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2013 marks the 20th anniversary of Curating Contemporary Art exhibitio ns at the RCA. This year’s graduating students present No one lives here\, an exhibition by international artists explor ing aspects of the digital age that permeate contemporary life\, from the d omestic to the political.

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The over saturation and remediation of images\, throu gh social media\, open source databanks and citizen journalism\, has contex tually altered the individual and social rules of engagement. Bringing toge ther sculpture\, installation\, moving image and performance\, No one lives here\, will look at the contradictions and paradoxes of living in the digital age.\n

The title of the ex hibition is derived from Indian theorist and philosopher Gayatri Spivak’s concept of ‘planetarity’ from her book Death of a Discipline (2005). Her asser tion that “the globe is on our computers. No one l ives there”\, frames the exhibition thematic of a virtual environment that is uninhabitable yet popula ted.

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In White Mountain\, the exhibition’s supporting research display\, the Pionen White Mountain Data Centre is presented as an architectural case study. The Centre is a subterr anean databank located near Stockholm\, Sweden. Housing the Wiki-Leaks serv ers among others\, Pionen epitomises the layers of access and secrecy synon ymous with virtuality. The display presents archival material\, architectur al plans and images that consider the development of the Pionen Data Centre as a metaphor for the contemporary condition of digital cultural flow.

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Among t he works featured is the UK debut of Hito Steyerl< /span>’s film Strike  (2010) that shows the artist’s calculated assault on a flat screen monitor. Direct from his solo exhibition at t he Palais de Tokyo\, Paris\, Neil Beloufa will present a new sculptural and video installation ‘Nice seats and projection’ People's passion\, lifesty le\, beautiful wine\, gigantic glass towers\, all surrounded by water (2013\, video 2011). The video portrays aspirational N orth American lifestyle and its artifice in the genre of promotional video projected onto the transparent layers of the installationMosireen Collective is a non-profit media organisation born out of the explosion of citizen j ournalism and cultural activism during the Egyptian revolution. Based in do wntown Cairo\, the channel is the most watched non-profit youtube channel i n Egypt. ‘Mosireen’ is a play on the Arabic words of ‘Egypt’ and ‘determina tion’. The Collective provides training\, equipment and technical facilitie s and organise free screenings\, discussions and events.

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Combining surreal vide o installations with live performance\, Shana Moul ton’s Restless Leg Saga< /span> (2012) reflects upon the permeation of digital cu lture into the domestic setting. Jill Magid ’s Legoland (2000) shows footage from a surveillance camera strapped to her foot as she walks around New York City. Between Magid’s legs\, the observer can view the cityscape from a different perspective\, drawing attention to the positioning of the gendered body within an image-based society.

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Aleksandra< /span> Domanović’s practice is concerned with the c irculation and reception of images and information. For her contribution to  No one lives here\, she will exhibit new sculptural works Untitled (Mash up) (2013) and ongoing video work 19:30 (2010-). David Raymond Conroy’s practice embodies the proc ess of virtual browsing and is suggestive of networked choice patterns. His work I’d be Lying if I Said I Didn’t Have Designs on You (2010) presents a flattened image of a to temic structure composed of disparate found objects. The artist’s precise c riteria in choosing these objects is indicative of the prosumer’s engagemen t with digital culture when forming an identity through social media constr ucts such as Facebook.

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S Mark Gubbs video loop D rowning Dog (2012) offers a moment of acute conte mplation of the paradoxes of web imagery. It is a remediation of the approp riated news footage of a heroic event between two dogs on a Chilean highway .

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Lo ndon-based artist Jack Strange’s work ‘g’ (2008) playfully draws on the limitations of the physical and virtual realms\; a lead ball is placed on the ‘g’ key of a laptop computer producing infinite characters on a screen and eventually crashing the laptop’s system. This wo rk is in the MoMA collection. Raphael Hefti ’s glass sculptures from the serie s Subtraction as Addition (2012)\, recently shown at Camden Arts Centre\ , investigate contemporary experiences of viewing through an iridescent col our palette produced in dialogue with a digital aesthetic.

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A printed publication and events programme will accompany the exh ibition.

DTEND:20130324 DTSTAMP:20140823T132419 DTSTART:20130308 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:No One Lives Here\, Neil Beloufa\, David Raymond Conroy\, Aleksandr a Domanović\, S Mark Gubb\, Raphael Hefti\, Jill Magid\, Shana Moulton\, Hi to Steyerl\, Jack Strange UID:261095 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140823T132420 DTSTART:180000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:No One Lives Here\, Neil Beloufa\, David Raymond Conroy\, Aleksandr a Domanović\, S Mark Gubb\, Raphael Hefti\, Jill Magid\, Shana Moulton\, Hi to Steyerl\, Jack Strange UID:261837 END:VEVENT END:VCALENDAR