Your privacy is very important to us
107, Redfern Street
12pm - late
Above & Below
Bethan Cotterill & Vicki Power
Jean-Michel Rolland (FR)
Patrick Diment (AU)
Tara Youngborg (US)
‘Terrain’, Augmented Reality (AR) Installation
Based on a year long commission by art and tech institution Collusion in Cambridge, previous research at the Royal College of Art and presentations such as at WIRED Creative Hack award 2017, we are questioning emerging technologies’ impact on our changing environment through our speculative art works. Will human kind design a new society for our Augmented Reality sphere? If so, how will our values be maintained? What are the privacy regulations in this new society and how would an open source based new society between the physical and digital world regulate trust, data?
Studio Above & Below focuses on interactive and speculative projects, based on hands-on research at the intersection of art, design and technology. Focusing on future scenarios in which emerging technologies and code have the potential to improve our planet’s well being.
‘Thermodynamic Observations’, Multimedia Installation
We are monitored, as we go about our lives, in an uncountable myriad ways. Video cameras examine how long we look at billboards, supermarkets track our paths via the radio signals from our devices, apps on our phone listen for inaudible tones played by sources both online and physical, and governments record every web page we access. Bolin explores a mode of surveillance rarely considered: the heat generated by our bodies’ metabolic processes. It can estimate crowd densities, whether people are lingering or passing-by, and even detect a fever. Alerts are issued when undesired scenarios are detected. The low-resolution infra-red cameras used in this installation are sold as room occupancy detectors for air conditioning and lighting control.
'Finally, A Bioscan You Won’t Regret!', installation
Finally, A Bioscan You Won’t Regret! invites visitors to engage in a performance of exploitation through the familiar medium of the online “personality test”. Seasoned web users know the drill: ‘enter your name, email, and birthday and we’ll tell you the colour of your aura’. These online “personality tests”, which typically generate results randomly, have a long presence in Internet history — they’re easy to build, cheap to maintain, and an unassuming way of collecting mass amounts of personal data. A Bioscan You Won’t Regret! does not store personal data from visitors, but it holds a mirror up to the quizzes that do. What will it take to make exploitative data collection history?
‘Trim’, Looped video, 5:03min
C.A.T.E.I are a group of media arts students, made up of Oscar Thompson, Ryley Edwards and Eilish Fitzpatrick. Trim explores a strange YouTube phenomenon we have called ‘trim.’
At the moment, our research is specifically focused on how underlying technological structures manifest and produce contemporary politics and culture. Much of our work is centred around questioning what it means to live in a world that is defined by big data. Our individual research practices intersect when considering the ways that technology today, is not merely an extension of the body, but actively challenges what it means to be a body in the first place.
‘Mirror Machine’, Performance
Mirror Machine is an experimental performance piece, which explores how the self is transmitted back and forth across cyberspaces, proliferating and fragmenting into a chorus of digital doppelgängers.The work examines how identity is continuously performed and constructed both in digital and non-digital landscapes, amassing into a collection of equally legitimate selves. Byrne uses a video camera, a torch and coding software to create an interface in which she can interact with her own digital self. Set to an eerie droning soundscape, the work evokes a ghostly Narcissus dancing with their digital reflection and questions the ramifications of our symbiotic relationship with technology.
Ella Byrne is an emerging artist situated in Sydney whose practice explores performative identity in the digital world.
Photo by Dominique Berns-Blackwell
‘Y3LLOW SUN BAY RUN’, Looped video
Y3LLOW SUN BAY RUN takes the form of the Gemini Twins, depicted through four Western Suburbs youths, inspired by the artist’s origins. This video work holds frustrations and hurdles that aren’t dissimilar to that of a marathon, however they are more alike to those of a bay run, where lots of people are taking up the whole path and walking really slow in front of you.
Gillian Kayrooz is an emerging multidisciplinary artist from Western Sydney. Her work has been collected by AIRspace Projects, Verge Gallery, the National Library of Australia and the Sydney College of the Arts Library. She has exhibited at 541 Artspace, Down|Under Space, Dedspace Gallery, ES74 Gallery, Gaffa Gallery and Mils Gallery.
'The Museum of Immaterial Art!', Installation
Matthew Gorgula has performed under alias’ ‘bavarianfruitbreak’ and ‘holinau’, creating music and visuals for small venues and online media. ‘SPONGE CAKE’ was the first party presented in 2015, merging performance art and new music. Holinau has since created an online music collective called ‘WATERFALL’ presenting ambient and experimental genres.
For EF18, Holinau presents The Museum of Immaterial Art. Through branding and process oriented painting it seeks to embed sculpture as a performative practice, towards an expression of the post-conceptual.
‘Confiance (Trust)’, web installation
At the origin of each of Rolland's creations, musicality plays a role as important as image does and each one influences the other in an assumed relationship of co-presence. The result is a series of videos, audiovisual performances, generative art, interactive installations and VJ sets where sound and image are so inseparable that the one without the other would lose its meaning. This formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it to better give new realities to the world around us.
Jean-Michel Rolland is a French artist born in 1972. A musician and a painter for a long time, he’s been mixing his two passions - sound and image - in digital arts since 2010.
‘The Sacred and Profane Life Machine’, video installation
The Sacred and Profane Life Machine is a continuation of Diment's previous interest in his own fragmented and inept social persona. Characterised by frustration and self obsession, Diment's work hypothesises the existence of the METASELF: the infinite version of ourself which is exists online, formed by our aggregate metadata.
This particular work explores the notion of “getting off the grid”, indulging in fantasies of doomsday prepping and self erasure. The title and photograph reference Titian’s painting Sacred and Profane Love, as well as Iris Murdoch’s novel The Sacred and Profane Love Machine. The parts of the self which exist online are real and have real consequence in our lives. Ignore them at your peril.
'Worthy sayings for good children', cross-stitch
The work 'Worthy sayings for good children' was inspired by an overheard phrase; 'I hope you've been good, there are cameras here,' said to small children. The phrase was heard in the city, as I move through like a contemporary flaneur. The flaneur was a figure that emerged in the nineteenth century, who observed the city, and its inhabitants. I was drawn to this phrase firstly for its unintentional humour, and also for what it says about modern society. The fear that underlies the statement, and the sense of a surveillance culture, where children are in danger, intrigued me. The sense that children must behave or something terrible will occur also interested me. The intensity of this statements, spoken with such seriousness, made it somehow humourous. The use of cross-stitch was inspired by samplers, where cross-stitch was used to create moral phrases that were made by children to inspire good behaviour.
'Google Search Log', web installation
The portrait of an artist, through her Google searches. Between March 2012 and May 2013, I recorded every Google search I made in order to see who I looked like to Google, as Google was just starting to show users how we could find the data they were tracking on us. To display this self-portrait, I created a webpage that mimics the google search browser display, and used html styling to create an autocomplete effect, just as Google tries to autocomplete and guess what I was searching for. I am interested in utilizing the Internet as a space where personal stories can become collaborative, and ways to use the web to create interactive and accessible artworks.
Tara Youngborg is a web-based and new media artist creating code based interactive web pieces and animations, working in Virginia, USA. She has shown her interactive web-based work, videos, and gifs in exhibitions from coast to coast in the United States, internationally, and always on the web.