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13/2/2003

Art for Network

The Fruitmarket Gallery, Edinburgh

The demand for a neat, linear art history becomes a real problem. Pinned onto this restrictive and arbitrary timeline, artists have their destinies plotted for them. It was time to begin a process of self-historicising. The exploration of more expansive definitions of ‘network’ is part of this.’
Simon Pope, Curator
http://www.artfornetworks.org

EXHIBITION PREVIEW
Friday 14 February 6.30pm–8.30pm


EXHIBITION DETAILS
15 February – 29 March 2003
Mon-Sat 11am-5.30pm, Sun 12-5pm

Artists Talk
SATURDAY 15 FEBRUARY, 2pm
Karen Guthrie and Nina Pope
discuss their work in Art for Networks.
Free – All welcome.

Family Activity Packs
These are available on request from the Fruitmarket Bookshop along with drawing materials. The pack features exercises for children and adults to use together as they explore the current exhibition.

ART FOR NETWORKS PUBLICATION
A catalogue featuring texts by Armin Medosch, Matthew Fuller & Simon Pope, and Gordon Dalton has been produced to coincide with the exhibition and is available from Chapter and tour venues priced at £9.95

ART FOR NETWORKS is a Chapter touring exhibition supported by The Arts Council of England through the National Touring programme.

Funded by The Henry Moore Foundation, Wales Arts International, Cardiff 2008 and The Arts Council of Wales.

Additional support provided by Di Rollo Ice Cream, Musselburgh.

The diverse means by which individuals and communities connect and communicate are explored by 13 international artists in ART FOR NETWORKS (15 February – 29 March, 2003) at The Fruitmarket Gallery.

The artists, leaders in the field of networks exploration and drawn from The United Kingdom and Netherlands, have taken up activities from gaining access to communities such as prisoners and icecream van owners, generating public meetings and signage to the creation of games and adopting or hijacking popular technologies.

Curated by artist Simon Pope, Senior Lecturer in Interactive Media at UWIC Business School, Cardiff. ART FOR NETWORKS not only scrutinises the broadcast and exchange conventions of technology but also investigates social networks, creation of bodies of knowledge, knowledge distribution and social protocols to collectively speculate with the widest possible scope on what an art for networks might be.

The show evolved from a quest by Pope to devise a way of making sense of the technical art of the Worldwide Web and how to move beyond it in order to transcend an art historical approach that denies wider or longer views of how artists and their work operate.

The result is an unveiling of orthodox and less orthodox models for communication and communities. ’’Network’ isn’t used here as an ideal concept. It remains open to interpretation and ongoing enquiry by the participating artists. The network becomes a field, terrain or environment through which to operat on, in or through’ says Pope.

ART FOR NETWORKS Artists:
RACHEL BAKER
Baker’s Exit Strategy, employing the network of SMS (Simple Messaging System) establishes phone, web and rail networks, exploring the journey narratives of the Paris – London Eurostar rail route, with the aid of a booklet distributed to passengers who register their participation via text messaging.
www.platfrom.net/eurostar/

ANNA BEST
Best’s live art practice is based around local and specific investigations, in this instance into ice cream van ownership. In the course of the exhibition tour, an archive of video and document information is progressively built and displayed within an ice cream van, to culminate in a national ice cream van convention at a later date.

HEATH BUNTING
A creator of systems and contexts, Bunting coordinates, via a dedicated website, a network of personal courier services within the itinerary of ART FOR NETWORKS’ tour. Travellers willing to act as couriers are matched with applicants seeking transportation of items. Participants add their travel plans to a journeys list or search the list for destinations then e-mail to arrange delivery.
www.irational.org/cgi-bin/courier2/courier2.pl

ADAM CHODZKO
Chodzko’s Product Recall (1994) is a process by which an invisible consumer network is identified: flyposted calls to locate owners of a ‘Clint Eastwood’ Jacket, designed and produced by Vivienne Westwood culminate in the artist’s video of a party of the product owners. The Gorgies’ Centre, (2002) documents Chodzko’s linking of town planning professionals with a gypsy community in Kent by inviting public access to an archive of architectural resources mediated by a transient community.

RYOSUKE COHEN
Since 1985, Cohen’s Brain Cell, has been soliciting entries. An international mail art project of more than 5000 contributions from 80 nations, it involves the printing or pasting of received stamps or stickers, subsequently sent back with a list of addresses to participants. Published at approximately 10-day intervals, the composite sheets of monikers include approximately 60 people and evolve during the exhibition tour. www.artepostal.org.mx/artistas/brain_cell.html

JEREMY DELLER
Deller enables simple and complex projects using the framework of popular culture. An intimate and insightful communication network has been created, via a messaging board system, in which members of the public and prisoners can tap into a central means of dialogue. A key figure in the project is the prison chaplain, serving as the ‘gatekeeper’ to the prison staff and inmates.

JODI
Jodi deliberately subvert the visual language of the Internet, challenging viewers to look beyond screen savers, Internet jokes and website formatting within its websites whilst proffering a map of existing networks of artists, institutions and infrastructures of the ‘networked’ art world.
www.jodi.org

NINA POPE AND KAREN GUTHRIE
An Artists’ Impression (1999–) is an online text game that connects multiple users for chat, and virtual travel around imagined landscapes and environments. Based around an island and childhood memories, the game has its own language and forms close relationships with participants. The duo have constructed a parallel ‘real’ model of their virtual island game that is re-modelled in accordance with players’ contributions throughout the exhibition tour.
www.somewhere.org.uk/artists/impress/ www.somewhere.org.uk/island/

r a d i o q u a l i a
Formed in 1998 by Adam Hyde and Honor Harger, radioqualia creates work that exists within desktop computers, Internet connections and the conventional means of audio and video information such as AM/FM/UHF transmission and gallery exhibition. Free Radio Linux is an online, on-air radio station established in February 2002. It broadcasts a computerised reading of the Linux Kernal code, the duration of which is estimated at 14253.43 hours. Each line of code is read by a computerised automated voice and then encoded for Internet broadcast. A selection of radio stations from around the globe intermittently relay the audio stream.
www.radioqualia.net/freeradiolinux

JAMES STEVENS
Stevens’s projects cross the web in a multitude of networks and form part of his umbrella organisation SPC.org. The projection Blink, is a direct media access channel using r a d i o q u a l i a ‘s Frequency Clock scheduling system, that invites engagement with the streaming of media archives and live events. Stevens is a founding member of consume, promoting the free use of 802.11Ghz wireless networks and technology. OWN (Open Wireless Networks) is a publication considering the social impact of wireless networks and the notion of print on demand. Issues will be published throughout the exhibition tour. www.own.spc.org

TECHNOLOGIES TO THE PEOPLE (TTTP)
Under the banner of TTTP, Daniel Garcia Andujar explores the virtual world, authenticity, copyright, sponsorship, media, power and the issue of access. An exhibition website has been created to document ART FOR NETWORKS, opening it up to wider participation, providing forums and chat rooms, new topics and links. Browsers can post comments and images. www.artfornetworks.org

STEPHEN WILLATS
Willats works with structures such as defined evaluation systems and exercises or variables such as the roll of a dice to express perceptions or viewpoints that act as signposts, rather than prescriptions, in the cultural landscape. For ART FOR NETWORKS he employs computer network protocols as a communication means between dissimilar groups of people, and provides photographic and textual documentation of previous work.

On the occasion of ART FOR NETWORKS, The Fruitmarket Gallery reopens after a major refurbishment comprising installation of a new bookshop and replacement of the building floor.

Image: Ryosuke Cohen, Brain Cell, 2002



The Fruitmarket Gallery
45 Market Street, Edinburgh
tel 0131 2268182
fax 0131 2203130

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