

about
I am an artist working with art and technology, critically engaged with the complex protocols of platform and surveillance/disaster capitalism in everyday assemblages, with a focus on the inter-dependencies between code and language in hyper-networked culture. I utilise various digital media, often distributed, with aspects of live programming, to produce: video / sound works, sculpture and Virtual Reality works, that often come together as installations. My work is conceptually framed in ways that critique is articulated through it’s production, drawing out new behaviours emerging from human engagement with technology, through performative modes. Experimental writing methods and strategies, often drive the work, in both an on and offline context, as well as spoken word performance.
Post-Human.
As a child I experienced first hand the desire of parents to ‘edit’: to modify the growth and development of their offspring. I was sent to the Tall Girls Clinic, Great Ormond street Childrens Hospital, as an anomaly in the acceptable height graph for a then female child. Thus affording me a perspective that foregrounded the body and gender with a plasticity run on bioinformatic code. Something that I have embraced through a posthuman lense, a machine aware of being a machine (Paul B Preciado) whereby the knowledge afforded by this deconstruction brings forth the potentiat to construct things differently to the past.
My ongoing body of work explores probability and risk within surveillance/disaster capitalism from a critical xeno-feminist post-human position. I am interested in acknowledging, and thinking through the complexities of the subject emerging in synthesis with their environment, from a critical intersectional position. What that means is there is an emphasis on grasping something of the complexity of the multi-temporalities and scales, cross-species contaminations and alliances, necessary to confront the environmental challenges ahead - within an evolving awareness of power relations, which necessarily take into account colonial histories as well as neocolonial extractions of value.
I am also founder of Banner Repeater; a reading room with a public Archive of Artists’ Publishing and project space, opening up an experimental space for others, on a working train station platform at Hackney Downs station, London. Ideas that come of publishing, distribution, and dissemination, that lead to a critical analysis of post-digital art production, are shared in my practice as an artist and inform the working remit of Banner Repeater. I developed the Digital Archive of Artists' Publishing (DAAP) with a team of people that gathered around Banner Repeater.
My work is included in Information edited by Sarah Cook (2016) - an art-historical reassessment of information-based art and exhibition curation, from 1960s conceptualism to current digital and network-based practices - Whitechapel Documents in Contemporary Art and MIT press series. See here for more details: https://mitpress.mit.edu/books/information.
The Underlying is currently being written about in four journals to be published shortly.

Ami Clarke teaches at Central Saint Martins Masters of Fine Art and Chelsea College of Art (UAL), and across the UK, with a focus on post-digital strategies in network culture. She has run Post-human studies summer school at CSM - "Art after the internet". She taught the critical studies seminar series: Post-digital art: Hybrid Strategies in Networked Culture at Goldsmiths BA Fine Art and Creative Computing BA 2016-18.
employment / teaching posts
Central Saint Martins University of the Arts,
MA Fine Art Associate Lecturer, 2014-23
Chelsea College of Art, University of the Arts,
MA Fine Art Associate Lecturer, 2019-23
Post-digital Art: Hybrid Strategies in Network Culture
Goldsmiths University of London Critical Studies
BA Fine Art Associate Lecturer, 2016-18
CSM, BA Fine Art, Critical Studies Associate Lecturer, 2014
CSM, BA Fine Art, 4D pathway, 2014
CSM, BA Fine Art, Critical Studies Associate Lecturer, 2014


published:
Language In A Meme Economy
by Ami Clarke
Digital Ecologies - The International Journal of Creative Media Research
DOI: https://doi.org/10.33008/IJCMR.202016 | Issue 5 | October 2020
or you can find it on Academia.edu as the link seems to keep changing:
https://www.academia.edu/72310932/Language_in_a_meme_economy
Sonic Acts Academy publication - Q and A with Ami Clarke
by Marija Bozinovska Jones
Text as Market
by Ami Clarke
published in Artists Re:thinking the Blockchain.
published by Furtherfield and Torque. Editors, Ruth Catlow,
Marc Garrett, Nathan Jones and Sam Skinner.
download https://torquetorque.net/publications/artists-rethinking-the-blockchain/
Ami Clarke: Author of the Blank Swan
published by Banner Repeater 2015
Low Animal Spirits by Ami Clarke.
Journal of Visual Art Practice
Volume 15, 2016 http://www.tandfonline.com/doi/abs/10.1080/14702029.2016.1228759
Information
edited by Sarah Cook (2016)
an art-historical reassessment of information-based art and exhibition curation,
from 1960s conceptualism to current digital and network-based practices
Whitechapel Documents in Contemporary Art and MIT press series.
See here for more details: https://mitpress.mit.edu/books/information.
The Clearing "[...] Cryptic architecture, where form no longer reveals function.
They seem to contain the codes of some mysterious mental process" J.G. Ballard
The Atrocity Exhibition 1969. http://www.slashseconds.org/issues/003/002/articles/aclarke/index.php
Banner Repeater: An interview with Ami Clarke
Ashley Janke May, 2017 http://temporaryartreview.com/banner-repeater-an-interview-with-ami-clarke/
Interview with Banner Repeater’s Ami Clarke (Founder/Director)
http://fadmagazine.com/2016/08/09/interview-banner-repeaters-ami-clarke-founderdirector/

