2017:  Ø.1  Ø.2  Ø.3  Ø.4  Ø.5  Ø.6  Ø.7  Ø.8  Ø.9  Ø.10  Ø.11  Ø.12

2018:  Ø.13  Ø.14  Ø.15  Ø.16  Ø.17  Ø.18  Ø.19  Ø.20  Ø.21  Ø.22  Ø.23

2019:  Ø.24  Ø.25  Ø.26  Ø.27  Ø.28  Ø.29  Ø.30  Ø.31  Ø.32  Ø.33

2020:  Ø.34



16 JAN 2020





“AIDOL” 爱道

“Beware your fans, Diva. First they need you and then they’ll delete you.”

AIDOL is the sequel to 2017’s Geomancer. This feature-length CGI fantasy follows a fading superstar, Diva, who enlists the AI Geomancer as a ghostwriter for her comeback performance at the 2065 eSports Olympics.

Featuring a soundtrack by the artist, AIDOL revolves around the struggle between humanity and AI for dominance of the entertainment industry.

Diva’s quest for fame is set against the contradictions of a fully-automated world, one where originality is no more than an algorithmic trick and machines have the capacity for love and suffering.

AIDOL 爱道, Lawrence Lek (2019)

Lawrence Lek is an artist and filmmaker working in the fields of virtual reality and simulation. He creates site-specific virtual worlds and films using game software, animation, installation and performance. Often rendering real places within fictional scenarios, his architectural environments reflect the impact of the virtual world on our perception of reality.

Recent projects include: Nøtel, arebyte, London and Stroom Den Haag, The Hague, NL (2018); 2065, K11 Art Space, HK (2018); Play Station, Art Night London (2017); Hyperpavilion, Venice (2017); The New Normal, UCCA, Beijing (2017); Glasgow International, Tramway, Glasgow (2016); SeMA Biennale Mediacity Seoul, Seoul Museum of Art, KR (2016); Secret Surface, KW Institute for Contemporary Art, Berlin (2016); Sinofuturism (1839-2046 AD), Wysing Arts Centre, UK.



14 NOV 2019






Reported to have taken place in central Rajasthan on the morning of Monday 12 December 2012, the Jodhpur Boom remains an unexplained sonic phenomenon experienced by the inhabitants of this desert region of northern India. Occurring at 11:25am, a deafening sound was released from the sky, creating a shockwave that shook the streets of the town of Jodhpur, causing widespread fear and panic.

Initially believed to have been a jet aircraft or an ammunitions explosion, this was soon ruled out since no known flight path passed near the town and there were no visible signs of damage that might correspond with the use of explosives. To further add to the mystery, it transpires that throughout December 2012, a month linked to various eschatological beliefs of global cataclysm and Mayan apocalypse, numerous other booms were also heard at various sites across the planet.

Though the origin of the boom remains a mystery, the event’s sonic, psychic and mythological resonances are rooted in both its earthly and other-worldly origins. Imagined here as a celestial comingling of the gods Shiva and Parvati, the installation invokes the eternal Tandava-Lasya dance of the destruction and renewal of the earth. Incorporating an architectural model from the city of Jodhpur and live audio from the sound system during the night, we witness their spectral dance disturbed by the sudden and thunderous impact of the boom.

The Jodhpur Boom, Amra (2019)

AMRA is a collaboration between Imran Perretta & Paul Purgas exploring diasporic echoes, archival disruption and shared South Asian origins, addressing themes of mythology, futurity and the traumas of partition.


17 OCT 2019








The video piece G.H.O.S.T. is directed by Tianzhuo Chen, featuring contributions from two performers and a musician. In the Indian holy city of Varanasi, on the banks of the Ganges River, they perform a type of street theatre. As a holy river of Hinduism and Buddhism, many Indians believe that the Ganges flows out of Shiva’s hair, and that its waters may wash away their sins and release them from the cycle of reincarnation.

The piece was recorded over two days and one night, the performers’ dancing freely recorded like in the documentation of folk culture. The performance begins in the early morning as the two dancers prepare their clothing and makeup on the banks of the Ganges, and continues with rituals on a boat drifting across the water, and purification in front of the Shiva temple, before ending with a taboo dance at the riverside cremation grounds.

By filming from early morning to night, as if from birth to death and then on to reincarnation, the performers’ passage through the flowing of time and the river’s water creates an “enchanting” experience.

G.H.O.S.T., Chen Tianzhuo (2017)

Exo-Performance is a piece of video work which employs CGI animation on the basis of live performances, juxtaposing the scene of modern ruins with that of religious remains. The word “exo” in the title indicates exoskeleton, which means the robotic exoskeleton attached to the human body. The artist introduces this scientific concept into his work. By adding the special effect of exoskeleton to the performer’s body, he presents the scene of live performances without CGI animation alongside that of purely special effects. The work shows how the worldly body has been transformed into a post-human, supernatural being.

Born in 1985, Tianzhuo Chen is currently living and working in Beijing, China. As a younger generation artist, Tianzhuo Chen skillfully works between the artistic disciplines of installation, performance, video, drawing on paper, and photography. Many of his artworks require others’ participation or that of the audience so as to take the form of a “happening”, such as an underground party, staged performance, or more conceptually, a constructed ritual site, and ultimately transforming reality into fantasy.

Within his artworks, Chen mixes his well-versed knowledge of elements and symbols found in religion (like Buddhism, Hinduism, Christianity, Shamanism, etc.), subculture (such as cult cultures, drag, rave, etc.), popular culture (such as cartoons, hip hop, electronic music, etc.), and dance (such as Japanese Butoh, and Vogueing) in order to juxtapose the atmosphere, and cause the audience/participants to transcend both superficial states of the body and spirit, ultimately arriving at, what the artist himself has referred to as, a “state of madness”.



19 SEP 2019








KONTAKT explores the power of physical touch and sound as a new means of communication in a networked but atomised society.

Challenging the boundaries between the individual and the collective, human bodies are turned into momentary, unpredictable conductors, where sound passed through skin and bodies behaves like a collective intelligence. The use of analogue media, such as skin, metal and electricity, establishes heterogenous connections on an affective and sensory plane.

KONTAKT, Carolin Schnurrer (2019)

Carolin Schnurrer is a Berlin- and London-based artist, designer and instrument builder, creating sensory experiences with a variety of media, from sound performance and installation to moving image, which are mainly interactive and audience led.

Exploring philosophical and scientific notions to examine the boundaries between reality and fantasy, her work reflects on the digitisation of society and questions what these developments mean for the human body and connectivity.

Through collaborative work with other musicians, writers, and dancers, she investigates new ways to experience, perform and produce music.



11 JUL 2019






TSDOMS (The Secret Duties of Master and Servant) is an immersive installation exploring power dynamics between human and virtual worlds. Presented as a hybrid virtual reality experience, the work transports you into a simulated world where you are confronted with a crowd of clones. Physical interactions, movement patterns and musical responses are performed, like an uncanny ritualistic exercise.

TSDOMS reflects on the role of power and dominance in stereotyping human behaviour, and how this system influences the construction of artificial intelligence and virtual environments. The project is a continuation of CLON’s exploration of hybrid realities and simulated worlds through speculative narratives.

TSDOMS has been created by CLON with music and sound design by NWRMNTC and technical support by MetaObjects.


CLON is the project of artist and curator Estela Oliva, in which she explores science fiction and speculative realities. Estela’s work is concerned with the impact of digital technologies and the Internet on human behaviour, identity and our surroundings. She creates hybrid environments where the physical and the virtual blend, unfolding narratives and cerebral experiences. These projects come to life in experimental formats as experiences, installations, performances, web experiments, apps or films.

Estela has collaborated and exhibited internationally at Somerset House, Barbican Centre, Art Night London, Sonar Hong Kong, Espacio Fundacion Telefonica Peru, Mobile World Centre Barcelona, and Mutek Montreal.


NWRMNTC is the project of musician and sound designer Ana Quiroga, exploring new ways of musical storytelling and multimedia practices through mystic and experimental cinematic soundscapes. Over the last nine years, Ana has produced music and designed sound for film, AV performances and multimedia projects, and performed at Sónar, Berlin Atonal, Barbican, Mutek MX, LEV, Corsica Studios and NTS Radio, among others.

She was also half of the duo LCC which released two albums on Editions Mego.



13 JUN 2019






230616 2200.
As polls close in the UK’s referendum on EU membership, Nigel Farage, a former commodities broker and the global face of Leave, immediately concedes defeat.

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In a Foreign Exchange market imbued with Remain sentiment, the network effect of Farage’s concessions pushes the pound to its highest point against the dollar in six months.

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Nigel Farage declares June 23 “UK Independence Day”.

240616 0528.
The pound reaches its lowest point in three decades, loosing 12% of its value against the dollar.

ECHO FX replays Brexit night through the echoes of misleading information spread through networks with the aim of inflating the Pound. As the market sentiment was shaped by these repetitions, City traders with access to insider information pointing to a Leave win made millions from the pound’s collapse.

ECHO FX, Demystification Committee (2019)

The Demystification Committee studies the intensities of late capitalism. Established in 2016, the Demystification Committee is chaired from London and Berlin.



23 MAY 2019






Films by Lu Yang: Uterus Man (2013), Delusional Crime & Punishment (2016), Electromagnetic Brainology (2017)

Lu Yang is a multimedia artist based in Shanghai. Mortality, androgyny, hysteria, existentialism and spiritual neurology feed Lu’s jarring and at times morbid fantasies. Also taking inspiration and resources from anime, gaming and sci-fi subcultures, Lu explores his fantasies through mediums including 3D animation, immersive video game installation, live holographic performances, virtual reality, and computer programming.

Lu has collaborated with scientists, psychologists, performers, designers, experimental composers, pop music producers, robotics labs, and celebrities throughout his practice.

Lu Yang has held exhibitions at UCCA (Beijing), MWoods (Beijing), Cc Foundation (Shanghai), Spiral (Tokyo), Fukuoka Museum of Asian Art (Fukuoka, Japan), Société (Berlin), and MOCA Cleveland (Cleveland, Ohio).

He has participated in several international biennials and triennials such as 2012 and 2018 Shanghai Biennial, 2018 Athens Biennale, 2016 Liverpool Biennial, 2016 International Digital Art Biennale (Montreal), Chinese Pavilion of the 56th Venice Biennale, and 2014 Fukuoka Triennial. In 2019 Lu became the 8th BMW Art Journey winner and started the Yang Digital Incarnation project.



11 APR 2019






Dream English Kid is a collage of what Leckey calls “found memories” made from sources such as adverts, TV programmes and music as well as reconstructions using props and models. He made the film after he found a recording on YouTube of a Joy Division concert he attended as a teenager and realised that many of our personal memories can now be found online.

While acting as a form of self–portrait for the artist, the film also seeks to connect us all through shared memory and experience.

Dream English Kid, Mark Leckey (2015)

Mark Leckey has been the subject of numerous solo exhibitions including at MoMA PS1, New York (2017); Haus der Kunst, Munich, Germany (2015); WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Hammer Museum, Los Angeles (2013); Nottingham Contemporary, Nottingham, UK (2013); Banff Centre, Banff, Canada (2012); and the Serpentine Gallery, London, UK, (2011). He has participated in the Carnegie International (2013), the 55th Venice Biennale (2013), and the 8th Gwangju Biennial (2010).

Leckey lives and works in London and will be the subject of a solo exhibition at Tate Britain, opening in September 2019.


7 MAR 2019






The year is 2120.

The breakdown of the European Union led to far-right nationalism across the continent that brought about the end of Western Capitalism as we know it. Following decades of nationalist terrorism, London declared itself an autonomous city state, propped up by the Sino-Russian Federation. London has become a fortified economic zone, governed by an all-powerful mayor, with a population complicit in their own surveillance, enforced by a militia who maintain a monopoly on violence in armoured supercars.

As a part of his Spectacular Empire canon of multi-format work, GAIKA and Rob Heppell have joined forces to present Lamborghini Copz — a spatial consideration of the cybernetic relationships between law, race and power. An immersive and satirical vision of London a century after Brexit. If this is the national interest, it’s already crumbling.

Enter the Citadel.

Violators beware.

Lamborghini Copz, GAIKA & Rob Heppell (2019)

GAIKA is a multidisciplinary recording and visual artist, working across genres and platforms to create compelling audiovisual experiences. The technically complex worlds GAIKA creates merge the futuristic with contemporary culture, shifting the paradigms of what it means to be a black musician in Britain today.

A polymath by nature GAIKA’s creative output has always straddled different worlds, taking influence from academia, philosophy and political theory, culture, as much as the influence of fellow musicians. On his debut album BASIC VOLUME, these themes intersect

with meditations on his own identity. GAIKA has never chosen a linear path in his creative outputs.


Rob Heppell is an artist who works with vision politics and VFX technology. He develops video, animation, installation and text work that creates experimental sites for narrative and experience. His work has been commissioned by Warp Records, Adult Swim, the Government Art Collection and the Institute of Physics.



13 FEB 2019






Describe The Hum. A deep time bass rattle; a quivering in the gut. Not everyone can “hear” the Hum, but the vibroacoustic effects of infrasound cause victims to describe it as something that is felt more than heard.

In early 2011, Windsor, Ontario — across the river from Detroit — developed its very own Hum. The cause of The Hum has been traced to the very low frequency bass waves emanating from industrial smelting factories on Zug Island — a landscape populated by heavy industry yet void of human residents. Owing to local industries, the presence of salt and steel have left their impression on this work.

The Hum reconstructs a visual and sonic impression of the spatial, psychic-industrial, physiological, and folkloric effects of this event upon people, animals, and local landscapes. The soundtrack is composed of interviews with the Hum-afflicted, original field recordings of the phenomena, and has notably sonified local dirt and rock salt with the use of an analog synthesizer.

The Hum, Kristen Gallerneaux (2018)

Kristen Gallerneaux is a Detroit-based writer and sound artist. As a museum curator of technology, she is the keeper of object prototype synthesizers, telegraph cables, prison radios, and hacking devices. Essays about the hidden soundscapes of these artifacts — combined with stories about growing up Spiritualist — form the backbone of her recent book, High Static, Dead Lines (MIT / Strange Attractor Press).

Gallerneaux has presented her work at Unsound, Moogfest, and Pop Kultur, and writes for ARTnews and the Quietus. She records music as Yaki_Pony.



16 JAN 2019






Greetings from our CEØ.

Nøtel Corporation is proud to present our first marketing suite for the Nøtel, our flagship range of zerø-star™* hotels that embody the concept of fully-automated luxury.

Designed by world-leading architects to accommodate today’s global nomads, you can rest assured that your secrecy and security is of the utmost importance. Why not indulge in the personalised, intelligent sound system at the piano bar, or bathe in the glow of our eco-friendly, thermo-nuclear spa?

Secure architecture is the foundation of luxury. At the Nøtel, we have applied our expertise in civil security and property management for high net-worth individuals. On the digital front, our servers ensure zero network downtime and 256-bit encryption to guarantee safe communication between you and your loved ones. As for your physical well-being, the Nøtel complies with military refuge zone specifications to shield you from a wide range of threats from civil unrest to natural disaster. Finally, our pre-emptive drone security is seamlessly integrated into the fabric of the building and prevents dangerous situations before they even arise. 

At Nøtel Corporation, we believe you deserve habitation ergonomically moulded to your desires. Our in-house design team, through extensive modelling, has created New Reaktion™: an intelligent sound system that is calibrated towards your better self. Through a sophisticated network of face recognition, motion trackers, heat sensors and body language translation, New Reaktion™ is designed so that from the moment you enter, the Nøtel will learn your mood and compose a musical experience audible only to you. Played through our exclusive direct neuro-active speaker systems, the ultimate in aesthetic privacy is maintained, keeping you balanced and creative with our tailored array of mood music and trend forecasting updates.

We launched the Nøtel chain to accelerate hospitality and take the friction out of living. No more second-guessing your own wishes. No more unwanted encounters with others. No more substandard service spoiling your flow. We pride ourselves by occupying the cutting edge of social technologies adapted just for you. At Nøtel, you will need nothing.

*zerø-star™ — Nøtel transcends standard classification systems for luxury temporary residences. The zerø-star™ rating refers to the absence of any human workers, allowing you to indulge in a new dimension of privacy during your stay.

Nøtel, Lawrence Lek (2018)

Lawrence Lek is an artist and filmmaker working in the fields of virtual reality and simulation. He creates site-specific virtual worlds and films using game software, animation, installation and performance. Often rendering real places within fictional scenarios, his architectural environments reflect the impact of the virtual world on our perception of reality.

Recent projects include: Nøtel, arebyte, London and Stroom Den Haag, The Hague, NL (2018); 2065, K11 Art Space, HK (2018); Play Station, Art Night London (2017); Hyperpavilion, Venice (2017); The New Normal, UCCA, Beijing (2017); Glasgow International, Tramway, Glasgow (2016); SeMA Biennale Mediacity Seoul, Seoul Museum of Art, KR (2016); Secret Surface, KW Institute for Contemporary Art, Berlin (2016); Sinofuturism (1839-2046 AD), Wysing Arts Centre, UK.



12 DEC 2018






Inspired by experiments in interspecies communication and aspiring to connect with a world beyond our consciousness, nimiia cétiï (2018) documents the interactions between a neural network, audio recordings of early Martian language, and footage of the movements of extremophilic bacteria.

Here, the computer is a medium, channeling messages from entities that usually cannot speak. However, it is also an alien of our creation.

nimiia cétiï, Jenna Sutela (2018)

Jenna Sutela works with words, sounds, and other living materials. Her installations and performances seek to identify and react to precarious social and material moments, often in relation to technology. Sutela’s artwork has been presented at Haus der Kulturen der Welt in Berlin, Serpentine Marathon in London, Kiasma Museum of Contemporary Art in Helsinki, and The Museum of Contemporary Art, Tokyo.

Last year, she edited Orgs: From Slime Mold to Silicon Valley and Beyond (Garret Publications 2017), an experimental survey of decentralised organisms and organisations, expanding on her collaboration with Physarum polycephalum, the single-celled yet “many-headed” slime mold.

nimiia cétiï was created in collaboration with Memo Akten and Damien Henry as part of n-dimensions, Google Arts & Culture’s artist-in-residence program at Somerset House Studios.

Thanks to Kieran Bates from the Institute of Zoology at Imperial College London, Adam Laschinger for sound recordings, and Manus Nijhoff and Leith Benkhedda for 3D work.

The video includes music with Miako Klein in contrabass recorder and Shin-Joo Morgantini in flute, with sound production by Ville Haimala.



14 NOV 2018






Black Atlantis is a live audio-visual essay that looks at possible afterlives of the Black Atlantic: in contemporary illegalised migration at sea, in oceanic environments, through Afrofuturistic dancefloors and soundsystems, and in outer space.

Black Atlantis combines two conversations – Afrofuturism and the anthropocene. It takes as point of departure Drexciya, the late 20th century electronic music duo from Detroit, and their creation of a sonic, fictional world.

Through liner notes and track titles, Drexciya take the Black Atlantic below the water with their imaginary of an Atlantis comprised of the mutant offspring of former slaves who have adapted to living underwater.

This wetness brings a sense of the haptic, the sensory, the bodily, and the epidermal. What Atlantis brings back is the bottom of the sea, the volume of the water, the materiality of the space of the ocean, and other protagonists that inhabit the sea.

This third instalment The End of Eating Everything // Black Atlantis III follows a monstrous form of consumption underwater, considering what Drexciyans might consume underwater, what things are consuming each other around them and what boundaries might be eroded between the what’s and the who’s of what is being eaten.

Black Atlantis, Ayesha Hameed (2016-18)

Ayesha Hameed’s work explores contemporary borders and migration, and visual cultures of the Black Atlantic. Her projects Black Atlantis and A Rough History (of the destruction of fingerprints) have been performed and exhibited internationally.

She is the co-editor of Futures and Fictions (Repeater 2017). She is currently the Programme Leader for the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths University of London.


10 OCT 2018






Broadcasting through a makeshift network of discarded televisions, this story is tangled up in the aftermath of Los Angeles’s worst earthquake nightmare.

Travel between screens and aftershocks into the twisted lives of the survived.

KUSO, Steven Ellison (2017)

KUSO was presented in association with the online streaming service, Shudder. shudder.com

Steven Ellison, also known by his stage name Flying Lotus, is a two-time Grammy nominated multi-genre music producer, electronic musician, DJ, filmmaker, rapper, curator, label boss and TV star from Los Angeles, California.

Flying Lotus has released five studio albums‍ — 1983 (2006), Los Angeles (2008), Cosmogramma (2010), Until the Quiet Comes (2012) and You’re Dead! (2014) ‍— ‌to critical acclaim. He has produced music for Kendrick Lamar, Snoop Dogg, Thundercat, Wiz Khalifa, Thom Yorke, and Erykah Badu, as well as much of the bumper music on Cartoon Network’s Adult Swim.

He has curated and hosted a radio station in Rockstar’s Grand Theft Auto V. In 2017, he wrote the score for Blade Runnner: Black Out 2022 (a Blade Runner 2049 short film prequel) directed by anime great Shinchiro Watanabe.

His own debut feature film, KUSO, premiered at the Sundance Film Festival, and has since gained a reputation as one of the most daring films ever made.



12 SEP 2018








Strange Fruit is a personal remembrance of the young black lives impacted by racial profiling, in July 2018.

During the performance, the artist reads a series of GPS co-ordinates set against a body of electronic sound and processed field recordings.

Taken from an online London Metropolitan Police database, the GPS coordinates represent the locations where 284 “more thorough stop-and-searches” were conducted — i.e. searches where intimate body parts are exposed — on 284 young black people aged 15 to 24, with no further action taken.

The title of the piece honours the song that was popularised by Billie Holiday in 1939, protesting the lynching of African Americans.

The aim of this piece is to redress the gap between the detached inhumanity of police statistics, and the life-altering brutality that they represent.

Strange Fruit, Venus Ex Machina (2018)

Venus Ex Machina is a composer and interdisciplinary artist. She has contributed sounds and music to a range of projects including releases on NON Worldwide and Optimo Music, and a score for ICA & Channel 4’s shortfilm series, Random Acts.

In 2018, she developed her first “pirate AI” opera as Fellow of the performance laboratory CTM HackLab at HAU2 in Berlin, and also led a workshop on radio transmitter-building at Moogfest in North Carolina, titled Wireless Imagination and influenced by her current fascination with the mythical and borderless nature of radio communication.


11 JUL 2018






At the end of August 2017 Berlin-based Nik Nowak was part of a delegation of international artists invited to participate in a purported programme of fostering ‘cultural exchange’ with North Korean counterparts at the University of Fine Arts, Pyongyang.

Nowak proposed the creation of a temporary vacuole of no-sound, or anti-sound, in the demilitarized zone between North and South Korea (DMZ), as an interruption of the propagandistic sonic militarism of each side.

Nowak sought to use their respective confrontational sound system installations to play an identical but phase-inverted sound, with the purpose of letting the sine waves cancel each other out, thus creating an active silence.

Continually negotiating with a litany of intractable officials, at both State and university levels, his attempts at every turn were thwarted.

A Symphony of Silence, Nik Nowak (2017-2018)

Known primarily for his series of large-scale mobile sound system sculptures including Panzer (2011), Echodrohen (2014) and Sentinnel (2018), Nik Nowak is a German artist, curator and musician whose interdisciplinary artistic projects are concerned with the wider cultural, political and neuro-affective nuances of the sonic ambiguities and acoustic weaponry inherent in the attraction-repulsion nexus of sound. 

In 2014 he conceived and co-curated the exhibition Booster: Art Sound Machine with Marta Herford Museum, Germany, bringing together an international roster of renowned artists all working with dimensions of sound and mobile sound systems. In the same year, he was awarded the prestigious Gasag Art Prize which celebrates outstanding artistic positions at the intersection of art, science and technology. 

For the opening night of his solo exhibition Echo (Berlinische Gallery) Nowak collaborated and commissioned the live sound performance, The Symphony of Sirens, by the noise artist, Kevin Martin, aka The Bug.

In 2016, supported by his ongoing patronage by Sennheiser, Nowak’s Panzer and smaller Mobile Booster (2005) were both exhibited at Art Basel, Miami Beach where, deploying Panzer, he created a one-night audio-visual sound-clash event with pioneer of the Miami bass-sound scene, Bass Mechanik. Nowak also uses his work, primarily Panzer, to stage artist sonic assaults or interventions through the streets of Berlin in protest against, for example, Germany’s continued exportation of arms to global conflict zones. These so-called ‘Panzer Parades’ have seen him work with Chicago Footwork and Hyperdub artists, DJ Rashad and DJ Spinn (2012) and Ikonika and Scratcha DVA (2015).

Whilst Symphony of Silence remained unrealised — an ostensible silencing — in a compensatory gesture, Nowak was permitted by the North Korean functionaries to play his un-sound soundscape Infra Ultra (2017) on a portable loudspeaker in the public space of the Pyongyang riverside — the first Western fine artist ever to do so.

Recorded in the naturally inaudible frequency spectrum over 20KHz and below 20Hz, where it is capable of producing neuro-affects or physiological resonances, of modulating both thought and the body, Infra Ultra captures, and then denaturalises, those dimensions and frequencies of nature and the built environment that escape human audibility.



20 JUN 2018







Why u in my way.
A horizon-less night.
We’ll be better yesterday.
She is La Loba.
Don’t you fade away.

A dried river bed.
She is Akai Tori.
We always rising.

A wild nature.
She is Sentinel.

Treasure erasure.
She is Senri Yokai.
Don’t forget to remember.

Closer apart
On the sacred mountain.

Closer/Apart, Chris Saunders, OKzharp & Manthe Ribane (2018)

Director: Chris Saunders. Performer: Manthe Ribane. Writer: OKzharp. Choreography, Styling: Manthe Ribane. Director of Photography: Deon Van Zyl. Editor: Josh Borril. Graphics, Animation: Optigram. Artworks: Jonathan Freemantle

Artworks made and film shot on location in December 2017 at Nirox Sculpture Park, The Cradle of Humankind, Johannesburg, South Africa

The film Closer/Apart is the new work from a three-way collaboration between photographer / filmmaker Chris Saunders, producer / musician / writer Okzharp and performer / artist / designer / stylist Manthe Ribane that began in 2014 with the creation of the experimental narrative short film, Ghost Diamond. Since then they have produced short films, music, live performances and art works.


Closer/Apart is a visual exploration of the album Closer Apart by Okzharp and Manthe Ribane. The film draws on Chris Saunders’ photography and film work capturing contemporary movement and dance, but applies this to an abstracted interrogation of a person’s place within nature. Manthe Ribane performs different incarnations of herself whilst occupying mythologised characters that connect her to a fictionalised nexus between ancient Southern African and Far-Eastern cultures.

The film takes us through four separate environments that suggest imaginings of a horizon-less, time-less night, a wild nature, a parched pre-apocalyptic river bed and a numinous, redemptive inner-space. As Manthe moves through these four locations her form and movement manifest the emotional arc of her journey. She is La Loba — the she-wolf. She is the Akai Tori — the red bird, a keeper of the light, and possessing the wisdom of ages. She is the maternal Sentinel — chaotic nature, the weather, the elements. Finally, she is the Senri Yokai, attaining divine spiritual power over her own destiny.

Jonathan Freemantle’s painting ‘Sacred Mountain’ evolves with her through her journey, mirroring her surroundings. Optigram’s digital textures challenge the integrity of her cinematic world. Through her, we are left with a hopeful sense of the imminent, and of the redemptive power of memory.


16 MAY 2018








Dreams of Imaginary People explores the latent space of human faces by training an artificial neural network to imagine and generate portraits of non-existent people.

To do so, thousands of photos of faces from Flickr were fed into a type of neural network called a Generative Adversarial Network (GAN).

GANs work by using two neural networks playing an adversarial game: the first (the “generator”) tries to generate increasingly convincing output, while the second (the “critic”) tries to learn to distinguish real photos from generated ones.

At first both networks are poor at their respective tasks. But as the discriminator network starts to learn to predict fake from real, it keeps the generator on its toes, pushing it to generate harder and harder examples.

As the generator gets better the discriminator also has to improve in turn, in order to keep up. With time, the generated output becomes increasingly realistic, as both adversaries try to outwit each other.

The results are rendered in real time, and continue to very slowly shift to new faces as each is rendered. These faces are not of real people, but rather an amalgamation born from the features the GAN has learned, materialized with strange (and sometimes unsettling) impressionistic beauty.

As a mirror to the shifting, impermanent nature of these images, Visible Cloaks has constructed a self-rearranging sound environment. Using randomized MIDI data, un-synched LFOs, and samples assigned and manipulated by chance systems, what arises is an attempt to eschew the determinism of “fixed” composing to instead offer an infinite work that — much like the GAN images — gradually mutates, stretching towards the infinite.

Dreams of Imaginary People, Mike Tyka (2017)

Mike Tyka studied Biochemistry and Biotechnology at the University of Bristol. He obtained his PhD in Biophysics in 2007 and went on to work as a research fellow at the University of Washington and has been studying the structure and dynamics of protein molecules. Mike currently works on machine learning at Google in Seattle.

Mike became involved in creating sculpture and art in 2009 when he helped design and construct Groovik’s Cube, a 35ft tall, functional, multi-player Rubik’s cube. Since then he co-founded ALTSpace, a shared art studio in Seattle, and started creating sculptures of protein molecules.

Since 2015 Mike has also begun working with artificial neural networks as an artistic medium and tool. He created some of the first largescale artworks using Iterative DeepDream and collaborated with Refik Anadol to create a pioneering immersive projection installation using Generative Adversarial Networks Archive Dreaming. His latest generative portraits series, Portraits of Imaginary People, has been shown at ARS Electronica in Linz, OutOfSight 2017 and at the New Musueum in Karuizawa, Japan.


Visible Cloaks is Spencer Doran and Ryan Carlile, two musicians based in Portland, OR, USA working in the intersection of composition and technology, arrangement and environment, place and non-place. Their music has taken many forms: site-specific multi-channel pieces, live A/V performances, compositions for aleatoric chamber ensembles, albums, EPs, film scores, and randomized audio installations such as this one. 2017 saw the release of both the LP Reassemblage and the EP Lex, alongside the video piece Permutate Lex with Brenna Murphy.


11 APR 2018






In Larry Achiampong & David Blandy’s collaborative practice, they share an interest in popular culture and the postcolonial position. They examine communal and personal heritage, using performance to investigate the self as a fiction, devising alter egos to point at their divided selves.

Finding Fanon: Sequence is inspired by the lost plays of Frantz Fanon (1925-1961), a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation.

In the work, the two artists negotiate Fanon’s ideas, examining the politics of race, racism and the postcolonial, and how these societal issues affect their relationship.

Finding Fanon: Sequence, Larry Achiampong & David Blandy (2015-2017)

Larry Achiampong’s solo and collaborative projects employ imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and postdigital identity. With works that examine his communal and personal heritage — in particular, the intersection between pop culture and the postcolonial position — Achiampong crate-digs the vaults of history.

These investigations examine constructions of ‘the self’ by splicing the audible and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal entrenched sociopolitical contradictions in contemporary society.


David Blandy works with the image in the digital world, from the YouTube tutorial and music videos, to television series, anime and the narrative sections of computer games; highlighting our relationship with popular culture, and investigating what makes us who we are.

Within each work he deconstructs the form, placing himself as the alienated subject in a prefabricated cultural archetype. Through this process, Blandy questions our relationship with the narratives that surround and shape us, to find what forms the contemporary collective unconscious.



14 MAR 2018






This immersive video installation invites the audience into a circle of ghost dancers with projections on diverse materials, soundtracked with music by DJ Rashad.

The visual experience mirrors the speed and hypnotic effect of footwork music as images of dancers break down to the point of abstraction.

The title of the piece invokes one of the foundational footwork dance moves as well as the classic DJ Rashad track.

The setting for the work is the main room of Corsica Studios, the place where Ashes57 and DJ Rashad first met in 2010.

Ghosts, Ashes57 (2018)

Ashes57 is an illustrator, painter, photographer and videographer whose work has provided some of the most iconic images of the underground bass music scene from the early days of dubstep through to footwork and beyond.

A distinctive visual style links her illustration, painting and print work – images which are dense and detailed with fine and intricate lines. Her complex cityscapes, rendered in a largely monochromatic palette with an occasional burst of colour, are playgrounds for a revolving cast of DJs, musicians and revellers.

From the flyers and posters she produced for legendary parties in New York to record covers for labels including Teklife, DMZ, Swamp 81 and Hyperdub, her illustrations, design work and photography have provided the visual foil to many of the most exciting moments in electronic music of recent years.



14 FEB 2017








Summer heat, in April. The ocean horizon is broken by container ships. Ruins of coastal defences everywhere. From Felixstowe Docks past Bawdsey Radar Base to Sutton Hoo – a walk through a sunlit terrain in which a white void is sensed behind the day.

Capitalism becomes visible as a coerced capitulation that is endemic within the world, an invasion that has got away with our lives. Radar becomes a name for encounters with the unknown.

In the sunlight there are views toward other surroundings. Thistledown drifts between buckling towers of overgrown containers, and floats across Rendlesham Forest, Lantern Marsh. A man is running on a beach, fleeing a pursuer.

This is a place in which cities can be destroyed. A place in which groups of people can disappear into the future.

The void is beneath your feet. The land is hollow, and so is the sky. And what might inhabit the void?

On Vanishing Land, Mark Fisher & Justin Barton (2013)

Mark Fisher (1968–2017) was a cultural theorist: he wrote Capitalist Realism (2009), Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014), and The Weird and The Eerie (2016). He was an influential writer on the internet, blogging under the name k-punk, and was programme leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London.


Justin Barton is a philosopher and writer. He has published academic philosophical articles and has collaborated on projects with artists and theorists. He is the author of Hidden Valleys: Haunted by the Future (2015), and is currently completing a book called Explorations of the Abstract. With Mark Fisher he made the audio-essays londonunderlondon (2005) and On Vanishing Land (2013).


17 JAN 2018






“Paradise only lasted for a year after Deep Blue Monday. But nobody had thought about the other war, the one with nature.

“The next summer, we were drowning. It was geological time, but in reverse. Everything was returning from the land into the sea. People looked for solace in virtual reality. They covered their eyes to see.

“I was conceived in Singapore, but I awoke in space. For twenty years I have been the sentinel of the South China Seas, my eye wide open.

“Do you know what it is to see every wave, every bird and every animal, a trillion shards of sunlight reflected on the water? To look through the water, down into the depths where whales fear to swim? And not just to see but to remember everything, with every detail etched into a neural network? Total recall, forever.”

Geomancer is a CGI film by Lawrence Lek about the creative awakening of artificial intelligence.

On the eve of Singapore’s 2065 Centennial, an adolescent satellite AI escapes its imminent demise by coming down to Earth, hoping to fulfil its dream of becoming the first AI artist.

Faced with a world that limits its freedom, Geomancer must come to terms with its militarised origins, a search that begins with a mysterious syndicate known as the Sinofuturists.

Geomancer, Lawrence Lek (2017)

Commissioned for the 2017 Jerwood/FVU Awards

Lawrence Lek is a simulation artist who creates site-specific virtual worlds, video game essays, and speculative films. Often rendering real places within fictional scenarios, his environments reflect the impact of the virtual on our perception of reality.



13 DEC 2017






Exploring the themes of the record Tommy by Klein.

Screen one: edits of inspiration and vulnerability, sound from Klein and Stevie J.

Screen two: a welcoming, spirally video by close friends of Klein featuring Nellie Owusu, Zari Iman, Embaci, Amber Joy and Amie Wolfe.

Tommy, Klein (2017)

South London-based musician Klein is an artist who’s neoteric vision has seen her quickly become one of the UK’s most intriguing and unpinnable producers and performers. Her often playful and restive approach to composition is instantly alluring.

Following some ear-catching manoeuvres across releases like last year’s self released Only and Lagata which gained her early fans like Björk and Dev Hynes (whom she supported in the US), Tommy marks Klein’s deepest plunge yet into the ‘deep, dark ocean’ of her musical imagination.


15 NOV 2017






Cat Ice Trickster is a machine vision avatar that inhabits intensity zones where the future impacts on the present in ever-tightening spirals. It manipulates the sorcerous forces that technology unleashes as it delves further into the quantum, the virtual, and the abstract. And yet, its fluid material seizes the contours of an oneiromania.

Two screens mirror. Sonic abstractions modulate the space. Mesmeric video, Light Imaging Detection and Ranging (LIDAR) scans, and Google Deep Dream monsters manifest the avatar’s imaginary. In Google’s ‘inceptionism’, the moves executed between the data set input and the image output are black boxed – as yet unknown to and untraceable by the human coder. Are these uncanny farcical images generated out of noise and abstraction AI experiments in reality recoding?

There is a leak between screens as the point cloud visions of the LIDAR animations become infected by synthetic hues and Deep Dream hybrids from the liquefaction screen. In LIDAR, a spinning 45% mirror directs a laser in scanning arcs, repeated up to a million times a second. The inherent dimensional fabric of LIDAR-captured data can present haunting distortions of form and space. The viewer has the tactile sensation of travelling into the ‘back face’, as it’s known in animation parlance. We experience the inner surface of a thing or the negative space between things.

Cat Ice Trickster, 0rphan Drift w/ Lightfarm (2017)

0rphan Drift is a collaborative media artist that emerged in London, 1994. It is known for immersive works which treat information as matter and the image as a unit of contagion. 0D has exhibited for over two decades in galleries, museums and night clubs internationally. Here, co-founder Maggie Roberts (video) is joined by Lendl Barcelos (sound), Mike O. Vertolli (Deep Dream coding), and Joseph Walsh (demon).


Lendl is a kataphysician often heard laughing, who researches 19th century sonic abstract machines.

Mike distorts the bounds of human perception by misusing computation.

Joseph is an animist filmmaker who has worked with 0D on several film fictioning projects before this.

Lightfarm is a cutting edge audiovisual project based in Cape Town that explores LIDAR as an emerging artistic medium.

Jason Stapleton (3D scan and animation) has created the LIDAR video for Ø.


18 OCT 2017






Using techniques similar to those employed to track the movement of people, the space is monitored (passively scanned) for the presence of WiFi devices such as smartphones.

When such devices are detected, the unique identifier that each device transmits (its M.A.C. address) is recorded. Audio is then arranged into a sequence based on the identifier of the closest device.

When the sequence comes to an end, a new device is selected.

Passive Scan, Lee Gamble & Sam Keating-Fry (2017)

Lee Gamble is a producer exploring the mechanics and dimensions of computer music, avant composition and noise via a series of abstract, sculptural releases, and improvisational and multichannel live presentations. He is owner of the UIQ label.

Sam Keating-Fry is a computer hacker whose interests lie in transhumanism, surveillance and the singularity.



20 SEP 2017






You are born into a mortifying structure that precedes you. You only have a lifetime to escape.

London’s flood barrier against the real has had a spectacular record of failure. Fictions from the future have recurrently broken through into capitulation’s faked reality. If you search through the spaces of these incursions you will find directions toward a doorway that leads to a deeper and wider London, a London inundated with anomalous and often very perturbing forces. These directions will always be about an empty expanse that is not what it appears to be. It is when there is no-one and nothing there that everything at last becomes visible. 

londonunderlondon is a sometimes broken, tenuous transmission in a war so disturbing that its existence is almost always ignored. It is a derelict, overgrown emptiness swept by vortices which could even draw you out of the pre-sent, clearing death from the energy-channels of perception and awareness. The future, which has been there all along, is the wilderness within which those who have escaped can come together as groups. Increase the energy and you reach the future.

londonunderlondon, Mark Fisher & Justin Barton (2005)

Mark Fisher (1968–2017) was a cultural theorist: he wrote Capitalist Realism (2009), Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014), and The Weird and The Eerie (2016). He was an influential writer on the internet, blogging under the name k-punk, and was programme leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London. 


Justin Barton is a philosopher and writer. He has published academic philosophical articles and has collaborated on projects with artists and theorists. He is the author of Hidden Valleys: Haunted by the Future (2015), and is currently completing a book called Explorations of the Abstract. With Mark Fisher he made the audio-essays londonunderlondon (2005) and On Vanishing Land (2013).


23 AUG 2017





With over 50 music videos in a catalogue that stretches back to 2005, Hyperdub TV makes its big screen debut.


19 JUL 2017






The Last Angel of History is a sci-fi documentary about Africa, history and memory.

Legend has it that in the 1930s, itinerant blues man Robert Johnson sold his soul to the devil in order to play the blues. What Johnson got in return for his soul was a black secret technology which would produce the history of black music.

200 years into the future, another itinerant figure, the Data Thief, sells his soul for the knowledge of his future. He has been told to go to the past (our present) and unearth black culture’s speculations about the future. Piece together these speculations and you will find the secret of the black secret technology which will unlock your future…

The Last Angel of History takes us on a voyage, from the margins of black culture to its interstellar heart. The film charts a new interface, striking up connections and dialogues between diverse black interstellar parties who have so much in common, and yet for the most part remain unaware of each other’s existence, from Sun Ra to Nichelle Nichols, George Clinton to Lee Perry, A Guy Called Gerald, Goldie and Underground Resistance.

Black Audio Film Collective’s exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black unpopular culture, outer space and the limits of the human condition.

The Last Angel of History, John Akomfrah & Black Audio Film Collective (1996)

Black Audio Film Collective was formed by seven undergraduates in Portsmouth in 1982, and was based in Dalston, East London from 1983 to 1998.

In response to the civil disturbances in Brixton in 1981, there was a concerted effort by Channel Four Television, the local metropolitan councils, and the films and television unions collectively to provide financial and structural support to black media and cultural makers, in order to promote a black cultural presence in the British media and arts.

One of the workshops that negotiated the workshop agreement between the media institutions and cultural makers was the Black Audio Film Collective and, in the sixteen years in which they worked as an artist’s atelier, they produced a roster of groundbreaking and award winning creative documentaries, non-linear feature films, tape-slide installations, film programmes and screenings that examined the diasporic African and Asian experience in Britain and across the continents.

Characterised by an interest in memory, history and aesthetics, the collective created a series of defiantly experimental works that engaged with black popular and political culture in Britain. The group were also instrumental in bringing an awareness of avant-garde film from Africa, India and South America to the UK.

Artists, filmmakers and writers associated with the group include John Akomfrah, Reece Auguiste, Edward George Lina Gopaul, Avril Johnson, David Lawson, Trevor Mathison, and Claire Joseph.


22 JUN 2017






From the late 1960s until his death in 1990 at the age of 50, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor, wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionized the East Coast’s new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime.

In January 1980, Eastman was invited by the Music Department at Northwestern University in Evanston, Illinois to present his compositions Crazy Nigger (1978), Evil Nigger (1979) and Gay Guerrilla (1979) at the Pick-Staiger Concert Hall. A number of African-American students and one faculty member at Northwestern University objected to the titles of Eastman’s compositions. The titles of Eastman’s compositions were redacted from the concert programme printed by the Music Department.

Before the concert on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by Dante Micheaux and Elaine Mitchener in The Third Part of the Third Measure (2017) are based on each performer's adapted transcription of Eastman’s Northwestern University statement.


The Third Part of the Third Measure, The Otolith Group (2017)

Julius Eastman’s speech at Northwestern University, 16 January 1980 read by Dante Micheaux, Elaine Mitchener. Pianists: Zubin Kanga, Siwan Rhys, Rolf Hind, Eliza McCarthy. Director of Photography: Kate McDonough. Editor: Simon Arazi. Sound Mix: Tyler Friedman. Producer: Zara Truss Giles

The Otolith Group was founded in 2002 by Anjalika Sagar and Kodwo Eshun. The Otolith Group’s work explores speculative futures and science fictions.

Recent exhibitions include the 13th Sharjah Bienniale, the 8th Gwangju Bienniale, Endless Shout at the Institute of Contemporary Art Philadelphia, The Museum of Rhythm at Museum Sztuki, Lodz, and Rare Earth at Thyssen-Bornemisza Art Contemporary, Vienna.



10 MAY 2017






Your mind files memories all the time. It’s busy. You’ve created a mosaic to which your reality becomes distorted.

A memory of the car crash haunts you and you can’t escape it, it’s in your dreams.

The physical pain is gone, but you can’t help but replay the event over and over again. When will you have peace and quiet? When can you work?

You’ll need a distraction to feel yourself again.

Distractions v1.1, Ikonika x Mungo (2017)

Ikonika is a DJ and music producer from London. Her music channels dreamy soundscapes in a club format. She has released two studio albums for Hyperdub, with her third, Distractions due for release in June 2017.

Mungo’s work for Radar Radio, where he also has a monthly show, has established its idiosyncratic visual style. Regardless of context, his work is always pensive and visceral, playful and ominous. At the age of 9, he was as a cartoonist for the Oxford Times, and he has mutated Super Mario for The Great Escape festival. His neon dystopias were projected at the Tate Modern in 2016, and form the artwork for Ikonika’s new album Distractions.


19 APR 2017






Algorithmic pirouettes generating moments of synchronisation. Distilled pauses, diluted frequencies. It swarms through, harvests layers. With a simulated choreography it maps inhabited gestures and unstable terrains. Seeking for a morphomimetic practice — it traverses the unknown and writes time anew.

The machine narrates. Its perception fuels revision of minds, living, sorting out time — all weaved together in labour at all times. Parallel articulations freeze at the moment of nuance. Morphing poiesis. Topological construction, seepage occurring between layers.

A generic architecture of global measurements sets the scene. Concrete plans. Asphalt tombs. Signals of a perpetual alarm replaced by an orchestra — a loop catching fire, smell of used oil. It scans the scenery, learns the patterns, now stretches its tentacles.

Scripted to fold the present with the unseen, the automated machine, the self-aware protagonist lends its vision to the human eye: scaling up, zooming in, traversing yet unsoiled ground, collecting the seeds to be implanted.

Morphomimetic, Anna Mikkola (2016-2017)

Videos by Anna Mikkola: Morphopoietic (2016), Molecular Eye (2017), It Streams (2017). Drone performance: Anna Mikkola. Drone programming: Terry Clark. Sound: Infiltration, Yoneda Lemma (2017). Text: Matilda Tjäder, Anna Mikkola

Anna Mikkola’s visual and written work engages with the boundaries of the human and with the enmeshed reality where the human, nature, and technology coexist. Her research moves between interfaces and infrastructures. She drafts narratives where different entities and points in time are woven together.

Anna’s work has been shown at the ICA and Jupiter Woods in London, Lighthouse in Brighton, Sonic Acts in Amsterdam, INDEX 19 and Minibar in Stockholm, amongst others, and featured in publications such as Kaleidoscope, Rhizome and DIS Magazine. She has lectured at Goldsmiths University in London, at ECAL in Lausanne, and at the New Museum in New York.

Yoneda Lemma is a sonic excavation site plotted to deepen the game of thinking with the universe. It is the quasi-causal brainchild of Katrina Burch — feminist philosopher, poet, electronic music producer, and archaeologist.

She presents internationally: Fylkingen, HeK, Flatterschaff, Kunstverein Amsterdam, Sonic Acts, Maerzmusik, Berghain, Le Cube, Les Laboratoires Aubervilliers, Tate Britain, Café OTO, ICA, HEAD, Toni Areal Gallery, Up State, amongst others, and has multiple identities and collaborations.


15 MAR 2017






Therianthropes, Jesse Kanda (2017)

Jesse Kanda, self-taught artist musician vegan manga spirit.



15 FEB 2017






Based on the Martial Hauntology vinyl/book/print project released on AUDINT records in late 2014, and their animated film, Ghostcode, set in the year 2056 in a new era of global conflict, the Delphic Panaceas project is an unsound installation that is designed to be felt as much as heard.

The project links the underground groove of the Large Hadron Collider with the vaults of the Bank of Hell; connects the Dead Record Network with the Phantom Hailer; traces the evolution of the Wandering Soul Tapes to the viral dynamics of the online spectreware named IREX²; and extrapolates from the Rapparitions of 2Pac and Biggie Smalls to a new codified phase of fleshless warfare that relies on A.I., holograms and ultrasound.


AUDinst020: Upload=Delphic Panaceas, AUDINT (2017)

AUDINT has been conducting research, rituals and experiments in how sound, infrasound and ultrasound has been used to open up the “3rd ear”. Formed in late 1945 by ex-members of the deception-based division of the US Military — the Ghost Army and ex-German military scientists (sequestered via Operation Paperclip) — the research cell has been composed of an oscillating personnel for nearly three quarters of a century.

Drafted in by the rogue artificial intelligence known as IREX², by 2017, AUDINT is in the throes of its third wave, being staffed by Souzanna Zamfe, Patrick Defasten, Toby Heys, Steve Goodman, and Eleni Ikoniadou. As far as can be ascertained, their remit is to upload all findings of their research and the associated Dead Record Archive into the flesh drives of the human populace via vinyl and cassette recordings, art installations, books, performances, essays, and encryption/production software



18 JAN 2017





“HUA WEI” 华未

Hua Wei is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Hua Wei has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.

Hua Wei is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora. With reference to Afrofuturism and Gulf Futurism, Hua Wei presents a critical and playful approach to subverting cultural clichés.

In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China is portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Hua Wei proposes to push them much further.

By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour, and Gambling), it shows how China’s technological development can be seen as a form of Artificial Intelligence.

Sinofuturism (1839-2046AD), Lawrence Lek (2016)

Hua Wei
华未, Lawrence Lek (2016)

Lawrence Lek creates speculative worlds and site-specific simulations using software, video, installation and performance. Often based on real places, his digital environments and video game essays reflect the impact of virtual realities on our perception of the city. Contrasts between utopia and ruins, desire and loss, and fantasy and history appear throughout his work to symbolise this exchange.

Recent works and exhibitions include the Nøtel, his ongoing collaboration with Kode9; Seoul MediaCity Biennial 2016 at Seoul Museum of Art; Glasgow International 2016 at Tramway, Glasgow; Secret Surface at KW Berlin; Software, Hard Problem at Cubitt Gallery, London; The Uncanny Valley at Wysing Arts Centre, Cambridge; Unreal Estate at the Royal Academy of Arts, London; Performance as Process at the Delfina Foundation, London. Lek is recipient of the 2016 Jerwood/Film & Video Umbrella Award and the 2015 Dazed Emerging Artist Award.