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Iain Ball, (Rare Earth Sculptures) Terbium, 2015. Courtesy of the artist and Future Gallery, Berlin. Photo by Matthias Kolb.


Kunsthal Charlottenborg
Nyhavn 2 DK-1051 København K, Denmark

8pm, 28th April 2017

featuring: Iain Ball, Marguerite Humeau, Katja Novitskova, Parker Ito, Anne De Vries, Tue Greenfort and Eduardo Terrazas

Artists arriving too late:
When everything from climate to technology is changing at accelerating pace, it’s increasingly difficult to keep up. The future undercuts the present and the present recedes into the past at ever greater speed. Artists and documentarists experience arriving too late to the moment they’re trying to capture.

Instead of running after time, attempting to zoom in on the present moment, the tendency is now towards zooming out on other and bigger temporalities. This is the premise for the group exhibition Welcome Too Late in light of changes such as explosive population growth, rising temperatures and sea levels, automation, artificial intelligence, growing inequality, prospects of eternal life, resurrection of animal species and mass extinction.

Based on the concept of “Extemporary Art” curator Toke Lykkeberg has selected a number of trendsetting artists who problematize the concepts of ‘the contemporary’ and ‘contemporary art’ with works that shifts the focus from the moment to larger time perspectives.

Welcome Too Late is presented in collaboration with the documentary film festival CPH:DOX and opens March 17 at 6 pm – 10 pm.
During the period March 16 – 26, Kunsthal Charlottenborg will transform into a festival palace and will function as headquarters for this year’s CPH:DOX. In addition to the exhibition, Kunsthal Charlottenborg will also host cinemas, debates, concerts and virtual reality cinema during the festival. Read more about the CPH:DOX-programme.

The exhibition will be free during CPH:DOX March 16. – 26, after which Kunsthal Charlottenborgs regular entrance fee will apply.

Social media hashtag: #welcometoolate


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commissioned for Conspiracy Week

The Photographers' Gallery
16 - 18 Ramillies St
London W1F 7LW

10 Feb - 3 May 2017

Commissioned for Conspiracy Week in February, artist Joey Holder takes a particular scene from the 1975 film Jaws to look at the ways in which manipulated images are appropriated and circulated by Internet culture as ‘fact’.

The scene, which shows a shooting star flaring behind hero Roy Schneider, has become fodder for conspiracy theories. The ease of ‘adapting’ and then distributing images – such as deserts, outer space and oceans – offers a rich breeding ground for the fictional and make believe. Taking its name from a scientific classification for sharks, this project morphs between factual and fictional images, symbols and memes; exposing the continually shifting belief systems we use to define our world.

music by: uliK x clubcouture

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Pictures from a post-truth world:

Conspiracy Week at The Photographers' Gallery

UFOs, sea monsters, shark spies — an upcoming week of shows on conspiracy theories at The Photographers’ Gallery shines a light on the alt-fact landscape of the digital age, by Ben Luke


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Posthuman Complicities

Curators: Andrea Popelka and Lisa Stuckey

Opening: 09 March 2017, 7.00am
Exhibition dates: 10 March 2017 - 14 May 2017
XHIBIT, Academy of Fine Arts Vienna, Main Buliding, Schillerplatz 3, 1010 Vienna

Posthuman Complicities presents artworks concerned with the Atlantic, the deep sea, and concepts of fluidity. The ocean features as a place of violence and resistance. Colonial archives are fragmented and dislocated in terms of both language and image in order to visualize blank spaces created by historiography.

Vilte Braziunaite (LTU/AUT) & Tomas Sinkevicius (LTU/SWE), Joey Holder (GBR), Paul Maheke (FRA/GBR), Jennifer Mattes (AUT), The Otolith Group (GBR), M. NourbeSe Philip (CAN), Stefanie Schwarzwimmer (AUT/DEU) , Wolfgang Tillmans (DEU)


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Scissors Cut Paper Wrap Stone

A CCA Derry~Londonderry touring programme

Ormston House, Limerick

24 Mar–27 May 2017

Artists: Alan Butler, Clawson & Ward, Eva Fàbregas, Joey Holder, Jennifer Mehigan, Pakui Hardware, John Russell, Andrew Norman Wilson

Scissors Cut Paper Wrap Stone is an exhibition that takes its title from a 1994 book by Belfast-based science fiction writer Ian McDonald. In the book, McDonald describes a young graphic design student, Ethan Ring, who is able to create images that bypass rational thought and control the mind of the viewer. The ability of Ethan Ring’s images to induce tears or ecstasy, to heal and kill people, attracts the interests of governmental forces who see the opportunities of harnessing this power for their own ends. As well as being a story of art’s capacities to change people’s emotional and physical behaviour, the book is a story of the artist’s struggle to manage these responsibilities.

The exhibition of the same name is not a direct response to the narrative of this story but instead stages a number of artworks that explore ideas of how our perceptual and physical behaviours are transfigured by objects, images, and new technologies. Included in the exhibition are works that reference how the physical actions of the body are anticipated by design, such as the animated character of self-assembly furniture in Eva Fabregas’ video installation, The role of unintended consequences (Sofa Compact). Also included in the exhibition are works that suggest the body in a "post-human" hybrid state—the puppetry in Andrew Norman Wilson’s Reality Models; in John Russell’s large prints; and in Pakui Hardware’s Transactions, a series of free-standing sculptural works that contain fleshy images of indeterminable organic or artificial matter sourced from NASA’s archive. A violence upon the body is suggested by Clawson & Ward in works including their steel "branding iron" sculpture and edited xerox print, This ear says that the artist is not well schooled in anatomy...the ear screams and shouts against anatomy... which depicts an appropriated image of Joseph Stalin’s ear. Throughout Scissors Cut Paper Wrap Stone, the body is present in fragments and is subject to various regimes of control and imposition.

Impositions upon the body also exist for viewers of the exhibition as they encounter artworks that have their own autonomous movements: Eva Fabregas’ floor-based works, Self-Organising System, and Alan Butler’s Orphan Transposition series of spinning laser-etched mirrored acrylic panels, featuring out-of-copyright images of Yosemite National Park that freely circulate online. These works not only suggest the unfixed and fluid status of our physical and perceptual bodies, but they also raise questions about the control of artistic authorship—one of the key metaphors of Ian McDonald’s story.

Originally curated by Alissa Kleist and Matt Packer for CCA Derry~Londonderry in Spring 2016, Scissors Cut Paper Wrap Stone tours to Uillinn: West Cork Arts Centre, Skibereen (Ireland), and Ormston House, Limerick (Ireland) in revised iterations, featuring newly commissioned work by artists Jennifer Mehigan and Joey Holder. A publication designed by Alex Synge / The First 47 accompanies the exhibition and is available to purchase in all participating venues and online at www.cca-derry-londonderry.org

The exhibition is made possible through the support of the Arts Council / Arts Council Northern Ireland Touring and Dissemination of Work Scheme and the generosity of all venues.



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Treti Galaxie participating in 'OUTER SPACE' with the show:


Opening: 27 March

28 March - 15 April 2017

FuturDome - Via Paisiello 6, Milano

In a world full of conflicts and jolts, in which humanism is being seriously jeopardized, art is the most precious part of the human being. It is the ideal place for reflection, individual expression, freedom and fundamental questions. It is a “yes” to life, although sometimes a “but” lies behind. More than ever, the role, the voice and the responsibility of the artist are crucial in the framework of contemporary debates.

Viva Arte Viva is also an exclamation, an expression of the passion for art and for the state of the artist. Viva Arte Viva is a Biennale designed with the artists, by the artists and for the artists. It deals with the forms they propose, the questions they pose, the practices they develop and the forms of life they choose.

The Exhibition also aims to be an experience, representing an extroversion movement towards the other, towards a common place and towards the most indefinable dimensions, opening the pathways to a neo-humanism.


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The Noise of Being (Festival, Exhibition and Conference)

Wed 1 Feb - Sun 26 Feb

Arti et Amicitiae
Rokin 112, 1012 LB Amsterdam, The Netherlands

The first edition of the Sonic Acts festival took place in 1994. Over the years, it has established itself as a thematic festival with a strong focus on contemporary and historical developments at the intersections of art, science, music and technology. Each festival edition explore the chosen theme by means of an international conference, a wide range of concerts and performances, exhibitions and screenings, and embraces a broad spectrum of fields, practices and disciplines. Over the past half decade, Sonic Acts has shifted its perspective from the Universe to planet Earth, from Travelling Time (2012) and The Dark Universe (2013) to The Geologic Imagination (2015). In its 2017 edition, the festival takes its next step, under the title The Noise of Being.

Running from 1 to 26 February at Arti et Amicitiae, the exhibition (which will form part of the festival) features artworks and installations by emerging artists Joey Holder, Justin Bennett, Pinar Yoldas and Zach Blas. The artworks and installations reflect on how climate change, the Anthropocene, rapid technological advances and post-contemporary anxiety affect society, politics and the human body; they speculate on the future of humanity with science fiction scenarios, amorphous blobs, biological evolution, biometric governmentality, queerness, Artificial Intelligences and synthetic biology. The exhibition will be officially opened on 1 February.


For Joey Holder's upcoming touring exhibition at Sonic Acts - against the backdrop of the emergent field of computational biology and the Google Genomics project - she invented ‘Ophiux’, a speculative pharmaceutical company, imagining its use of genetic sequencing equipment and biological machines to collect data from humans and to sample data from other organisms. Holder explains: ‘It seems as if everything has become a branch of computer science, even our own bodies probed, imaged, modelled and mapped: re-drawn as digital information’.

Ophiux was originally commissioned by Wysing Arts Centre, Cambridge, with funding from Arts Council England in 2016. The film was co-commissioned with Deptford X, London. With thanks to Dr Marco Galardini, Computational Biologist at the European Bioinformatics Institute at the Wellcome Trust Genome Campus, Cambridge, Dr Katrin Linse, Senior Biodiversity Biologist at the British Antarctic Survey, Cambridge, Alex Walker, Graphic Designer and AJA, Sound Design.


alien matter (exhibition)
(part of Transmediale, 'ever elusive', festival 2017)

2nd Feb – 5th March 2017

Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin

Exhibiting as part of Morehshin Allahyari & Daniel Rourke's project: The 3D Additivist Cookbook


Within the scope of ever elusive – thirty years of transmediale, the special exhibition "alien matter" will be on view at Haus der Kulturen der Welt from 2 February to 5 March 2017. The exhibition is curated by Inke Arns and co-financed by Berlin LOTTO Foundation.

“Alien matter” refers to man-made, and at the same time, radically different, potentially intelligent matter. It is the outcome of a naturalization of technological artefacts. Environments shaped by technology result in new relationships between man and machine. Technical objects, previously defined merely as objects of utility, have become autonomous agents. Through their ability to learn and network, they challenge the central role of the human subject.

Approximately 20 exhibiting artists from Berlin and around the world will present works about shifts within such power structures, raising questions about the state of our current environment and whether it has already passed the tipping point, becoming “alien matter.”

It focuses on neo-cybernetic couplings between humans, creatures and technologies, and human and nonhuman forces. In this way it considers the possibilities and limitations of artistic expression through media, taking concepts of agency beyond “the human” and new dimensions of materiality into account.

Technologies have become natural components of new object cultures that surround us. alien matter refers to a man-made, partly “intelligent” matter. Exhibiting artists raise questions about the state of our current environment and whether it has already passed the tipping point, becoming “alien matter” replaced by artificial intelligence.

Among the artists are Morehshin Allahyari & Daniel Rourke, Constant Dullaart, Ignas Krunglevicius, Mark Leckey, Joep van Liefland, Sascha Pohflepp, Johannes Paul Raether, Maria Roszkowska & Nicolas Maigret, Suzanne Treister, and Pinar Yoldas.


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A Retreat in Time

15 October 2016 to 8 January 2017
Big Screen Southend

Alison Ballance, Julia Crabtree and William Evans, Joey Holder, Sean Lavelle, Peter Simpson, Rafal Zajko

An ongoing programme of artist films to coincide with a quarterly artist commission led by Focal Point Gallery. Each quarter is presented in association with the gallery programme and is viewable on a daily schedule between 8.00-10.00am, 12.00-2.00pm, 4.00-6.00pm 7 days a week.

To coincide with 'Exhibition for Go-Getters', the first major solo exhibition in the UK for Austrian artist Torsten Slama, a series of 6 moving image works are presented on Big Screen Southend at the centre of Elmer Square.


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(Homage to the Future)

Georg Kargl
Schleifmühlgasse 5
A-1040 Wien

9 Sept - 23 Dec 2016

Andreas Angelidakis, Merike Estna, Michael Gumhold, Joey Holder, Kolbeinn Hugi, Kris Lemsalu, Jaakko Pallasvuo, Natasha Papadopoulou, Angelo Plessas, Agnieszka Polska, Triin Tamm

curated by_Maria Arusoo

The exhibition takes place in the context of the gallery festival curated by_vienna:
[My Origins? I Made Them Up].

The theoretical starting point for the participating galleries and curators is provided through the eponymous essay by cultural theorist and author Diedrich Diederichsen.

With the project curated by_vienna, the Vienna Business Agency and its creative centre departure have been supporting cooperation between Viennese galleries for contemporary art and international curators since 2009.


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Open daily: 25 Sept - 20 Nov 2016

Wysing Arts Centre
CB23 2TX

Ophiux is a solo exhibition of new work by Joey Holder comprising an ambitious immersive installation and film that has emerged from her residency at Wysing in 2015.

Ophiux gives a glimpse into a near future that whilst fictional, is not far from reality and is founded on current scientific research. The work imagines a future in which synthetic biology has been fully realized and applied to both advance human evolution and increase life expectancy, and where human biology has been computer programmed. The installation includes a film work and a ‘futuristic medical room’.

To conceive the exhibition, Holder has worked in close collaboration with scientists she met during her residency at Wysing in 2015 - Dr Marco Galardini, a Computational Biologist at the European Bioinformatics Institute at the Wellcome Trust Genome Campus, Cambridge, and Dr Katrin Linse, Senior Biodiversity Biologist at the British Antarctic Survey, Cambridge.

Ophiux visualizes how current digital developments are used to extract data from DNA. The exhibition proposes that in the future the human population, and millions of other organisms, will have been genetically sequenced in order to extract data, with the aim of furthering life. Holder’s work reflects on the reality of today’s healthcare, in which our bodies are increasingly mapped and digitized.

The installation includes larger than life-sized models of biological imaging machines as well as genetic sequencing equipment. It simulates not only the collection of data from our own bodies but also the sampling of data from other organisms by a speculative pharmaceutical company: ‘Ophiux’

In conjunction with the exhibition, Holder will deliver a Study Day that will take place on Saturday 29 October, 2-6pm at Murray Edwards College, New Hall, University of Cambridge, as part of the Cambridge Festival of Ideas, details are available here.

Ophiux is located across two sites with the main exhibition platform at Wysing Arts Centre, and aspects of Joey Holder’s research for the project shown at AND/OR Gallery, London from 14 October-12 November, 2016. The film has been co-commissioned by Deptford X where it premiered at their festival in September 2016, followed by a tour to other arts and science venues across the UK to be announced at a later date.

The exhibition is made possible with a generous grant from the Arts Council England.

Very special thanks to Alex Walker (graphic design) and AJA (sound design).


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1 DECEMBER 2016, 18:30-21:30


Progress Bar is a regular, ear-to-the-ground, evening of new art, new music and, hopefully, new friends.

This special edition of Progress Bar is curated by artist Anna Mikkola – our current Lighthouse Studio Resident.

During her residency, Anna has been researching robotics, automation and the future of work. While the automation of production and services are increasing, people are displaced from their jobs, and societies face rising unemployment. At the same time, the environment has to carry the burden of possibly increasing production.

The Progress Bar event will expand from this research. The evening includes a screening of artist videos and a talk by British philosopher David Roden on posthuman poesis. The video works explore from various angles peoples’ relation to the environment and to machines. They show how human boundaries are interrogated in different ways, for example, through developments of technology and science, such as biochemistry.

Daria Martin‘s Soft Materials, shot in the Artificial Intelligence Lab at the University of Zurich, explores the communication (both physical and verbal) between humans, machines and nature. Jesse Kanda’s music video for Björk, Mouth Mantra, dives deep within human anatomy, whereas Sasha Litvintseva and Isabel Mallet’s The Stability of the System, travels through geological time.

The programme also includes videos by Korakrit Arunanondchai with Alex Gvojic, Julieta Aranda, Joey Holder and Anna Mikkola.


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September 2016

5 Questions with Joey Holder
by Emily Steer

Joey Holder has worked closely with scientists to create Ophiux, a new installation and film work which imagines all life as the source of data for human evolution. The British artist will be showing soon at Cambridge’s Wysing Arts Centre.

Can you tell me a bit about Ophiux?

The ideas for Ophiux started out on a residency at Wysing Arts Centre in the spring of 2015 for their programme titled The Multiverse. Rather than thinking about the multiverse as something outside of our own worldview, something that lies beyond, in outer-space or elsewhere, I wanted to focus our own environment. Much of the world’s natural life remains undiscovered, for all our technologies we still don’t know most of the bacterial life that exists on the palm of our own hand. We frequently hear about scientific discoveries that dispel our preconceptions; life-forms that have evolved to deal with intense conditions and hostile environments. One of the most perplexing is the existence of complex communities of creatures in deep volcanic ocean trenches that survive in extreme heat without light or oxygen. To us they are inhabitable ‘alien universes’ and have the potential to change our preconceptions and theories. They are not part of speculation or science fiction and indeed are much stranger — these ‘alternate universes’ exist here on earth. READ ON


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Artist Profile: Joey Holder

The latest in a series of interviews with artists who have a significant body of work that makes use of or responds to network culture and digital technologies.

Jamie Sutcliffe: I’d like to talk about your understanding of the internet as an expanded territory or ecosystem, specifically in relation to the series of Tumblr sites you maintain because I always feel this disorienting sense of submersion when I scroll through them. Whether they’re gathering images relating to the emergent infrastructures of biotechnology, strange sashimi plates, or rarely seen organisms, the sites are vertiginous acts of species-othering. Experiencing them is like peering over the edge of a subaquatic trench into some kind of abyssal future or timeless pre-history, with all the attendant alien ecologies. Do you see the sites as having some kind of destabilising function in the complexities they suggest? (i.e. are they supposed to freak me out and make me feel vulnerable?)

Joey Holder: My Tumblr sites started out as a way of simply collecting images for specific themes I was researching for exhibitions. They acted like sketch books or mood boards which I could quickly refer to when thinking about a project. As they grew over time, I started to think about them more as works in themselves and about how a collection of found images could become distinctly my own work.

My Tumblr site Dark Creatures features an array of creatures that don’t seem to fit within the fabric of our usual day-to-day existence. It’s not my aim to freak people out with my image choices, but make them more aware of the breadth of life forms which exist right here on earth.

READ ON: www.rhizome.org

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Art Monthly

October 2016

Profile: Joey Holder
by Tim Dixon

The London-based artist explores the limits of the human by looking at how we experience the non-human and alien.

“The moment we invent a significant device for communication–talking, drums, papyrus...we partially reconstruct the self and its world, creating new opportunities (and new traps) for thought, perception and social experience..." READ ON


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'The Mutants We Will Become'

by Chris Fite-Wassilak

Envisioning hybrid ecologies of the next age: Rachael Champion, Joey Holder and Rolf Nowotny

A man contracts an unknown illness: rainbow-coloured, rotting boils begin to cover his face and body. Afraid of being infected, his neighbours cast him out of the village, to live alone in a hut in the nearby forest. There, he swells and mutates into a reeking, globular mass, his distended form almost seeming to merge with the mushrooms and moulds that have grown in his fetid dwelling, as he spends his days painting flowers and animals. Hideshi Hino’s manga fable Zoroko no Kibyou (Zoroku’s Strange Disease, 1969) culminates in the villagers marching into the woods to kill the deformed man. What they find in his stead is a giant turtle with a magnificently bright shell – the colours of which match Zoroku’s psychedelic pustules – who then disappears. All that remains is a series of luminous landscape paintings made with blood and pus. READ ON


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A Weekend of Weird

Sat 26 November, 10:00am - Sun 27 November, 4:00pm

Loughborough University
Martin Hall
LE11 3BT

Where does the real end and the unreal begin?
Can we even distinguish one from the other?

The Weird is an emerging field that encompasses literature, film, music, art and performance. Its world is subtly strange, uncanny, irrational, inexplicable, questioning our everyday environments and perceptions and implying that our world is far more bizarre and disturbing than we would like to believe.

A Weekend of Weird brings together writers, performers, filmmakers, artists, publishers, academics, enthusiasts and celebrants to ask: what is the Weird? Where did it come from? Where is it going?
The weekend will comprise panel discussions, live performances, film screenings and a specialist book fair. It is organised by Radar in collaboration with Nick Freeman and Dan Watt from Loughborough University’s School of the Arts, English and Drama.

A Weekend of Weird centres around a series of main panel discussions with contributions from John Hirschhorn-Smith, Andrew Michael Hurley, Timothy Jarvis, James Machin and Mark Valentine. These sessions will be interspersed with live performances and a series of specially curated film programmes.

For this programme Radar has commissioned new works by Joey Holder, Ben Judd, Tai Shani and artist collective Reactor. There will also be screenings of work by Sidsel Christensen and Pauline Curnier Jardin.


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Group Exhibition & Events Series

Bonington Gallery, Nottingham
17th September to 21st October 2016

In a break with the publication format of earlier editions, Mould Map 6 will take place as an exhibition / walk-in magazine running over 5 weeks and including talks, screenings, performances and open workshops. Set against the background hum of sci-fi imaginaries common to all Mould Map projects, TERRAFORMERS brings together over 50 practitioners whose work encompasses various approaches to world making, alongside historical visualisations of possible futures and their role in shaping the present.

Artists; Alexandre Bavard, Antwan Horfee, Ben Mendelewicz, Blue Firth, Brenna Murphy, CF, Caley Feeney, Daniel Swan, Daniel Wallace, David Steans, Dunne & Raby, Ed Fornieles, Edwin Burdis, GHXYK2, Andy Healy, BankBank & Swee Neezy @ WAINSTOP, GW Duncanson, Guimi You, Hannah Bays, Hardeep Pandhal, Jaakko Pallasvuo, Jacob Charles Dietz, Jacob Ciocci, Jake Kent, Joey Holder, Jonny Negron, Joseph P Kelly, Julien Ceccaldi, Kitty Clark, Lala Albert, Lando, Leon Sadler, Lucas Dillon, Miguel Angel Valdivia, New Scenario Archives (Adam Cruces, Anne Fellner, Aoto Oouchi, Burkhard Beschow, Camilla Steinum, Clemence de la Tour du Pin, Dorota Gaweda & Egle Kubolkaite, Joseph Hernandez, Paul Barsch, Ronny Szillo, Thomas Payne,Tilman Hornig, Zack Davis), Noel Freibert, Parker Ito, Peter Nencini, Ruth Angel Edwards, Sam Hewland, Stefan Sadler, Tania Kerins, Tom Davis, Travess Smalley, Tristram Lansdowne, Viktor Hachmang, YY Kawaii and Yannick Val Gesto.

With workshops led by James Langdon, Peter Nencini, Joseph P Kelly and Jonathan Chandler. Screening series with works by Bedwyr Willams, Ericka Beckman, Jaakko Pallasvuo, Joey Holder, Stathis Tsemberlidis and Yuri Pattison. Additional texts by Miranda Iossifidis, Kitty Clark and Hui-Ying Kerr

Curated by Hugh Frost & Leon Sadler.


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3 September–17 September 2016

Annely Juda Fine Art
4th Floor, 23 Dering Street
London W1S 1AW

Aaron Angell, Iain Ball, Oliver Beer, Beth Collar, Laura Eldret, Jamie Fitzpatrick, Patrick Goddard, Joey Holder, Marguerite Humeau, Lawrence Lek, Rebecca Molloy, Athena Papadopoulos, Viktor Timofeev.

The exhibition of the 13 artists who have been put forward by the curator Richard Grayson for the annual Vordemberge-Gildewart Foundation Prize will run from 3 – 17 September 2016.

Each year a substantial prize of over £40,000 is given to one artist and for many years it has been one of the largest awards in Europe. The awards have been presented in many different European countries, often in important museums. An international jury including museum directors, art historians, art critics and artists will make a decision at the beginning of the exhibition who should be awarded the prize. The only constitutional condition from the Foundation is that the artists should be practising and under 35 years old as the idea of the prize is to help an artist financially in the more formative years.

Friedrich Vordemberge-Gildewart, who was born 1899 and died 1962, was a member of a number of important groups such as de Stijl, where he worked with artists such as Piet Mondrian and Theo van Doesburg. The Vordemberge-Gildewart Foundation was founded nearly 40 years ago in 1977 by his widow Ilse Engelina Vordemberge, née Leda, who wanted very much for this award to be there to help young artists in the name of her husband and his teachings and therefore set up this foundation before her death.

This year’s prize has been curated by Richard Grayson. Grayson states:

“What directed my thinking in this particular iteration was a consideration of practices that in one way or another inflect or reflect the technological innovations that are shaping our culture. This seems to me in concordance with the approaches and practices of Vordemberge - Gilderwart himself who, as an artist made work the conception of which was inflected by the technologies of his time, the machine, and the way that the industrial was shaping ways the world might be imagined. … In his case this took him into the direction of 'Absolute Art" a pure modernist abstraction that increasingly excluded reference to the outside world. In today's context, digital innovations seem to lead more towards a hybridity rather than a purity so the artists represented here all elide codes and combine approaches. Not all of the works make reference to the digital realm but all of the works mix codes and cross definitions and indexes. The artists are generating new and innovative hybrids that are shaped by or reflect, the complex operations of these technologies and their wider play on our worlds and our imaginations.”


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If the body were a museum. There would be seven galleries.....

New Scenario's BODY HOLES

from 3rd June 2016 online: newscenario.net

Your gate to crawl in through!

Experience Gregoire Blunt & Emmy Skensved, Antoine Renard, Paul Barsch, Marian Luft, Edward Marshall Shenk, Pakui Hardware, Caspar Jade Heinemann, Yves Scherer, Burkhard Beschow & Anne Fellner, Joey Holder, Jake Kent, Bruno Zhu, BB5000, Vincent Grunwald, Anselm Ruderisch, Antoine Donzeaud, Silas Inoue, Viktor Fordell, Christopher L G Hill, Ed Fornieles, Tilman Hornig, Sol Hashemi, Martijn Hendriks, Adam Cruces, Debora Delmar Corp., Rachel de Joode, Rasmus Høj Mygind, Sean Raspet, Carson Fisk-Vittori, Anna Sagström, Enrico Sutter, Josephyne Schuster-Brandt, Jaakko Pallasvuo, Clemence de la Tour du Pin, Bradford Kessler, Emanuel Rossetti, Fenêtreproject (Dustin Cauchi & Francesca Mangion), Santiago Taccetti, Michele Gabriele, Jesse Darling, Mikkel Carl, Sandra Vaka Olsen, Dorota Gaweda & Eglé Kulbokaité, Hana Earles, Ullrich Klose, Victoria Dejaco in the most intimate new scenario.

BODY HOLES, the third and most elaborate exhibition project by New Scenario, explores the natural orifices of the human body as practical exhibition spaces for art. The show builds on macro shots of artworks by over forty international artists and artist groups, installed in the mouth, nose, ears and more explicit areas.

curated by New Scenario in collaboration with Nuno Patricio, o fluxo

BODY HOLES will be released June 3rd as an online exhibition at the 9th Berlin Biennale #FearOfContent and newscenario.net

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5th Moscow International Biennale for Young Art
curated by Nadim Samman

1 July - 10 August 2016

Vorotnikovsky Pereulok 11 st 3
Moscow, 127006

Everyday, millions of people have out-of-body experiences, enabled by avatars on social media, or in multiplayer game worlds. Meanwhile, Google Earth and air travel make us accustomed to the god’s eye perspective of satellites, in orbit, beyond gravity. Set against the challenge of dealing with environmental change, the vagaries of a global economy, social instability, and the moral fallout from the information revolution, the poetry of escape grows ever more seductive. Lust for an absolute outside powers fantasies of emigration to unspoiled beaches, and exotic schemes to colonize Mars.

But what if such visions are traps and not escape? What if the ticket price is too high? With every blast­off, some earth is scorched. The tabula rasa is a modernist conceit. Its shimmering surface has, for too long, obscured the depth of fractals and the fact that, beyond a canvas or spreadsheet, there is no square one. Can’t we imagine a radical inside? For every evacuation plan we need a thousand reconceptions of home: not conservation but renovation of the spaces we inhabit—conceptual and material hacks. The weight of opposing forces, in static or attack, demands that we develop new forms of judo.

We are living through an acceleration that is profoundly altering society, ecology, and the parameters of identification. Networks establish a continuum between the wildest shores of sentient life and the facts of matter. A new generation of artists is exploring the multifaceted structure of this landscape. They are recording and remodeling the here and now from deep inside. Their tools are short circuits, cryptology, mutation, acts of hybridization and infection. They are subterranean builders, pirates, linguists and remixers. And we are already home.

Ozan Atalan, Stacy Belevicheva, Matilde Benmayor, Julius von Bismarck, Pamela Breda, Vladislav Brut, Russia, and Alisa Beketova, Ekaterina Burlyga, Olga Butenop, Martin Callanan, Noor Ali Chagani, Julian Charrière, Revital Cohen, Israel, and Tuur van Balen, Juan Covelli, Chris Coy, María Dalberg, Jasmin Daryani, Petr Davydtchenko, Jonathan Doweck, Liat Elbling, Hüseyin Mert Erverdi, Karin Ferrari, Christian Fogarolli, Verena Friedrich, Veronika Geiger, Adam Gibney, Iuliana Golub, Florian Goldmann, Katharina Gruzei, Logi Leó Gunnarsson, Ali Jan Haider, Elisabeth Haust, Joey Holder, Marguerite Humeau, Marc Johnson, Graham Kelly, Daria Khlapova, Felix Kiessling, Paul Kneale, Fabian Knecht, Darya Koltsova, Lilia Kosyreva, Egor Kraft, Ksenia Kuleva, Joshua Leary (Evian Christ), Great Britain, and David Rudnick, Juliana Cerqueira Leite,Ekaterina Lukoshkova, Eli Maria Lundgaard, Vlad Lunin, Steve Maher, Nadja Verena Marcin, Maxime Marion, France, and Émilie Brout, Zoë Claire Miller, Alice Miceli, Marina Moskalenko, Russia, and Tatiana Smirnova, Lee Nevo, Alisa Nikolaeva, Ismael Ogando, Tim Parchikov, Pau Pahana, Claire Paugam, Davide Quayola, Marina Ragozina, Martin Reiche, Rune Rasmussen, Farid Rasulov, Paul Rosero Contreras, Vesna Roha?ek, Andrew Ranville, Jeremy Santiago-Horseman, Hadas Satt, Dagmar Schürrer, Julia Selin, Jura Shust,Rustan Söderling, Emmy Skensved, Canada/Germany, and Grégoire Blunt, Joe Sobel, Wilf Speller, Yulia Spiridonova, Arya Sukapura Putra, Natalia Tikhonova, Alvaro Urbano, Ivar Veermäe, Martin Volman,Addie Wagenknecht, Beny Wagner, Andrew Norman Wilson, Helga Wretman

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Joey Holder and John Russell (duo show)

LD50 Gallery

Opening: 21st April 7-10pm
Exhibition continues: 22nd April - 4th June 2016

LD50, 1st floor, 4 Tottenham Rd, London N1 4BZ


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at Green Ray

Opening 8th May, 3pm

Green Ray, Unit 7, Enclave, 50 Resolution Way, Deptford, London SE8 4NT

DATA BANKS of bio-genetic, neural and mediation information about individuals are the true capital today, as the success of Facebook demonstrates at a very banal level. Data Mining includes profiling practices that identify different types of characteristics and highlights them as special strategic targets for capital investments. (Braidotti, The Posthuman)

Joey Holder presents ‘Illumina’, an immersive ‘liquid environment’, based upon Craig Venter’s research in microorganisms’ DNA, on his ‘Global Ocean Sampling Expedition’. Using footage from remotely operated underwater vehicles, she simulates the collection of genetic data from creatures in the deep ocean.

As Alexander R. Galloway and Eugene Thacker claim, the human Genome Project and the notion of a genetic code helps to understand “life” at a molecular level:

“Biomolecules were quickly understood to be informed matters, containing either directly or indirectly the information needed for carrying out cellular processes. In molecular biology and genetics, such processes are commonly referred to as “biological control.”

Illumina borrows the name from a company devoted to the development of genetic data mining technologies, in order to improve research in health treatments and cures.

–Project curated by Gabriela Acha with the support and collaboration of Green Ray.

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Tipping Points:

Flourish and Collapse in the Circularity of the Geostory

at Podium

Andreas Ervik (NO) | Joey Holder (UK) | Rachel Pimm with Lori E. Allen (UK) | Jakob Kudsk Steensen (DK)

Curated by Worm/Angela Chan (UK)

I am a compost-ist, not a posthuman-ist: we are all compost, not posthuman. Donna Haraway, 2015.

The tipping points of climate change are anthropogenic and summon a forecast for an eventual all-species mass extinction. They range from microscopic to macroscopic in scale: from the manipulation of the genetic, internal architectures of living beings to the geological deconstruction of natural landscapes. Organisms are no longer organic.

To avert these tipping points calls for an activation of symbiosis between Earthlings of all species, to end the hyper-branded avant-luxury environment of the Capitalocene and to eradicate all traces of the combusted Anthropocene. This is a new geostory: the Chthulucene re-worlding for a multispecies ecojustice.

23rd April – 8th May 2016
Open: Friday-Sunday 13:00-17:00

Supported by Arts Council Norway

Podium, Hausmanns gate 34, 0182 Oslo, Norway
Worm is an online platform for art and ecology.


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Launched: 19 Feb 2016

A downloadable torrent 1.7TB in size containing the complete contents of Joey Holder's hard drive.


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A commission by EM15 for
the Venice Biennale 2015

40 screen-based works curated by Candice Jacobs

DOWNLOAD AVAILABLE HERE: www.sun-screen.uk

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Plastique Fantastique, ‘LonDonateller’ a film by Mark Leckey, Ayesha Hameed, Da Thirst, Joey Holder, Mikey Tompkins, Benedict Drew

The Horse Hospital

EVENT: Sat 9 April 2016, 7-10pm

The Horse Hospital, Colonnade, Bloomsbury, London WC1N 1JD


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Ambiguity 3

Hosted by Sarai Kirshner & Valinia Svoronou

at Green Ray


Iain Ball, Susanna Davies-Crook, Frederick Duffield, Ali Frazer, Cassandre Greenberg, Joey Holder, Lito Kattou, James Lowne, Clifford Sage, Valinia Svoronou, Tess Tap, Owen Thackeray

EVENT: Fri 11 March, 6-10pm

Green Ray
Enclave 7, 50 Resolution Way, London SE8 4AL



Joey Holder and Viktor Timofeev (Duo show)

George Place

Opening: 7-10pm, Friday 13th November 2015
Exhibition Continues: 18th November until 12th December 2015


Environmental Metagenomics, Ecological Paralysis
Self-monitoring, Self-sensing, Self-determinism, Self-defence

The complexity of their differences called to question the current assumption that they evolved from a similar point of origin. There was suspicion that something else was at work, which involved a highly specialized and self-assembled alchemy.

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Timescales were largely irrelevant anyway, as there was no linear travel through space around the surface of a planet; they could essentially balance on the gravitational field and ride it like a wave.

The more they travelled, the more advanced they became, dynamically shape-shifting and continually self-propelling themselves through space. All that was left was a set of arithmetic patterns and traces of an ideographic language.

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The Uncanny Valley

27 September to 8 November
Launch: 26 Sept, 6-8pm

Wysing Arts Centre
Fox Road
CB23 2TX

Julia Crabtree and William Evans, Benedict Drew, Sidsel Meineche Hansen, Holly Herndon, Joey Holder, Sophie Jung, Lawrence Lek, Rachel Maclean and Katja Novitskova

A group exhibition exploring the phenomenon of “the uncanny valley” through computer generated imagery, computer game design, video, photography and kinetic sculpture.

The Uncanny Valley is a phrase that was coined by robotics professor Masahiro Mori as a way to describe an emotional response that can be measured when encountering objects that are hyper-real; where there is a moment of intellectual uncertainty about what is being viewed that gives way to a feeling of discomfort or disorientation. More recently the term has been applied to computer game design and CGI in the film industry.

This group exhibition aims to explore the phenomenon, alongside contributing to the discourse around screen based and digital works, by exploring the aesthetics of the uncanny through computer generated imagery, computer game design, video, photography and kinetic sculpture.

The majority of the artists selected for the exhibition have an already existing relationship to Wysing through having participated in residencies, retreats, exhibitions and, in the case of musician Holly Herndon, the annual festival of experimental music.

Wysing hosts an ongoing series of talks by artists, and leading academics and scientists based at the University of Cambridge, and some of these discussions have helped to shape the exhibition.

The exhibition is supported with funding from Arts Council England and the Henry Moore Foundation and is curated by Wysing's Director, Donna Lynas

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A Plague of Diagrams

(Theatre space)

20-23 Aug 2015

Institute of Contemporary Arts
12 Carlton House Terrace

Plague of Diagrams is organised by David Burrows and Dean Kenning in collaboration with Ami Clarke, Andrew Conio, John Cussans and David Osbaldeston. The collaboration has developed out of discussions and events staged by the Diagram Research Use and Generation Group (DRUGG).

Contributors: Rachel Cattle & Jenna Collins, Neil Chapman & Gillian Wylde, Ami Clarke, Andrew Conio, John Cussans, David Burrows, Benedict Drew, English Heretic, Nicholas Gansterer, Joey Holder, Dean Kenning, Christoph Leuder, Stine Llungdalh, Adelheid Mers, Andrew McGettigan, Sharon Morris, Mike Nelson, David Osbaldeston, Plastique Fantastique, Patricia Reed, John Russell, Erica Scourti, Andy Sharpe, Kamini Vellodi, Martin Westwood and Carey Young.

"How many of these rough political rats are there around us? How many of them break things they don’t understand? How many of these rats simplify? How many of them have built such homogeneous, cruel systems upon the horror of disorder and noise?" Michel Serres, The Parasite

"The plague is met by order; its function is to sort out every possible confusion." Michel Foucault, Discipline & Punish

Plague of Diagrams is an exhibition and a programme of performances, talks and discussions concerning the relationships between diagrammatic practices and thought in different disciplines. In particular, the event explores the function and use of diagrams in art as expanded diagrammatic practice beyond the graphic presentation of information.

The event explores diagrams as actual/virtual machines that while taking material form and indexing existing relations and objects, point to other arrangements. As Gilles Châtelet declared, diagrams are gestures that invite other gestures. This is a vision of diagrams as abstract machines activated through performance or thought; a notion of diagrams as relays that connect or traverse different times and spaces. It is a conception of diagrams as critical and logical exploratory devices that, in presenting what is not apparent or visible—real abstractions, potential modes of being, hidden relations—paradoxically depend on the register of the imaginary and the inventive production of images, figures and gestures.

Since the Enlightenment, when diagrams facilitated scientific and statistical breakthroughs, to cybernetic research of the twentieth century, to the algorithmic devices that govern relations and economies today, diagrams have extended and organised human culture. While diagrams have proliferated we can draw a distinction between diagrams that index and deliver knowledge, and diagrams that pose problems and facilitate thought as an exploratory process. Plague of Diagrams addresses not just the critical and organisational functions of diagrams but the art of diagramming too, while taking account of the reductive, controlling or ideological use of diagrams.

In partnership with and with the generous support of Kingston University London, Slade School of Fine Art and University of Kent.

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Leeds City Centre
5 Oct - 18 Oct 2015

Launch: 6-9pm, 5 October
Enjoy Project Space, Unit 22B, 64 Mabgate, Leeds, LS9 7DZ

Alice Khalilova, Derek Mainella, Lorna Mills, Mathew Parkin, Alfie Strong, Oliver Sutherland, Bradley Waller, Jennifer Chan, Adham Faramawy, Jack Fisher, Joey Holder, Ashley Holmes, Emilie Houldsworth, Sebastian Jefford, Will Kendrick

SEIZE Projects is pleased to announce its upcoming public art project PASTE, opening across Leeds City Centre on 5 October 2015.

Furthering debates surrounding the virtual and real in contemporary art practice, the project will exist across two channels - an online platform of digital works, and physical posters pasted onto poster drums throughout Leeds City Centre.

Selected artists have been invited to respond to the material and conceptual differences between the digital and the physical, addressing the technological changes that are remodelling the ways we engage with information.

The project reflects on domains saturated with competing advertising and brands and will explore the dissolving boundaries between artist-made, user-generated and commercial content in the wake of networked systems of information.

PASTE will take place in Leeds from 5 - 18 October 2015, and coincides with the opening of the British Art Show 8, an exhibition that also proposes to explore the convergence of the real and the virtual, and the status of the physical object in contemporary culture.

Free maps of all the poster locations will be available in selected venues across the city.

SEIZE Projects benefits from the generous support of Leeds City Council’s Leeds Inspired funding scheme that has enabled them to realise the PASTE project. Other partners include &Model Gallery, Leeds.

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#WEC (Whole Earth Catalyst)

11 April - 20 Aug 2015

The Composing Rooms
Goethestraße 2, 10623 Berlin
1. O.G, Aufgang D


#WEC: Whole Earth Catalyst derives its name from the Whole Earth Catalogue a pre internet go-to, published between 1968 and 1972, which had an editorial focus on self-sufficiency, ecology, alternative education, DIY, and holism, using the slogan “access to tools”.

A series of talks and exhibition of artworks will take place on an evolving basis, touching on the above mentioned topics with neo-quasi-branded updates such as: #biohacking, #biopunks, #smartcities, #awareaesthetics and #ecotising.

#WEC is a project initiated by artist Ella Görner and formed in collaboration with The Composing Rooms with help from the Charlottenburg Council.

Andreas Ervik, Carson Fisk-Vittori, Ella Görner, Tue Greenfort, Joey Holder, Daniel Keller, Rachel Lord, Stephen Nachtigall, Marjetica Potrc + Alessandro Bava, DIS magazine, Anke von der Heide, Martti Kalliala, Tanaz Modabber, Sascha Pohflepp, Jenna Sutela, Elvia Wilk

Following talks/ events will take place from 4.30pm on Saturday 18th and 25th April.

A collection of notes, recordings and images from both the exhibition and discussions will be published online at a later date. For more info see evolving page at: wec.thecomposingrooms.com

Hashtag: #WECPUNK

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° p r o t e u s °

Online at www.channelnormal.com

Environmental Metagenomics

Microbiome analysis, ecological remediation

Self-monitoring, self-sensing, sense tracking

DNA molecular replacement for silicon microchips

Ultra intelligence

The Quantified Self

Technological singularity

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'p r o t e u s'

(adjacent to Karen Kramer's solo presentation: 'Epona’s Well')

18-28 Jun 2015

Jupiter Woods (reading room)
61 Rollins Street, London, SE15 1EP

'Remarks upon Method' is a curatorial project by Hanna Laura Kaljo, exploring 'intimate' strategies for engaging with research-led artistic practices.


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The Multiverse (RESIDENCY)

Wysing Arts Centre
Fox Road, Bourn
CB23 2TX21

23 March - 10 May 2015

Selected as one of the seven artists who will be in-residence at Wysing during 2015, taking the theme of The Multiverse as a starting point from which to make new work.

Kit Craig, Electra (Irene Revell), Joey Holder, Heather Phillipson, Paul Purgas, Takeshi Shiomitsu and Erica Scourti


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Curated by Sarah Gillham, Jack Stokoe and Darren Nairn

28 Feb - 29 March 2015

Darren Nairn / Évelie Mouila / Jack Stokoe / Cathie Pilkington / Nick Fox / Keith Farquhar / Chris Rogers / Patrick Goddard / Phil Wilson-Perkin / Mike Nelson / John Walter / LEAK / Bronwen Buckeridge / Nick Land / Joey Holder / Susan Beattie & Yvonne Stone / Salvatore Arancio / Dave Maclean / Tamsin Clark / Richard Healy / Amy Stephens / Sh! / Suzanne Treister / Marloes ten Bhömer / David Rayson / Liane Lang / Tessa Farmer / Keith Farquhar / Tom Gallant / Blue Curry / Alli Sharma / Jon Fawcett / Cathy Lomax / Tom Walker / Francis Richardson / Debbie Lawson / Catherine Morland / Benjamin Orlow / Sarah Gillham / Mindy Lee / Corinna Spencer / Mimei Thompson / Clare Mitten / Paul Hazelton / Jess Eaton / Freddie Robins / Robert Carey-Williams / Jorge de la Garza

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The Multiverse (LAUNCH)
Wysing Arts Centre
Fox Road, Bourn
CB23 2TX21

21 February, 12 - 7pm

Launch of 'The Mulitverse' with a day-long event that explores the theory from a number of positions; fictive, philosophical, artistic and scientific.

Showing: 'perazoa', - a physical work with permeations through to an online presence, with streams, trails and links to different realms. It allows the user to navigate in several dimensions: linearly along axes, transversally across different species, and chronologically along evolutionary time.


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Captive breeding.
Increase the numbers.
Reconstruction with microsatellite markers.

Transgenic organism release.


installation and launch of http://BioSTAT.media

opening: Friday 16 January 2015 18:30 - 20:30.

Continues through January 31st 2015.
Curated by Jackson Bateman

Project Native Informant
17 Brooks Mews
London W1K 4DT

Wednesday - Friday 12:00 - 18:00
Saturday 12:00 - 17:00
And by appointment


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'HYDROZOAN' featured in O Fluxo: www.ofluxo.net

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'HYDROZOAN' featured in Dazed Digital:

Joey Holder's mutant hybrids:
The artist behind this year’s Converse x Dazed Emerging Art Award identity talks futuristic vertical farms, projection mapping and Hydrozoa


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Resolution Way

Rhona Byrne / Rachael Champion / Joey Holder / Toby Huddlestone / Kristin Luke / Luke McCreadie / Rachel Pimm / Barry Sykes / Francis Thorburn / Martin Westwood /

28 November 2014 - 15 Jan 2015

YEARBOOK 01 is an edition of 25 hand-bound portfolios compiled of original artworks by ten invited artists. Curated by Lucy A. Sames.

YEARBOOK 01 is hand-stitched with woodside card stock, bookcloth and archival paper. 20pp, 297mm x 420mm in a bespoke embroidered recycled fabric sleeve. Edition of 25. Sleeve and cover design by Ditto Press.


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h y p e r s a l o n

1-7 Dec, Art Basel, Miami Beach

TRANSFER and XPO GALLERY partner with HYPERALLERGIC to present a week of salon-style exhibition, daily artist talks and hosted conversations on the conditions of networked culture in contemporary art. These private gatherings @hypersalon will bring together artists, curators, critics, technologists, collectors and dealers.

TRANSFER and XPO Gallery will each present a suite of work, and a third exhibition space will feature a rotating selection of contemporary moving image from our invited guest curators. By appointment, viewers may select a curatorial from the exhibition playlist to view the works. In the outdoor space surrounding @hypersalon sculptural and installation works will be on view.


XPO Gallery, PARIS
Domenico Quaranta, Link Center for the Arts of the Information Age
Christiane Paul, The New School & Whitney Museum of American Art
Attilia Fattori Franchini, Independent Curator and Opening Times Co-founder
Magda Sawon, POSTMASTERS Gallery
NonPrintingCharacter, PARIS
American Medium, NYC
Ché Zara Blomfield, The Composing Rooms, and artist Ella Görner

w w w . h y p e r s a l o n . n e t

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Saturday 6th December 6:30-10pm
presented by #temporarycustodians

Josephine Callaghan, Susanna Davies-Crook and Gery Georgieva

Plus guests: Live set by Vera Modena & Patchfinder, performance by New Noveta, VJ/DJ set by The Mycological Twist, and installation by Joey Holder.

APOPHENIA is an invitation to join a ‘co-working archipelago’ - an ecological growth of creative and industrial islands, within an 8,000sqft warehouse in Salford (North-West England). The launch on the 6th December includes a series of performances by artists in residence alongside guest artists, reflecting on independence and nomadism resulting from a crisis in resource management.

#temporarycustodians is an R&D platform asking how the shift towards the share economy and p2p might provide an alternative to historical modes of collecting. If you would like to join the project by setting up an island in the 8,000 sqft warehouse - for storage, parking, building usage please get in touch at temporarycustodians@lycos.com

Sat, 6th December 6:30-10PM

Regents Trading Estate
(behind Islington Mill)
James St, M3 5HW

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26 September - 26 October 2014

The Royal Standard
Unit 3, Vauxhall Business Centre
131 Vauxhall Rd, Liverpool, L3 6BN


Devices now powered by small amounts of scavenged energy can be trophic or symbiotic depending on the capacity of nonhumans to act or participate in systems and networks. Multiprotein complexes provide contact between the neighbouring extracellular matrix. Communicating junctions, or gap junctions allow for direct chemical communication between adjacent cytoplasm through diffusion without contact of the extracellular fluid. Self-reconfiguration is needed to endow devices with the flexibility of in-situ challenges, adaptation to unforeseen conditions, with enhanced fault-tolerance.


Joey Holder is an artist interested in the structures and hierarchies of the technological and natural world and how these systems are constantly abstracted. Mixing elements of biology, nanotechnology and natural history against computer program interfaces, screen savers and measuring devices, she sees no object or substance in any fixed state or with any permanent definition, identity or order; everything is transforming and morphing into something else; everything is a mutant and a hybrid.

Thinking about how nature is ‘networked’ through it’s food webs and environment, Holder connects forms which have emerged through our human taste, culture and industrial processes to investigate complex digital systems that dissolve notions of the ‘natural’ and the ‘artificial’. GM products, virtual biology and aquatic creatures are incorporated into an extended virtual web challenging our perception of evolution, adaptation and change.

Holder has recently completed a 6-month residency with Near Now in Nottingham where she met with researchers & scientists from Post Genomics and Plant Biochemistry at the School of Biosciences Nottingham University. Through her research into future urban farming methods and commercial fish farming the HYDROZOAN exhibition and online platform will be the physical realisation of the research that took place in Nottingham. It will simulate the workings of an ‘Aquaponics’ system - a food production method that combines conventional aquaculture with hydroponics, which will be housed within domestic hot tubs within the gallery.

HYDROZOAN was developed with support from Near Now and the Post Genomics and Plant Biochemistry departments at The School of Biosciences, University of Nottingham.

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Urban Farming, Planetary-scale computing, Biopolitics and Aesthetics



FACT, Liverpool
Conference: 3pm - 5.30pm, Friday 10th October 2014
Exhibition viewing/After Drinks: 6-9pm, HYDROZOAN, The Royal Standard, Liverpool

Speakers: Chungui Li, Emily Rosamond, Paul Myers (FarmUrban) and Iain Young

organised by Tom Trevatt, Joey Holder & The Royal Standard

It has been estimated that by 2050 nearly 80% of the earth’s population will live in urban centres, and the population will have increased by 3 billion people. These estimates paint a very dire picture, not least for the future of farming and food. With a massively increased population comes the need for a huge increase in land for growing crops, yet this land is fast running out. Recent developments in farming methods are allowing us to build highly efficient, high density farms, utilising state of the art architectural and computational technologies in response to the growing need to produce significantly more food in the coming years with far less land availability. This one day conference addresses these issues, focusing on the Vertical Farm as a starting point to discuss the many scientific, political, philosophical and ethical issues that this new technology raises. Speakers will be selected from a wide range of research areas and asked to respond to the question of vertical farming and the future of food.

Tom Trevatt is a writer, curator, lecturer and PhD Candidate at Goldsmiths. His research is in the political efficacy of contemporary art under the conditions of climate crisis. He lecturers at Goldsmiths, The Bartlett, UCL and University of Creative Arts, Epsom.

Joey Holder is a visual artist who recently completed a 6-month residency with Near Now in Nottingham where she met with scientists from Post Genomics and Plant Biochemistry at the School of Biosciences Nottingham University. Through her research into future urban farming methods and commercial fish farming she is presenting 'HYDROZOAN' a solo exhibition and online platform at The Royal Standard in Liverpool, part of their Biennial program.

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Commissioned 12" record:


- P/N project space, London May 2014,
- Spike Island associate space, Bristol, June 2014,
- And/Or, London, July 2014
- Space/Time Festival, Wysing Arts Centre, Cambridge, September 2014


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Internet of Growing Things


From Sergey Brin's €250,000 lab-grown burger through to cutlery design, waste economics to food packaging; the production, distribution and consumption of food has long been a site of invention and cultural idiosyncrasies as well as geo-political conflict.

Analogising global food systems and industrial agriculture as a complex web of relationships between animals, vegetables, minerals and other unclassifiable typologies; Internet of Growing Things invites selected practitioners to work in collaboration, developing new work focused on food and future agri-cultures.

Internet of Growing Things establishes an ongoing research theme throughout the Near Now programme around the relationships between art, design, technology, food culture and natural systems.

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Relaax.in is an alternative anti-stress online project by Joey Villemont, set up to create a soothing atmosphere and expel anxiety of digital platform use.

Relax, chill out and enjoy a free moment of sound & visual relaxation.

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RIBOFUNK :performance gear

Embassy Gallery
10b Broughton Street Lane

June 21 - July 6 2014

Laura Yuile, Thomas Aitchison, Joey Holder, Ilona Sagar, Katie Cercone, Naomi Davies, RapidShare

Neurotechnologies, including cognitive enhancers such as modafinil, brain fingerprinting, neural lie-detectors, and nascent brain-computer interfaces, are giving rise to phenotechnologies which will eventually usher in the literal manufacturing of consciousness in a way that promises to redraw existing boundaries between personal and collective experience and recast not only extant categories of personal and collective identity, but also those of personal and collective agency.

- Ray Brassier, Genre is Obsolete

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image courtesy of Ad Minoliti

Living in the Future

Issue 1 - NEW YEAR, NEW YOU: The Next Phase in Human Evolution.

Launch of new science fiction journal: Friday 28th Feb 7-9pm at Banner Repeater

Published in February 2014, Issue 1 takes the form of an A5 journal in black & white, with contributions from:

Ben Osborn, Viniita Neet Moran, Pete Inkpen, Marta Poznanski, Ed Fornieles, Paul Kindersley, Jaakko Pallasvuo, Ad Minoliti, Llew Watkins, Joey Holder and Jack Brennan.

The world is changing. While Science fiction has often been maligned for its stylistic limitations and non-prestigious subculture, there is little doubt that many of the people shaping these changes have been raised on a diet of science fiction, taking ideas from the page and screen into our present and future.

Edited by James Hedges & Rebecca Bligh, Living in The Future is a new journal of Science Fiction and future-writing, to include fiction, essays, poetry and visual art. Themed issues will explore ideas around the genre of science fiction, science-fiction-like phenomena emerging in the contemporary world, and their convergence.



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19/02/2014 – 21/02/2014

48hr durational performance

This project is part of the continued exploration by the artist Thomas Bresolin of violent structures within contemporary society. Using his immediate, visceral, physical, and interactive performance works, or ‘surface violence’, Bresolin argues against structural conditions which produces such violence.

SD is ‘48hrs of unadulterated media content’ – a collaborative production of 48hrs of continuous image saturation and the effects upon of a group of participants. For 48hours the artist and a group of participants will be immersed in the onslaught of imagery and sensory experiences contributed by a group of artists and curators, as a response to the question of how they construct political meaning amongst a deluge of cultural imagery.

During the 48hrs the group will asses the infinite fragmented content of imagery after the internet – or, to quote Jodi Dean, within communicative capitalism. Structural violence is doled out via or aesthetics and interactions, this project takes as its point of departure the frequently used paraphrase ‘the personal is political’, and asks if we can knowingly insert our bodies into the space of simulacra and its velocity, can we see behind the image – or – find processes to better use aesthetics in political and active ways?

Participating Contributors:

Alexis Milne, Rebecca Cooper, Dan Mc Clennan, Joey Holder, Nik Jaffe, Lauren Lapidge, Amy Bresolin, Charles Stanton-Jones, Arcadia Missa, Mark Lewis, Jesse Darling, James Lawrence Slattery, Olivia Wynter, Redtube

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The Wrong
New Digital Art Biennale.

New Digital Art Biennale. Born in São Paulo. Made & exhibited worldwide. until Jan 31st 2014 at http://thewrong.org/

To create, promote and push positive forward-thinking contemporary digital art to a wider audience worldwide through a biennial online event that gathers the best of the best, while embraces the young talents of today’s digital art scene.

30 online pavilions leaded by 30 curators/artists/organisations. More than 300 artists to be featured online during 2 months at http://thewrong.org/ starting on November 1st, 2013.


Artists/Curators leading The Wrong pavilions: Yoshi Sodeoka, Anthony Antonellis, Rollin Leonard, Lorna Mills, Curt Cloninger, Emilio Gomariz, Filippo Minelli, Rosa Menkman, Andy Simionato, Eric Mast, Alexander Peverett, Chiara Passa, Max Hattler, A.Bill Miller, Peter Rahul, Manuel Fernández, Julia Araña & Guilherme Brandão, Petra Cortright, Miyö Van Stenis, Andrew Benson, Emilie Gervais, Rick Silva, Michaël Borras, Sara Ludy, Joe Hamilton, Ellectra Radikal, Jodi, Giselle Zatonyl, Michael Staniak, Sophie Yerly, Jan Freuchen.

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Sophie Lisa Beresford, Jenna Collins, Oliver Evelyn–Rahr & Geraldine Gallavardin, Choterina Freer, Sonia Hedstrand, Joey Holder, Anna Kinbom, Sands Murray-Wassink, Benjamin Orlow, Adrianna Palazzolo, Daniel Shanken, Nicola Woodham, Rut Karin Zettergren.

Zeros + Ones brings together 14 artists using video, sound and performance to question power struggles in technology. 22 years after Donna Harraway’s publication of A Cyborg Manifesto which launched the Cyberfeminist movement, this show looks at its relevance today in work that celebrates and questions science and technology.

Broken narratives, multiple identities, consumerism, low-fi, CGI, techno, retro, resourced, revamped, personal stories, and the new aesthetic are all present within the featured artists work. These artists come from various European cities and much of the interaction between them takes place over the internet through Skype, email, social networking, and video-file sharing.

Directions: Arbeit Gallery is located on 4 White Post Lane, London. E9 5EN
Closest station: Hackney Wick Overground and buses 26, 30, 236, 276, 388 and 488

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image: Rhys Coren, SPINK, 2011

Action! Moving Image Abstraction

4th - 8th of December 2013

Soho Beach House, 4385 Collins Avenue, Miami Beach, FL, Miami 33140
(during Miami Basel)

Sam Austen, Leah Beeferman, Rhys Coren, Paul Flannery, Jennifer Juniper Stratford, Chris King, Emilio Gomariz, Sara Ludy, Rosa Menkman, Sabrina Ratte and Nicolas Sassoon

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screening by


live music :


dj sets:

JU BU ! & ???


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Emerging Artist Award 2013

EXHIBITION: Londonewcastle Project Space, 28 Redchurch Street, London E2 7DP

PV: 25th October 2013
EXHIBITION: Open every day from 11am-6pm, 26th Oct - 7th Nov

Selected Artists: Joey Holder, Faye Green, Adham Faramawy, Ben Washington, Christian Newby

Whitechapel Gallery’s Kirsty Ogg joined a panel of esteemed judges including Matt Williams from the ICA, Turner Prize nominee Paul Noble, curator Michelle Cotton, journalist and broadcaster Miranda Sawyer and Dazed Arts Editor Francesca Gavin and took to a room for a day to argue the case for their personal favourites out of the 1,600 who submitted. The final five artists will exhibit in the Converse/Dazed Emerging Artist Award exhibition at Londonewcastle Project Space in October 2013.

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VESTIGE, South Kiosk, Design Museum

24 Oct 2013, 6:30-9:30pm

In an evening of talks, installations and workshops, South Kiosk will explore the ideas of practitioners who are defining a new future for neglected objects and media.

The new exhibition at the Design Museum, The Future is Here, examines the role of technology in the creation a new, industrial revolution. This era of rapid technological change is opening up new opportunities, in which the lines between designer, manufacturer and consumer are becoming increasingly blurred. But what happens to those technological relics that get left behind?

For this instalment of Design Overtime, the arts organisation South Kiosk will bring together a collective of artists and designers who work with mediums that are considered obsolete, from film-based cameras to forgotten radio and TV frequencies.

Gareth Owen Lloyd, James Early (Lucky PDF), Jason Scott & Dan Misener, Bradford Bahamas (including live performance), James Bulley & Daniel Jones, South Kiosk.

Video Wall Screening:
Dave Charlesworth, Rhys Coren, Joey Holder, Joseph Townshend.

James Bulley, Kite & Laslett, Jake Asbtury.

Victory Press (demonstrating Riso-Printing), T-R-E-M-O-R-S, Salt, South Kiosk.

South Kiosk.

- See more at: http://www.southkiosk.com/

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Multinatural Histories

7pm, 12th October 2013

Harvard Museum of Natural History, 26 Oxford Street Cambridge, MA 02138, USA

Carrick Bell , Colleen Billing, Maria Camia, Lisa Carrie Goldberg , Toni Crabb, Victor Costales and Julia Rometti, Andreas Ervik, Kassel Jaeger, Jennifer Guillen and Elisa Rios, Joey Holder, Maria Molteni, Sergio Racanati, Sycorax, Joeseph Paulk

Multinatural Histories is an independently curated event taking place at the Harvard Museum of Natural History on October 12th 2013 at 7pm. Organized in part by the nonhuman initiative at the Harvard Graduate School of Design, and supported by the Harvard Office for the Arts.

Featuring local and international artists, the departure point for the exhibition is the increasing deployment of the idea of the multinatural to circumvent the realist/relativist impasses generated at the end of the 20th century and the declaration on many fronts to “an end of nature”. The term multinatural is widely understood to originate with Eduardo Viveiros de Castro and his description of animistic ontologies of indigenous populations in the Amazon rain forest. Within such a multinatural ontology, the material world shares a universal culture of life and vitality, conditioned by a peculiar, multiple, set of physiological attributes. In de Castro’s words, employing the notion of perspective, so fundamental to a modern, rationalist organization of space, “a perspective is not a representation because representations are a property of the mind or spirit, whereas the point of view is located in the body”. In other words, a point of view and the peculiar corporal circumstances that enable it, creates a subject, not an object.

In contrast, the Harvard Museum of Natural History is a monument to a sort of assimilating and organizing tendencies within the naturalist tradition. The Museum itself is comprised of collections from three distinct research museums focused on segmented domains of the “natural world”; the Harvard University Herbaria, the Museum of Comparative Zoology, and the Harvard Mineralogical Museum. Founded on the work and collections of pioneers in Natural History such as Louis Agassiz and Asa Grey, the Harvard Museum of Natural History can be understood as an immaculate physical condensation of a world of inert matter objectively organized through a static taxonomy.
Beyond this fixed type of taxonomy that generally co-orelates to "the natural", a certain notion of time that organizes the museum by way of "history" will also serve as a point of investigation for the exhibition. Temporal divisions manifested spatially as rooms aim to integrate the different time scales contained in the collections by giving them a patina of imperishability, even eternity. Rocks that form and gradually change through millions of years, contrast with the remains of evolving organisms whose life span ranges from a few centuries to a few hours. All of them are exhibited in the same space, allegedly frozen in time, obscuring the biases of human temporal perception. This events attempt to re-animate the items and concepts kept inside glass cabinets through video and performance, amount to a blink of the eye in the history of the Museum, as the Museum itself if viewed under geological considerations it presents.

If, as Donna Haraway states, the act of being human is in fact an interspecies relation, then the Naturalist ontology, of which the Museum of Natural History is not only exemplary but foundational, may need revision. In a world in which the relationality of multi-naturalism replaces the relativism of a post-modern multiculturalism, the role of the artist and cultural producer is also transformed. Multinatural Histories seeks to explore the potential of this new role of art and the artist. What other ways of being and seeing can human cultural production make visible? What can art add to conventional taxonomies traditionally used in natural history?


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reception: 6-10pm Friday 27th September 2013

25 - 28th September 2013

St James, Hatcham, Goldsmiths University of London, SE14 6AD

Megan Broadmeadow, Melissa Bugarella Lazzaro, Dave Charlesworth, Blue Curry, Luke Drozd, Sandra Erbacher, Justin Gainan, Patrick Goddard, Ian Gonczarow, Rowena Harris, Joey Holder, Annie Hémond Hotte, Emma Hunt, Trevor Kiernander, Leo Koivioinen, Michael Lawton, Jenny Moore, jonny mugwump, Sabrina Osborne, Kate Pickering, Lisa Selby, Shaan Syed, Systems House, Tom Trevatt, Jason Underhill, Eduardo Villaneuva, Charlotte Warne Thomas

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ctrl paste

PV: 6-9pm, 17th Sept 2013

18 - 20th September 2013

New Low, Basement, 746 Swanston St, Carlton, VIC, 3053, Australia

Featuring works by:
* Simon Pericich * Hamishi * Alex Gibson * Lois Hopwood * Corey Peltier * Joseph Flynn * Ace Wagstaff * Darcey Bella Arnold *

And collaborative works by:
* Michael Staniak x Joey Holder * Organ Armani x Kaja Cxzy Andersen * LaTurbo Avedon x Aoto Oouchi * Joe Hamilton x Aiden Morse * Tara Cook x Ry David Bradley *

ctrl paste is the second installment of a three year curatorial project about the relationships artists have with their digital environments and how they respond to them.

Last year's installment was ctrl copy and was held at Gallery One Three in the heart of the Melbourne CBD.

This installment of the project is largely concerned with how the influences of communication technology and digital media have changed the way artists are making their work, both visually and conceptually.

Through the ease of communication via the internet collaborative works are being realised, even where artists have no physical relationship with each other. Communication creates audiences that generate outcome.


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To remain buoyant, their flesh is a primarily gelatinous mass with a density slightly less than water, displaying extraordinary adaptations to the arboreal browsing lifestyle. Their immensely long appendages make them very mobile, searching the bottom for soft stationary meals that cannot escape the regenerative slime, which they extrude from some 100 glands or invaginations. The males are often dwarfs, which remain attached to a single female for life moving around as a single body. Gradually their tissues dissolve into hers and eventually disappear completely. This highly unusual set of physical traits completes an all-seeing search engine in an otherwise unexplored area of Deepnet.

Josephine Callaghan
Joey Holder
Vicky Wright

publication texts by Tom Trevatt, Sonia de Jager and Ben Craggs

PV 7 June 6-9pm, Live performances 12 July 6-9pm

Exhibition 8th June - 3rd August 2013
Open Mon-Sat, 1:30-5:00pm

ASC Gallery
Erlang House
128 Blackfriars Road



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28 June 2013
8pm - 1am

The Space, Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB


The final Friday evening of the exhibition takes its cue from Leckey’s 1999 work Fiorucci Made Me Hardcore – a compilation of found footage from UK underground music and party scenes of the 70s, 80s and 90s. The cavernous Space at Nottingham Contemporary will be transformed into a nightclub and television broadcast inspired by dance music culture, trends, branding, digital aesthetics and notions of euphoria.

COCKTAIL is an immersive environment that merges fashion and branding with performance and technology, smoke and mirrors, podiums, sculpture, scent, tailored tracksuits and cocktails. Featuring electronic music by Rokk (Body Talk), Dirty Talk and Lovers Rights, COCKTAIL will also feature artworks by Romany Dear, Joey Holder, Candice Jacobs, Samuel Levack & Jennifer Lewandowski, Zephyr Liddell, Calvin Sangster & Tim Hattrick, Joey Villemont, Zoe Williams and Lucy Woodhouse.

This event also features an online component - please visit Its Our Playground on 28 & 29 June only to view the exhibition.

Curated by Candice Jacobs in collaboration with Zoe Williams & Lucie Akerman, this version of COCKTAIL forms the second in a series of events by Williams & Akerman, the first of which was held at the Motorcycle Showroom in Bristol, 2011.

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Morgan Concrete is pleased to present an exhibition of specially commissioned and curated artwork editions by young international contemporary artists. There will be new specially created live performative works by the artists and artist guests on the opening night and during the show. The exhibition, entitled Concrete Fragments, will run for two days on 24th (6-11pm) and 25th May (11am-6pm) 2013. The gallery space is located at 16-18 Heneage Street, London E1 5LJ, off Brick Lane.

Concrete Fragments highlights the concept of independent unique bodies separated from a formal cohesive whole. Each unique artwork edition in the exhibition is the result of continued dialogue between Morgan Concrete and the artists over the past year resulting in artistic proposals that represent a flashpoint, or fragment, in the artist’s current practice. Strong supplementary performances will further explore and contextualise ongoing dialogue within the artist’s practices.

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Open Curator Studio: The 3D Experience

Open Curator Studio: The 3D Experience is a project initiated by Artspace studio resident, curator Alana Kushnir in collaboration with artist Joey Holder. Kushnir has selected works by Ry David Bradley, Joe Hamilton, Jacob Ogden Smith and Kynan Tan to be incorporated by Holder into a computer-generated gallery space modelled on the Open Studio at Artspace, a leading international residency-based contemporary art centre in Sydney, Australia. Visitors may experience the exhibition and interact with this virtual environment here from Friday, 10 May 2013.

Open Curator Studio: The 3D Experience is an offshoot of Kushnir's ongoing research on the intersections of intellectual property law, curating and art practices influenced by internet culture. She is particularly interested in interpreting the language of the law in the context of her own curating practice.

In the decision of Patrick Cariou v Richard Prince, Gagosian Gallery and Larry Gagosian, which was handed down by the United States Court of Appeals for the Second Circuit on the 25th of April 2013, the court reiterated the point made in several prior U.S. court decisions: that the copying of an original work can qualify as a 'fair use' of that work, and therefore be excused from copyright infringement, if the new work adds something to the original work, a further purpose or a different character, altering it with a new expression, meaning, or message. The court explained that where the new work fulfills this requirement, it can be considered 'transformative' and therefore a 'fair use' of the original work.

For Open Curator Studio: The 3D Experience, Kushnir has selected works which push the boundaries of 'fair use', thereby providing a prism through which the legal concepts elucidated in the new Richard Prince case can be explored and questioned. Ry David Bradley has taken images from reuters.com, reconstituted them upon quasi-sculptural forms and printed them on black gloss metal. His new message is that "upon arcane forms from different points in time lie the remnants of other, more recent signs." Kynan Tan has used the data of sleeping brain waves to control and vary an audio-visual composition. Jacob Ogden Smith has created digital images of pottery using an iPad App called Let's Create: Pottery. Each of these images are based on a piece of pottery featured in a film or television show, such as an episode of Law & Order: Special Victims Unit, thus calling attention to the continued relevance of ancient materials to popular culture. Joe Hamilton has reconfigured various images of the facade and interior of a new, architecturally significant building in Melbourne into a constantly moving, constantly shifting environment.

For Open Curator Studio: The 3D Experience each of these works also act as original works which are altered to have a further purpose by Joey Holder. Holder reconfigures them within a computer-generated version of the Artspace Open Studio exhibition space. She inundates the surrounding walls, floor, ceiling and even windows with a range of digital patterning which she has created by meshing together images found on the internet. As a result of Holder's reconfigurations, Open Curator Studio: The 3D Experience is a space which is transformative itself, adding something new to the transformative works it displays.

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S P A M M ~ S A F A R I ~ 2 0 1 3
curated by LaTurbo Avedon and Michaël Borras AKA Systaime

May 2013


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Online 20th March – 20th April 2013

HIPPOCAMPUS by Joey Holder screened on Sunday 31st March from 9pm - 4am


Every night IF NOT NOW will take over the Legion TV website and replace it with a video loop that will play until the morning. The loops will come from a range of contributors and sources, both credited and anonymous.

The intention is to create an ephemeral group show of diverse work around a shared format – the loop. Inspiration for the project comes from the night screen loop that television channels play when they close for the night. There are no restrictions other than the video has to loop.


IF NOT NOW is an ongoing series of projects initiated by Rafael Farias and Tom Merrell whilst studying at the Royal College of Art. Each project begins by defining a fixed format and inviting contributors to produce work to fit and respond to it. The first Night Loops was part of an online television channel during the RCA summer show 2011 and featured contributions from Constant Dullaart, Hans Lo, Oliver Jennings, Damon Zucconi, Signune Hamann, Andrew Sunderland, Trevor Jackson and Dylan Fisher.

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BYOB London 2013

Bring Your Own Beamer (BYOB) is a series of one-night events, so far held in over 80 cities across the world. Join us for a spectacle of moving image featuring artists and their projectors! For one evening only, The White Building in Hackney Wick will be transformed into an interactive object, featuring: MOVs, GIFs, 3D worlds, intercontinental live streams, light box drawings and virtual sculpture.


Awe IX | Laurie Bender | Rebecca Cooper | Jamie George | James Hicks | Marinette Kaus | Lawrence Lek | Beatrice Lopez | Hannah Mason | Parag Mital | Tobias Revell | Antonio Roberts | Clifford Sage & Joey Holder | Andrey Shental | Camila Sotomayor | James B Stringer | Daniel Swan | Viktor Timofeev & Chris King | Simon Whybray |

Sunday 10th March | 6-9pm
Residency Studios
The White Building
7 Queen's Yard, London E9 5EN

BYOB at White Building is organized by Lawrence Lek, in association with SPACE Studios.

The first BYOB event was initiated and created by Rafaël Rozendaal in 2010 in Berlin.

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Running Ants, 2012
50 x 50 x 20 cm
Lightbox - MDF, spray paint, print


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Misery Connoisseur
(in collaboration with Van Horbourg)



PREVIEW: January 31st 2013, 6PM

EXHIBITION: February 1st - February 22nd 2013

Amir Chasson / Annie Davey / Justin Gainan / Joey Holder / Rena Kosnett / James Prevett / Jason Underhill / Burcu Yagcioglu / Kentaro Yamada

MISERY CONNOISSEUR (MC) is pleased to announce the second outing of MC Live at Van Horbourg Zurich, which will feature a selection of short films from contributors to issue 1 of Misery Connoisseur Magazine. Curated together as a show-reel, the video works exist in addition and complementary to the printed material, lifting the artists’ ideas off the page and into a physical arena.



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(with psychoanalYSL)


Agnieszka Brzezanska, Werner Buttner, Pamela Golden, psychoanalYSL, Laura White

PV: Thursday 10th January 2012, 6-8pm
11th Jan - 7th February 2012

Marlborough Contemporary
6 Albemarle Street
London W1S 4BY
United Kingdom


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Haroun Haward, Joey Holder, Benjamin Orlow


7-23 Dec, 2012

The Invisible Line
87 Dalston Lane Dalston London E8 2NG

From a group that is recognised for their early innovative concert visuals I cannot believe the tawdry product they have served here. The visuals look like the were produced in the early 80s on a commodore-64 computer. Why the repeated images of the female musician on sax and other reed instruments when none are featured on the soundtrack? (granted she is easy on the eye compared to the other two heaps). Avoid.

(review of Tangerine Dream: The Video Dream Mixes, 1996 found on Amazon.com)


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Faviidae, Oil and collage on canvas by Joey Holder


Unit 3J
Omega Works
167 Hermitage Rd
N4 1LZ


Private View: Thursday 22 November 7-10pm
Open by appointment until Friday 30th November


In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.

Taking the mesmerising technique of Romantic poetry as starting point we recognise the potential for the poetic state of thall dom to be identified in the field of contemporary art. Coleridges imaginary landscapes transported the reader to a place more kind to the senses than the pandemonium of industrialisation. Today, those distant landscapes of the imagination continue to be mined. Mineral is machined into the consumer good, constructing new tactile experiences.

Self diagnosed contemporary artists and members of the ASMR community share an experimental and hypnotic approach to objects and image making and a common set of strategies, to produce charmed and intrigued spectators. Indeed the language of their work is the spectacular possibility of materials and whilst Debord sought "to wake up the spectator who has been drugged by spectacular images" these artworks and online content seek to drown the spectator into an ever-deeper slumber.



Dazed Digital: Exhibition of the week

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Photovoltaics, Digital print by Joey Holder


Eight Members Club Bank | 1 Change Alley, London, EC3V 3ND
+44 20 76210808 | bank@eightmembersclub.co.uk

9 November – 30 November 2012 (by appointment only)
Private View: 9th Nov 6:30 – 8:30pm

Joey Holders work includes painting, sculpture, video and digital manipulations. She is concerned with notions of the ‘artificial’ and the ‘organic’, two terms with meanings that have become harder to define within today’s technology-driven world and our adaption to this ever-revised order.

Within this exhibition, Holder will present constellations of aberrant images, ranging from biology, nanotechnology and natural history, displayed within open computer computer windows on popular desktop screen savers and program interfaces providing us with familiar cues in an unfamiliar domain.

By contrasting so-called organic and artificial substances and surfaces through a series of abstractions, Holder creates a world of manifold layers, none more unified or natural than the next. These hybridities may suggest a particular function or natural form but remain elusive through their odd displacement. Fragmented patterns clash against automated representations, each vying for the viewers attention, creating a barrage of excess and exuberance. Painterly and digitised forms exist in parallel - fragments forced together into stable configurations, resulting in moments of pure display and hyper-aestheticisation. Holders work represents an organic way of seeing computation through an evolution from canvas to screen.



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Hanmi Gallery

30 Maple St, W1T 6HA
020 8286 4426

24 November - 5 December 2012
Private View: Friday 23 November 2012 6-9pm



Tue-Sun 12-6

(Warren St or Goodge Street tube)

Artists: Erik Bendix, Ole Hagen, Joey Holder, Sang Jin Kim, Alexis Milne and Woon Zung

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Open File - Series III (event)



Friday 14th December 2012
7 - 11 pm
Grand Union, Birmingham

Featuring work by: Rhys Coren, Joey Holder & Clifford Sage, Polly Fibre, JK Keller, Yuri Pattison, Oliver Sutherland and Pil & Galia Kollectiv, alongside a text by Gil Leung.
Download the Open File Torrent

Hashfail is the first in the series of 3 nation-wide events by Open File investigating the distribution and production of art via virtual and digital platforms through sound, performance and digital media. Hashfail coincides with (On) Accordance a project by or-bits.com and Grand Union.

A Torrent file is a file distributed via the web through rapid peer-to-peer seeding of information. Becoming representative or pirate and copyright-infringing distribution it is also a mode of sharing that relies upon direct connection with other anonymous users of the internet.

A Hashfail occours when seeded files have become corrupt and therefore certain bits of data cannot be received. Numerous Hashfails leed to the loss of quality and gradual decomposition of a file, shifting it ever-further from its origin, subjecting it to a new type of physicality and texturing.

Grand Union
19 Minerva Works
Fazeley Street
B5 5RS

Open File series III is Kindly supported by the Arts Council England

With an essay by Gil Leung http://displaydevice.tumblr.com/



Misery Connoisseur (Publication)
Launching December 2012

A Computer Ringtone for Skypism
- text published in new a curatorial project using the format of a quarterly glossy magazine


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The Supra-Sensorial Bin (event)

18th October 2012

That which is proposed is always given as play….chance play…. : Helio Oiticica

A multitude of images, sounds and performances come together for one night in a composition created from the second clips, the leftovers/the un-used/the un-formed/the found/the sketch.

The creation of a sensorial work that focuses on the formal qualities of a composition as in the timing/spacing/ and the rhythmic quality of the loop, formed from the remnants of the image and their sound.

The Supra-Sensorial will continue to develop a constantly altering archive of these leftover and un-used, unformed material derived from contributors working in the moving image, sound and performance.

What we want to explore is the potential of this archive in creating alternative relationships and modes of production.
A form of curation that does not use the finished work, but merely utilises the potential of any form of recorded media that the artists have made.

A collaborative piece that continues to explore image, sound and performance being in a continual state of transformation.

Rebecca Cooper, David Ferrando Giraut, Micah Harbon, Joey Holder, Hattie Ladd, Stephen Lordan, Kyrone Oak, Texas Royale, Anastasia Shin, Dante Rendle Traynor, Lauren Lapidge and Meera Chauhan

Performances by: Texroyale and Marvin bats Haus Of Sequana


Hippocampus projected at BYOB, London 2012

BYOB London 2012 (event)
(part of) Moving Image: An Art Fair of Contemporary Video Art in London


11 October 2012

Oxo Tower Wharf
Bargehouse Street
South Bank
London SE1 9PH, UK


:::::UMF:::::: LAUNCH:

A club night dedicated to the art of the VJ



Lepke B, Punkvert, Mike Darkfloor, Joey Holder, Last Japan, Blind Tom B, Ramm>HellZee

Exploring a lineage of club visuals from Lepke B one of the first VJs working in London from the 1980s to Punkvert resident VJs at Turnmills during the 1990s.

UMF will be showcasing collaborations between artists working in video and performance and DJs, promoting a hyper synthesis of live audio visual Electronica.

TV DINNERS (Exhibition)

Featuring Auto Italia Live, Eddie Peak, LuckyPDF, PsychoanalYSL and Soda_Jerk

Curated by Alana Kushnir

Opening Tuesday 28 August 6 - 8 pm

28 August - 15 September 2012
BUS Projects: Basement level, 673 Bourke Street, Melbourne 3000

The Modern Language Experiment presents:

What is an Art Book? (publication)

Friday 23rd September 6 - 9pm
Saturday 24th of September 10am - 7pm
Sunday 25th of September 10am - 7pm

The Artists Books Weekend
The Mews Project Space
15c Osborn Street

An Art Book today can be seen to occupy various different positions including that of a piece of theory, a catalogue, a printed exhibition, a piece of art in itself, a supplement to a pre-existing piece. It can be a proposal for the future or an examination of the present or what has passed. What is an Art Book? will be an investigation of what an Art Book is in terms of material and conceptual concerns. It is a collaborative project that will be produced during the Artist Books Weekend at the Mews Project Space. Artists, writers, curators, designers and other practitioners are invited to respond to the title of the project by contributing their interpretation of what an Art book means to them and their practice. Each contributor can propose text, drawings, photographs, sculpture, performance, audio recordings, video or any other concept/theory as long as it can ultimately be realised in A4 paper format and in black and white.

What is an Art Book? will be published later in the year by The Modern Language Experiment and will be distributed via Tate Modern, Donlon books, The Mews etc. A pdf version will be made available to download.