into new scenarios, hoping to create new unexpected narratives.

Sometimes the creations have a functional aspect to them. With the possibility to be handled, used or even consumed. They create a moment of participation or performance by whoever is brave enough to interact. By having this element of function to them, the work often cries out for collaboration of other creators of different disciplines. Other subjects more of the emotional kind, dealing with emotional curves and the search for happiness.

www.arnarasgeirsson.com

^{https://www.instagram.com/p/BmkKEarAHdF/?utm_source=ig_share_sheet&igshid=15j05pnrzcxvs}

Bas Medik A facsimile of Samuel Beckett’s annotations in “À la recherche du temps perdu”.

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Bas Medik (1973, NL)
www.basmedik.com/

^{https://ebay.to/2LWKwwJ}

Basel Abbas &
Ruanne Abou-Rahme 'SAMPLES'

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

Basel Abbas and Rouen Abu-Rahme explore the modernity that hovers in an enduring crisis and is concentrated on the present, formulated in terms of desire and disaster.

The artists challenge the current agenda and are looking for opportunities to create new images and language, trying to escape from colonial and capitalist discourses. Abbas and Abu-Rahme turn to the past, opening random intersections in plots, gestures, figures and geographical locations and using them as a basis for an alternative view of the present. Arguing the nonlinearity, expressed in the form of amnesia and deja vu, the artists articulate the gaps between reality and fiction (fiction, myths, desires), between the existing and the possible. In many respects, their artistic process consists in the search for research materials, both existing and made by the artists themselves. They add new stories from the fragments they collected: sounds, images, objects and texts.

Basel Abbas and Ruanne Abou-Rahme (b.1983) work together across a range of sound, image,text, installation and performance practices. Solo presentations include Kunstverein Hamburg (Hamburg), Krannert Art Museum (Illinois), AltBomonti (Istanbul), ICA (Philadelphia), Office for Contemporary Art (Oslo), Carroll/Fletcher (London), Akademie Der Kuenste Der Welt (Cologne), New Art Exchange (Nottingham) and Delfina Foundation (London). Selected group exhibitions include Kunstgebaude Stuttgart (Stuttgart), Portikus (Frankfurt), The Mistake Room (Los Angeles), Se Ma Biennale (Seoul), Kunsthalle Wien (Vienna), Museum Of Modern Art (Warsaw), ICA (London), the 12th Sharjah Biennale, the 31st São Paulo Biennial; the 10th Gwangju Biennale; the 13th Istanbul Biennial; the 6th Jerusalem Show; Home Works 5 (Beirut); and Palestine c/o Veniceat the 53rd Venice Biennale.

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Базель Аббас и Руан Абу-Рахме

Базель Аббас и Руан Абу-Рахме исследуют современность, которая зависла в непреходящем кризисе и сконцентрирована на настоящем, сформулированном в терминах желания и катастрофы.

Художники оспаривают нынешнюю повестку и ищут возможности для создания новых образов и языка, пытаясь уйти от колониального и капиталистического дискурсов. Аббас и Абу-Рахме обращаются к прошлому, открывая случайные пересечения в сюжетах, жестах, фигурах и географических местоположениях и используя их как основу для альтернативного взгляда на настоящее. Рассуждая о нелинейности, выраженной в форме амнезии и дежавю, художники артикулируют зазоры между реальностью и вымыслом (выдумкой, мифами, желаниями), между существующим и возможным. Во многом их художественный процесс состоит в поиске исследовательских материалов, как существующих, так и сделанных самими художниками. Они складывают новые истории из собранных ими фрагментов: звуков, изображений, объектов и текстов.

^{https://ruanne-basel-samples.tumblr.com/}

FemArtNet 'Mapping Medellín 2018'

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

FemArtNet_mapping Medellín 2018 is a research process mapping the city of Medellín visualizing, giving access and connecting a network of programmes, actions, and processes that, through artistic practices and cultural projects, fight for equality and the empowerment of women in Medellín. With a feminist and de-colonial perspective, and utilising the digital mapping techniques, they understand art and culture as a symbolic construct that can generate change and awareness of the lived experiences of cis- and trans-woman in Medellín.

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FemArtNet_mapping Medellín 2018 - это художественный исследовательский проект в форме интерактивной карты Медельина, на которой собраны художественные и культурные инициативы, отстаивающие права женщин этого города. Опираясь на цифровые технологии и феминистические и антиимпериалистические позиции, FemArtNet интерпретирует искусство и культуру как символические инструменты для расширения информационного поля и изменения жизни цисгендерных и трансгендерных женщин Медельина.

^{http://platohedro.org/femartnet/}

Puck Vonk 'No Body to our Friendship'

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

'No Body to our Friendship' is a sound installation of 138 tracks. The piece continues in the shape of a graphical notation present in the room (like unveiling the script behind the scenes) and a performance.

Can you be friends with an app? Artificial intelligence having fun! The day that Google Translate and Siri became friends....

A dialogue between these two female voice generators, the start of their friendship, how it could evolve and what difficulties they might face... Siri is verbally not as ‘out there’ as Google Translate who will say anything that comes to mind, anything that you can type literally. With Siri it takes a while and some persistence before she tells you anything about herself, and even then, she keeps bringing the conversation back to you. “This is about you, not me” she says a lot, just like “I aim to please” and “I’m sorry”. She really puts her friends before herself.

In her work she simultaneously questions the voice as a powerful, evocative tool that influences the experience of reality and the status of the (own) female voice in current society. She explores the voice as an critical object embedded in the post-digital society, whereby feminism becomes an active gesture to debunk preconceptions about behaviours in digital terms. The way interactions shape both our identities and relations, to make you aware of the disparities in representation, the implicit forms of control over the body (and the voice), and the repercussions of the usage of female voices in the allegedly neutral digital sphere.

Recent exhibitions include: Troebel Neyntje - Multiplied, group show, curated by Susan Kuijpers and Troebel Neyntje, multiple ‘It all starts with breathing - graphical notations for performance’, June 2018 and De Garage Rotterdam, performance ‘It all starts with breathing’ in Detached Involvement, curated by Bas Hendrikx, Brandstof event with Poetry International, June 2018.

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Пюк Фонг

Опираясь на феминистскую идеологию, Пюк Фонг работает с голосом как инструментом борьбы с предрассудками в цифровом пространстве. Ее новая работа инсценирует диалог между Siri и Google Translate, которые обмениваются наиболее популярными запросами в каждой из этих систем. Художница выявляет

тенденциозность репрезентации, неявные формы контроля над телом и голосом и последствия использования женских голосов в предположительно нейтральной цифровой среде.

^{https://soundcloud.com/puck-vonk/
sets/no-body-to-our-friendship}

Jasmijn Visser 'The Stopper Draws'

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

Jasmijn Visser’s new commission The Stopper draws its title from a personal tale. Ruth, the artists’ grandmother, earned her livelihood producing mechanisms for industrial clocks in the Burk factory in the Black Forest. There she drilled holes in gears for over three decades.

An infamous protagonist in the Burk factory was known as The Stopper. Once a month, he would monitor the workers’ productivity and efficiency, one at a time. On a small stool, he sat by Ruth, and audited her production and assembly pace, stopping the time with the finishing of each tiny element. Careful not to work either faster or slower than usual, she would work on the mechanics in complete synchronicity with The Stopper. With this act a tiny universe was created: The Stopper stopping time in the time production factory.

In an era marked by efficiency protocols, digitisation, and decreasing attention spans, Jasmijn Visser’s work The Stopper pays tribute to mechanics and manual labor, and focuses on the universal notion of the violence within the act of stopping.

In collaboration with Kunsthalle Amsterdam

The Stopper is part I of a collaboration between Jasmijn Visser & Jungki Beak. Part II will be shown at Song Eun Project Space in Seoul September 2018, in collaboration with Delfina Foundation.

Jasmijn Visser works on the intersection of art, writing, research and design. She has a deeply rooted fascination in the structural foundation of contemporary society and geopolitical conflict. Her projects comprise long term (on-site) research and interdisciplinary collaboration. Visser took part in the postgraduate program at De Ateliers, and studied Fine Arts at the School of the Arts Utrecht as well as Visual Art & Design. She has exhibited at Museum van Loon, Amsterdam, Gallery Aeroplastics, Brussels, Stedelijk Museum Amsterdam, Witte de With Rotterdam, MOMA Moscow, Krasnoyarsk Museum Centre, Kunsthal Rotterdam, Tou Scene Stavanger, Centraal Museum Utrecht, Marienkirche Greifswald, Museum of Fine Arts Ekatarinburg, State Museum Kazan, Castrum Peregrini Amsterdam, a.o. She has won the Piet Bakker Prize and the Gasunie Kunstprijs, and was nominated for the Prix de Rome and Sybren Hellinga Kunstprijs.

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Ясмейн Виссер, «Остановщик» Новая работа Ясмейн Виссер «Остановщик» берет свое название из истории семьи художницы. Бабушка Ясмейн Руфь зарабатывала на жизнь тем, что собирала механизмы для настенных часов на заводе Burk в Шварцвальде. На протяжении трех десятилетий она сверлила отверстия в часовых механизмах.

Небезызвестным персонажем на заводе был контролер по прозвищу «остановщик». Раз в месяц он фиксировал скорость и качество труда рабочих. Разместившись на небольшом стуле рядом с Руфь, он наблюдал за тем, как она изготавливает и собирает детали, засекая время каждый раз, когда она заканчивала ту или иную микроскопическую деталь. Выполняя действия не быстрее и не медленнее обычного, она работала над механизмами в унисон тому, как контролер замерял время. Это действие складывалось в замкнутый мирок – остановщик останавливал время на заводе по производству часов.

В эпоху автоматизации, регулирования нормами эффективности и сжимающегося периода концентрации внимания работа Ясмейн Виссер напоминает о механическом, ручном труде, акцентируя внимание на насильственной сути действия прерывания.

Работа подготовлена совместно с Кунстхалле Амстердама.

^{http://thestopper.kunsthalleamsterdam.nl/}

Ramsey Nasser '(pong game) قلب'

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

Ramsey Nasser’s بونج (Pong), is a version of the classic game but written in code entirely in Arabic, highlighting cultural biases of computer science and challenging the assumptions we make about programming. In this way, through قلب, he presents a language that deviates almost entirely from ASCII, which encodes Latin Characters and was originally based on the English Language. As a result, programming has become tied to a single written culture. Hence favouring those who grew up reading and writing in that cultural.

In addition to the language and its interpreter, the قلب project includes a calligraphy series. Traditional Computer Science algorithms are implemented in قلب, and the resulting Arabic source code is used as the content of calligraphy pieces, in effect treating the algorithms as high poetry.

http://nas.sr/---/ Работа Рамси Насера بونج – это вариация классической компьютерной игры, код для которой написан на арабском. Этим жестом Насер выявляет культурную предвзятость компьютерных технологий, заставляя нас пересмотреть общепринятые представления о программировании. Созданный Насером язык почти ничем не схож с системой кодирования ASCII, шифрующей латинские символы и изначально разработанной на английском языке. Кодировка ASCII ограничила программирование одним языком, гарантируя преимущество его носителям.

Помимо языка и его расшифровки, проект включает каллиграфическую серию, выражающую исходный код بونج и таким образом буквально перелагая алгоритмы программирования на язык поэзии.

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I am a computer scientist, game designer, and educator who loves to make things that are fun, challenging, and useful.

My work includes games, applications, hardware, programming languages, data visualizations, websites, and more. If it’s original, meaningful, and I get to make it with my own hands, I’m into it. A strong believer that open source is the best way to write software, I share as much of my work as I can.

Behind my passion is a B.S. in Computer Science from the American University of Beirut, an M.F.A. in Design and Technology from Parsons The New School for Design, an Eyebeam Fellowship and almost a decade of professional experience. At my side are the most talented artists and designers this side of the Atlantic, who I am honored to call my friends and collaborators.

^{http://nas.sr/---/}

Benjamin Grosser ‘Go Rando’

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

Facebook’s “reactions” let you express how you feel about a link, photo, or status. While such data might be helpful for your friends, these recorded feelings also enable increased surveillance, government profiling, more targeted advertising, and emotional manipulation. Go Rando is a web browser extension that obfuscates your feelings on Facebook. Every time you click “Like”, Go Rando randomly chooses one of the six “reactions” for you. Over time, you appear to Facebook’s algorithms as someone whose feelings are emotionally “balanced”. You can still choose a specific reaction if you want to, but even that choice will be obscured by an emotion profile increasingly filled with noise.

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Бен Гроссер

Иконки «реакций» в социальной сети Facebook позволяют вам выразить свое отношение к фотографии, статусу или ссылке. Сообщая эмоциональный посыл вашим друзьям, одновременно эти индикаторы собираются в архивы службой государственной безопасности, служат инструментами для слежки, таргетированной рекламы и эмоционального манипулирования. Go Rando – это расширение для браузера, искажающее ваши эмоциональные реакции в сети Facebook. Каждый раз, когда вы нажимаете «Лайк», Go Rando случайным образом выбирает одну из шести эмоций. Отбор происходит таким образом, что со временем ваш профиль считывается сетью Facebook как сбалансированный. Если захотите, вы по-прежнему сможете выбрать определенную эмоцию, но эта осознанный отклик потеряется на фоне случайно генерируемой последовательности. все материалы Art+Feminism, инструкция распространяется по лицензии Creative Commons, мы предлагаем вам адаптировать ее под нужды вашего сообщества.

^{https://bengrosser.com/projects/
go-rando/install-go-rando/}

Art+Feminism ‘Art+Feminism’

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

Art+Feminism is a campaign improving coverage of cis and transgender women, feminism and the arts on Wikipedia. From coffee shops and community centers to the largest museums and universities in the world, Art+Feminism is a do-it-yourself and do-it-with-others campaign teaching people of all gender identities and expressions to edit Wikipedia.

Want to host an edit-a-thon but don't know where to start? We've created a quick guide to organizing an Art+Feminism event. Like all our materials, this kit holds Creative Commons licensing, so we invite you to translate and remix it to suit the needs of your specific community.

Art+Feminism is a do-it-yourself and do-it-with-others campaign teaching people of all gender identities and expressions to edit Wikipedia, with the goal of expanding content on gender, feminism and the arts. The project is based out of The Museum of Modern Art, New York, with nodes at the Los Angeles County Museum of Art; Tate, London; Art Gallery of Ontario, Toronto; MAXXI, Rome; Smithsonian American Art Museum, Washington, DC; and hundreds of others. Since it was founded in 2014, over 10,000 people at more than 800 events around the world have participated in Art+Feminism’s Edit-a-thons, resulting in the creation and improvement of more than 20,000 articles on Wikipedia. Art+Feminism has expanded its mandate to include art commissioning and other curatorial projects. Art+Feminism has received coverage from Artforum, The New York Times, The New Yorker, CBC, Canadian Art, and the BBC, and its co-founders we named Leading Global Thinkers by Foreign Policy Magazine. Art+Feminism is led by led by Siân Evans, Jacqueline Mabey, McKensie Mack, and Michael Mandiberg.

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Art+Feminism – это кампания, направленная на наполнение Википедии информацией о деятельности цисгендерных и трансгендерных женщин, феминизме и искусстве. Art+Feminism организует мероприятия, нацеленные на обучение всех желающих навыкам редактирования, обновления и добавления страниц в Википедии. Мероприятия проходят в кафе, культурных центрах, музеях и университетах.

Хотите организовать Вики-марафон, но не знаете, с чего начать? Мы написали небольшую инструкцию, как организовать наше стандартное мероприятие. Как и все материалы Art+Feminism, инструкция распространяется по лицензии Creative Commons, мы предлагаем вам адаптировать ее под нужды вашего сообщества.

^{https://drive.google.com/drive/folders
/1U0_9RmepiZkFM_WDsqCDAtNbi
4QtWP0h?usp=sharing}

Hackblossom ‘Hackblossom’

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

With so many cybersecurity tools out there, it can be intimidating to figure out which tools best meet your needs. Our cheat sheets will point you to recommended tech based on which digital activities and spaces you’re looking to take better control of. We’ll also give recommendations for the more experienced cyberpunks that may need more hardcore security than your average person. Just make sure to keep in mind that regardless of which tech you decide to use, nothing in the digital world is 100% guaranteed to be secure! So always be vigilant and conscious about your security. Don’t assume you’re invincible: no-one ever is!

HACK*BLOSSOM is an activist organization fighting for love in digital spaces. We facilitate the exchange of technical resources, activist initiatives, personal writing, and artistic projects that foster an inclusive culture of technology. Our community is one of radical support and feminist vision, welcoming all who reject violence and oppression. We are committed to building the digital world we deserve.

Everyone deserves a chance to bloom.

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Если вы решили подобрать средство кибербезопасности, широкий ассортимент инструментов на рынке может поставить вас в тупик. Наша памятка подскажет вам технологическое решение, подходящее для тех видов деятельности и виртуальных пространств, в которых вы бы хотели себя обезопасить. Мы также консультируем опытных киберпанков, нуждающихся в более серьезной защите. Будьте уверены, какую бы технологию вы не выбрали, ничто в цифровом мире не может считаться на 100 процентов надежным. Поэтому будьте бдительны и позаботьтесь о вашей безопасности. Не думайте, что вы неуязвимы!

^{https://hackblossom.org/cybersecurity/}

Benjamin Forster, Julia Bavyka & Sean Dockray ‘Hyperreadings’

*Part of 'This Site is Under Revolution' an online continuation of 6th Moscow International Biennale for Young Art Strategic Project curated by Barbara Cueto.

Reading lists are aesthetic objects that both organise and produce knowledge. They are paths in, through, and between things. Sharing what we read, what we want to read, and what we think other people should read becomes a form of peer to peer education, the propagation of informal and personal canons.

Reading lists are being used as tools for contesting established patterns in public thinking, but also, importantly, for publicly making sense of our current times. They are becoming almost like manifestos, or provocations for the future.

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Списки для чтения – это эстетические объекты, производящие и организующие знания. Делясь тем, что мы читаем, тем, что мы собираемся прочитать, и тем, что, как нам кажется, нужно прочитать другим людям, мы создаем систему децентрализованного образования, культивируем неформальные, субъективные правила.

Это инструмент противостояния общественным нормам и, что немаловажно, публичного осмысления нашего времени. Подобно манифестам они дают импульс будущим изменениям.

^{https://sdockray.github.io/hyperreadings/}

Reykjavik Police ‘Detained Items - Burglary’

The Reykjavik Police is known for being an active user of various social platforms to engage with their public. One of them is a pinterest account which serves as a way to find the owners of lost, found items. For Cosmos Carl the Reykjavik Police has put together a new collection of Bulgralarized items. It is an aesthetic research into unfortunate loss of personal items and the embodiment of civil disobedience. With this collection they hope to find the owners of the items that they have detained from their most recent investigations.

“If you think you have any claim on a an item advertised on our profile, please send us a query / information along with a reference via email lgs@lrh.is or contact Leifur Gauti at the Police Office in Hafnarfjörður, tel. +354 444 1140.” - The Reykjavik Police

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Reykjavik Police, founded in 1814, aims to maintain law and order to ensure its citizens' legal public security. Their main task is to counteract crime and to prevent acts that endanger the safety- and property rights of citizens and the state. The Reykjavik Police provides the state with protection and assistance in carrying out their duties in accordance with the law.

www.logreglan.is

^{https://www.pinterest.co.uk/logreglan/
haldlag%C3%B0ir-munir-innbrot/}

Auður Ómarsdóttir 'The Legendary Saloon'

Coming to you straight from the Rocky Mountains!

Artist Auður Ómarsdóttir has been creating new work during a residency at the Banff Centre for the Arts in Canada.

'The Legendary Saloon' is a title for an on-going video performance project that started in Banff. Two pieces, 'Cry me a river' and 'Goodbye', will be premiered on Cosmos Carl on May 11th. They are experimental actions happening in nature that deal with the attempt to reach catharsis.

The title, 'The Legendary Saloon', is inspired by a bar in Banff where guests can ride a mechanical bull and sing karaoke. It works as an imaginary space for the works, where the good times have no end.

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Auður Ómarsdóttir (b.1988) is a multi disciplinary artist from Iceland, who finished her B.A in the Icelandic Academy of the Arts in 2013. Her work spans the fields of sculpture, installation, painting, film and performance. Auður is currently an artist in residence in the BAiR Emerging artist program at the Banff Centre for Arts, Canada. Her lates works have been shown in Gallery Outvert, The Art Museum of Akureyri, Gallery Port, The Art Museum of Reykjavik, The Reykjavik Museum of Photography. Auður has an upcoming project with the Wind and Weather gallery for the Reykjavik Art Festival and a solo show in Kling & Bang in September.

^{https://www.dropbox.com/s/4eo8481md
am6xbf/THELEGENDARYSALOON.mp4?dl=0}

Angela Goh 'Scum Ballet, The Movie'

Scum Ballet, The Movie was filmed in one night, by five girls, while we had a sleepover in a kind of strange apartment in a small town on the far outskirts of a big city, while staging an amateur photoshoot, practicing lines from Blue Crush in the bath tub, and going out for McDonalds at 3am.

In 2017 I was commissioned to make a new dance work for Campbelltown Arts Centre. I had the pleasure and absolute time of my life bringing together a group to do this with me - Eugene Choi, Ellen Davies, Verity Mackey and Ivey Wawn. We made and performed the new dance work (Scum Ballet), but along the way we made so much more - magic, love, a gang, life - all produced with the power that being together as a group brought. They gave us a camera and an apartment to live in while in residence, so somehow it was obvious to then also make a movie. Scum Ballet, The Movie is very different to the dance work, but maybe also just the same, because both are about us, as a group. Scum Ballet, The Movie is a bit like behind the scenes or part of the process of Scum Ballet, or perhaps better understood as the prologue or the sequel or a cute cousin. But it also drifts away and is something in its own right. A pup or an offshoot that asserts itself as its own being, with its own personality and autonomy.

Scum Ballet, The Movie is made with and by Eugene Choi, Ellen Davies, Angela Goh, Verity Mackey and Ivey Wawn, while in residence at Campbelltown Arts Centre in 2017.

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Angela Goh is an Australian dancer and choreographer. She is working with dance in theatres, galleries, and telepathetic spaces. Her work often deals with tropes of femininity; the supernatural; and dance as both a form and as a force. Her works have been presented around Australia as well as France, Belgium, Denmark, Estonia, UK, the USA and SouthEast Asia. Recent presentations include at Performance Space New York (formally ps122), Asia-Pacific Triennial of Performing Art, Next Wave Festival, and Auto Italia, as well as appearing around Europe as part of Galerie's Group Show, including at the Saal Biennal, Tallin, La Biennale de la Danse, Lyon, Jan Mot Gallery, Brussels, Dansehallerne, Copenhagen, and Menagerie de Verre, Paris.

^{http://www.dailymotion.com/video/x6ii6ri}

Jennyfer Haddad & Alessandro Nucci 'In a desk of my own'

The project is displayed on Tumblr; a free online platform. It began as a collection of images of free desks and text ads found on various web platforms including craigslist, Facebook, Gumtree and more.

The collection was digitally treated for the creation of a personal archive and its content was deconstructed into fragments and components. The memory, the identity and the history of the original object/text has been corrupted.

All sourced from the Internet, the Data information is at times partly hidden by other windows or modified, the viewer is exposed to a thought of process represented via a compilation of multiples windows taken by screenshots/recordings. Furthermore, occasionally some elements such as found gifs that were modified, a digitized carpet or even a ginger root, appear in some scenes/posts in what it seem to accompany and support the main collection.

“In a desk of my own” is currently a virtual platform displayed on a Tumblr; the project is shown as a sort of preview showcasing a process of thought in furtherance of a future plan that would be executed on a physical platform.

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Jennyfer Haddad was born in 1983 in France. She had exhibited in duo and group exhibitions, among others in Konstanet, Tallinn and Welcome Screen, London. She has also taken part in the online residencies at F8 Residency and isthisit?

Alessandro Nucci was born in 1977 in Italy, The artistic practice developed in recent years revolves around the concept he himself called "trans-exoticism" and the dynamics that revolve around the concept of identity and hybridization. Nucci is also known as co-founder of Pavillon Social, a non-profit project for contemporary art and has been conceived as a kind of migrating Kunstverein since its foundation in Lucca in 2011.

^{https://inadeskofmyown.tumblr.com/}

HARD-CORE 'Kindly supported by you'

ASAHI 4.0 is HARD-CORE’s new cutting edge curatorial robot. It is the follow up of 7 years of the groups research into robotic curation. It is carefully designed to challenge the traditional and root grown criteria of exhibition making. ASAHI 4.0 consists of a free and open database ( www.asahi4.com ) where you can upload your profile and have the chance of being selected into one of its upcoming exhibitions. We ran out of juice and now we need your help to secure the future!

With HARD-CORE’s new patronage programme, you can become an official patron of the startup. There are multiple levels of patronships depending on how much you are able to support. We have range of nifty limited-edition pieces that you can receive as a patron. For example an elegant rose gold HARD-CORE badge that can be worn on any occasion. Those who feel that they would like to generously support HARD-CORE will receive a unique silicon skin designed to cover and protect the delicate sensory technology of ASAHI 4.0. The skins are produced as part of Silicon Dreams, HARD-CORE’s investigation into sexist tendencies within tech-aesthetics, where automatons are often sexualized and depicted as female servants in a male dominated tech-industry. Silicon Dreams explores the aestheticization of automation and pursues a potential de-gendering of robotics. You can also support HARD-CORE with smaller amounts and you’ll become an official patron of HARD-CORE, listed on our website.

"In order to finish the programming of the robot and connect it to the database we need funds for hiring experts in the field. Our aim is to create a fully automated curatorial system, enabling every earthling (and aliens) to be selected into exhibitions curated by ASAHI." - Skyler Lindenberg

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HARD-CORE is an Amsterdam, London and Paris based art startup, comprised of Hrafnhildur Helgadóttir, Anne de Boer, Saemundur Thor Helgason and Eloise Bonneviot under the guidance of their CEO Skyler Lindenberg.

The collective is focused on the development of automated curatorial applications. The aim is to fully automate the subjective task of curating art exhibitions in order to reach a more democratic system for selecting and displaying art. In 2011 HARD-CORE launched the first ever curatorial robot named ASAHI. This robot curated several exhibitions in Amsterdam which were characterized by their unusual placement of artworks and new relationships between them.

Since the launch of the first version of ASAHI, HARD-CORE has participated in- and organized numerous art exhibitions in The Netherlands, United Kingdom, Germany, Poland, Switzerland and Cyberspace. HARD-CORE has taken part in lectures and panel discussions such as Impakt festival 2016 in Utrecht TEXT2SPEECH: Proxy Politics And Withdrawal at ICA London and at Studium Generale of the Gerrit Rietveld Academie in 2017.

Since 2015, HARD-CORE is educating their own module ‘Documentation and Online Presence’ to the BA Fine Arts at the Gerrit Rietveld Academie in Amsterdam.

HARD-CORE is kindly supported by The European Pavilion and soon by you!

^{https://www.patreon.com/ASAHI4}

Femke Herregraven 'Pull everything, pull everything'

" [...]

Everyone was on the high frequency trading floor Things were going pretty normal As normal it can be, the market was down 2.5 percent Riots on tv in Greece And every time they showed the Greek riots the market would drop a little And…I remember looking up And like on every trading floor, CNBC is on I saw that the Dow Jones dropped another 100 points A minute later I look up and then it dropped another hundred points I got up of my desk and I walk over to the futures traders And they're scrambling all over the place They don’t know what’s going on They had huge amounts of orders in the market Everything is going crazy The market starts dropping another 100 points And the CEO of the firm comes running out to the floor and he is just screaming PULL EVERYTHING, PULL EVERYTHING

[...] "

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Femke Herregraven explores which new material base, geographies, and value systems carved out by contemporary financial technologies and infrastructures. Her ongoing investigations focus on the relation between financial value, ecosystems, self-organising systems, and geological instability. Her works exist both digitally and online and as well as drawings, prints, sculptures, video, and installations. She recently exhibited at Centre Pompidou, Paris; ZKM, Karlsruhe; Stedelijk Museum Bureau, Amsterdam; Witte de With, Rotterdam; Boijmans van Beuningen, Rotterdam; V&A Museum, London; Transmediale, Berlin; Future Gallery, Berlin; CCS Bard / Hessel Museum, New York; Oslo Triennial, and Tallinn Art Hall. She teaches at the Rietveld Academie Amsterdam and at ArtEZ Arnhem. She is currently a artist-in-residence at the Rijksakademie van Beeldende Kunsten in Amsterdam.

^{https://poly.google.com/view/5ZMFHgFOXvz}

Gnax Type 'Cosmos Skrift' a new typeface specifically designed for Comsos Carl by Gnax Type.

'Cosmos Skrift' was conceived following a discussion with Cosmos Carl about a possible collaboration with Gnax Type type foundry. An opportunity like this – to design a typeface with total creative freedom, into a space with such open minded aesthetics – does not come around to often. Attempting to create a new typeface for CC was a no-brainer.

Generating a concept/solution is of course a bit more complex than the simple action of accepting a challenge. Cosmos Skrift is the formalization of one line of thought out of an infinite number of possible ones. To keep a sense of direction in a vast stream of possibilities Gnax Type has adopted the strategy of approaching concepts in the most naïve way possible. In the case of CC the simple taglines „digital“ and „parasite“ became guidelines for the construction of the alphabet. The digital aspect clearly demands a strict modularity. The parasitism demands that the construction of the letters be based in an established tradition – so calligraphy became Gnax Type’s point of departure. The outcome is a forced union of these disparate things – digitality & calligraphy – hopefully resulting in a typeface that defies any immediate categorisation.

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Gnax Type type foundry was founded in 2017 by Reykjavik based graphic- and type designer Gabríel Markan. Gabríel graduated from the graphic design department at Iceland Academy of the Arts in 2017 and has since worked as a freelance graphic- and type designer for various clients in Iceland, Europe and India.

^{https://www.dafont.com/cosmos-skrift.font}

Chris Kilmartin 'On Real Life' Campaign for THE99.co.uk

On Real Life is a promotional film about compliance and self-imposed protective limitations of acknowledgement of global issues, and acquiring information about consequence. To try and reflect a new style of 'light-touch' un-grounded navigation of engagement and action which seeks to improve but not become involved, due to a climate fatigued by division. There are no real anchors, no solid points of agreement, no weighty common goals apart from to get more sleep and find ways to accept the cost of that.

THE99.co.uk is a platform and shop set up by Chris Kilmartin to operate amongst the coordinates of branding, advertising, art and social media to create online performances which aim to align under a common ground of confusion.

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Chris Kilmartin is an Artist and Commercial Designer working out of Hackney, London.

chriskilmartin.co.uk

^{https://www.instagram.com/the99.co.uk/}

The Saturday Museum #flowfortune #collectivemillionaire

#flowfortune began at Varosi (an ex greek Cypriot working mens club) we inhabited for six months in 2017. It has so far included, meddling with money, penny portraits, bubble gazing, tasseography and making favours for a fig tree.

Currently twice a week (wed/ sat) are are sharing lottery numbers via facebook @saturdaymuseum and Instagram @lucysteggals @every_body_works #collectivemillionaire. Please do check in and get your tickets so you to can become a collective millionaire.

On the 13th and 23th of February 2018 we will be broadcasting two special live lottery number draws.

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The Saturday Museum (TSM) is a collaborative project run by Lucy Steggals and George Moustakas. An itinerant, mobile museum TSM explores alternative models of participation and is interested in connecting people locally, nationally and internationally. The way it works is by intuitively starting a FLOW on a theme. These themes emerge because they reflect a present concern of TSM. The FLOW acts as a flexible frame; a soft structure; a play space; allowing for something haptic and collaborative to evolve. FLOW’s are always triangular - a combination of lived experience, digital dialogue and physical output. Within each FLOW there is space for variation, accident, the unexpected and the troublesome.

www.thesaturdaymuseum.org

^{https://www.instagram.com/lucy_tsm/}

Madeleine Stack 'Videosnack'

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'Videosnack' in its first iteration lasted from February 5, 2013-January 31, 2014, when I arrived in a new city. Videosnack 2 started on October 1, 2015, the beginning of winter in London, and is ongoing. The space in between, I can’t say anything about. My life then was unwatched.

Mostly, it is a record of gestures. You destroy the gesture when it is watched. Like a fisherman I only remember the ones that got away, unrecorded. Short or blurry, shot while on foot, trying not to be seen. Weather, the movement of light, the movement of bodies in the street, small choreographies of object and human, street scenes. Sometimes, in life, nothing happens. I remember nothing of one day except what the archive tells me: the hair of a woman being tugged insistently out the open window of a train. So much of life has to be forgotten.

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Madeleine Stack is an artist and writer. She recently completed an MFA at Goldsmiths, University of London. She has written for Bomb Magazine, Salt, Dissect Journal, aqnb, Runway and Eyeline. Recent shows include How are you still clean? at ICA, London, Divers, at The Old Waterworks, Southend, Fatal Softness at The Koppel Project, London, and screenings at Trans-Pecos, NY and The Southbank Centre, London. Upcoming shows include Future-skinned at Metro Arts, and End of the World, at Wreckers, Brisbane. She is a co-founder of Fake Estate ARI and co-editor of Canal. Her novella, Vitrinerie, was published in 2017 by Nubile Press.

^{https://videosnack2.tumblr.com/}

Camilla Rhodes & Zoë Claire Miller 'Nude with Socks'

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And how are your
teeth today? Can
you afford to fix them?
How high is your rent?
Do you know
what the message of Western
Civilization is? I am alone.
Am I alone tonight?
I don’t think so.
-- E.M.

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Camilla Rhodes lives and works in Mexico. She is an alter ego, a webcam artist hosted by MyFreeCams, where she broadcasts live from her studio. In her studio she creates different sets and characters that she performs (in) in front of the camera. Viewers on MFC can also watch her make art and fetish objects that she then sells on her profile page. The website takes 40% of the money she earns, much like a contemporary art gallery. Sometimes she invites other female artists to perform on her show. She combines eroticism and art making as a means to sustain herself and her art practice while Having Fun. You can visit her on www.myfreecams.com

Zoë Claire Miller lives and works in Berlin and Mexico City as an artist/curator. She earned her diploma in sculpture in Germany in 2010. She is on the board of the artists' union Berlin (bbk berlin e.V.), co-founded the artist-run Berlin Art Prize as well as the collective Utopian Union. She has participated in residencies and exhibited in different places. She works in sculpture and installation, often taking coincidental encounters and localized phenomena as a point of departure to weave counter-narratives based on them. She is interested in how a public can be constituted of non-human entities, and the sense of touch.

^{https://www.myfreecams.com
/#CamillaRhodes}

CRA 2018 'Unless the Water is Safer than Land: Documenting Australia’s Violations of Human Rights at Sea'

Over a few months, the collectivity of the CRA 2018 at Goldsmiths University has investigated cases of boat turn-backs and take-backs at sea between Sri Lanka, Indonesia, Vietnam, and Australia and New Zealand. The cases feature conflicts between asylum seekers and state order, in an operation coined by the Australian military in 2014 as “Operation Sovereign Borders”. These investigations have undertaken spacial, cartographic, legal and forensic methodologies in order to better understand government sovereignty upon asylum seekers at sea and the criminal violences these actions engender.

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CRA 2018 is the collectivity of students making the MA Research Architecture at Goldsmiths University of London for the academic year 2017-18.

The group is formed of:

Anna Sofie Hvid Hansen
Ariadna Serrahima
Clive Vella
Elena Solis
Enrico Murtula
Erin Schneider
Esra Abdelrahman
Faiza Ahmad Khan
Guillaume De Vore
Halima Haruna
Hanna Rullmann
Ido Tsarfati
Imani Robinson
Liza Walling
Naiza Khan
Nelson Beer
Patrick Harvey
Rebecca Huxley
Riccardo Badano
Robert Krawczyk
Sarah Vowden

^{https://zenodo.org
/record/1126657}

Anna Mikkola 'Mnemonics'

SCENE 1

lights off. sound is approaching from afar, muffled, vibrating. darkness is infused with hues of burnt orange and electric blue. the colours appear in doubled geometric shapes with unclear edges. you open your eyes and for a split second remain in a sphere of weird liquid state. soon though, with ever fastening speed, the illusion starts to materialise into actual memories and you’re solid again.

SCENE 2

Localiser and Prescan sequence 1 Localiser and qMT sequence 2 Localiser and B0map sequence 3 Localiser and ASL-quipssIOP sequence 4 ASSET sequence 5 Localiser and DTİ sequence 6 Localiser and FSPGR sequence 7 Localiser and FSE sequence 8 Localiser and FSE-B1map sequence 9 Localiser and EPI sequence 10 Localiser and MRS-MEGAPRESS sequence 11 Localiser and DESPOT-IRSPGR sequence 12 Localiser and DESPOT-SPGR sequence 13 Localiser and DESPOT-SSFP

SCENE 3

The linear time is curled up into a loop. Memories are digitally stored, only to be reassembled in an altered order, copied and sampled into hybridised worlds within a present where thoughts, memories and soon genes are stolen from each and everyone at all times.

⌇

Anna Mikkola is based in London. Her work explores the ways that technology alters human subjectivity and probes the boundaries of the human. Her research considers how interfaces and infrastructures format reality. The work often materialises as videos and installations depicting narratives where different entities and points in time are woven together. Anna’s work has been shown, amongst others, at ICA and Jupiter Woods in London, Lighthouse in Brighton, Sonic Acts in Amsterdam, INDEX 19 and Minibar at Stockholm. Her work has been featured in publications such as Kaleidoscope, Rhizome and DIS Magazine. She has given talks at Goldsmiths University (London), ECAL (Lausanne) and the New Museum in NYC.

Twitter: @anna_mikkola

^{https://www.are.na/
anna-mikkola/mnemonics}

Erica Scourti 'Note the Ways'

'Note the Ways' is a reading through, and commenting on, 6 years' worth of note titles.

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Erica Scourti was born in Athens, Greece (1980) and is now based in London. Her work across performance, video, and text has been shown internationally at institutions and galleries like the Wellcome Collection, Kunsthalle Wien, Microscope Gallery, New York, The Photographers’ Gallery, Munich Kunstverein, EMST Athens, and South London Gallery and she’s currently a resident of Somerset House Studios. www.ericascourti.com, Twitter: @erica_scourti

^{https://soundcloud.com/
scourti-studio/note-the-ways}

ACG 'Lets Collaborate!'

ACG would like to extend an offer to all artists, organisations and exhibition spaces to collaborate on the creation of new and exciting projects.

ACG is a new organisation and model that facilitates the creation of jobs, money and housing for artists by building and sustaining relationships between commercial/public organisations and artists.

Having successfully trialled our working model we are hoping to find new artists, partner organisations and exhibitions spaces to put into practice our mission of creating scalable, sustainable opportunities for artists.

ACGs goal is to help develop artists practices, break down barriers between artists and organisations, help organisations find new audiences, help organisations develop their brand identity, remunerate artists, test and grow ACG as an organisation and artwork and to develop lasting, generative collaborations.

To better understand our working model and for more information as the organisation/artwork grows please visit our new website at:

www.acginpractice.co.uk

We at ACG are committed to making our current social/political conditions work for artists and organisations alike. By pairing artists with organisations that relate specifically to the artists’ practice we feel we are well placed to implement a structured and scalable approach to tackling the issues and constraints that face artists today.

NB: ACG is a working model, an organisation and an artwork. The projects and scenarios created will be aimed at finding remuneration for artists practices. While remuneration for artists is one of our goals we are also committed to breaking down the barriers between artists and organisations. The projects and scenarios created will most likely take time until remuneration will be set in place for the artist. We believe through the creation of more and more collaborations we will be able to develop a wide network of partners, in turn creating more and more of a possibility for our goals to become scalable and remuneration to become more efficient.

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ACG is a new start-up model and organisation created by the artist Robbie Howells. Robbie lives in London and completed his MFA at Goldsmiths College in 2017. His practice is concerned with scalability in the Big Society.

^{http://www.artsjobs.org.uk/
index.php?id=25&ne_source=
approvejobs&ne_post_id=209087}

Katie Hare 'A Shorthand For Violence'

Since 2015, when I encountered an entire video library abandoned in a skip, I have been cultivating a stock footage library of discarded video material; hours of images, dislocated from their meaning. The skip incident was a catalyst, totemic of a stark value judgement on what deserves to be archived and what feels like an encroaching lack of space – to live, to work, to play, to experiment, to consider.

Some of the videos I found were already historically significant, some still recent enough to not to have achieved this status, however viewed in 2017 the footage is charged both by the circumstances of its discovery and how its content speaks to our current situation. Taking into consideration the potential for a historically reflexive relationship with the material, a shorthand for violence is a playlist of 12 short, silent films created from discarded material from the early 2000s and earlier, reworked in the context of 2017, accompanied by 12 short stories.

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Katie Hare lives and works in London. Working largely in video, but also across performance, sound and text, her work examines the effects of the increasing rapidity of technological progress, particularly with regards to memory and obsolescence and the way narrative and storytelling is shifting as a result of this development. Recent exhibitions and screenings include Touching The Void (CRATE, Margate, 2017), Red Mansion Prize Exhibition 2017 (St John’s College, Oxford, 2017), Portal Atop A Bus Stop (CAC, Vilnius, Lithuania, 2016) and Constructs: Katie Hare, Callum Hill, Ellie Power (LUX Moving Image, London, 2016)

^{http://www.youtube.com/
playlist?list=PLQfywt
-d84SaAZ41_5PYD2SLbJ50usejp}

Dorota Gawęda & Eglė Kulbokaitė 'Agatha'

Agatha Valkyrie Ice started as an open-source personality within a Google Doc format, that offered a space for communal authorship to materialise through a critically inclusive practice. The open-ended, cloud-based film script has been a compendium of all Ai* activity, a diary, a rant, a selection of dated newsfeed stories and a plagiarised theoretical treatise on becoming real and becoming virtual. For Cosmos Carl, Agatha Valkyrie Ice opens up one last time as a source book of disjointed notes accumulated through the years of Ai activity.

*Here we use the pronoun Ai: Ai has a content that does not distinguish itself from other things or beings, because the me subject is either pure negativity or a splitting movement; it is consciousness. There’s no more self, me. We are all Ai. Ai is Ai. No subject. No desire. Used instead of I/ you/ he/ she/ it/ her/ his/ they/ them/ etc. ‘Ai’ (in hiragana あい, in katakana アイ, in kanji 愛, 藍, 亜衣) is a Japanese feminine given name. Ai could mean love, affection (愛), or indigo (藍). Ai could mean Asian clothes. Ai is the main character of the Ursula K. Le Guin story The Left Hand of Darkness, often called Genry by the Karhiders, who have trouble pronouncing the letter L in Ai language. Ai is, also AI.

Created in 2014 by Dorota Gawęda and Eglė Kulbokaitė, initially Agatha Valkyrie Ice was a virtual alter-ego, an open-ended script, an open-ended script, a social-media entity, a live-feed on becoming-real and becoming-virtual, an evolution of forms, relations of matter as well as form and the intervals between, a consideration directed towards the idea of post-gender allowing a multiplicity of voices to take part in collective performance. Ai was an experiment towards the alternate language and understanding of gender, towards defining one’s own personality in relation to the surrounding communities. This thought experiment led Agatha to evolve from a fictional post-gender character confined framework of social media platforms to an artistic strategy to explore contemporary parallels in identity and artistic production. The avatar has had a multitude of pragmatic uses: Agatha was a companion species, here to think with and to invent a body and a sexuality of one’s own. Ai’s character was fluctuating between digital and virtual and was articulated in the world of materials through installation, via sculptural objects or within molecular constellations of odours produced for the virtual body. Agatha Valkyrie Ice was a curator ( OSLO1O, Basel), an artist, the language Ai used, an artwork, a collaborative endeavour or space of enquiry. As a nomadic identity Agatha Valkyrie Ice was an avatar in a permanent state of impermanence. In the past Agatha Valkyrie Ice has participated in many collaborations with musicians, artists, writers, spaces: digital and actual, including: Catherine Prieto Österberg, SALTS (Basel), Rosie Hastings and Hannah Quinlan Anderson, Elin Gonzalez, Gabor Szabo, Manuel Scheiwiller, International Flavors and Fragrances Inc. NYC (Celine Loup, Carlos Benaim, Celine Barel, Clement Gavarry, Pascal Gaurin, Jean-Marc Chaillan), Adrien Figeac, Zayne Armstrong, Elin Gonzalez, aqnb, Ana Andra, Aaron Ritschard, Luca Iemi, Clémence de la Tour du Pin, Anna Weile Kjær, Esben Weile Kjær, Claire Tolan, OSLO1O (Basel), Zuzanna Ratajczyk, Stefanie Hessler, Sarah Miles, Anastazja Moser, Anne de Boer, Eloise Bonneviot, Riverside (Bern), new scenario, Orion Facey, O FLUXO, Klára Utke Ács, YGRG, Tariq Hindic, Blunt x Skensved, Daniel iinatti, Lukas von der Gracht, contributors to Agatha Valkyrie Ice soundcloud, WEFINDWILDNESS, Beautiful Gallery (Chicago), FOOTHOLD, pwr studio and others.

⌇

Selected exhibitions: Ai am looking away, Ai head upturned to the stars., 1.1, Basel, Switzerland (2017); Who Are You?, SALTS, Basel (2016); Agatha Valkyrie Ice: Perma-permadeath, LISTE Performance Project, Basel (2016); Episode 8: The Lair, Basel, Switzerland (2016); Body Holes, Berlin Biennale 9, Berlin and online (2016); Abstract Sex, Hessel Museum, CCS Bard, NY, USA (2016); Episode X/Chapter 3: Bedroom, Art Monte-Carlo: Salon d’Art, Monaco (2016); Mouth as is a haunted house, Beautiful Gallery, Chicago, IL, USA (2015); The Death of an Avatar, The Mycological Twist, Riverside, Bern (2015); Co-Workers: network as artist, Museum of Modern Art, Paris (2015); DEEP SKIN, Ontario, Canada (2015); The Way of the Novel, Oracle, Berlin (2015); Episode 2: Corridors, OSLO1O, Basel, Switzerland (2015); Episode 1: Welcome to Ai Crib!,OSLO10, Basel, Switzerland (2015); Agatha 1.2.0.1, Center, Berlin (2015); Liquid Swords, Kunstraum, London (2014); Insomnia2, Kunsthale Wien, Vienna (2014); Agatha IN/EX, V4ULT, Berlin (2014); WYSING FUTURE CAMP RETREAT: A Post Gender Future, Wysing Arts Centre, Cambridge, UK (2014).

^{https://docs.google.com/document
/d/1epKZq6YJ1XQzS_VuTCm9T2
_A2A95WZjyEwPHkbnh86Y/edit}

Rosa Doornenbal 'A Wonderful Way to Unwind, Magic touch quality massage'

Welcome to this high quality pioneering massage, focusing on the fingers’ special touch:

With light kneading and padding techniques sore spots will soften, allowing you to let go of unwanted worries and the baggage of stress from daily life. In circular kneading rotations the beautiful fingers will then prepare you for more intensive rubbing, making sure all built up tension in the body will be released.

We are waiting for you in a nice environment with soft music, aromatic candles, hot oil and lots of love. Its all about touch and feelings.

Appointments can be made in between 10.00 AM and 10.00 PM during weekdays. All Genders are Welcome.

This is a free service with the only compensation that the massage provided will be filmed. In agreement it can be filmed without the face being visible (anonymous).

In a world full of hoaxes and false promises the advertisement ‘wonderful ways to unwind, magic touch quality massage’ thrives effortlessly, simulating the visual and verbal language of wellness culture.

The ad on gumtree can be seen as part of Rosa Doornenbals recent interest in the power dynamic that can be found within touch and gestures, whereby the finger functions as instigator and facilitator. The ad plays with the intimacy of ones own body versus the capitalization of ways of caring for the body in the beauty and health industry. Although being sincere in its offer, it is hard to tell who exactly will benefit.

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Rosa Doornenbal (NL) lives and works in London. She is currently in her final year of the MFA Fine Art at Goldsmiths University. Recent showcasing of work include a solo show in Higure Center for Contemporary art in Tokyo, a screening at Mono8 in Courtyard Theatre in London and a performance taking part in Deptford X Festival. She is co-initiator and -curator of ‘changing room’, a collaboration with Marios Stamatis, inviting artists to create wearable pieces of work running from an unused changing room in Deptford. www.rosadoornenbal.com

^{https://www.gumtree.com/p/massage-
products/a-wonderful-way-to-unwind-
magic-touch-quality-massage/1268264462}

Alison "The document 'How To Have Sex With Me' is a description of my sexuality as I understood it, as of a year ago when it was written. It documents what my desires and experiences were in a sexual context as accurately as I could perceive them.

It was originally written so that I could communicate all the facts about my interests to a new partner, to avoid the likelihood of error if I tried to go over everything in the heat of the moment.

Overtime, it became independent of this purpose, and people I had no sexual contact with read and commented on it anyway."

⌇

Alison is a transgender blogger originally from the Caribbean. One of her strongest interests is human sexuality, with a subfocus in how one can be comfortable in one’s body as a transgender person.

^{https://docs.google.com/docum
ent/d/1PYJNIV_f_BZSdNn2rW4iHX
R1JTlDDpIIKTRqUIGRrNc/edit#}

Anton Lyngdal aka Mr.Awkward 'Mr.Awkward'

The Characteristics of Mr.Awkward: misunderstood, dyslexic-artist, weird, silly, funny, straightforward, mysterious, and capable of showing every emotion.

Mr.Awkward is trying to be a professional rapper. However, his attitude has now changed towards making ‘funny’ rap, and singing in Icelandic and English. Mr.Awkward tries to exert a certain standard of professionalism with everything he does. Mistakes do occur and tend to become part of the performances, creating a funny tension between professionalism and natural behaviour.

“The Group started 28 August 2014. Then I called the group “Funny videos” It was at the same time when I was starting my study at the Glass department in Gerrit Rietveld Academie. Then I was doing a lot of weird videos on the program in my MacBook called “Photo Booth”. And I was only in to building up a video in low resolution and as quickly as possible. Later on I started to build up a characteristics character called 'Mr.Awkward'. Then I started to have longer videos and better quality resolution, 4K and HD.”

The Mr.Awkward Facebook group contains over 100 video's to be watched.

⌇

Anton Lyngdal a.k.a Mr.Awkward (b. 1983 Iceland) lives and works in Amsterdam (soon to be living and working in Rotterdam). He graduated from his BA at the Gerrit Rietveld Academie in Amsterdam in 2017 from The Large Glass Department. He got nominated to Best artwork in Fine art in the GRA Awards 2017. He is in an art collective group called MADLAB. Instagram: Themadlab. Youtube channel: Mr.Awkward show.

Anton works mainly with Theme in his projects, does not matter what kind of materials he uses. He is a Visual-, Performance-, Installations and Video Artist.

^{https://www.facebook.com/
groups/mr.awkward/}

Jacopo Calonaci 'Catonacci_official'

Catonacci_official is the Instagram page of a bankrupt artist who has become a cat-sitter in order to pay for his student loan. A goal was set to eventually receive a catfood brand sponsorship (or major tobacco company). Undeniably, Cats are one the most valuable internet currencies; a good rival to actual gold in the real world, as 10 million views of a properly marketed Youtube video compilation of cats being funny is worth an approximate sum of 500.000.00$ on a monetized account, and that’s about 11 kilos of gold (considering the net price of 40.68$ per gram). With simple hashtagging, liking and commenting on other cat photos, within 2 months I gathered 1k followers. Just to give a comparison: my dreary Instagram of illustrations made 284 followers in 1 year.

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Jacopo Calonaci, (b. 1989, Firenze, Italia) Instagram Guru. London College of Communication, 2008; Gerrit Rietveld Academie, Amsterdam, Fine Arts BA, 2009 – 2012

^{https://www.instagram.com
/catonacci_official/}

Dan Hett & Helen Knowles 'Algorithmic content machine'

'Algorithmic content machine' explors how humans interact with machine made decisions. The Algorithm is made to scour the web for images which reflect prescribed interests and are posted to an instagram account. It follows an algorithmic take over of the Zabludowicz Collections instagram account during the Invites show by Helen Knowles where she presented the work, The Trial of Superdebthunterbot.

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Dan Hett is a BAFTA-winning multidisciplinary digital artist and creative technologist from Manchester, UK. He spent a while building big things for millions of small humans with BBC Children's, and then a year on the bleeding edge with BBC Research & Development. Dan now operates a solo artist and creative tech, and is one of the selected artists on FutureEverything's cutting-edge FAULT LINES program.

Away from the studio, Dan is a live performing visual artist, using homegrown software and tools to create improvised large-scale sonic and visual experiences for concerts, festivals and increasingly collaboration in the arts. Dan is a prominent member of the Algorave movement - an ongoing series of electronica events where all music and visuals are created entirely with live code and process, which is shared with the audience as part of the experience. Dan is also an accomplished live video artist and VJ, and has performed at scales ranging from countless sweaty basement chiptune shows right up to a headline slot at the legendary Superbyte Festival, and a recent Algorave session at Blue Dot Festival, in the shadow of the Lovell radio telescope.

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Helen Knowles (b.1975) London /Manchester is a multi-media artist working in print, photography and video. I am preoccupied with the way the virtual and digital world meets forms of life, particularly in the social realm, teasing out questions of responsibility and autonomy. I explore the new sovereign territories of the internet and how these grind upon the old ‘horizontal’ sovereign territories of land, sea, mineral wealth and state.

Helen Knowles b1975 has a BA Hons from Glasgow School of Art and MFA Fine Art from Goldsmiths University. She lectures widely around the UK and abroad. Recent shows include; 'Codex' D21, Leipzig, The Trial of Superdebthunterbot, Invites show, Zabludowicz Collection, London (2017) Gender Generation, Royal College of Art, Between the Lines, GRAD,London, UnderConstruction,Moscow (2016), Collaborate, Oriel Sycarth, (2015), PrivateView:PublicBirth, GV Art, London (2013), Goldsmiths Women’s Library (2013), Life Is Beautiful, Galerie Deadfly, Berlin (2012); Digital Romantics, Dean Clough Gallery (2012) and Walls are Talking,Whitworth Art Gallery (2010). Her work is held in private and public collections including The Whitworth Art Gallery, Gallery Oldham, Tate Library and Archive, The National Art Library, Joan Flasch Artist Book Collection, Museum of Motherhood, NY, Birth Rites Collection and MMU Special Collection. Residencies include; Moscow ICA, (2015) Santa Fe Arts Institute, New Mexico (2013 Jodrell Bank Science Centre and Arboretum (1999-2001). A recipient of awards from Arts Council England and The Amateurs Trust, in 2012 she won the Neo Art Prize, Great Art Prize for two works form the Youtube Portraits Series. Currently Knowles is touring her new video work The Trial of Superdebthunterbot to law schools, film festivals and institutions nationally and internationally. She is one of seven artists on the Fault Lines programme, Future Everything. She is the curator of the Birth Rites Collection. http://www.birthritescollection.org.uk/ sited at Kings College, London.

^{https://www.instagram.com
/algorithmiccontentmachine/}

Halla Einarsdóttir 'Spies Lies and Sunken Subs' is an Ebook

'Spies Lies and Sunken Subs’, is an interactive PDF that discloses, that gathers, that overlooks the multiple rumours of a small town crook, turned CIA agent, turned inventor. The stories as he told them, the stories as the people he told them to remember them, the stories how he exaggerated them, the stories filtered by the people he exaggerated them to. Whether they filtered the stories consciously or unconsciously with memory, with personal interests, with scepticism, with their own filling-in-the-blanks and so on. Merging the different sides of each story into one narration, with clues to be found on each spread, it is left up to you, the reader, to choose what to believe and how you prefer the stories go.

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Halla Einarsdóttir (b. 1991, Iceland) lives and works in Amsterdam. She graduated from the Gerrit Rietveld Academie in 2016. Recurring themes in her work are means of navigation, an object's narrative power and the subtle relation people have to nature. Often text based, with imagery and objects alongside, the works explore various ways of narration, through installations, publications, websites and videos.

^{http://spiesliesandsunken
subs.website/}

Lito Kattou 'Tagmata ~~ Promo 2017' is a collection of one of a kind precious gemstones and crystals earrings.

Rocks collided, went through melting and solidification under the terrain’s cluster. Extruded, found and carved into small size sculptures the crystals are now worn by silent warriors. The small in size precious crystals are attached on the human bodies. Arranged in stillness and simultaneously set in alert, voiceless servants and inanimate stones-earrings charged with vibrations from the collisions and Gaiatic energy, are brought on the same plane. Bodies undergo the transmission of the terranian aura. Earrings become the charms for the battle providing a quite protection.

Tagmata, the collection, consists of 100 one of a kind earrings, carved and shaped uniquely, combined with 925 silver and 14 carats gold gilding. Onyx, tiger eye, agate, malachite, lapis, amethyst, sodalite, tourmaline, carnelian, torque, rhodonite, quartz, ivory, bloodstone. Soon available on www.tagmata.store. London / Athens

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Lito Kattou was born in Nicosia, Cyprus in 1990. She lives and works in London and Athens. She is a graduate from the MA Sculpture at the Royal College of Art London and Athens School of Fine Arts. She develops constellations of sculptural works, produced in dialogue with writing. Articulated as weapons, skins, or cosmic elements, Kattou’s works engage with the sculptural potentiality of flatness, processes of embodiment and the transfigurations of material properties within the margins of space and time. She has participated in various exhibitions, projects and workshops. Selected recent shows include “And if I left off dreaming about you?” L.A.L.D , Foothold, Bari, “It looks like up to me” Eleni Koroneou Gallery, Athens, “Fighting with the Sun” Clearview.ltd, London (solo) “Solar Love for the Rapid Felines”, Pierre Poumet, Bordeaux (solo), “The Equilibrists”, New Museum, NY in collaboration with DESTE Foundation, Benaki Museum, Athens.

^{https://www.youtube.com/
watch?v=A5akNE7avuQ}

Puck Verkade 'Breeder'

As a response to Cosmos Carl, Puck contributes with a sneak peek into her new body of work 'Breeder', soon to be seen at her MFA degree show at Goldsmiths University of London.

Breeder, consisting of video episodes and a sculptural installation, explores how the process of reproduction is a sticky mess. How are sexual, social and visual reproduction entangled in the web of representation? How do these complexities inform gendered and racialized biases in everyday interpersonal encounters? How are they mediated and visualized in order to perpetuate social inequalities? How are we individually as well as collectively implicated in these modes of reproducing (mis)representation?

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Puck Verkade (1987,The Netherlands) lives and works in London, UK. 'Frame or be framed' is a deep-rooted motif that runs through Puck Verkade's video based practice as an inquiry into the complexities of representation. Digging through generational layers of visual culture tropes has led Verkade to use humor and irony as an entry into the stickiness of subjectivity. It creates a continuous feed of embodied explorations that result into speculative constructions composed of re-appropriated found footage, sampled pop music, low res animations and personal recordings. www.puckverkade.com

^{https://chat.whatsapp.com/
8kSNPxzfJi6IEeOyHhJoMh}

Bing Bin 'Theory of a Seducer Part 1'

I. My name is Jared and... I don’t really know how to present myself here. I’m not sure of the profile photos and how to fill out this bio page, except for basic facts such as #man #36 #white #straight #taurus #184 #fit #trader #nyc #nopets #nochildren #nosmoke #drinksocially The image of desire is proliferating in the algorithm, while the stream of imaginary seems to dry up in the iteration of unconcealed desire. Sex is no longer scarce after the liberation of its discourse — signs of sex can be produced from anything. Thus, the management of desire is the crux to reproduce the space for imaginary to bait matches. According to the theory of a seducer*, nothing is less certain today than sex*, whereas orgasm is always certain. You come to the climax and cum. The libidinal economy tells us clearly that nothing will move beyond the cyclical wave between erection and flaccid, rise and fall; a trading expert like me can always foresee the trend and knows when to come in and get out. Do I sound sexy?

II. …and this is his creator I made up this Jared, who's named after Jared Vennett in ‪The Big Short‬, a glib banker with an awkward haircut possibly injected a bit too much hyaluronic acid. Jared, the random tinder guy whose face is too random to even draw with a pen, wears facial makeup applied with a Photoshop eraser. It is the makeup of a world hit by post-scarcity economy. A world in which the law of high-resolution perfection is abolished soaks in millions of low-fidelity, low-resolution images showing off tasteless party or vacation scenes. Jared has received 10 likes on his page so far. He’s boring.

*Something I make up references to Desiring Seduction by Ccru and Seduction by Baudrillard. *J Baudrillard, Seduction. Trans. Brian Singer, St , New York: St Martin's Press, 1990.

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Bing Bin (b 1991, China) is an Amsterdam-based artist and writer (who eats spicy noodle every other day and owns a lot of pink thingy). Her decision-making, in an alchemical way, follows a flux where the Real permeates the emotion and the projection of reality. Her interests include poetry, speculative realism, accelerationism and fortunetelling. The work—mostly presented in video and elaborated by sound, text and objects—swings between the lyrical and sarcasm. She’s currently finishing her MA at Sandberg Institute, Amsterdam.

^{https://www.okcupid.com
/profile/jvennett}

x-fx 'x-fx.org' | Open in Firefox

A Throw Of The Dice Will Never Abolish Chance was an exhibition at Banner Repeater in 2016, that took Stéphane Mallarmé’s text “Un coup de dès jamais n’abolira le hasard” as a site to consider new ways of thinking through the centuries old puzzle of code, numbers and language. Mallarmé’s famous typographic layout of words on the page hover for some as a precursor to the concrete poetry of performative code, that from a modernist perspective proved ideological in its refutation of ideology, as well as metaphysics. Mallarmé’s text also resonates through Barthes interpretation, and the advent of the reader, whilst a more recent study by the philosopher Quentin Meillassoux, draws out matters of contingency and chance, through an indeterminate code.

During the exhibition, two workshops were held: Thinking through the Block. They continued a focus on publishing as process developed over Banner Repeater’s programme for many years, where important precedents in publishing provide critical insights into present day protocols in network culture.

They were open workshops that anyone could attend, with invited speakers: Tom Clark, Paul Purgas, Alessandro Ludovico, Karen Di Franco, Ruth Catlow, Ben Vickers, Tom Pearson, Ami Clarke, and Malavika Rajnarayan, Prayas Abhinav and Satya Gummuluri of surfatial.

x-fx.org holds audio recordings of the speakers, alongside other data captured during the exhibition period, momentarily, as parts of an ongoing puzzle.



The very first block of data in Bitcoin; the Genesis block, contained a “secret” message inscribed within it of The Times (UK) headline commenting on the fallibility of the current banking system: 'The Times 03/Jan/2009 Chancellor on brink of second bailout for banks'. A recent news headline reports on the UK Government trials of blockchain technology in the Welfare Payments system, partnering with Barclays Bank.

As such, there was an intention to think through these ideas, not in a vacuum, but to consider the full socio-economic, and political ramifications, of such a technology, which meant being mindful of the material, ideological, and inherent bias’ in many machine learning applications. Developing the critical enquiry of publishing as process a step further, Ramon Amaro gave a talk during the exhibition that touched on the politics of data and machine learning, that, by the very process of their design, are fallible to social consequences that are most frequently articulated in forms of biases, segregations and other social restrictions.

The workshops aimed to discuss the several, and possibly contradictory claims made, regarding the blockchain, producing a digital puzzle of the findings, inscribed, ascribed, and described through the block, leaving traces in the chain.

Ideas were considered that included the most immediate use of the block to attribute authorship and hence intellectual property and copyright, whilst asking further questions, a few of which are below:

• how might blockchain help develop alternative models of sharing both data and knowledge? • what contractual agreements might develop that could facilitate a customization of permissions relating to the use of personal data - that could act as micro-jurisdictions? • how might blockchain facilitate the development of new institutional models? • how might these function within an economy that has been described primarily as a gift • economy? • what can be learnt from precedents in archiving that share similar attributes to blockchain? • how might blockchain’s capacity to render all items ultimately searchable, shut-down previous modes of working? that include: sampling, copying and appropriation strategies.

all programming by Anne De Boer data collected by Ami Clarke

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Ami Clarke is an artist whose practice is informed by, and investigates, the increasingly performative conditions of code and language in hyper-networked cultures.

She is also founder of Banner Repeater; a reading room with a public Archive of Artists’ Publishing and project space, opening up an experimental space for others, on a working train station platform at Hackney Downs station, London. Ideas that come of publishing, distribution, and dissemination, that lead to a critical analysis of post-digital art production, are shared in her practice as an artist and inform the working remit of Banner Repeater.

She has recently exhibited/curated works at the ICA, Wysing Arts Centre, Museo Del Chopo Mexico City, the Hayward Gallery, Ithuba Gallery Johannesburg, David Roberts Arts Foundation, Camden Arts Centre and The Container Japan. She continues to commission new artists/writers works through the Banner Repeater platform, and several publishing imprints: Banner Repeater paperbacks, Banner Repeater publishing, and the UN-PUBLISH series. She teaches across the UK with a focus on Publishing as Process: post-digital art production and publishing.

^{https://x-fx.org}

Robin Buckley & Faron Ray These are our favourite EDM drops; slowed down in the YouTube player to 0.5 original speed and ripped to create this video work for the online contemporary art platform Cosmos Carl. We are drawn towards this material for current aesthetic reasons whilst also being aware that we lack a direct relationship with the material, unlike our romanticised idea of the clubbers / consumers that feature in the videos. Slowing it down in this way allows us to enjoy the material indirectly, transferring it from a particular cultural space derided by the likes of ourselves and our peers to our own environment of high culture consumption and production; ascertaining credit in the process through this typical conceptual manoeuvre. Drops can be heard at the original speed by selecting x2 in the YouTube speed settings for this video. Tracklist in description.

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Faron Ray (b.1993), based in London, has shown in various group shows including Athens Dry Deal and Yellow Mould London Deal, I Don’t Want To Curate Anymore I Just Want To Accumulate Content and curated the online show Cluddead.io in 2016.

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Robin Buckley (b. 1992) is a sound artist based in London. Their work explores the politics and aesthetics of club culture, technology and queerness. Robin has released music under the alias rkss across a variety of formats on labels such as Where to Now?, Alien Jams and Conditional Records. Robin also presents a radio program for Resonance Extra, called Lossless Communication, exploring sound discovery in the internet era.

^{https://youtu.be/OW1WVum_anE}

Erik Martinson & Gailė Pranckūnaitė 'pontypool-txt- advntr-sim' unfolds as a simulation of a text-adventure computer game from the late 1970s/early 1980s.  The text is adapted from the novel/play Pontypool (1998/2015) by Tony Burgess, with elements from text-adventure Zork (1977/1980), and proto-chat bot Eliza (1966). In Pontypool, a sleepy small town radio host and his production crew helplessly report on a rapidly emerging epidemic. From the safety of their sound booth they broadcast eyewitness accounts, coming to realize their involvement in re- transmission is spreading the linguistically based virus, making word eating zombies (climbing into the mouths of others). When the infected words are understood, the broadcasters’ relative safety inside the station disappears. This adaptation draws on one eyewitness account from the narrative of Pontypool and places it within a ghostwritten user experience of a Zork style game.  As a text-adventure game, Zork has rules and parameters defined by text and user/player input. The world encountered is both made from and encountered through words. Zork has a list of ‘complaints’ for users who ask questions it can’t understand. This echoes the relentlessly incessant question-as- answer modus operandi of proto-chat bot Eliza. Eliza’s ‘effect’ is to foster a sense of listening and emotional response by engaging back with questions—often rephrasing and regurgitating user input—a mirror to talk to.

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Erik Martinson Erik Martinson (Canada/Latvia) is an independent curator and writer based in London, UK. He worked in Toronto at Vtape, a not-for- profit video art distributor from 2005-2014, and was a member of the Pleasure Dome curatorial collective from 2006-2014. He has curated screenings/exhibitions for The Images Festival (2012); A Space Gallery (2012); Art Gallery of Mississauga (2013); Institute of Contemporary Arts London (2015); LUX Artists’ Moving Image (2016), and Contemporary Art Centre Vilnius (2016). He participated in the Independent Curators International (ICI) Curatorial Intensive on Time-Based Media, New York (2013) and was on the selection jury for Videonale.15 at Kunstmuseum Bonn (2015). Recently he was in residence at Rupert, Vilnius (2016) and completed an MFA in Curating at Goldsmiths, University of London (2016). Online: http://erik-martinson.com

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Gailė Pranckūnaitė Gailė Pranckūnaitė graduated from the graphic design department of the Gerrit Rietveld Academy Amsterdam in 2013. Practice focuses on printed matter and web-based projects, combining graphic design with an editorial touch, experimental typography and sounds. Since 2015 is part of a collaborative unit called Sprawl (with Mislav Žugaj), named after William Gibson’s term in the science fiction trilogy “Neuromancer”, “Count Zero” and “Mona Lisa Overdrive”. In it, it describes both a vast, spreading urban area and the expanding cyberspace. The term has come to perfectly encompass the shared interest in science fiction as a tool for enquiry, as well as the primary tool used for that enquiry; the internet. Sprawl seeks to translate the ongoing spread of cyber and urban sprawl into a visual, literary and social artistic methodology. Currently based in Vilnius. Online: http://gailepranckunaite.com, http://sprawl.asia

^{http://pontypool-txt-advntr-sim.net/}

Marija Bozinovska Jones 'C22H37NO2' is a chemical formula for Anandamide - a fatty acid neurotransmitter (Sanskrit word ananda means "joy, bliss, delight”). Its presence in the brain is correlated to anxiety and depression levels. Breathing is one of the few bodily functions which can be controlled both consciously and unconsciously. Breathing regulation and monitoring can influence mood, relieve stress and bring a state of inner peace and wellbeing.

C22H37NO2 explores biopolitics as displayed in online behaviour surrounding trends in 'self improvement’ movements. Consumer tendencies reach new heights: personal growth goals are set, fitness activities tracked, clean eating displayed and happiness levels quantified. Hereby self-published personal analytics and aspiring lifestyles seem to succumb to idealised aesthetics and assumptions, while female self-representation often blurs empowerment and sexualization.

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Marija Bozinovska Jones lives and works on her laptop and her yoga mat. She is enrolled in MA Computational Arts at Goldsmiths and is a resident at Somerset House Studios in London. MBJ has staged participatory experiences at Grimmuseum (Berlin), Green Ray/ Enclave (London) and FEED (Berlin). Festival performances and presentations include CTM, Transmediale and MIRA/ Scope Sessions. Solo exhibitions: Fischer und Fischer (Berlin), MKC (Skopje), KNIPSU (Bergen) and group shows at Rockelmann& (Berlin) and Arcadia Missa, St. James Church and ASC in London. Dividing her practice with MBJ Wetware as hybrid identity, her music collaborators include: JG Biberkopf, Iydes, MIND:BODY: FITNESS and A Guy Called Gerald among others. http://marijabjones.com/

^{https://www.instagram.com
/marijabjones/}

Joseph Ridgeon DIY Future-Proof Water-sports is an exploration of ways round the draconian amendments to the Digital economy bill which will make it illegal to produce or make videos with a content the BBFC deem to be non-conventional "...a classification that may include everything from female ejaculation to spanking (that leaves marks) and adult material involving urination or menstruation."

The videos on these profiles try to negate the possible new laws surrounding porn by offering a 2nd class substitute for Urolagnia.

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Joseph Ridgeon recently received his MFA Fine Art, Goldsmiths, University of London in 2016, and graduated from his BA (Hons) First Class, University of the West of England, Bristol in 2012. Selected Exhibitions and Residencies are: Phallus Impudicus, Dye House 451, London, 2016 (solo), AA Bronson's Queer Vitrine, Maureen Paley, Frieze Art Fair, London 2016, Sham Romance, Chalton Gallery, London, 2016, Goldsmiths MFA Degree Show, London, 2016, Inroad, GOLDSMITHSGALLERY, London, 2016 (Solo), Sham, Chalton Gallery, London, 2016, Sham, Goldsmiths College, London, 2016, Thank you for your time, Greenwich High Street, London, 2015, Studio 36 on Tour, Tenderbooks, London, 2015, Studio 36 on Tour, Tate St Ives, Cornwall, 2015, Studio 36 on Tour, The Royal Standard, Liverpool, 2014, Unknown Quantity Part 2, The Looking Glass, Bristol, 2013.

^{http://www.xtube.com/profile/
Goldylox-43893531/about-me}

Jonas Lund Pessimism of the intellect, Optimism of the will .online

A real time live stream of all tweets that contains the handle of the 45th’s presidents personal Twitter account.

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Jonas Lund is a Swedish artist that creates paintings, sculpture, photography, websites and performances that incorporate data from his studies of art world trends and behavior. He earned an MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academy, Amsterdam (2009). He has had solo exhibitions at Whitechapel Art Gallery, London (2016), Steve Turner, Los Angeles (2016, 2015, 2014); Växjö Konsthall Sweden (2016), Boetzelaer|Nispen, Amsterdam (2014); Showroom MAMA, Rotterdam (2013); and has had work included in numerous group exhibitions including at Eyebeam, New York; New Museum, New York, XPO Gallery, Paris; Van Abbemuseum, Eindhoven, Witte De With, Rotterdam, De Hallen, Haarlem and the Moving Museum, Istanbul. His work has been written about in Artforum, Kunstforum, Metropolis M, Artslant, Rhizome, Huffington Post, Furtherfield and Wired.

^{https://pessimism-of-the-intellect
-optimism-of-the-will.online/}

(FΛG) "I Do?", curated by FΛG Inclusive.

Digital commissions by:

FΛG Inclusive, Francesca Anne and W Giovanni Gonzales
Gabriela Acha, Independent Curator
ALT ESC, Curatorial Team/ Publication
Laura Juo-Hsin Chen, Artist
Samuel Fouracre, Artist
Robert Thomas Heppell, Artist
Maria Dela O Garrido, Artist
Isaac Kariuki, Artist
Scott Kyle Ramsay, Artist
Rachel McRae, Artist
Joe Ridgeon, Artist
Trireme (Samantha Harvey), Artist
Michael Turnbull, Editor-in-Chief, Loverboy Magazine

Do you reach for your device as soon as you wake up in the morning? Does some alone-time surfing the web, seem like your ideal date night? Do you look to your browser to make both quotidian and crucial life decisions, from cooking and cleaning, to child-rearing and financial planning? Do you constantly check-in with your social media, especially when you’re in need of a little comfort? Do you freak when your wifi is m.i.a., especially when you need it most?

By typing your passcode or surrendering your fingerprint, you are entering a mutually beneficial but contractual agreement with your device, your apps, and internet, and the online universe. In agreeing to the terms and conditions of usership and service that tie into content-production, you can in turn, find an obscure recipe and make a gourmet meal from pantry scraps, search xtube for the newest daddy porn uploads, or just Netflix and chill. Similar to a life-partner, the internet consumes your time and energy, and expects commitment. Acting as an emotional, mental, and at times physically-taxing investment (think migraines from too much screen time!), the internet can also be a great supporter, a source for self-enrichment, and a companion. Your device never judges you for taking too long to clean those crumbs off your chest, for having that Ben & Jerry’s pint for dinner, for spending the day in your underwear, or for attempting to break your daily masturbation record.

Relationships today are both radically shaped and subtly nuanced, affected and in uenced by the digital landscape. Technology has transformed what defines your S.O., from how you connect and meet IRL, to how you present your shared media identity, and even, how your break-up is mediated online. Each relationship milestone is highlighted and archived by push notifications and status updates. Sifting through these memories — either stored in a shoebox marked ‘my-ex’, or hidden in your download folder — may be neutral, painful, or bring back memories of the ‘good ol’ times’. The act of saving and sorting the digital detritus of a past relationship is rooted in a desire to finalize, categorize, and consume not only wifi, but also love and the objects of desire.

In the spirit of Valentine’s Day, (FΛG) has invited artists to self-curate and ‘show-off’ their collection of internet keepsakes, those items which they couldn’t help but keep in their shoe-box ‘junk’ folder. These digital ‘cabinets of curiosities’ will act as vessels of commemoration, honouring the palpable romance and undeniable partnership between artist, device and internet. These relationship mementos must be downloaded, saved and archived for later days of nostalgia and reminiscence, giving them an infinite online life with a relationship that is ‘so over’.

(FΛG) would like to thank Turner-prize winning artist Mark Leckey for inspiring this digital commission. “I Do?” for Cosmos Carl took inspiration from The Universal Addressability of Dumb Things (2013), now on view at PS1 MoMA, New York. While Leckey’s cabinets have been physically realized, (FΛG)’s digital commission will exist solely digitally via (FΛG)’s website/ facebook and Cosmos Carl’s website/ facebook.

About FΛG Inclusive

(FΛG), pronounced 'fag,' is a curatorial inclusive: Francesca Anne, a New Yorker, and W Giovanni Gonzales, a New Mexican. (FΛG) is an alternative commissioning platform focused on feminist and queer studies/ issues/ theory/ futures.

^{https://drive.google.com/
drive/u/0/folders/0B0Hmn
5MJZS2xLTNqYmQtd2pVSW8}

Lea Collet & Marios Stamatis 'Ghost Intimacies part 1: a net romance'

CHORUS ENTERS

Chorus (together):

This is c0mm0d1ty and this is n0rmat!v!ty, both are single and looking for their other half, and they have been looking for that special connection.

Online dating, bars, single's events, blind dates, the list goes on and on. The result is always the same: dead-end roads. They both yearn for a loving relationship with someone who accepts them for who they are, something meaningful and long-term. Even though c0mm0d1ty and n0rmat!v!ty leave 5 minutes from each other and are a perfect match, they haven't met yet...

You see, c0mm0d1ty and n0rmat!v!ty decided to try lovestream.com. They both decided to give lovestream.com a try because it works for others; they've also heard that it was very different from traditional online dating. They are right, with the creation of more than 1 million happy marriages, and likely an equal number of living long-term relationships and an unbelievably low divorce rate of 3.86% and countless testimonials of those whose life has been changed, clearly lovestream.com has mastered matching based upon broadbased compatibility. Lovestream.com believes that everyone is entitled to loving, successful, long-term relationships; would you like to be their next success story?

END OF PROLOGUE

Ghost Intimacies part 1: a net romance is a multi-character play in which each scene is presented as an online dating profile on flirtbox.co.uk. Using dialogues adapted from dating shows and slogans from dating apps, the play unfolds through the swiping movement of the user who has to go through other public profiles in order to discover all the scenes and acts.

Questioning how emotional and economic discourses mutually shape each other, Ghost Intimacies part 1: a net romance explores the dating word's adherence to normative standards, requiring the 'authentic' self to go through a vast process of reflexive self-observation introspection, self-labelling and articulation of tastes and opinions in order to meet a virtual other.

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Lea Collet & Marios Stamatis are a duo of love. Their collaboration evolves through a range of media such as video, performance, text, and sculpture. They like to use theatre as a method in which they stage the implications of publicly performed affect and embodiment within an emotional capitalism framework.

Recent work includes We are having a great time :) at Rockelmann & (Berlin, DE); Key Performance Interludes at Green Ray (London, UK); USE/USER/USED at Zabludowicz Collection (London, UK); I Think I'm Experiencing Pure Bliss at Entreprise Project (Athens, GR), 2016; Faith Dollars, Taxfree Imagination & Uptown Bliss and Chorus for Three at Assembly Point (London, UK); Ambiguity Symposium at The Showroom (London, UK), 2015; BYOB Geneva, Bâtiment d’Art Contemporain (Geneva, Switzerland), 2014.

http://leacollet.com/ & http://mariostamatis.com/

^{https://flirtbox.co.uk/c0mm0d1ty}

Chooc Ly Tan 'Colonized X Heard Em Say' by Chooc Ly Tan is a mashup of two musical tracks, using tracks by noise techno producer Paula Temple (‘Colonized’) and MC vocalist Leikeli47 (‘Heard Em Say’ ).

Prior to the recording, the tracks were mixed and tested live, while Tan was Djing at parties and club nights recently. She saw the effect on people was a chemical reaction, so she decided to record it in her laboratory, and forge astral connections with her recent video work.

Also, for your aural pleasure, she is also launching a brand new mix. ‘Crepuscular Dreams of (Dis-)Alienation’, is a homage to people in exile, the refugee community and to non terrestrial beings, who are welcome to Earth.

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Chooc Ly Tan is an Artist, DJ & Voyager, in residence on Planet Earth.

Her practice sets out to use systems or tools that are used to understand the world, such as logic or physics, but subvert them to suggest new visions of reality.

Recently her work has been shown at Minsheng Art Museum, Beijing, China; StudioRCA, London; Artičok.tv, Prague; Gasworks, London; ART Rotterdam; Neutral Ground Contemporary Art Forum, Canada; CCA, Glasgow; OK Centre for Contemporary Art, Austria; Festival of Ideas, Cambridge; CCCB, Barcelona; Fuso International Video Art Festival, Lisbon; BIOS, Athens; Timishort Film Festival, Romania; Milano Film Festival; School Hut, Kilimanjaro, Tanzania; Circa Projects, Newcastle; Carlos/Ishikawa, London; Transmission Gallery, Glasgow; Whitechapel gallery; Flat Time House.

Last year, Chooc Ly Tan has performed a DJ set in the new Tate Modern building (London), and at Apocalypse/Rave (Oslo, Norway).

Tan has been invited to be artist-in-residence for 2017, as part of the Both Sides Now residency program, Hong Kong, and at Fondation Boghossian – Villa Empain, in Brussels.

^{https://colonized-x-
heardemsay.tumblr.com/}

Ruth Waters 'youareyouronlylimit' is an exploration of hipster landscapes and Instagram positivity.

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Ruth Waters (1986, UK) lives and works in London. She graduated from MFA Fine Art at Goldsmiths University of London. Upcoming shows include, Cacotopia at Annka Kultys Gallery and SHAM Swallow at Dye House 451. She is a founding member of SHAM collective and recently curated exhibition SHAM Romance at Chalton Gallery alongside Mariana Echeverri. She is the current recipient of the Goldsmiths MFA Studio Award 2016/17, a partnership funded by Acme Studios, Jane Hamlyn, and the Artisa Foundation. www.ruthwaters.co.uk

^{http://youareyouronlylimit.org/}

Jackson Bateman 'REGIE SANTANAS! AVE SANTANAS! HAIL SANTA!'

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Jackson Bateman (b.1989, Oxford)
www.jacksonbateman.co.uk

^{http://youthclub.biz/}

Jack Fisher 'WEAREONE.COMPUTER' is a script of data; an application - {an idea of language}, an abstraction of time… an accumulation of content, an autonomous archive, an independent structure. The sequence of data accesses a cluster of files to constantly increase. (numbers transcend their original purpose.) They become a collective, changing and adapting. One day...in the distant future...reaching its programmable finite end… the system crashes... the governor can govern no more “But it won’t happen in our lifetime” - The machine we thought was here to keep us AWAKE, becomes the thing that now sends us to sleep.

The work WEAREONE.COMPUTER is now open and accessible for download via cosmos carl. Users may download and own a copy of the work on their own machine. If you so wish; i encourage you to explore the files within the work and any assets may be replaced in order for the user to create their own version of the work. For more info, please see the README file enclosed within.

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Jack Fisher (b.1991) is a maker of things and images. They’re not always sure if it's art but enjoys doing it. They will never stop. They’re confused by written language and how we use it. Their mind is a cesspit of ideas. They believe in the Sun.

^{https://dropbox.com/sh/87
rgvy4lrtk1y1y/AADInKTitO
OkyACOvTY0zfQca?dl=0rif}

Maria Gorodeckaya '♪♪' is an exploration through offensive misogynist rap songs guided by Maria Gorodeckaya.

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Maria Gorodeckaya (1988, RUS) lives and works in both Moscow and London. She graduated from MFA Fine Art at Goldsmiths University of London and recently presented her first solo show at Almanac London. Recent exhibitions include Planned Obscolence at Miltronic Club, Moscow, Accessing Economies: Engagement & Withdrawal at Club Pro LA, Longshore Drift by Jupiter Woods at Sorbus Gallery Helsinki, and Pulling Flesh from the Shell with an Index Kevin Space, Vienna amongst others.

^{http://sadfacefeminism.tumblr.com/}

Abri de Swardt Leak' is a project pre-releasing segments from 'Ridder Thirst LP', a double record by De Swardt and a host of contributors to be launched in 2017. Through textual, sonic and musical arrangements, the work responds to campus and the state of tertiary education with disassociation and extra-curricular desire, particularly at a time of the ends of Rainbowism, shut downs, state capture, and calls to mass redress and zero compromise. It is localised from the vantage point of Stellenbosch University, South Africa, where De Swardt completed two degrees and taught Visual Studies.

What about language? Do all eleven official languages have the words needed to cover the Commission? A Zulu-speaking colleague loses his temper: ‘Of course! And if the words aren’t there, we’ll make them up.’ Make them up? He provides a list:

hit squad: abasocongi – neck-twisters massacre: isibhicongo – crushed down serial killer: umbulali onequngu – addicted killer politics: ezombusazwe – matters about the ruling of the land right-winger: untamo-lukhuni – stiff-necked third force: ingal’enoboya – a hairy arm ambush: lalela unyendale – lying down waiting to do an evil act

‘Hairy arm?’ I ask.

‘During third force activities,’ he explains, ‘people said a cuff sometimes moved too high up, and the exposed arm was always hairy – that means belonging to a white man.’
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Is it possible to forget and be quite sure at the same time? It should be stated that there are no life universals. I gave up English Studies III as an extra subject, so amongst others I still have copies of 'Wide Sargasso Sea' and 'Portrait of a Lady' even though I haven’t read them yet. I guess being a student isn’t a temporal designation. Not in the same way that checking in at Standing Rock is. A photograph does the rounds of a brick flung during the Fees Must Fall protests into some shatterproof window of Truth Coffee in Cape Town, bisecting the glass above Zapper, EatOut and TripAdvisor stickers. One does not simply mark oneself as safe during a revolution. At any moment there are 20 million people ordering flat whites in America. On Easter Island the Moai monoliths have bodies beneath their heads, covered up from half a millennia of erosion. This makes me think of moments of enacted near burial, head above ground: Hans Strydom captive and doe-eyed in 'The Gods Must Be Crazy II', Brendon Daniels in Nicola Hanekom’s play 'Babel', his head mostly encased beneath a bucket shadowed above the red soil, and 'Untitled (face in dirt)' by David Wojnarowicz, lips flaring at the nearness of death – to be able to resuscitate such a face! Growing up I used to be dismayed about a certain twee sentiment presiding over a display about a His Master’s Voice gramophone in the regional museum. Now I do wonder about the image of the family pet peering into the horn, if the recording wettens the dog’s nose. Could the scent of his master’s breath be transmitted synaesthetically? Perhaps nothing is playing, and his head nuzzled in the conical hollow reverberates the nectar of his own bark. What if turntable needles where to be substituted by sharpened nails, then stumped fingers, raw bone, finger by finger, hand by hand, wrist to wrist, and vinyl groves were to turn bloodied arteries at the service of a sounding. On an Afrikaans poetry blog someone writes in reference to a recent burning of whether you would die to save a piano. But would a piano die for you?
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Quote from Antjie Krog, 'Country of my Skull', 1998, Random House Publishers.

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Abri de Swardt (b. 1988, based in Johannesburg and London) is an artist and writer working across video, photography, costume, sculptural tableau, readings and performance through what he calls 'an aesthetics of drowning' and 'the sunstroke of voice'. He holds a MFA in Fine Art from Goldsmiths, University of London, as a Skye Foundation Scholar. By delving into the politics of touch, containment and depletion, De Swardt uses modes of dirty historicisation to renarrativise buried, effervescent and pink-washed matter into impossible and fantastic scenarios, as alive again, epidermal and amorous.

De Swardt has held solo exhibitions at White Cubicle, London; MOT International Projects, London; and blank projects, Cape Town. Recent exhibitions include 'Daata Editions', Frieze London; 'Off to Mahagonny', various sites in Rye Lane, London; 'Blend the Acclaim of your Chant with the Timbrels', Jerwood Staging Series, Jerwood Space, London (all 2016); 'Bloomberg New Contemporaries 2015', One Thoresby Street, Nottingham, and Institute of Contemporary Arts, London; 'Sightings', KZNSA, Durban; 'Poetics of Relation', LiveInYourHead, Geneva; 'Men Gather, in Speech…', Cooper Gallery, Duncan Jordanstone College of Art & Design, Dundee (all 2015) and 'Field Work', IV Moscow International Biennale for Young Art, Moscow (2014). He was selected as one of Wanted magazine’s inaugural Young African Artists in 2011, and included in Arcadia Missa’s publication 'How to Sleep Faster 5' in 2014. In 2016 he was shortlisted for the Rome Fellowship in Contemporary Art.

^{http://leakridderthirstlp.tumblr.com/}

Nora Hansen 'YokoTsuno x NoraHansen – TheCollection'

Inspired by collaboration as a metaphor for friendship London based fashion label YokoTsuno is releasing a new DayToNightCityWearCollection in collaboration with the artist NoraHansen. Inspired by 60`s scy-fi extravaganza the collection presents a playful take on 60´s patterns translated into exciting contemporary fabrics. Combining GermanSensibility and JapaneseElegance Yoko and Nora have created a fun and sexy DayToNightAparel with a casual air of adventure. All pieces are carefully designed to meet the wear and tear of the everyday and are tailered on request. Part of the collection carry hand-embroidery.

Throughout the show at CosmosCarl Yoko and Nora will release pieces of their collection via Instagram including a breathtaking shoot at BarbicanCentre with the lovely team behind CosmosCarl - so feel free to follow!

Yoko x Nora

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Nora Hansen (1986) graduated from MFAProgram at KunstakademieDuesseldorf in 2014 and moved to London 2015 where she met Yoko. Her work has been exhibited internationaly in solo and group projects including shows at GOLDSMITHSGALLERY, London, GoodForever, Düsselorf, Manifesta 9, Genk, Stadtgalerie Bern and Museum of Modern Art Arrecife.

Yoko Tsuno (1975) is an electronical engineer and journalist. Her main field of research is the use and abuse of relevant technologie in contemporary society. Yoko founded her small but adorable fashion label YokoTsuno in 2015.

^{https://instagram.com/
yokotsuno_x_norahansen/}

Sophie Hoyle An advert placed on a casting website, a film pitch and fragments from a working script for ‘Mimesis’ explore the online networks used for film production. Through the audition process various characters reflect on constructing and capitalising on categories of identity, including ethnicity and gender, and ideas of performance and passing.

Please use the login: semhoyle@gmail.com password: mimesis

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Sophie Hoyle is an artist and writer currently based in London.Their artwork and research explores an intersectional approach to post-colonial, queer, feminist and disability issues. They work in moving-image, installation and video-essay to look at the relation of the personal to (and as) political, individual and collective anxieties, and how alliances can be formed where different kinds of inequality and marginalisation intersect. Their most recent work addresses Anxiety disorder and the technomediation of the body in antipsychiatry, surveillance and security, and the role of collective anxiety in geopolitical discourses.

They have recently shown work as part of Off to Mahagonny (2016), This Time With FEELing Cycle2 residency at [space] TWB, London (2016) and Transmediale: Anxious to Secure at HKW, Berlin (2016). They have written articles and reviews for X-TRA, AQNB, Runway and The New Inquiry. http://www.sophiehoyle.com/

^{http://castingcallpro.com/
uk/job/367112/mimesis}

Laura Yuile 'Cloud Fallen Water' is an Etsy shop selling handmade soaps containing the gentle exfoliant of dust and dirt carefully hand-picked from the floors of East London's Westfield shopping centre, along with an energising and moisturising burst of the artist's fresh spit.

These soaps are made in small batches to ensure the highest quality product. They may slightly vary in size but never in quality. Please allow for colour and ingredient variations due to its handmade nature and the evolving nature of the shopping centre. There is no palm oil in these soaps as its production is not ethical and leads to deforestation, habitat degradation, climate change, human rights abuse and animal cruelty.

Suitable for most skin types.

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Laura Yuile is an artist based in London, UK, working with sculpture, video and performance. Recent exhibitions include World Interiors, Savoy Centre, Glasgow; The Capital, Vulpes Vulpes, London and Conversation of Monuments, Collective, Edinburgh. She has undertaken residencies with Temporary Art Platform in Beirut, IOAM in Beijing and in 2015 was an Associate Artist at Open School East. She currently has work in the exhibition Moist Heat at The White Building, London, and has upcoming shows at Generator, Dundee, and Generation & Display, London.

^{https://etsy.com/uk/shop/
ContactlessSoaps?ref=
l2-shopheader-name}

Caspar Heinemann 'Food & Folk Punk', an ongoing somatic research blog on subculture and gut flora.

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Caspar Heinemann is an artist and writer based in Berlin. They work with mythologies, experimental poetics, magicopolitical hope, and fermentation.'

^{http://foodandfolkpunk.tumblr.com}

Terence Broad 'Blade Runner - Autoencoded' is the frame by frame reinterpretation of the film Blade Runner from the memories of an artificial neural network. The type of network in question is called an autoencoder and has been trained to solely watch and reproduce frames from Blade Runner. After seeing the film 6 times, the network was used to produced this reconstruction.

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Terence Broad is an artist and machine learning researcher based in London. He recently graduated from Goldsmiths, where he completed his Masters in Creative Computing.

^{https://www.dropbox.com/s/
mskk21zamkgmp4k/Blade_Runner
_Autoencoded.mp4?dl=0}

Hannah Anbert 'Sacred Work (karaoke version)'. Iconic pop ballads such as "I Will Always Love You" by Whitney Houston is transformed into "I Will Acknowledge You" in a song about Human Resource Management and "Euphoria" by Loreen becomes "Economy" with lyrics about the origins of paid labour.

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Hannah Anbert is a Copenhagen-based artist using performance, sculpture, sound and text, exploring the sometimes arbitrary forms, human coexistence take. Anbert is particularly interested in political economy and the way it interferes with social relations

Recent solo exhibitions: "Instrumenter, Organer og andre Personlige Kæpheste", Galleri Q (2015), "Reinventing our past", trailer gallery, Umeå (2013), Recent group exhibitions: "Det ku' være politisk", Janusbygningen, Tistrup (2016), "Continuum: Nordic Sound Art", Skånes Konstförening, Malmö (2015), Survivalkit Festival, Umeå (2014).

http://hannahanbert.wordpress.com/

^{https://goo.gl/CP6gKR}

Harry Meadley ‘Artists Talk’ is a one-hour stand-up comedy special by the artist Harry Meadley. Filmed in front of a live audience at the Bluecoat, Liverpool; subjects range from going to art school, being a technician, hair straitening, the self-interest of artists, the death of the artist’s grandfather, getting engaged, the nature of performance, being bullied, leaving London, financial insecurity, and the act of conducting faux female genital mutilation among others.

Drawing a parallel between Cosmos Carl and websites such as watchseries or CouchTuner, which circumnavigate copyright laws by only providing links to, rather than host, online viewing versions of television shows and films. Here, a lower resolution version of the video work, currently on show as part of the Liverpool Biennial Associate Artists exhibition, is made available to view online - but only for those with the url.

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Harry Meadley (b.1990) is an artist based in Leeds. Solo shows include LEVEL 3, Spike Island Test Space, Bristol; LEVEL 2, Cactus, Liverpool; LEVEL 1, Paradise Row, London; Play It as It Lies, David Dale Gallery, Glasgow; and Stay Gold, Annet Gelink Gallery, Amsterdam. Duo shows include Moments of Zen, Turf Projects, London; hibition, Set The Controls For The Heart Of The Sun, Leeds; and Code Duello, Loods 6, Amsterdam. Recent group exhibitions include Associate Artists, Liverpool Biennial, Liverpool; General Studies, OUTPOST, Norwich; Italian and British artists meet Milan #2, BeatTricks, Milan; Display Show, Eastside Projects, Birmingham; Tuff Crowd, Picnic Picnic, Sheffield; Finite Project Altered When Open, David Dale Gallery, Glasgow; Cheese Cube, Toast, Manchester; Emotional Resources, NGCA, Sunderland; and The Panj Piare ASSEMBLE, Grand Union, Birmingham.

<sup>http://vodlocker.com/t2j301f1cdoz

https://vimeo.com/301472811</sup>

Josephine Callaghan To sell a river?

https://www.iaea.org/INPRO/9th_Dialogue_Forum/05_BreakoutSession/BOS_Topic4/1_Arabidze-Georgia-Day2-BOS-Topic-4.pdf

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Josephine Callaghan is a London based artist. She graduated from Royal College of Art in 2014. Recent exhibitions include Fiats chasing arcs…, All Welcome (Vilnius); Akhal-Teke, Res. (London); A Special Envoy, FACT (Liverpool).

^{https://airbnb.co.uk/rooms/13850501}

Angels Miralda '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

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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)

^{https://docs.google.com/
document/d/1MD9Lj5rH6tCTSyR
pHZxnipm0MQCo1VNRGNn52PIbEio
/edit?usp=sharing}

Rustan Söderling '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.

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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.

^{https://skfb.ly/Pspw}

Sikarnt Skoolisariyaporn '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.

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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

www.sikarntskool.blogspot.co.uk

^{http://lingualparasite.blogspot.co.uk/}

Balthazar Berling '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.

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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

^{https://clyp.it/user/j5v12pir}

Perce Jerrom '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.

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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.

^{https://facebook.com/
groups/967178373336522/}

Aapo Nikkanen '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.

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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

^{http://geocities.ws/
imagesimages/}

Simone Monsi 'Alone is the new together’ is an ongoing curated collection of words.

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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.

^{http://aloneisthenew
together.tumblr.com/}

David Hanes The 'psycho.gif', 2012–2016 is an animated .gif of the entire film 'Psycho', 1960 by Alfred Hitchcock.

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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/

^{http://psychogif.com/}

Nicholas Riis 'CLEAN CARE', an offline retailer.

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http://www.nicholasriis.com/

^{http://cleancare.club/}

Joey Holder '1.7TB' is a downloadable torrent 1.7TB in size containing the complete contents of Joey Holder's hard drive.

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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)

^{http://17tb.site/}

Sam Smith '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.

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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.

^{http://samsmith.net.au/cc/}

Nora Turato 'Forgive and Forget But Get It!'

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cause horses have to run not sit.

^{https://player.vimeo.com/
video/152181237?loop=1&title=
0&byline=0&portrait=0}

JKNET 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.

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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!

^{http://jknet.club/enterjknet/}

Snorri Ásmundsson 'Jólasveit og Jóladís' is a new christmas album and, acording to the artist, the second best christmas album ever made.

Credits:

Released on December 12, 2015

All songs by Snorri Ásmundsson Produced by Árni Grétar Photo Jónatan Grétarsson Design by Ámundi

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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

^{http://snorriasmundsson.
bandcamp.com/releases}

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.

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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).

^{http://cellprojects.org/cc/}

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.
Circadian rhythm,
the days of the week.

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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).

^{http://ebay.com/itm/Monday
-Tuesday-Wednesday-Thursday
-Friday-Saturday-Sunday-/}

Salvatore Arancio 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.

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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).

^{https://vimeo.com/143814319}

Andrea Williamson 'Green Idol'.

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.

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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.

^{http://leoandknut.deviantart.com/}

Carl Gent '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.

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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.

^{http://googleearthcommunity.
proboards.com/thread/1947/meliza}

Debora Delmar Corp. 'KUWTK'.

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.

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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.

^{https://drive.google.com/file/d/0B27
pv8vZUiJvc0JySWdSVzNzNlE/view}

Nicholas Brooks 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.

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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

^{http://losterminus.fail/}

Dull Tech '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.

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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.

^{http://kck.st/1IzwkfD}

Paul Kneale '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.

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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

^{https://mega.nz/#!ENVz3TjK!
Dcb1kkoPJaREeKKbY-B9rInP7
S1bMtPR4jVsdPGhxx8}

Valinia Svoronou '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.

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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.

^{http://valiniasvoronou.com/
thegravestonedoji.html}

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.

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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.

^{http://ebay.co.uk/itm/ Perspex-
vitrines-for-sale-/181812140342}

Marguerite Humeau 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.

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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/]

^{http://how-majesty-ends.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.

JSFiddle is a tool to test JavaScript, CSS, HTML or CoffeeScript online with a code editor.1 Visitors are allowed to alter the code, and give suggestions for an updated version of the work. Different versions will be saved regularly.

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 Javascript registering the exact local time of visiting the html-page.5 The recorded time is the variable parameter for several elements on the page.

A Javascript animating a >div into random directions.6

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. 1. https://www.youtube.com/watch?v=zrWkRHSK6A8
2. http://www.rangen.co.uk/names/titlegen.php
3. http://randomtextgenerator.com/
4. http://www.ecksenis.net/def_shuffle/sound_2/sound_html/index.html
5. http://www.w3schools.com/jsref/jsref_obj_date.asp
6. http://stackoverflow.com/questions/10385950/how-to-get-a-div-to-
randomly-move-around-a-page-using-jquery-or-css
7. http://bl.ocks.org/mbostock/6909318


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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

^{http://jsfiddle.net/
annedeboer/8b6x7v17/}

Geirthrudur Finnbogadottir Hjorvar 'VESLA'

The production of VESLA is supported by Mondriaan Fonds.

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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.

^{https://youtube.com/
watch?v=in83wAinVvA}

Rob Chavasse 'Ceremonial Platforms'

Uses: 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.

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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).

^{https://vimeo.com/129172524/}

Yuri Pattison '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.

^{http://ryuhanapress.com/}

Frederique Pisuisse '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.

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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.

^{https://hostmypdf.com/en/frm/csa7v}

Artun Alaska Arasli 'Forever 21'

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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.

^{http://very-much.biz/forever21/}

Jack Brindley ‘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.

CHAPTER 1 … 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.

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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).

^{https://kickass.to/chapter
-1-zip-t10429865.html}

Emilia Bergmark '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.

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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).

^{https://soundcloud.com/blackbird-38/
hideawaybird-remixfeat-blackbird}

Emily Jones '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

^{https://s3.amazonaws.com/arena
-attachments/347306/a82c8db9c
dc087067d53896ae0bf8212.pdf}

Leslie Kulesh '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.'

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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.

^{http://bit.ly/1zlvC2j%E2%80%8B}

Share This '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.

^{http://sharethisart.tumblr.com/}

Dan Walwin '2013, 2014'

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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).

^{http://danwalwin.co.uk/works/cc}

Rebecca Lennon 'The Spectrum' is a hyper text.

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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.

^{https://docs.google.com/docu
ment/d/1aFvEkxj3ljQpZXzmDI
Z8h6sjq2_usIic71lpEeciK5Y/edit}

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

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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.

^{http://markaerialwaller.com
/sense_memory.html}

Eloïse Bonneviot '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.

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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.

^{https://pinterest.com/ebonneviot
/tlam-search-and-rescue/}

Luca Francesconi '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

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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.

^{https://youtube.com/play
list?list=PLJBw4R-DWuz
wqb2HXmeMAfKfnXP3hrK9M}

Styrmir Örn Guðmundsson 'Calling you from Cosmos Carl'

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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

^{https://vimeo.com/110804047}