Holly Antrum (born 1983 UK), makes 16mm digitised films and also works with processes related to the image or word on paper, which result in prints or screen proposals. Across media her works consider layering, unimportant speech or language barriers, image composites and biography as open fuses on the way to narrative. Recently she has been working on film projects that introduce collaborative exercises with other artists, To the microphone, please (with mrs soprano), a 16mm on HD film with Rose O’Gallivan (2013), and a longer-term work funded by the Elephant Trust with 93 year-old artist Jennifer Pike - also the widow of Bob Cobbing, is due later this year.
Other exhibitions include In the House of Mr and Mrs X, Temporary Gallery, Cologne, Moda WK, Vane, Newcastle upon Tyne (both 2013), The Stone of Folly, Down Stairs Gallery, Herefordshire, Deleted Cities, Generator Projects, Dundee, Apropos the Kissing of a Hand, Festival Robert Walser, SV12, Studio Voltaire (all 2012), and Folio, Royal Shakespeare Theatre, Stratford upon Avon (2011), UK touring exhibitions include New Contemporaries 2010 and New Contemporaries 2006 and Jerwood Drawing Prize 2007(also 2005). In her education she studied Fine Art Painting at Wimbledon School of Art (2005) and received an MA in Printmaking from the Royal College of Art (2011).
What we do
Devised in 2009, AND is a platform exploring print on demand technologies to publish conceptually driven artists' books. Photocopied or glossy printed, we define print on demand as a method, a tool to directly and immediately interact and communicate an idea to an audience. Due to short print runs (starting from one copy), low productions costs and almost no storage costs, we can develop and sustain an adventurous, inquiring, creative practice without having to compromise and conform the conventions of a mass market. 1
In 2011, we launched AND Public, a framework for the production and dissemination of self-published artworks/books through print on demand. Our goal is to piggyback on this automatic process, using the low cost, fast turn around and advances in digital technologies to extend and self sustain practice.
…showing what the conjunction AND is, neither a union, nor a juxtaposition, but the birth of a stammering...
AND... AND... AND...' 2
AND is driven by research and collaborative engagement. We are based at an art school and it is the uniqueness of this creative laboratory, which provides artistic freedom and head space for experimentation. AND has established its own print on demand workshop at Central Saint Martins Archway campus as a flexible and reactive site for multiple roles and functions within the art college.
Ed Atkins‘ works in video, sound, drawing and writing develop a discourse around High Definition. His practice particularly explores digital media’s apparent immateriality in relation to its possibilities for precise representations of the physical and corporeal world. Cadavers often appear in his work as a surrogate for this dialogue and its implicit subject. The process of making is tangible in Atkins’ work, creating an awareness in the viewer of the surface of the image and the presence of the apparatuses used to produce it.
Atkins graduated with an MA from the Slade School of Art in 2009. He was selected for New Contemporaries in 2010. In 2011 he was included in the group exhibition ‘Time Again’ at Sculpture Center, NY; co-organised ‘A Dying Artist’ at The ICA, London; was shortlisted for the Jarman Award, and had a solo show at Cabinet Gallery, London. He has been commissioned by Frieze Film and Channel 4 and had a solo presentation for Art Now at Tate Britain. In 2012 he won the inaugural ‘Tomorrow Never Knows’ video commission from Film and Video Umbrella and Jerwood Projects, London and produced solo projects at Chisenhale Gallery, London and Bonn Kunstverein. In November 2012 he was one of eight recipients of the Paul Hamlyn Award. In 2013 he has taken part in the exhibition 'Frozen Lakes' at Artist Space in New York, is included in both the Venice and Lyon biennials and presented solo projects for MoMA PS1, NY; Isabella Bortolozzi Galerie, Berlin, and Temple Bar Gallery, Dublin. This autumn he will present a two-person exhibition at the Julia Stoschek Foundation in Düsseldorf alongside Frances Stark, and in January 2014 will present his largest solo exhibition to date at the Kunsthalle Zürich.
bqpx1138 is a professional embedded software and firmware engineer that has enjoyed programming for over 25 years, living between London & Cambridge and working for great companies big & small. bqpx1138 is also pretty handy with a soldering iron.
Dr. Mercedes Bunz is a university researcher and journalist, and lives in London and Lüneburg. She currently heads the Hybrid Publishing Lab of the Leuphana University, which looks into the transformation of academic publishing with regards to digital distribution and Open Access. She has been the technology reporter for The Guardian, the online editor-in-chief of the Berlin based newspaper Tagesspiegel and in 1997 co-founded DEBUG, a monthly magazine for electronic aspects of life. She has studied at the Free University of Berlin and Bauhaus University Weimar. Her forthcoming book The Silent Revolution. How algorithms change knowledge, work, public, and politics without making to much noise will be published with Palgrave Macmillan.
Nicolas Deshayes is an artist based in London. Recent and forthcoming solo exhibitions include Crude Oil, S1 Artspace, Sheffield, (2013), Snails, Brand New Gallery, Milan, (2013) and Browns in Full Colour, Jonathan Viner, London (2012). In 2013 group exhibitions included Abstract Cabinet, David Roberts Art Foundation, London, Out of Memory, Marianne Boesky Gallery, New York, Pop Tarts, James Fuentes, New York, and Relatively Absolute, Wysing Arts Centre. Nicolas will also be included in forthcoming group exhibitions at Carl Freedman Gallery, London, Centre for Contemporary Art Ujazdowski Castle, Warsaw, Galerie Opdhal, Stavanger and the Approach, London (all 2013).
Jason Dungan (b. 1978, Houston, USA) lives and works in London. BA Film and Philosophy at Middlebury College, USA (2001) and MFA Slade School of Fine Art, London (2003). Recent group exhibitions include Switch, Baltic39, Newcastle, and Young London, V22, London (2011). Recent solo or two person shows include Pacific, International Project Space, Birmingham (2012), and Zeugma, a collaboration with Dustin Ericksen, at Arcade, London (2012). Dungan runs a curatorial project called the Hex with artist Maria Zahle, and plays music with the band Squares and Triangles.
Benjamin Fallon is an independent curator, writer and designer. He is currently exhibition curator for Impakt festival and in this capacity is developing an exhibition looking at our entangled position within capital to take place at BAK, Utrecht in October 2013. He participated in Curatorlab, Konstfack Stockholm 2012/13, served as co-director of Embassy Gallery between 2008 and 2010, prior to this he worked in various capacities at Edinburgh Sculpture Workshop and ONEZERO. Ben is visiting lecturer at both Edinburgh College of Art and Edinburgh College.
Recent projects include 'You are just in the middle of the beginning' various locations around Stockholm, 2013-ongoing; 'The Exhibition and its Histories' the University of Edinburgh, 2013; ‘Banal Inferno’ CCA Glasgow, 2010; ‘Hello World’ Embassy Gallery, 2010; ‘Warehouse of Horrors’ +44 141/ Studio Warehouse, Glasgow, 2009.
Benjamin is instigator of the working group ‘Let’s get together and call ourselves an institute.’ researching the possibilities for new forms of institutional practice.
Julika Gittner is an artist, architect and curator based in London. Using sculpture, performance and video she creates ‘social portraits’ which dissect and materialize human economic activity. She frequently exposes her absurdly functional works to accidental audiences in public spaces in order to challenge assumptions about art’s social purpose. As part of the art group Scare in the Community she curates art events and exhibitions that directly relate to physical and social contexts including ‘Westworld’ at xero,kline, coma in 2012. Julika is a design fellow at the University of Cambridge where she leads the first year BA Architecture design studio.
Her art works have been shown internationally, including: Embassy Gallery, Edinburgh (2012), Flattime House, London (2012), Kunsthalle Düsseldorf (2011), Himalaya Art Museum, Shanghai, (2010), Arnolfini, Bristol (2010), S1, Sheffield (2010), Paradise Row Gallery, London (2009), Updating Germany, La Biennale di Venezia (2008), Cabaret Voltaire – DADA Haus, Zürich (2008).
Anthea Hamilton is an artist based in London recent solo exhibitions and performances include Kabuki, Performance Year Zero, The Tanks, Tate Modern, London (2012), Sorry I'm Late, Firstsite, Colchester (2012) and Gymnasium, Chisenhale, London (2008). Recent group exhibitions include NOTES ON NEO-CAMP, curated by Chris Sharp at Studio Voltaire, London. and SOUVENIR, Galerie Perrotin, Paris and BETTER HOMES, curated by Ruba Katrib, Sculpture Center, NY.
Seamus Harahan was born 1968. He grew up in London and Tyrone. His practice is video, film, sound and installation based. His work is exhibited and screened nationally and internationally. In 2009 he participated in the 51st Venice Biennale and was a Paul Hamlyn award recipient. He holds an MFA and BA (Hons) Fine Art, both from UU Belfast. His work is held in both public and private collections. He lives and works in Belfast.
Isobel Harbison is a writer and curator. Harbison contributes to frieze, Kaleidoscope, Modern Painters and Tate Etc, among other magazines and publications. She is currently curating a forthcoming group exhibition with Hayward Touring and a retrospective screening of works by American filmmaker Ericka Beckman at Tate Modern (September 2013). Harbison is an AHRC doctoral scholar in the Art Department, Goldsmiths, London.
Sophie Hope’s practice based research focuses on the relationships between art and society. She has worked as an independent curator (as one half of the curatorial partnership B+B), a writer and evaluator of public and socially engaged art and is a lecturer in arts management in the Media and Cultural Studies Department at Birkbeck, University of London. Sophie has developed a number of practical projects through which to research cultural policy, labour conditions and community art histories in the UK. These include a three-year participant-led investigation into socially engaged art ('Critical Friends' 2008-2011) and a large-scale community performance in a Dutch new town ('Het Reservaat' 2007). Her PhD (completed in 2011), entitled: 'Participating in the Wrong Way? Practice Based Research into Cultural Democracy and the Commissioning of Art to Effect Change' explored the limits and possibilities of criticality in the context of an artists' contract. Sophie is currently researching art and politics in the year 1984 and recently wrote her second radio play about a tribal uprising on the outskirts of Plymouth.
Anthony Iles is a writer of criticism, fiction and theory. He currently assistant editor of Mute, an online and quarterly print magazine, http://metamute.org, a project coordinator of the Post-Media Lab at Leuphana University and an Associate Researcher at the UDK Graduate School, Berlin
Shama Khanna is a writer and independent curator based in London. Over the course of her career she has worked with The Showroom, E:vent Gallery, Tate, BFI London Film Festival and LUX / ICA Biennial of Moving Image in London; Iaspis in Umeå, Kunstverein Muenchen, Office for Contemporary Art in Oslo and with e-flux, Performa and MoMA PS1 in New York City. Khanna has written for frieze, ArtReview and Mousse magazines as well as numerous independent publications. She recently curated the thematic programme at Internationale Kurzfilmtage Oberhausen 2013.
In July 2013 Khanna started flatness.eu, which also serves as an archive of her other current and previous projects.
Pil and Galia Kollectiv are London based artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and explores avant-garde discourses of the twentieth century and the way they operate in the context of a changing landscape of creative work and instrumentalised leisure. They are interested in the relationship between art and politics and the role irony and belief play in its current articulation. Their films and performances often use choreographed movement and ritual as both an aesthetic and a thematic dimension, juxtaposing consumer rites and religious ceremonies.
They have had solo shows, The Future Trilogy at Te Tuhi Center for the Arts, New Zealand, 2010, Svetlana, at S1 Artspace, Sheffield, 2008, and Asparagus: A Horticultural Ballet at The Showroom Gallery, London, 2007. They have also presented live work at the 2nd Herzliya Biennial, the 5th Berlin Biennial and the 5th Montreal Biennial, as well as at Kunsthall Oslo, Arnolfini, Bristol, Late at Tate Britain, Radar Loughborough and ICA London. Upcoming solo exhibitions this year include Trade, Nottingham, and Ort, Birmingham.
They are contributing editors at Art Papers and have written for many publications including Art Monthly and Mute. They are also the directors of artist run project space xero, kline & coma and work as lecturers in Fine Art at the university of Reading.
Oliver Laric, born in Austria, lives and works in Berlin. His work seeks to parse the productive potential of the copy, the bootleg and the remix, and examine their role in the formation of both historic and contemporary image cultures.
Gil Leung (Sweden, 1980) artist and writer based in London. She is distribution manager at LUX, London and editor of Versuch Journal.
'Manual Labours Manual', Issue 1, is the first publication developed from Manual Labours - a long term research project exploring people’s physical relationships to work, initiated by Jenny Richards and Sophie Hope. This project reconsiders current time-based structures of work (when does work start and end?) and reasserts the significance of the physical (manual) aspect of immaterial, affective and emotional labour. 'Manual Labours’ started with a 35 hour ‘working week’-long investigation into the embodied, sensory, emotional affects of work during 8-12 April 2013 from our temporary open office in the Peltz Room, School of Arts, Birkbeck College, 43 Gordon Square, London. During that week we held meetings with our co-workers, hosted an archive of films and publications, looked after a collection of office plants, did a very slow 9 mile walk to work, held a public film screening and fed 25 people during a Public Lunch Hour. Comments, thoughts and experiences contributed during this week are brought together within the 'Manual Labours Manual', allowing us to explore the shared, collective concerns and tactics for reclaiming a critical and sensory experience of work/life.
Duncan Marquiss is an artist based in Glasgow who works works with film and drawing. His current project considers possible relationships between innate searching behaviour and creativity.
Ania Micińska is based in Warsaw and London. She graduated from Goldsmiths College with a BA in Fine Art and History of Art, to later take up MA in American Studies at University of Warsaw. She balances her activities between publishing, art-making, and cultural management. Ania is a co-editor of the London-based Shoppinghour Magazine and has also collaborated with Kontakt magazine and Culture.pl website-both based in Warsaw.
David Murphy (*1983, Newcastle Upon Tyne, UK) studied at Newcastle College and the Glasgow School of Art. He has exhibited widely both nationally and internationally. Recent exhibitions include: Jerwood Drawing Prize (2010); Almost Island, TAP, Southend on Sea (2011); Anschlüssel Fruehsorge Contemporary Drawings, Berlin (2011); Aggregate!, E:vent Gallery, London (2011), Young English Sculptors, Fundaziun Not Vital, Switzerland (2012); Zeichnung ohne Zeichnung, Christian Ehrentraut, Berlin (2013); and New Basics, Galleria Monica de Cardenas, St. Moriz (2013) . He exhibited at ARTPIE / TÜYAP Art Fair Istanbul (2011), and was artist in residence at M4 Gastatelier, Amsterdam, Netherlands (2010), Edinburgh Sculpture Workshop, Scotland (2010), and Atelier Concorde, Lisbon, Portugal (2012). He is currently the recipient of the ACME Hackney Residency, London (2012-14). He lives and works in London.
Robert M Ochshorn (born 1987, California, USA) is a nomadic computer practitioner and researcher focusing on intersections throughout: media and journalism; electrical and computer engineering; sonic and visual art. After receiving a BA in Computer Science from Cornell University (Ithaca, NY, USA) in 2009, Ochshorn worked as a Research Assistant with Krzysztof Wodiczko in the Interrogative Design Group at MIT and Harvard, and in 2012 completed a fellowship at the Jan van Eyck Academie (Maastricht, NL), where he developed the open-source InterLace software that was used in collaboration with Eyal Sivan to create the web-based documentary Montage Interdit (presented at the Berlin Documentary Forum 2, June 2012, Berlin, Germany). He has recently participated in the HAIP2012 ("Designing the Archive User Interface," 30 November 2012, Ljubljana, Slovenia), VideoVortex9 ("Breaking the Frame," 2 March 2013, Lüneburg, Germany), and the International Short Film Oberhausen ("Chewing," 6 May 2013, Oberhausen, Germany) festivals.
Olga Pedan is a Swedish artist of Ukrainian origin, currently studying at the Art Academy Städelschule in Frankfurt am Main, Germany. Previously studied at Goldsmiths College and LCC in London. Her work deals with tensions of the metaphysical and mundane within abstraction and desire, and takes the shape of video, installation and painting.
Jenny Richards is a curator and writer based in London whose research focuses on the politics of collaborative practices. Recent projects include: Manual Labours www.manuallabourswordpress.com a collaborative research project with Sophie Hope and Improvised a project and publication with Goldsmiths University. In 2012 Jenny completed an MA in Art and Politics from Goldsmiths University. Prior to this she worked as Programme Manager of the Collective Gallery in Edinburgh, working with artists and audiences on long term projects of mutual interest including Jesse Jones Against the Realm of the Absolute 2011, Tessa LynchAlexandrite 2010, Aleksandra Mir The How Not to Cookbook 2009. Jenny is Gallery Manager of Cubitt Gallery.
Tom Richards has been walking the line between Sonic Art, Sculpture and Music since graduating with an MA in Fine Art from Chelsea College of Art in 2004. He has exhibited and performed widely in the UK, as well as internationally in the US, Germany and Sweden. Selected works and live performances have taken place at Tate Britain, The Queen Elizabeth Hall, Spike Island, 176 Zabludowicz Collection, Cafe Oto, MK Gallery, Bold Tendencies, Soundfjord, and Resonance FM. His ‘Broken Patchbay’ EP was released in March 2012. He is currently studying at Goldsmiths and the Science Museum for a PhD on the life and work of Daphne Oram; Electronic Music Pioneer and founder of the BBC Radiophonic Workshop. He lives and works in London.
Dubravka Sekulić is an architect and researcher focusing on the topics of transformation of public domain in the contemporary cities, commons and spatial justice, and spatial implications of neoliberal planning. Her book "Glotzt nicht so Romantisch! On Extralegal Space in Belgrade" was published in 2012, by Jan van Eyck Academie.
Together with Žiga Testen, and Gal Kirn she co-edited the book “Surfing the Black” about Yugoslav black wave cinema published by Jan van Eyck in Spring 2012. In 2012, together with Andrej Dolinka and Katarina Krstić she curated a show “Three points of support: Zoran Bojović” at Museum of Contemporary Arts in Belgrade, with the focus on African and Middle Eastern projects of Bojović and their relation to Non-aligned Movement. Together with Branko Belaćević, Jelena Stefanović, Marko Miletić and Srđan Prodanović she authored exhibition and book “Peti park - Struggle for Everyday” about the struggle of a community for a park in Belgrade.
She is working on a book “Planning for the Unexpected – Sourcebook for Urban Struggle” based on the experiences of regional Right to the City initiatives, for which she was awarded artistic research grant by Royal Art Institute, Stockholm, Sweden. Dubravka exhibited and lectured about her work across the globe, including at aut.innsbruck (at), Stroom, the Hague (nl), Superfront, Los Angeles (USA), AA, London (UK). She graduated architecture at Faculty of Architecture, University of Belgrade, where she was a lecturer. She was an East European Exchange Network fellow at Akademie Schloss Solitude, Stuttgart, Germany and a design researcher at Jan van Eyck Academie, Maastricht, The Netherlands.
Barry Sykes (Born 1976, lives and works in London) has a diverse, process-based, conceptual art practice involving sculpture, photography, video, works on paper, writing, talks and performance. Recent solo exhibitions include Recreate a Nervy Pistol? (An Early Retrospective), Plymouth Arts Centre, Plymouth, UK; 'The Desperate Designer, Gallop, London (Part of the London Design Festival) and I Was Born The Day Heidegger Died (But I Don't Know Much About His Work), i-cabin, London. Recent events have been presented at Limoncello, London; The Showroom, London; Spike Island, Bristol; Tate St Ives, Cornwall; Tate Modern, London and the Immersive Vision Theatre, Plymouth.
Sarah Todd is a curator and writer currently based in Vancouver. She went to school at the Ontario College of Art and Design and the University of British Columbia, and has worked at a number of institutions including InterAccess Electronic Media Arts Centre, XPACE Cultural Centre, and The Morris and Helen Belkin Art Gallery. She has presented independent curatorial projects at the Toronto Free Gallery, Vtape Video Resource Centre, and Kunstverein Munchen. She is currently the curator of Media Arts at Western Front and a programmer of Dim Cinema at the Pacific Cinematheque.
Jonathan P. Watts is a writer and critic based between London and Norfolk in the UK.