ARTBASE (1)
PORTFOLIO (3)
BIO
Marc Garrett is co-director and co-founder, with artist Ruth Catlow of the Internet arts collectives and communities – Furtherfield.org, Furthernoise.org, Netbehaviour.org, also co-founder and co-curator/director of the gallery space formerly known as 'HTTP Gallery' now called the Furtherfield Gallery in London (Finsbury Park), UK. Co-curating various contemporary Media Arts exhibitions, projects nationally and internationally. Co-editor of 'Artists Re:Thinking Games' with Ruth Catlow and Corrado Morgana 2010. Hosted Furtherfield's critically acclaimed weekly broadcast on UK's Resonance FM Radio, a series of hour long live interviews with people working at the edge of contemporary practices in art, technology & social change. Currently doing an Art history Phd at the University of London, Birkbeck College.
Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80′s from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular ‘Savage Yet Tender’ alternative broadcasting 1980′s group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) with Heath Bunting on Cybercafe BBS with Irational.org.
Our mission is to co-create extraordinary art that connects with contemporary audiences providing innovative, engaging and inclusive digital and physical spaces for appreciating and participating in practices in art, technology and social change. As well as finding alternative ways around already dominating hegemonies, thus claiming for ourselves and our peer networks a culturally aware and critical dialogue beyond traditional hierarchical behaviours. Influenced by situationist theory, fluxus, free and open source culture, and processes of self-education and peer learning, in an art, activist and community context.
Net artist, media artist, curator, writer, street artist, activist, educationalist and musician. Emerging in the late 80′s from the streets exploring creativity via agit-art tactics. Using unofficial, experimental platforms such as the streets, pirate radio such as the locally popular ‘Savage Yet Tender’ alternative broadcasting 1980′s group, net broadcasts, BBS systems, performance, intervention, events, pamphlets, warehouses and gallery spaces. In the early nineties, was co-sysop (systems operator) with Heath Bunting on Cybercafe BBS with Irational.org.
Our mission is to co-create extraordinary art that connects with contemporary audiences providing innovative, engaging and inclusive digital and physical spaces for appreciating and participating in practices in art, technology and social change. As well as finding alternative ways around already dominating hegemonies, thus claiming for ourselves and our peer networks a culturally aware and critical dialogue beyond traditional hierarchical behaviours. Influenced by situationist theory, fluxus, free and open source culture, and processes of self-education and peer learning, in an art, activist and community context.
Re: Cloned Object or Cloned Zanni ? This is the problem
Hi Zanni,
It does look (scarily) very similar to me. Have you approached the artist?
marc
> Dear ArtBase Watchers,
>
>
> I've just seen the " Hole in the Sky " by Tom Scarpino (Hi Tom)
http://www.rhizome.org/object.rhiz?14018
>
> I was wondering if any of you saw my piece done two days after the 9-11
fact. (more or less 2 years ago)
> It's the same piece: http://www.zanni.org/pagine/menu12twc.htm
>
> after few days the version 2 : http://www.zanni.org/pagine/menu12twc2.htm
> following that first concept but exploring the idea of how -for our
generation- 2 simple parallel rectangles could not be seen anymore only as
2 simple geometric figures.
>
> I think some of you remember when I sent an email asking for 3 minutes
blank page.
> A digital extension of the minute of silence. After that invitation my
home page was set with those 2 not loaded images.
>
> ---------
>
> Then on July 31th 2002 my Cabinet magazine #7 commission was launched
(special issue about -FAILURE-).
> "ATTEMPT TO BET TWO FICHES" :
http://www.cabinetmagazine.org/art/index.php
>
>
> best,
> cz
>
> http://www.zanni.org
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
It does look (scarily) very similar to me. Have you approached the artist?
marc
> Dear ArtBase Watchers,
>
>
> I've just seen the " Hole in the Sky " by Tom Scarpino (Hi Tom)
http://www.rhizome.org/object.rhiz?14018
>
> I was wondering if any of you saw my piece done two days after the 9-11
fact. (more or less 2 years ago)
> It's the same piece: http://www.zanni.org/pagine/menu12twc.htm
>
> after few days the version 2 : http://www.zanni.org/pagine/menu12twc2.htm
> following that first concept but exploring the idea of how -for our
generation- 2 simple parallel rectangles could not be seen anymore only as
2 simple geometric figures.
>
> I think some of you remember when I sent an email asking for 3 minutes
blank page.
> A digital extension of the minute of silence. After that invitation my
home page was set with those 2 not loaded images.
>
> ---------
>
> Then on July 31th 2002 my Cabinet magazine #7 commission was launched
(special issue about -FAILURE-).
> "ATTEMPT TO BET TWO FICHES" :
http://www.cabinetmagazine.org/art/index.php
>
>
> best,
> cz
>
> http://www.zanni.org
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
Re: Defining Digital Art
Hi Geert,
Yep, you hit it right on the nose...
Personally, I'm not bothered about whether net art is collected or not. Soo=
ner or later it will become such an eyesore that an abundance of people are=
viewing net art and its ilk - instead of watching, visiting the latest bre=
ed of the year 'Cruffs', the Turner prize. It is, as you declare, just a ma=
tter of time.
There are more important issues for the likes of ourselves that need to be =
dealt with. Such as breaking down the imposing walls that net art has had b=
uilt up around it. This means artists getting off their art plinths and con=
structed pedestals & actually get serious with collaborating for real, rath=
er than by pretence. Involve others who would not normally get involved wit=
h net art. Explore areas that are not necessarily art related alone, this i=
s a our way out of the perpetual trap that most artists sadly, submissively=
adhere to. After all, the myth of the genius/artist has been debunked, so =
why not a net-art-person? Get out there, become part of the world & not jus=
t in the already colonized, traditional art community alone, but to people =
(which there are many) who should be allowed to be a part of this amazing j=
ourney as well, that we ourselves have chosen to embark on...
best wishes - marc
Is this really to be a discussion? When I saw the subject I thought the t=
hread would soon die out. The definition the Austin Museum of Digital Art u=
ses is boring to the extreme, however noble the cause.
As always, my answer would be that art is not about the medium, but about=
commitment, strength, and being to the point. If there is to be a true dis=
cussion on digital art, it should be about the way art should or could prop=
ogate though the art community. If the art happens to be digital, the mediu=
m it uses might be a temporary obstacle on its way to acceptance (as in col=
lectors buying it). But it'll get there, just as Nam June Paik has. And "de=
collage". And Cubism.
Geert
On maandag, jun 30, 2003, at 00:57 Europe/Amsterdam, miguel leal wrote:
Following this broad definition almost everything that is being done in=
the art scene is digital art (digital as product, as process or as subject=
). And, by the way, is it so important to establish a border line betwwen a=
nalog and digital art? I thougth that the question of the medium was burrie=
d, or at least no so central as for Clement Greenberg... :-)
ml
I like this:
http://www.amoda.org/about/digitalart.php
-Cf
[christopher eli fahey]
art: http://www.graphpaper.com
sci: http://www.askrom.com
biz: http://www.behaviordesign.com
+ ti esrever dna ti pilf nwod gniht ym tup
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rh=
iz
-> give: http://rhizome.org/support
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.p=
hp
+ ti esrever dna ti pilf nwod gniht ym tup
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
-------------------------------------------------------------------------=
--------------------------------------
Geert Dekkers | 2e Keucheniusstraat 8hs | 1051VR Amsterdam | http://nznl.=
com
Yep, you hit it right on the nose...
Personally, I'm not bothered about whether net art is collected or not. Soo=
ner or later it will become such an eyesore that an abundance of people are=
viewing net art and its ilk - instead of watching, visiting the latest bre=
ed of the year 'Cruffs', the Turner prize. It is, as you declare, just a ma=
tter of time.
There are more important issues for the likes of ourselves that need to be =
dealt with. Such as breaking down the imposing walls that net art has had b=
uilt up around it. This means artists getting off their art plinths and con=
structed pedestals & actually get serious with collaborating for real, rath=
er than by pretence. Involve others who would not normally get involved wit=
h net art. Explore areas that are not necessarily art related alone, this i=
s a our way out of the perpetual trap that most artists sadly, submissively=
adhere to. After all, the myth of the genius/artist has been debunked, so =
why not a net-art-person? Get out there, become part of the world & not jus=
t in the already colonized, traditional art community alone, but to people =
(which there are many) who should be allowed to be a part of this amazing j=
ourney as well, that we ourselves have chosen to embark on...
best wishes - marc
Is this really to be a discussion? When I saw the subject I thought the t=
hread would soon die out. The definition the Austin Museum of Digital Art u=
ses is boring to the extreme, however noble the cause.
As always, my answer would be that art is not about the medium, but about=
commitment, strength, and being to the point. If there is to be a true dis=
cussion on digital art, it should be about the way art should or could prop=
ogate though the art community. If the art happens to be digital, the mediu=
m it uses might be a temporary obstacle on its way to acceptance (as in col=
lectors buying it). But it'll get there, just as Nam June Paik has. And "de=
collage". And Cubism.
Geert
On maandag, jun 30, 2003, at 00:57 Europe/Amsterdam, miguel leal wrote:
Following this broad definition almost everything that is being done in=
the art scene is digital art (digital as product, as process or as subject=
). And, by the way, is it so important to establish a border line betwwen a=
nalog and digital art? I thougth that the question of the medium was burrie=
d, or at least no so central as for Clement Greenberg... :-)
ml
I like this:
http://www.amoda.org/about/digitalart.php
-Cf
[christopher eli fahey]
art: http://www.graphpaper.com
sci: http://www.askrom.com
biz: http://www.behaviordesign.com
+ ti esrever dna ti pilf nwod gniht ym tup
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rh=
iz
-> give: http://rhizome.org/support
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.p=
hp
+ ti esrever dna ti pilf nwod gniht ym tup
-> post: list@rhizome.org
-> questions: info@rhizome.org
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php
-------------------------------------------------------------------------=
--------------------------------------
Geert Dekkers | 2e Keucheniusstraat 8hs | 1051VR Amsterdam | http://nznl.=
com
Re: for the more patriotic ;-)
Hi Eryk,
When I found this on my net travels, I was thinking similar thngs. The irony
of it all - in a different era or more positive times, it could of be seen
as a piece of fun, a celebration; but at present it all feels so sinister &
very close.
marc
>
> What's great about this piece is how shockingly it adheres to typical US
> Government Aesthetics. If only there was a circle of ivy and some vague
> Freemasons reference, it could pass as the back of the new $50.00 bill.
>
> -e.
>
>
>
> ----- Original Message -----
> From: "marc.garrett" <marc.garrett@furtherfield.org>
> To: <list@rhizome.org>
> Sent: Saturday, June 28, 2003 7:57 PM
> Subject: RHIZOME_RAW: for the more patriotic ;-)
>
>
> > http://www.georgewgirls.com/
> >
> > for the more patriotic ;-)
> >
> >
> >
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
> >
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
When I found this on my net travels, I was thinking similar thngs. The irony
of it all - in a different era or more positive times, it could of be seen
as a piece of fun, a celebration; but at present it all feels so sinister &
very close.
marc
>
> What's great about this piece is how shockingly it adheres to typical US
> Government Aesthetics. If only there was a circle of ivy and some vague
> Freemasons reference, it could pass as the back of the new $50.00 bill.
>
> -e.
>
>
>
> ----- Original Message -----
> From: "marc.garrett" <marc.garrett@furtherfield.org>
> To: <list@rhizome.org>
> Sent: Saturday, June 28, 2003 7:57 PM
> Subject: RHIZOME_RAW: for the more patriotic ;-)
>
>
> > http://www.georgewgirls.com/
> >
> > for the more patriotic ;-)
> >
> >
> >
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
> >
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>