Libby Heaney is the recipient of a Sky Arts 50 commission to produce an interactive online artwork, based around an AI computer bot programmed on the citizenship book Life in the UK: a guide for new residents as well as classic British texts on social mores, literature and history. The Bot will then produce its own ‘test’ for the public to take - and see how British they are. As more people interact with the Bot, the Bot will ‘learn’ from them via complicated algorithms known as deep neural networks and change according to people’s responses. It will learn new words, new expressions, and new attitudes. It will allow us to see how Britishness varies from location to location and community to community. It will go live for six months, inviting the public to partake. When the project ends, there will be a non-live version of the Britbot with a report that tells us something about the different communities that have taken the test. The report will be published in book form and also continue to live online.
Felicity Hammond as a new site-specific installation at Generator Projects in Dundee as part of the NEoN festival until 12 November and her photo-collage Lands End can be seen in Togetherness: notes on outrage, a group exhibition at Kestle Barton until 4 November. Felicity is also included in Post Fail a group exhibition at Fotomusuem Winterthur opening in December.
Jake Elwes is exhibiting in three group exhibitions Bloomberg New Contemporaries at the Baltic (in London 27/1/18 to 3/3/18), Digital/Real - how art surfs between worlds in Basel and in When Machines Are Dreaming in Dresden.
Jessie Brennan's collaborative networked online exhibition Re: Development - Inside The Green Backyard can still be seen distributed across the websites of eleven organisations: BOM, Birmingham; CGP, London; The New Bridge Project, Newcastle; South London Gallery, London; Metal Peterborough, Peterborough; Carroll/FletcherOnscreen, London; Land For What?; Furtherfield, London; Shared Assets; Jessie Brennan, London; The Green Backyard, Peterborough.
"To think about digital objects as collectable, it may help to start by asking what it is that is actually collected. We tend to think that what is collected is a rare object. But what makes it rare? Perhaps there is more than one way to make an object rare. To make a digital object rare, it can be “locked” in various ways..."
The New Conservatism: Complicity and the UK Art World's Performance of Progression - Morgan Quaintance's provocation/accusation in the e-flux conversations series (see also the Resources - Reflections and Provocations section of the website). Morgan's article and the associated comments are worth reading as a starting point for debate about the shortcomings of the current structure of the visual arts eco-system:
"Today, despite a passion for the vocabulary of change amongst those who populate the art world’s upper echelons, and a conceptual belief in ‘rupture’, ‘paradigm shift’, and ‘the turn’, radical alteration of the field, and the concrete and cognitive institutions that comprise it – galleries, museums, art criticism, notions of best practice, etc. – has not taken place..."