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Curated by: Curated by Mark Selby

92 White Post Lane
Ground floor, Building 2
London E9 5EN
United Kingdom
February 2nd, 2011 - March 13th, 2011
Opening: February 2nd, 2011 6:00 PM - 9:00 PM

Other (outside main areas)
Thursday - Saturday 12 - 6 p.m
mixed-media, installation, video-art, performance, sculpture




Adam Dix, Ismail Erbil, Martin Fletcher Systems House, Patrick Michalopoulos, Faye Peacock.


Curated by Mark Selby


Private View Wednesday 2nd February 2011, 6 – 9 p.m

2 February – 13 March 2011

First Thursdays Late Opening: 3rd Feb & 3rd March 2011, 6-9 p.m


In the strong and consistent rhetoric within anti-techne sectors of culture, the potential loss of physicality and hence humanism, is offered as the primary concern. The endpoint of this narrative replaces the body into binary script; our ultimate transcendence into the virtual and the loss of nuance in direct, physical interaction. Communication transmogrified through the unobtrusive measures of technology.

Each of the artists in the exhibition are measuring and researching these potential shifts in communication frameworks. They work in a variety of ways to capture their data; the appropriation of technological form and design seen in the work of Martin Fletcher Systems House, the collection of telecommunications and pageant imagery in the work of Adam Dix, Ismail Erbil uses the depths of his own cultural heritage and personal identity, the online research of social networks by Patrick Michalopoulos and Faye Peacock’s use of direct physical acts or performances with her subjects. Each practice adapts their information gathering and observations into an individual, conceptual critique, though all their outcomes, their visual communiqués, are based in physical material; be it oil paint or outmoded recording technologies.

In the exhibition itself, you will not engage with this materiality or experience the works in the method through which the artists would normally intend. Placed within an interior sealed cube in the gallery space, the works will be converted, co-opted and quite dictatorially subsumed into my own installation, intervention and curatorial direction; ironically, a hugely obtrusive act. Though they may still be observed and recorded through the glaring lens of a series of CCTV cameras and monitors, the viewer will be placed on the outside looking in. Frustrated, excluded or voyeuristic-ally enthralled, the experience is still a physical one, only not with the intended object but the mediating apparatus of an unobtrusive measure.

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