Artists and artworks

Martin John Callanan, We Wanted to Mean Something, 2020, Mac mini and software, two 19-inch screens, color laser printer, 120g, paper, wood and acrylic paint. Variable dimensions. Installation conceived by Thierry Fournier and Pau Waelder. Exhibition view, Selphish, Mécènes du sud Montpellier-Sète, 2020.

 

Martin John Callanan
We Wanted to Mean Something

Martin John Callanan explores the place of individuals within a wide range of systems. Composed of two screens and a printer, his piece We Wanted to Mean Something confronts Instagram posts by the exhibited participant with events that occurred on the same date. At regular intervals, the installation displays a new post on the first screen. It then searches for an event that occurred on the same day, displays it on the second screen, and prints it out. The paper prints gradually invade the floor of the room. The device amplifies and highlights the fundamentally public dimension of any participation on social networks, as well as the absurdity of the connection between private posts and societal events. Like many of the artist’s previous artworks, We Wanted to Mean Something aims to make a totality visible but paradoxically it becomes unreachable, highlighting the limitations of human life.

Martin John Callanan
www.greyisgood.eu

Martin John Callanan’s artwork has been exhibited and published internationally; he has recently been awarded the prestigious triennial Philip Leverhulme Prize in Visual Art 2014-17, for outstanding research, and in September 2015 awarded Alumnus of the Year for Excellence in Arts by Birmingham City University. Callanan currently works at the Bank of England.

Recent solo exhibitions include: Noshowspace, Horrach Moya, Casal Solleric, Baltic 39, and Or Gallery, Berlin. His work has been shown at, White Cube, Galerie Christian Ehrentraut, V2, Arts Santa Mònica, James Cohan Gallery, Es Baluard Modern and Contemporary Art Museum, Whitechapel Gallery, ZKM Karlsruhe, Ars Electronic Centre, ISEA, FutureEverything, Art Exchange, LIFT 2014, Battersea Arts Centre, Kunstverein Springhornhof, Riga Centre for New Media Culture, Whitstable Biennale, Imperial War Museum North, and published by Book Works.

Callanan graduated with a BA (Hons) in Visual Communication (Photography) from Birmingham City University in 2003 and an MFA in Fine Art Media from the Slade School of Fine Art, London in 2005, where he is currently on Research Leave from his role of Teaching Fellow in Fine Art Media, at Slade School of Fine Art, University College London and a member of Slade Centre for Electronic Media in Fine Art (SCEMFA). Callanan is a Fellow of the Royal Society of Arts (FRSA).

Alix Desaubliaux, Géographies, 2020, series of eleven videos (1080p color, stereo, durations 11’20, 09’08, 09’11, 10’09, 09’19, 09’40, 09’48, 11’14, 10’07, 08’32, 07’38), series of eleven sculptures, plexiglas, wood and acrylic paint, variable dimensions, conception of the installation in collaboration with Thierry Fournier and Pau Waelder. Exhibition view, Selphish, Mécènes du sud Montpellier-Sète, 2020.

 

Alix Desaubliaux
Géographies

Alix Desaubliaux explores the evolution of the notion of identity through gaming and digital manufacturing. Her installation Géographies combines a series of eleven videos and eleven sculptures. Each video explores an imagined landscape, composed with images from the exhibited participant’s posts. This artificial universe is projected in a very large format, in front of a series of small scale sculptures, 3D ceramic prints that evoke the islands created for each participant, placed on two Plexiglas trays. Géographies thus moves away from a literal representation of the images and texts of the posts, in order to evoke the dream or fantasy of a fictional environment exclusively composed of images of oneself, both monumental and ephemeral.

Alix Desaubliaux
www.alixdesaubliaux.fr

Artist-researcher at the Digital Research Unit at ENSBA, Lyon, Alix Desaubliaux’s protean practice goes from 3D printing and ceramics, chemicals and electronics to video games creation. She explores the relationship that human build with virtual entities and materialise thoses exchanges through the set up of experimental laboritories. She opens up a dialogue between digital agents, mineral matter, DIY machines, video games characters and their background and mythology.

Her theoretical research explores problematics around materiality, environnements and behaviors in game, limits and experimental narration. She attempt to build connexions between digital and biology, making analogies between animals, ecosystems, zoopsychology and tries to have a speculative and poetic approach of some kind of digital ethology.

Her artistic work goes along several, collective research projects. The work group 3G (with Annie Abrahams and Pascale Barret) focuses on sharing energies and working along online in a performative and experimental approach while the research axis “Petit Jeu” takes the form of artistic, gaming and documentary residencies she hosts.

 

Lauren Lee McCarthy, Autocomplete, 2020, Mac mini and software, wooden structure, 30-inch screen and screen stand, chair, side table, artificial plants, wood, acrylic and spray paint, dimensions 250 x 250 x 250 cm. Exhibition view, Selphish, Mécènes du sud Montpellier-Sète, 2020.

Lauren Lee McCarthy
Autocomplete

Lauren Lee McCarthy addresses the transformation of interpersonal relationships through technology. Her installation Autocomplete invites visitors to sit on a blue cyclorama, reminiscent of a photography set, with pastelcoloured furniture reminiscent of a medical consultation room. The person sitting down is then asked a series of questions on a screen in front of them, which they can answer using a keyboard. These messages borrow from the language used in relaxation and personal development techniques, inviting concentration and letting go, as well as from the methods of physical examination and psychological evaluation. In addition, certain phrases and images are taken from the exposed participant’s posts. At the end of the exchange, the last answer will actually be included in the comments of one of her posts, creating a kind of disjointed and impossible conversation between strangers. Here we find characteristic elements of the artist’s work, such as the blurring between the intimate and the public caused by technological irruptions (LAUREN, 2017), the critical irony born of the contrast between the cool environments of the net economy and their dystopian dimension, as well as fictitious protocols that evoke, by means of the absurd, those to which we submit ourselves daily.

Lauren Lee McCarthy
www.lauren-mccarthy.com

Lauren Lee McCarthy is an LA-based artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is the creator of p5.js, an open source JavaScript platform that aims to make creative expression and coding on the web accessible and inclusive for artists, designers, educators, and beginners.

She is Co-Director of the Processing Foundation, a non-profit whose mission is to promote software literacy within the visual arts, and visual literacy within technology-related fields—and to make these fields accessible to diverse communities. She is an Associate Professor at UCLA Design Media Arts.

Lauren’s work has been exhibited internationally, at places such as Ars Electronica, Barbican Centre, Fotomuseum Winterthur, SIGGRAPH, IDFA DocLab, Science Gallery Dublin, Seoul Museum of Art, and the Japan Media Arts Festival. She’s a 2019 Creative Capital Grantee, ZERO1 Arts Incubator Resident, and has previously held residencies with Sundance New Frontiers, Eyebeam, CMU STUDIO for Creative Inquiry, Autodesk, NYU ITP, and Ars Electronica, among others. She’s the recipient of grants from the Knight Foundation, the Online News Association, Mozilla Foundation, Google AMI, Sundance Institute New Frontiers, Turner Broadcasting, and Rhizome. She holds an MFA from UCLA and a BS Computer Science and BS Art and Design from MIT.

 

!Mediengruppe Bitnik, Flagged for Explicit Image, 2020, series of eleven sweatshirts, thermal prints, polyurethane hangers, chromed tubular structures, variable dimensions. Exhibition view, Selphish, Mécènes du sud Montpellier-Sète, 2020.

!Mediengruppe Bitnik
Flagged for Explicit Image

The duo !Mediengruppe Bitnik displaces technological devices from their usual setting to reveal their dimensions of control and power. Their piece Flagged for Explicit Image explores how users’ privacy and personal data constitute a hidden but extremely lucrative market. Their installation consists of a series of sweatshirts, each dedicated to a participant, suspended from racks, as in a retail store. Each garment is covered with images from the participant’s posts and graphics that result from the quantitative analysis of her behavior on social networks. The sweatshirts thus remind us of the aesthetic of photo calls or the uniforms of cyclists or race car drivers. The piece then produces a reversal, where the market value generated by each person’s activity on the networks becomes the stigma. It also plays with the audience’s perception of the installation, which evokes the availability of these people as commodities. The piece also brings to mind the consequences of our online life and the way in which individuals can even consider each other as products.

!Mediengruppe Bitnik
wwwwwwwwwwwwwwwwwwwwww.bitnik.org

!Mediengruppe Bitnik (read – the not mediengruppe bitnik) live and work in Zurich/London. They are contemporary artists working on and with the Internet. Their practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms. !Mediengruppe Bitniks works formulate fundamental questions concerning contemporary issues.

In early 2013 !Mediengruppe Bitnik sent a parcel to WikiLeaks founder Julian Assange at the Ecuadorian embassy. The parcel contained a camera which broadcast its journey through the postal system live on the internet. They describe «Delivery for Mr. Assange» as a SYSTEM_TEST and a Live Mail Art Piece. They have also been known for sending a bot called «Random Darknet Shopper» on a three-month shopping spree in the Darknets where it randomly bought objects like Ecstasy and had them sent directly to the gallery space.

!Mediengruppe Bitnik are the artists Carmen Weisskopf and Domagoj Smoljo. Their accomplices are the London filmmaker and researcher Adnan Hadzi and the reporter Daniel Ryser.