Wednesday, 11 August 2010



13-15 August

Hype Williams are adept at conjuring ambiguous and sensual environments through their musical and artistic productions. Channelling myriad influences (entheogens/psychotropics , mysticism, esoterica, obsolete technology, net culture, street vernacular, death cults, American pop culture, improvisational music, Noise) Hype Williams has developed into an ever changing concatenation of forms, ideas and attitudes.

Originally a two-person music collective founded in London in 2008, Hype Williams’ project has expanded to include a broad network of collaborators and participants. Though still grounded in musical production and live shows, they now compliment these activities with works in a variety of media including video, sculpture, installation and performance.

Gyptian Lover will see the Gallery transformed into an active production space where artworks, events and live music will be presented by as part of a three-day exhibition.

This will be Hype Williams’ second presentation at SPACE following their involvement in
Destroy All Monsters: Hungry For Death in February 2010. Then, they occupied the Annexe for The White Powder Truth Sessions, a two-day residency peaking with an open-invite improvised session by the Bo Khat Family Band.

Monday, 9 August 2010

176 talk

I was invited by 176 Zabludowicz Collection to talk about their latest show. SYSTEMATIC, curated by Ellen Mara De Wachter, is a nicely expansive treatment of systems in art. I produced a talk with an obtuse title:

bbbbbeyond the bbbbbug (or WHAT JIMI REALLY MEANT)

Ostensibly the talk was about Jimi Hendrix as a sort of proto-glitch artist. I subjected his now iconic rendering of the Star Spangled Banner* at Woodstock to an equally obtuse (perhaps) techno-semantic reading...

My thesis? Well, that Jimi had executed (in terms of his use of feedback) the ultimate glitch gesture all those years ago, but also - and this is crucial - that this gesture was so acute a socio-political critique, that its technicality was entirely transcended. This latter point was raised in opposition to media/data art that exists in what I would call the sphere of the 'techno-hermetic', namely a totally technologically determined place defined by a sort of 'look at this neat thing I did with my computaaaaa' rhetoric. I'm not so interested in this sort of work, indeed for me it never goes far enough to explore the implications (for example, on the formation of new subjectivities) of what McLuhan would classify as our contemporary technologically 'interdependent' world.

Fast forward to our time, I used the Hendrix example as a sort of absolute point for the symbolic political potential of glitch art. This led to a discussion about Beige, Cory and a few others...

Some of the videos I played below. Jimi's original moment, Carl Lewis MURDERING the SSB, The Beatles and the first ever use of feedback on a recording, Steve Reich's feedback work Pendulum Music, Cory's Mario Cloud scroll, Compression 1 by Paul B. Davis and Jacob Ciocci and finally a Kanye rip-off...

* Cory Arcangel's work Apple Garage Band Auto Tune Demonstration (2007) was included in the show. It is based around a reworking of the Hendrix performance