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.
Blackness for Sale (2001) - Keith Obadike
Hi Curt & Franz,
Like Rhizome.org, furtherfield.org are dedicated to art, but we believe that all nuances should be allowed to breath and thrive on its own terms, not denied. The problem with Rhizome's approach is that it smacks of censorship. It also means that those who visit this site (front page especially) are not experiencing an true represenation of what is really happening world-wide in media arts culture.
This then, becomes a political act in its own right. The irony here is that, in trying to eradicate more contextual media art, whether issues are explored and disovered genuinely or not. A culturalized void appears and then much is lost. The quality of questioning which is as much a part of sharing and learning about art, loses its presence, dialogue is stunted and discussions about the process of making, discovery and motives behind such artworks become taboo. This really is not a healthy place to be, and not just that, it is an extremely restrictive approach. There is too much control going on and there nothing wrong with allowing room for all kinds of diverse media art or contemorary practices in - let it be, let it in.
Like Rhizome.org, furtherfield.org are dedicated to art, but we believe that all nuances should be allowed to breath and thrive on its own terms, not denied. The problem with Rhizome's approach is that it smacks of censorship. It also means that those who visit this site (front page especially) are not experiencing an true represenation of what is really happening world-wide in media arts culture.
This then, becomes a political act in its own right. The irony here is that, in trying to eradicate more contextual media art, whether issues are explored and disovered genuinely or not. A culturalized void appears and then much is lost. The quality of questioning which is as much a part of sharing and learning about art, loses its presence, dialogue is stunted and discussions about the process of making, discovery and motives behind such artworks become taboo. This really is not a healthy place to be, and not just that, it is an extremely restrictive approach. There is too much control going on and there nothing wrong with allowing room for all kinds of diverse media art or contemorary practices in - let it be, let it in.
Call For Proposals: Tweak 2009
Hi Scott,
"For the first time at Tweak, we are holding a listening post for electronic music where people can pick up headphones and listen to new Irish Electronic music whenever they wish during the festival. We are looking for pieces of pure electronic music, no longer than 30 minutes in duration, to be played during the exhibition. Composers must be Irish or currently residing in Ireland. The deadline is July 20th 2009."
I'm not sure if this is necessarily a bad thing - if the rest of it is open to outsiders, other nationalities. Although, I can appreciate how problematic it is. Especially if you think about recent anti-foreigner antics that Ireland is dealing with at the moment, the racist attacks etc...
Yet at the same time I'd love the chance to hear music and sound that is specifically Irish, they good tunes you know :-)
"For the first time at Tweak, we are holding a listening post for electronic music where people can pick up headphones and listen to new Irish Electronic music whenever they wish during the festival. We are looking for pieces of pure electronic music, no longer than 30 minutes in duration, to be played during the exhibition. Composers must be Irish or currently residing in Ireland. The deadline is July 20th 2009."
I'm not sure if this is necessarily a bad thing - if the rest of it is open to outsiders, other nationalities. Although, I can appreciate how problematic it is. Especially if you think about recent anti-foreigner antics that Ireland is dealing with at the moment, the racist attacks etc...
Yet at the same time I'd love the chance to hear music and sound that is specifically Irish, they good tunes you know :-)
Blackness for Sale (2001) - Keith Obadike
Hi Fratha,
I think we are coming from a similar point of view here. As you mentioned, it is a natural process, but it did not have to be this way.
They most definitely chose this route, whch is probably what is so disappointing for the many (who have left), when compared to what Rhizome was once, and of course what it could of been. Yet, we do not know who is making these decisions. The only thing we have to go by is what we experience, and the approach here is what most art groups do after a few years of establishing themselves - they become more centralized and conservative - look how bland and how out of touch the ICA (UK) is these days. flashy websites and noisy visuals are not really going to cut the mustard, only divert people's gaze for a while from seeing the larger cultural landscape. Rhizome has always suffered from incestious enterprises, but it is not looking outside of itself these days as much as it might have done before (every now and then) and is danger of being seen as nationalist and a platform for Dazed and Confused clientelle and other zombies...
In the past, there has been much stuggle and debate shared with the Rhizome crew and its community. Sometimes, more than it has deserved. Even though many people in its community in the past, have generously shared (including myself) their valuable time and energy in offering critical, intellectual and imaginative ideas on how they can become more flexible and expansive, beyond a singular mono-cultural entity - it seems, on reflection that perhaps it was all a waste of our time. What has really been happening is that, many of us have just been feeding a process of fait accompli, market forces vs creative freedom.
This infortunate binary trap may not necessarily reflect those who work on the Rhizome platform, although it looks like it is of their making, mixed with upstairs domination perhaps. To be honest, I am not sure whether the Rhizome crew could find a way out of this culs-de-sac, even if they wanted to. It would take some radical changes from the heart and big changes all the way through the organization itself infrastructurally.
>apart from "exhibitions and events, commissioning, daily art
>news" - there is only a little "in-depth criticism" as described
>in the mission statement. net art, new media art, media art,
>media-affiliated art, internet-aware art needs more criticism...
I think Rhizome is missing out on the most important contemporary artists and groups of the day. This may be because their values do not match what is happening out there, or they are trying to create a kind of America vs everyone else divide. It does not look promising for the more critical and imaginative, but great news for the one-liners and whiz-bang lot and more trad-like - yes these people are just fine ;-)
I think we are coming from a similar point of view here. As you mentioned, it is a natural process, but it did not have to be this way.
They most definitely chose this route, whch is probably what is so disappointing for the many (who have left), when compared to what Rhizome was once, and of course what it could of been. Yet, we do not know who is making these decisions. The only thing we have to go by is what we experience, and the approach here is what most art groups do after a few years of establishing themselves - they become more centralized and conservative - look how bland and how out of touch the ICA (UK) is these days. flashy websites and noisy visuals are not really going to cut the mustard, only divert people's gaze for a while from seeing the larger cultural landscape. Rhizome has always suffered from incestious enterprises, but it is not looking outside of itself these days as much as it might have done before (every now and then) and is danger of being seen as nationalist and a platform for Dazed and Confused clientelle and other zombies...
In the past, there has been much stuggle and debate shared with the Rhizome crew and its community. Sometimes, more than it has deserved. Even though many people in its community in the past, have generously shared (including myself) their valuable time and energy in offering critical, intellectual and imaginative ideas on how they can become more flexible and expansive, beyond a singular mono-cultural entity - it seems, on reflection that perhaps it was all a waste of our time. What has really been happening is that, many of us have just been feeding a process of fait accompli, market forces vs creative freedom.
This infortunate binary trap may not necessarily reflect those who work on the Rhizome platform, although it looks like it is of their making, mixed with upstairs domination perhaps. To be honest, I am not sure whether the Rhizome crew could find a way out of this culs-de-sac, even if they wanted to. It would take some radical changes from the heart and big changes all the way through the organization itself infrastructurally.
>apart from "exhibitions and events, commissioning, daily art
>news" - there is only a little "in-depth criticism" as described
>in the mission statement. net art, new media art, media art,
>media-affiliated art, internet-aware art needs more criticism...
I think Rhizome is missing out on the most important contemporary artists and groups of the day. This may be because their values do not match what is happening out there, or they are trying to create a kind of America vs everyone else divide. It does not look promising for the more critical and imaginative, but great news for the one-liners and whiz-bang lot and more trad-like - yes these people are just fine ;-)
Blackness for Sale (2001) - Keith Obadike
Hi Fratha,
I agree with your observations. Yet I am wondering how much this might have to with what Rhizome is now-today, perhaps it is suffering from its past success?
I think it is now closer to a dot.com now rather than a dot.org - this does not necessarily need to be seen as a negative consideration, but more a sign of the times regarding Rhizome's position in respect of its survival.
I agree with your observations. Yet I am wondering how much this might have to with what Rhizome is now-today, perhaps it is suffering from its past success?
I think it is now closer to a dot.com now rather than a dot.org - this does not necessarily need to be seen as a negative consideration, but more a sign of the times regarding Rhizome's position in respect of its survival.
Blackness for Sale (2001) - Keith Obadike
I think that Max has a point here actually - perhaps Rhizome is eating itself these days.
To be honest, it would be great to see some contemporary, independent artists more (less from America) - those who are not in the Rhizome database - it's getting a little tiresome all this self-referential nonsense - I expect better quality from Rhizome, especially when I've paid my own cash to support it.
I've been a subscriber and supporter of Rhizome for over 10 years and things seems a but slack these days...
To be honest, it would be great to see some contemporary, independent artists more (less from America) - those who are not in the Rhizome database - it's getting a little tiresome all this self-referential nonsense - I expect better quality from Rhizome, especially when I've paid my own cash to support it.
I've been a subscriber and supporter of Rhizome for over 10 years and things seems a but slack these days...