┐ Mary Stark – Searching for Celluloid └

Abandoned, discarded, unwanted film is woven into handmade artefacts and photographic prints are created in the darkroom from constructed negatives. Time becomes an integral element, with each print or object measuring a duration of film. This recent work explores the materiality of photography and film in the digital age and creates a dialogue between the still frame and the moving image. Mary Stark is searching for celluloid. It’s an exploration that, paradoxically, began in the digital space. “I was interested in working digitally with video,” says Stark, who recently completed an MA in Photography at MMU. “Then I realised that, … Continue reading ┐ Mary Stark – Searching for Celluloid └

┐ AUTOMATISM as direct action └

© Bryan Lewis Saunders, under the influence of butane honey oil (left) and morphine IV (right) © Bryan Lewis Saunders, under the influence of 1/2g cocaine (left) and 1 “bump” of crystalmeth (right) “After experiencing drastic changes in my environment, I looked for other experiences that might profoundly affect my perception of the self. So I devised another experiment where everyday I took a different drug and drew myself under the influence. Within weeks I became lethargic and suffered mild brain damage. I am still conducting this experiment but over greater lapses of time. I only take drugs that are … Continue reading ┐ AUTOMATISM as direct action └

┐ Anarchy–Without–Anarchism └

© David Lynch, Boy Lights Fire © David Lynch, Pete Goes To This Girlfriend’s House “ [1] WE declare war on God and the State, the alpha and omega of philosophy and the world, in the name of anarchy-without-anarchism. We are radically antinomian – abandoning the law in all its forms, including that of its withdrawal – this is what makes us anarchist. To be anarchist is to reject anarchism as the miserable discourse of “radical opposition.” All that it offers is another wisdom, and we know that wisdom always conceals a master. The anti-politics of anarchy-without anarchism does not … Continue reading ┐ Anarchy–Without–Anarchism └

┐ Wladd Muta └

© Wladd Muta, Hypercops 1 On Mountains, 2011 © Wladd Muta Les pétales des fleurs de grenouilles, “AnUra-Flora“, se développent dans un tout premier temps à partir des tissus pulmonaires du batracien (fig.1.). L’amorce de la mutation utilise les traces génétiques fantômes des branchies du stade larvaire (têtards). Le pétale se constitue ensuite exclusivement sur une base de tissu épithélial humide (muqueuse) respiratoire. L’étalement des tissus s’accompagne, progressivement et en s’amplifiant, d’une hybridation du tramage cellulaire VÉGÉTALE & ANIMALE. Même une fois aboutie, l‘AnUra-Flora gardera toujours cette singularité cellulaire hybride. La fleur se déploie tout autour d’un cœur ; celle-ci … Continue reading ┐ Wladd Muta └

┐ Michal Heiman └

CRITICAL IMAGE: MICHAL HEIMAN, By Dr. Ariella Azoulay Michal Heiman chose the position of the spectator looking at someone else’s photographs taken by someone else, in which someone else is photographed, which someone else collected. Heiman turns this quintessential position of spectator (in a museum, but not only) into her own, elaboration and giving it back to it to spectator, whom she transforms not only into the subject of the artistic image but also into the subject of the psychological image. This is the spectator who is asked, on several levels, to assume Heiman’s position and to reproduce it. When … Continue reading ┐ Michal Heiman └

┐ Victoria Jenkins └

© Victoria Jenkins, Capnomancy, from Images from the Institute of Esoteric Research © Victoria Jenkins, Aeromancy, from Images from the Institute of Esoteric Research “A characteristic claimed to be unique of photography has been its ability to record the visible, material world, its perceived objectivity and accuracy has lead to a utilitarian application of the camera as a tool for documentation, and this can be traced back to photography’s early history. Parallel to this is a history that echoes with illusion and trickery; photography carries a false empiricism, for which we may allow our guard to be dropped. The photographs … Continue reading ┐ Victoria Jenkins └

┐ Nicky Coutts └

© Nicky Coutts, Estates(Syon), 2007 © Nicky Coutts, Estates(Longleat), 2007 “The photograph Estates was based on 17th century drawings and paintings of stately homes originally commissioned to show them to their most opulent advantage. Each original is manipulated to look like a tower by copying and repeating the floors and placing them one above the other.” source: Danielle Arnaud more of Nicky’s work here Continue reading ┐ Nicky Coutts └

┐ Zoe Hatziyannaki └

© Zoe Hatziyannaki, The Parliament, from the series Secrets & Crises, 2010-20111 © Zoe Hatziyannaki, Police Headquarters, from the series Secrets & Crises, 2010-20111 “The photographs on the left side of the diptychs portray public/State buildings in Athens, Greece. The images on the right are enlarged window details taken from the buildings’ photographs. The juxtapositions of the two images seek to suggest the questionable role of the State and its institutions today in Greece. A role which is seriously disputed under the current crisis. Public buildings stand as symbols of this crisis: they attract the rage of the protesters, they … Continue reading ┐ Zoe Hatziyannaki └