Banner Repeater is an artist-led art organisation: a reading room, and experimental project space, founded by Ami Clarke in 2010.
The project is driven by its location, on Hackney Downs train station, platform 1, dedicated to developing critical art in the natural interstice the platform and incidental footfall of over 4,000 passengers a day provides. This is achieved by rush-hour opening times that attract commuters, and an open door policy maintained 6 days a week. Banner Repeater works with artists to develop new works, through an ambitious exhibition programme installed in a highly visible and accessible project space, with a programme of events, talks, and performances, to introduce discussion and encourage debate of key issues in art today. The reading room holds a permanently sited public archive of Artists’ Publishing, that provides an important bibliographic resource that all visitors to BR can browse, alongside a digital archive of Artists’ Publishing in development.
The project is invested in opening up an experimental space for others that include new commissions, solo exhibitions, group exhibitions, and projects curated by others. Curatorial projects and group exhibitions are also developed by Ami Clarke on occasion - some of which you can view below.
For further information about Banner Repeater please follow this link.
BANNER REPEATER ARCHIVE OF ARTISTS' PUBLISHING + LOW ANIMAL SPIRIT
WITH ISAAC OLVERA: THE DEATH OF PAPER at MUSEO UNIVERSITARIO DEL CHOPO, MEXICO CITY.
Exhibition: 16th April - 28th June 2015.
Banner Repeater presents a selection of works from the Banner Repeater Archive of Artists' Publishing at Museo Universitario Del Chopo, Mexico City.
In tandem with the selection of Artists’ Publishing, a new installation of Low Animal Spirits by Ami Clarke and Richard Cochrane is presented at Museo Universitario Del Chopo.
Low Animal Spirits by Ami Clarke and Richard Cochrane is an algorithm driven by real time data, scripted as a live onscreen score and audio work with automated ‘readers’. Taking its cue from the oft-mentioned loss of the referent in both language and the economy, it is a live model of high frequency trading, dealing in words sourced from global news feeds for virtual ‘profit’, whilst speculating on their usage. The analysis produces new phenomena in the form of headlines generated with the help of Natural Language processing algorithms, tweeting live from Mexico City throughout the exhibition period @LowAnimalSpirit.
Isaac Olvera, whose kind invitation brought Banner Repeater, and Ami Clarke, to the residency at Museo del Chopo - presents a new work in tandem with Low Animal Spirits: The Death of Paper - an enquiry into a months worth of Mexico City newspaper publishing on paper. The work has been developed over the residency period, where Low Animal Spirits and the Banner Repeater Archive has provided a locus for discussion through workshops and seminars with an open invitation to all.
publication developed with contributors to the seminars and workshops,
will be published by Banner Repeater and Museo Universitario Del Chopo,
later in the exhibition period.
Please see here for more details re Low Animal Spirits:
For more information about Museo Universitario Del Chopo, Mexico City - see here:
ERICA SCOURTI, JESSE DARLING, YURI PATTISON, TYLER COBURN, ANNA BARHAM AND AMI CLARKE.
Opening night: 6.30-9pm 2nd May.
2nd May-20th July 2014
“As the sun sets, it’s red light is supplanted by the light of many neon logos emanating from the franchise ghetto that constitutes this U-Stor-It’s natural habitat. This light, known as loglo, fills in the shadowy corners of the unit with seedy, oversaturated colours.
The business is a simple one. Hiro gets information. It may be gossip, videotape, audiotape, a fragment of a computer disk, a xerox of a document. It can even be a joke based on the latest highly publicised disaster.
He uploads it to the CIC database - - the Library, formerly the Library of Congress, but no one calls it that anymore. Most people are not entirely clear on what the word “congress” means.
And even the word “library” is getting hazy. It used to be a place full of books, mostly old ones. Then they began to include videotapes, records, and magazines. Then all of the information got converted into machine-readable form, which is to say, ones and zeroes. And as the number of media grew, the material became more up to date, and the methods for searching the Library became more up to date, and as the methods for searching the Library became more and more sophisticated, it approached the point where there was no substantive difference between the Library of Congress and the Central Intelligence Agency. Fortuitously, this happened just as the government was falling apart anyway. So they merged and kicked out a big fat stock offering.” (Neal Stephenson: Snow Crash, 1992.)
In Neal Stephenson’s science fiction of 1992, Snow Crash is a computer virus that can also infect humans; “crashing their neocortical software and turning them into mechanized entities who have no choice but to run the programs fed into them” (1) and provides the subtext for concerns relating to the erosion of subjectivity and what amounts to free will. Two different types of language are identified by the software: ‘the librarian’, one that functions as an operating system for the brain, meta-viral protocols for living, and the other that operates as a counter virus seemingly liberating the people through self-reflection. Writing in 1992 Stephenson is intent on privileging the remnants of the liberal self that constitute the individual that notably is produced by market relations and do not predate this. In the intervening decades it can be seen that increasingly through the application of big data, both surveillance and marketing drives thrive, whilst structural feedback loops ‘reify and reinforce certain cultural, racial, gendered assumptions and misconceptions, limiting users to a particular stream and thus perspective’. (2)
Blurring the lines between what we might regard as code where ‘saying’ coincides with ‘doing’, through the problems inherent to computational linguistics where language resists easy processing, artists’ works emerge from the tangle of human and multi-media assemblage, leading to ideas of the de-centred human subject through their production.
"The recursivities that entangle inscription with incorporation, the body with embodiment… invite us to see these polarities not as static concepts but as mutating surfaces that transform into one another,” …”technology not only as a theme but as an articulation capable of producing new kinds of subjectivities”. (3)
(1) Katherine Hayles: How We Became Post-human. (2) Jean Kay aqnb interview with Yuri Pattison 20/01/2014. (3) Katherine Hayles: How We Became Post-human.
Banner Repeater is an artist led reading room and project space, founded by Ami Clarke in 2009, situated on Platform 1, Hackney Downs railway station, London E8 1LA.
The reading room holds an archive dedicated to artists printed material and is home to Publish and be Damned's public library. It provides an important bibliographic resource that all visitors to BR can browse. The bookshop holds a selection of artists' publications for sale.
The project space has an ambitious exhibition programme of new art work installed in a highly visible and accessible location and a vigorous programme of talks, events and performance.
The project is driven by its location, dedicated to developing critical art in the natural interstice the platform and incidental footfall of over 4,000 passengers a day provides. This is achieved by rush-hour opening times that attract commuters, and an open door policy maintained 6 days a week.
The emphasis on multiple points of dissemination, via pamphlets and posters published from the site, and the other free material we distribute, as well as on-line activities, and the siting of the archive of artists printed material as a public library; a resource to be utilised by both local community and visitors in a working station environment, remain key.
Banner Repeater is a not-for-profit organisation and has been supported by the ESF Hackney Council, as well as the Arts Council England, the Elephant Trust, the Chelsea Arts Club Trust (2011/12 artist-led space award), and the Italian Cultural Institute.