I love the FACT {which if u don’t know is this foundation for art and creative technology hub wit cinema in Liverpool and where I} used to lie on the middle floor benches with friends and friends and/freeloaders, days in, growing. Maybe FACT did some osmosis on me because I’ve grown up an art-tech girl } I only say this so you know that I approach FACT nostalgic, nervous, and grateful; so you know that I’m writing this in the cafe with a little sunshine heart glow because i feel personally invested in this place and the Follow exhibition did not disappoint:D 

So u may have heard that Gallery 1 was made briefly WWWorldwide by the LeBeouf-Rönkkö-Turner phone-in this month, ‘Touch My Soul.’ The 0151 - - -> “” bring bring “” was posted online for ppl to dial. Callers mostly gushed over Shia, which is fiiiine and continues to underscore his status and fantasy but that fanaticism is also made to look zzZZ when callers actually do what the piece begged, when they touch the artists’ #souls. Those calls are lonely, desperate, embarrassing; recorded and humiliatingly public. That broadcast, the fact your *special* voice-to-voice call is actually a voice-to-anyone’s ear, dasssss important. The piece performs the new Contact, the irrelevance of the Contactless. It undoes the 1 to 1 privacy of intimacy, becomes peer 2 peer. It’s not switching ur phone to silent when you’re with ur lover. And the artists speak in a tone s0 laid-back that the whole thing is like chill, it’s fine, you’re live on the air, you always are. and that… well…

‘Follow’ has this coolness and chill-pill-ness that almost had me seduced —— like ‘Follow’ as the exhibition title kind of sounded like ‘come on,’ instead - - —- and let’s think about that tone for 1 second. Neither glaring optimism nor nasty-pasty interrogation in the work. juss An ambivalence that came across as acceptance. comfort. Gallery 1 has this shiny, melty, meat curtain-slickness, a slippy, buffed floor, an #aesthetic. Was so #holo, clear. That indulgence, making-it-look-easy #lifestyle was a careful trick ‘Follow’ played on the visitor. Hmpf. On the stairs above, Joe Fletcher Orr’s words ‘marketing, a lifestyle’ are plastered./ long and up and diagonal /. like I was Almost seduced, but in my heart of hearts I know I dont wanna be a Virtual baby. I don’t think the curator wants me to be either. Hadta pull myself out of the digi-smothering with Cécile B. Evans’ films, my lifeline, Because is there anything more grounding and gross than a CGI jar of mayonnaise rolling down dusty rendered sand dunes. Nope, there is not. Her videos are the crux of this exhibition for me: the digital looks so fucking nice, isss backlit, HD, that flushed edge profile…  but technology is not Holy, and being online/being digital has inverse-shitty {sterilising} implications for the body, and its agency. We should rather value our shit and our mortality and our dairy products. dey make us so Real. dey make us like Mayo.

 

If seduction is charm and tactic in ‘Follow,’ then up in Gallery 2 I found the Wizard of Oz. I found conversation. I found FACTLab and tech workshops and a  aFREE GREEN SCREEN FOR YOUR PERSONAL USE. ah gad. I cannot caps lock this enough. There is a green screen up n ready for use while this exhibition is open  —til Feb 21st 2k16). you can film n take files away/have them emailed to you. the guy there assisting was s0 nice, hi Billy.

 

I also got speaking to a FACT artist in residence, Radamés Ajna, and that was almost as great as my time with Billy. He told me about <these>, classes through January on coding/physical computing/general tech help (but like, to do with art, this isn’t PC World). And he’s holding a reading group, too! THIS is wat left me sunshiney, the fact there is a real effort to engage with the art-tech-social-narrative, to discuss concerns and New Materialism in a productive and welcome 2 anyone space,,,Happy that ‘Follow’ is a whole symposium. am Happy that it isn’t just a pretty face (ノ◕ヮ◕)ノ*:・゚✧

Dec 23rd 2k15

b͓̽e͓̽s͓̽t͓̽ ͓̽v͓̽i͓̽e͓̽w͓̽e͓̽d͓̽ ͓̽i͓̽n͓̽ ͓̽l͓̽a͓̽n͓̽d͓̽s͓̽c͓̽a͓̽p͓̽e͓̽
͓̽o͓̽r͓̽ ͓̽o͓̽n͓̽ ͓̽a͓̽ ͓̽d͓̽e͓̽s͓̽k͓̽t͓̽o͓̽p͓̽

{ 𝔱𝔥𝔢 𝔬𝔫𝔩𝔶 𝔯𝔢𝔞𝔰𝔬𝔫 𝔗𝔥𝔢 𝔚𝔥𝔦𝔱𝔢 𝔓𝔲𝔟𝔢 𝔠𝔞𝔫 𝔰𝔱𝔦𝔩𝔩 𝔢𝔵𝔦𝔰𝔱 𝔦𝔰 𝔟𝔢𝔠𝔞𝔲𝔰𝔢 𝔰𝔬𝔪𝔢 𝔬𝔣 𝔬𝔲𝔯 𝔯𝔢𝔞𝔡𝔢𝔯𝔰 𝔠𝔥𝔬𝔬𝔰𝔢 𝔱𝔬 𝔰𝔲𝔭𝔭𝔬𝔯𝔱 𝔲𝔰 𝔢𝔞𝔠𝔥 𝔪𝔬𝔫𝔱𝔥 𝔳𝔦𝔞 𝔓𝔞𝔱𝔯𝔢𝔬𝔫. 𝔚𝔢 𝔰𝔬𝔪𝔢𝔱𝔦𝔪𝔢𝔰 𝔡𝔬 𝔱𝔞𝔩𝔨𝔰 𝔞𝔫𝔡 𝔬𝔱𝔥𝔢𝔯 𝔧𝔬𝔟𝔰 𝔟𝔲𝔱 𝔓𝔞𝔱𝔯𝔢𝔬𝔫 𝔦𝔰 𝔥𝔬𝔴 𝔴𝔢 𝔤𝔢𝔱 𝔭𝔞𝔦𝔡 𝔣𝔬𝔯 𝔱𝔥𝔢 𝔞𝔠𝔱𝔲𝔞𝔩 𝔴𝔯𝔦𝔱𝔦𝔫𝔤 𝔥𝔢𝔯𝔢 - 𝔱𝔥𝔢 𝔯𝔢𝔳𝔦𝔢𝔴𝔰 𝔫 𝔞𝔯𝔱 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔰 𝔞𝔫𝔡 𝔰𝔬 𝔬𝔫. 𝔄𝔫𝔡 𝔦𝔱'𝔰 𝔰𝔬 𝔦𝔪𝔭𝔬𝔯𝔱𝔞𝔫𝔱 𝔱𝔬 𝔲𝔰 2 𝔱𝔥𝔞𝔱 𝔴𝔢 𝔠𝔞𝔫 𝔰𝔱𝔞𝔶 𝔦𝔫𝔡𝔢𝔭𝔢𝔫𝔡𝔢𝔫𝔱 𝔠𝔯𝔦𝔱𝔦𝔠𝔰 𝔴𝔦𝔱𝔥𝔬𝔲𝔱 𝔱𝔦𝔢𝔰 𝔱𝔬 𝔟𝔦𝔤 𝔣𝔲𝔫𝔡𝔢𝔯𝔰 𝔬𝔯 𝔦𝔫𝔰𝔱𝔦𝔱𝔲𝔱𝔦𝔬𝔫𝔰, 𝔭𝔲𝔟𝔩𝔦𝔠 𝔬𝔯 𝔭𝔯𝔦𝔳𝔞𝔱𝔢. 𝔗𝔥𝔞𝔫𝔨 𝔶𝔬𝔲 𝔣𝔬𝔯 𝔟𝔢𝔦𝔫𝔤 𝔬𝔲𝔯 𝔬𝔩𝔡 𝔱𝔦𝔪𝔢𝔶 𝔭𝔞𝔱𝔯𝔬𝔫𝔰 - 𝔴𝔢'𝔩𝔩 𝔡𝔬 𝔬𝔲𝔯 𝔟𝔢𝔰𝔱 𝔱𝔬 𝔭𝔯𝔬𝔡𝔲𝔠𝔢 𝔮𝔲𝔞𝔩𝔦𝔱𝔶 𝔬𝔲𝔱𝔭𝔲𝔱; 𝔴𝔯𝔦𝔱𝔢 𝔰𝔱𝔲𝔣𝔣 𝔱𝔥𝔞𝔱 𝔦𝔰 𝔱𝔥𝔬𝔲𝔤𝔥𝔱𝔣𝔲𝔩 𝔞𝔫𝔡 𝔰𝔦𝔫𝔠𝔢𝔯𝔢. }

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