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: Become a Curator - It's Easy!
Hi Eduardo,
The piece is interesting as you say - but I feel that flippancy of this
piece can only go so far. So the work as you say does not stretch out as far
as it could do...
I feel that there are various choices in moving out of the singular. It is
not enough to be conceptually solid or simply very good at what you do - the
more significant changes occur when one decides to go further than one's own
border definitions, further that those self imposed and restrictive and
mannerist comforts.
It seems that:-
It is no longer enough to be 'AN' artist
It is no longer enough to be 'AN' academic
It is no longer enough to be 'A' critic
It is no longer enough to be 'A' writer
It is no longer enough to be 'A' curator
So, I suppose what 'Become a Curator - It's Easy!' says to me is that
singular models are not inspiring models or examples, and can fall into the
patriarchal pyramid trappings of conventional and traditional post-modern
thrown toppling. Of course many have learnt and have been disappointed by
thrown topplers as they take the seat of the ruler before them.
Also, it is not really just a playful swipe at those who care more about
their bank accounts rather than real change for the many, like the more
centralized minds that impose despotic blueprint shifts into the arena of
the art/net art arena.
It also could be:-
'Become an Artist - It's Easy!'
'Become an Academic - It's Easy!'
'Become a Critic- It's Easy!'
'Become a Writer - It's Easy!'
Myths as you know, come in many shapes and forms. Some become real, much is
invention and also works as camouflage; hiding inner missions contrary to
what it says on the tin. Yet there are shifts happening that are changing
creative exchange, situation and behaviour by real example. This is when
groups of imaginative people become aware of their own powers as social
sculptors. Claiming territories (once official, many created) that were once
traditionally closed - shut. This is what I am learning by experience.
I am not sure how effective art & social change is in America, because it
seems that many American artists are psychologically stumped by the fear of
themselves being seen as political (emotional even) and prefer to hide
behind aesthetic or conceptual limitations alone. Only the few dare to enter
into openly challenging the structures (parents) that feed them, this can
only perpetrate isolation between the arts, citizens, themselves and other
artists. What happens then, is the problem of self-referential - medium
confines. Healthy growth is halted, and artists are applauded like clapping
seals for their skills rather than for the (potential) maturity of being
seen as declaring an intuitive intelligence, reflecting the world, life as
well as art. The work becomes dry, and then becomes a barometer of the rules
that its culture imposes rather than a diverse exploration of lateral
possibilities - centralized.
Too many people trying to be seen as clever, rather than risking, taking
risks. Too many artists hiding their true beliefs and not placing their
heart in their work, this goes for many who work in the arts field. Once one
has made the decision that art is not just for Christmas, it is for life;
then surely the next step would be to honour one's own sense of dignity.
I personally, wish to change the landscape that we are all exploring in. Not
for myself alone but with others who feel similar things, who are not
content with just being a yes man/woman accepting given histories, accepting
given information. This cannot be changed by thought alone, an intuitive
sense of reasoning takes place and certain strategies are put into action
and (hopefully) doing what one actually says does occur. I feel that it is
not a bad thing that institutions are not clever and imaginative enough to
take on net art yet, on net art's own terms. There is a renaissance
happening and the institutions have not found a way to claim it yet. This is
because it is not theirs, for once it is the artists domain, a non
centralized, nomadic and relational creativity that goes beyond just
concepts and conventional remits. At last the artist has found an era when
they potentially do not have to be submissive.
I know, that history is currently being invented by various people who spend
most of their lives travelling around the world publicizing their own
particular story in respect of net art history. And institutions are blindly
paying them to sell a brand of net art and digital art that does not
actually reflect the truth as truly experienced by those who have been doing
it and living it themselves. You know them, the same names - being carted
around talking about the same things. Turning something that could be seen
as truly amazing and organic, into yet another cynical set of myths for
institutions to cling onto for packaging - this is not good enough. This
type of mannerist and emotionally empty activity reconfirms to me, that art
history is merely an illusion, a matter of fate, a matter of who is there at
the time, revisionist interpretations to the highest bidder. I want to
change this, if net art creativity is truly decentralized then the field
offers the potential of a more democratic vista for all to view and
experience. It can bring all concerned closer to such creativity and to
others (this scares them) rather than the usual elitist divisive separatist
agendas.
So, going back to your original wordings 'I am not sure if exposing the
power structure is enough these days' I totally agree. I feel that real
change is only to happen if people become collaborative and take control of
their own destinies together. I do not wish to topple thrones - let those
who need them stay on those ego-centralized podiums, leave them to carry on
fondling their own delusory projections. In time, they will be seen for what
they really are. For I wish to be part of a new history that reclaims what
is real and not just based on backward neo liberalist, gate-keeping habits.
At the moment, here in Europe there is a sea change, and many are part of it
via their own fruition, I am a part of this shift, along many others,
actively changing the landscape via art, collaboration, decentralization, a
new humanist collective movement that wishes for more than what has been.
with respect from
marc
It might be a Hollywood thing. I actually lived in the heart of Hollywood
for over three years. Two blocks away from the Chinese theater. It was
interesting to watch tourism on an everyday basis.
In any case, I was wondering about the piece. I am not sure if exposing the
power structure is enough these days. I mean, my own work is about exposing
or shall we use the word "deconstructing" as well, along the same lines as
yours. But since this has been an art strategy for a while now, it seems to
have been comfortably absorbed by the art institution.
I just read a catalog for an exhibit called Whiteness in the Laguna Museum,
California, in which in a very liberal way, the critical works by many
artists of color has been absorbed under a deconstructive umbrella of
difference. Now, the power structure is saying, "watch me make a space for
your diversity, while keeping my backyard clean." Powerful stuff myth
making is. Just a thought for constant outproduction.
In any case, the piece is interesting.
Peace,
Eduardo N.
----- Original Message -----
From: marc.garrett
To: Eduardo Navas
Cc: list@rhizome.org
Sent: Friday, June 27, 2003 3:27 AM
Subject: Re: RHIZOME_RAW: Become a Curator - It's Easy!
Hi Eduardo,
Well - you got the take on it.
Waiting patiently for that spam to arrive, asking me if I wanted breast
enlargements.
>But did you receive an add for breast enlargements as well
This suggests that I potentially might want both at once - if only I lived
in Holywood.
marc
This is an interesting take on Spam. Taking the idea of a penis enlargement
ad and suberting it with a curatorial theme insinuates a type of
phallocentrism. Hmm... But did you receive an add for breast enlargements
as well? Most people I know (including myself) have at one point.
Eduardo N.
----- Original Message -----
From: marc.garrett
To: list@rhizome.org
Sent: Thursday, June 26, 2003 5:53 PM
Subject: RHIZOME_RAW: Become a Curator - It's Easy!
Become a Curator - It's Easy!
http://www.furtherfield.org/mgarrett/email_art/docs/become_a_curator.htm
The piece is interesting as you say - but I feel that flippancy of this
piece can only go so far. So the work as you say does not stretch out as far
as it could do...
I feel that there are various choices in moving out of the singular. It is
not enough to be conceptually solid or simply very good at what you do - the
more significant changes occur when one decides to go further than one's own
border definitions, further that those self imposed and restrictive and
mannerist comforts.
It seems that:-
It is no longer enough to be 'AN' artist
It is no longer enough to be 'AN' academic
It is no longer enough to be 'A' critic
It is no longer enough to be 'A' writer
It is no longer enough to be 'A' curator
So, I suppose what 'Become a Curator - It's Easy!' says to me is that
singular models are not inspiring models or examples, and can fall into the
patriarchal pyramid trappings of conventional and traditional post-modern
thrown toppling. Of course many have learnt and have been disappointed by
thrown topplers as they take the seat of the ruler before them.
Also, it is not really just a playful swipe at those who care more about
their bank accounts rather than real change for the many, like the more
centralized minds that impose despotic blueprint shifts into the arena of
the art/net art arena.
It also could be:-
'Become an Artist - It's Easy!'
'Become an Academic - It's Easy!'
'Become a Critic- It's Easy!'
'Become a Writer - It's Easy!'
Myths as you know, come in many shapes and forms. Some become real, much is
invention and also works as camouflage; hiding inner missions contrary to
what it says on the tin. Yet there are shifts happening that are changing
creative exchange, situation and behaviour by real example. This is when
groups of imaginative people become aware of their own powers as social
sculptors. Claiming territories (once official, many created) that were once
traditionally closed - shut. This is what I am learning by experience.
I am not sure how effective art & social change is in America, because it
seems that many American artists are psychologically stumped by the fear of
themselves being seen as political (emotional even) and prefer to hide
behind aesthetic or conceptual limitations alone. Only the few dare to enter
into openly challenging the structures (parents) that feed them, this can
only perpetrate isolation between the arts, citizens, themselves and other
artists. What happens then, is the problem of self-referential - medium
confines. Healthy growth is halted, and artists are applauded like clapping
seals for their skills rather than for the (potential) maturity of being
seen as declaring an intuitive intelligence, reflecting the world, life as
well as art. The work becomes dry, and then becomes a barometer of the rules
that its culture imposes rather than a diverse exploration of lateral
possibilities - centralized.
Too many people trying to be seen as clever, rather than risking, taking
risks. Too many artists hiding their true beliefs and not placing their
heart in their work, this goes for many who work in the arts field. Once one
has made the decision that art is not just for Christmas, it is for life;
then surely the next step would be to honour one's own sense of dignity.
I personally, wish to change the landscape that we are all exploring in. Not
for myself alone but with others who feel similar things, who are not
content with just being a yes man/woman accepting given histories, accepting
given information. This cannot be changed by thought alone, an intuitive
sense of reasoning takes place and certain strategies are put into action
and (hopefully) doing what one actually says does occur. I feel that it is
not a bad thing that institutions are not clever and imaginative enough to
take on net art yet, on net art's own terms. There is a renaissance
happening and the institutions have not found a way to claim it yet. This is
because it is not theirs, for once it is the artists domain, a non
centralized, nomadic and relational creativity that goes beyond just
concepts and conventional remits. At last the artist has found an era when
they potentially do not have to be submissive.
I know, that history is currently being invented by various people who spend
most of their lives travelling around the world publicizing their own
particular story in respect of net art history. And institutions are blindly
paying them to sell a brand of net art and digital art that does not
actually reflect the truth as truly experienced by those who have been doing
it and living it themselves. You know them, the same names - being carted
around talking about the same things. Turning something that could be seen
as truly amazing and organic, into yet another cynical set of myths for
institutions to cling onto for packaging - this is not good enough. This
type of mannerist and emotionally empty activity reconfirms to me, that art
history is merely an illusion, a matter of fate, a matter of who is there at
the time, revisionist interpretations to the highest bidder. I want to
change this, if net art creativity is truly decentralized then the field
offers the potential of a more democratic vista for all to view and
experience. It can bring all concerned closer to such creativity and to
others (this scares them) rather than the usual elitist divisive separatist
agendas.
So, going back to your original wordings 'I am not sure if exposing the
power structure is enough these days' I totally agree. I feel that real
change is only to happen if people become collaborative and take control of
their own destinies together. I do not wish to topple thrones - let those
who need them stay on those ego-centralized podiums, leave them to carry on
fondling their own delusory projections. In time, they will be seen for what
they really are. For I wish to be part of a new history that reclaims what
is real and not just based on backward neo liberalist, gate-keeping habits.
At the moment, here in Europe there is a sea change, and many are part of it
via their own fruition, I am a part of this shift, along many others,
actively changing the landscape via art, collaboration, decentralization, a
new humanist collective movement that wishes for more than what has been.
with respect from
marc
It might be a Hollywood thing. I actually lived in the heart of Hollywood
for over three years. Two blocks away from the Chinese theater. It was
interesting to watch tourism on an everyday basis.
In any case, I was wondering about the piece. I am not sure if exposing the
power structure is enough these days. I mean, my own work is about exposing
or shall we use the word "deconstructing" as well, along the same lines as
yours. But since this has been an art strategy for a while now, it seems to
have been comfortably absorbed by the art institution.
I just read a catalog for an exhibit called Whiteness in the Laguna Museum,
California, in which in a very liberal way, the critical works by many
artists of color has been absorbed under a deconstructive umbrella of
difference. Now, the power structure is saying, "watch me make a space for
your diversity, while keeping my backyard clean." Powerful stuff myth
making is. Just a thought for constant outproduction.
In any case, the piece is interesting.
Peace,
Eduardo N.
----- Original Message -----
From: marc.garrett
To: Eduardo Navas
Cc: list@rhizome.org
Sent: Friday, June 27, 2003 3:27 AM
Subject: Re: RHIZOME_RAW: Become a Curator - It's Easy!
Hi Eduardo,
Well - you got the take on it.
Waiting patiently for that spam to arrive, asking me if I wanted breast
enlargements.
>But did you receive an add for breast enlargements as well
This suggests that I potentially might want both at once - if only I lived
in Holywood.
marc
This is an interesting take on Spam. Taking the idea of a penis enlargement
ad and suberting it with a curatorial theme insinuates a type of
phallocentrism. Hmm... But did you receive an add for breast enlargements
as well? Most people I know (including myself) have at one point.
Eduardo N.
----- Original Message -----
From: marc.garrett
To: list@rhizome.org
Sent: Thursday, June 26, 2003 5:53 PM
Subject: RHIZOME_RAW: Become a Curator - It's Easy!
Become a Curator - It's Easy!
http://www.furtherfield.org/mgarrett/email_art/docs/become_a_curator.htm
Gravity:.
Gravity:.
A twisting labrynth of mixed/cut-up voice & noises, creating an audio-scape=
.
Gravity - it has weight
no sound
it festers
on our clinging years
teezing, whispering
until we meet the ground
the messages are clear
written on our bodies
inscribed by time's ever
too keen ball point
on our bodies
http://www.furtherfield.org/otmonkeys/docs/gravity.htm
A twisting labrynth of mixed/cut-up voice & noises, creating an audio-scape=
.
Gravity - it has weight
no sound
it festers
on our clinging years
teezing, whispering
until we meet the ground
the messages are clear
written on our bodies
inscribed by time's ever
too keen ball point
on our bodies
http://www.furtherfield.org/otmonkeys/docs/gravity.htm
Established culturalization.
Established culturalization.
Firstly, I would like to get something clear - there is a big difference
between intellectual argument and academic argument. Academic argument comes
from a place of culturalized reference, high art, high science, or accepted
and informed knowledge that has been institutionally accepted. This means
that if you use an academic argument, you are more likely to be agreed with
by those who value such structures and theories. Because they instantly
understand the triggers, signifiers being inferred. Thus, an immediate
rapport occurs, a kind of mental handshake and recognition that one has
equally gone through the same learning processes. This of course is a
positive
experience for those who wish to have their so called educational references
re-affirmed, but it serves no solution to solve the issue or crux, that
'Academia' only serves the few.
marc garrett
Firstly, I would like to get something clear - there is a big difference
between intellectual argument and academic argument. Academic argument comes
from a place of culturalized reference, high art, high science, or accepted
and informed knowledge that has been institutionally accepted. This means
that if you use an academic argument, you are more likely to be agreed with
by those who value such structures and theories. Because they instantly
understand the triggers, signifiers being inferred. Thus, an immediate
rapport occurs, a kind of mental handshake and recognition that one has
equally gone through the same learning processes. This of course is a
positive
experience for those who wish to have their so called educational references
re-affirmed, but it serves no solution to solve the issue or crux, that
'Academia' only serves the few.
marc garrett
Re: Become a Curator - It's Easy!
Hi Eduardo,
Well - you got the take on it.
Waiting patiently for that spam to arrive, asking me if I wanted breast enl=
argements.
>But did you receive an add for breast enlargements as well
This suggests that I potentially might want both at once - if only I lived =
in Holywood.
marc
This is an interesting take on Spam. Taking the idea of a penis enlargem=
ent ad and suberting it with a curatorial theme insinuates a type of phallo=
centrism. Hmm... But did you receive an add for breast enlargements as wel=
l? Most people I know (including myself) have at one point.
Eduardo N.
----- Original Message -----
From: marc.garrett
To: list@rhizome.org
Sent: Thursday, June 26, 2003 5:53 PM
Subject: RHIZOME_RAW: Become a Curator - It's Easy!
Become a Curator - It's Easy!
http://www.furtherfield.org/mgarrett/email_art/docs/become_a_curator.htm
Well - you got the take on it.
Waiting patiently for that spam to arrive, asking me if I wanted breast enl=
argements.
>But did you receive an add for breast enlargements as well
This suggests that I potentially might want both at once - if only I lived =
in Holywood.
marc
This is an interesting take on Spam. Taking the idea of a penis enlargem=
ent ad and suberting it with a curatorial theme insinuates a type of phallo=
centrism. Hmm... But did you receive an add for breast enlargements as wel=
l? Most people I know (including myself) have at one point.
Eduardo N.
----- Original Message -----
From: marc.garrett
To: list@rhizome.org
Sent: Thursday, June 26, 2003 5:53 PM
Subject: RHIZOME_RAW: Become a Curator - It's Easy!
Become a Curator - It's Easy!
http://www.furtherfield.org/mgarrett/email_art/docs/become_a_curator.htm
Become a Curator - It's Easy!
Become a Curator - It's Easy!
http://www.furtherfield.org/mgarrett/email_art/docs/become_a_curator.htm
http://www.furtherfield.org/mgarrett/email_art/docs/become_a_curator.htm