marc garrett
Since the beginning
Works in London United Kingdom of Great Britain and Northern Ireland

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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.
Discussions (1712) Opportunities (15) Events (175) Jobs (2)
DISCUSSION

Re: Re: the artist's spirit


what about great cute-ness?

marc

>All right -
>Haring spread AIDS, Warhol was a crass capitalist, Picasso was a
>womanizer, and I'm sure that there are a few in New Media who have
>their own sins to atone for. The list goes on.
>
>One thing that I have found is that the powerful almost invariably have
>some pretty visible fault (ego, arrogance, hubris, ruthlessness,
>violence, aggression) which are part and parcel of the reason why they
>have their recognition. I mean, we're just finding out that George
>Washington was ruthless in his own right, as were most of the founders
>of the US (not surprising).
>
>Greatness and hubris often go hand in hand, except in small exceptions.
>Is the goal of human enterprise to create sustainability, and thus try
>to create a new paradigm to prevent these aspects of human nature.
>
>
>
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DISCUSSION

Re: Re: Re: Fwd: Wappening #2


Hi Sal and all,

"I might argue it differently: the community that lee put into motion
with his piece is an internet community. As we all experience daily,
the internet cultivates its own flavors of community, different from the
communities that grow up around books, mail correspondence, telephone,
or fax. Each of these has its own style, scale, subculture, speed,
effectiveness, etc. Most of us move fluidly through many of these
communication communities. It seems to me that art which makes use of
the communities particular to the internet is as much "internet art" as
art which makes use of the algorithmic capacities of computers connected
to the internet."

Really good point...

One of my fave books, which is a bit of a blast from the past but still
a good example of community and its subculture, debates etc is, 'Beneath
the Underground', by Bob Black- an excellent read.

In the book you really get a clear impression of community and sub
communities, and how they may not necessarily be aware of themselves as
communities, yet they are strongly linked (networked) via their
interests, dialogues, passions, cartoons and many things which glue them
together. A best written example of 'marginal press', or 'underground
press' that I have ever read...

When I was first read it, it was around 1996 or 95, about 2 years after
its publication which was around 1994 (It think). It was the time of The
'Next Five Minutes' in Amsterdam and Rotterdam, which was either 95 or
96, can't quite remember- but it was an exciting period for myself, for
I was also writing in certain undeground zines in the UK also, and the
next 5 minutes was representative of the wildness of a fresh Internet
and fresh faces, whom were exploring new creative territories, in
respect of politics, art and networking.

This was also the time when the original list, Syndicate was blooming.
And boklet releases were being received by myself and others, of
collected essays from the list which was exciting as well. Which was
called 'Deep Europe', in fact I have been reading it again lately, it's
also a good read and a fine reference for those who wish to explore the
early days, regarding net art and social networks areound Eastern
Europe, and connected groups from other cultures.

marc

DISCUSSION

Re: Re: Re: Re: Re: isabelle dinoire


Hi Eric,

>I think the piece has much in common with a Francis Bacon Portrait.

I agree...

marc

>I think the piece has much in common with a Francis Bacon Portrait.
>I'm not going to get heavily involved, but I don't see why this either truthful, untruthful, moral or immoral. It seems to use digital media to push and pull reality without losing the essence of the source, as a Bacon painting pushes and pulls the appearance of his subject. This is interesting in that it's time based( now I'm thinking of the Nurse from The Battleship Potemkin by Eisenstien). You should know there is a good deal of distance between the actual subjects life and the imagination contained in the work, which makes it successful for me.
>Eric
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DISCUSSION

Re: isabelle dinoire


Hi all,

I agree with Annie,

and I also see the mediation and the spectacle of someone's pain created
into theatre, snuff-tainment.

marc

>>i don't think i would have arrived at this discussion so much from
>>abe's video on my own... it just doesn't push those same buttons for
>>me. i have a similar reaction to it as Marisa expressed. i read it as a
>>response to the immediacy of the media image (document) that is already
>>read through other narratives (sci-fi, "Face Off," etc). it doesn't
>>challenge the dominant narrative (as "truth") as much as show how
>>problematic and discursive that narrative already is.
>>
>>
>>
>
>Hye
>
>I am aware that I must seem a bit (a lot) bitchy to some of you.
>
>I was profoundly shocked yesterday when I saw this woman, being glad
>with a face I thought ugly monstruous. (but she came from no face at
>all, no control at all over her mouth muscles, so indeed what a gain)
>I cannot look at a media image as an image or as a narration.
>I see and feel reality behind.
>(but not truth)
>
>best
>annie
>
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DISCUSSION

Valentines Day Gift....


For all those thinking 'I don't wanna send just a card' for Valentines
Day. Why not step out of the commercial loop and send them an mp3 by
Ouch Those Monkeys...

http://www.furtherfield.org/otmonkeys/docs/valentines_day.htm