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12th Annual Critical Finance Studies online Conference
put together by Ariane Agunsoye & Emily Rosamond,
on Friday 28th August 13:30 – 14:30
for the Art, Finance and Culture panel.
Talking about The Underlying and the management of risk in 'unprecedented' times
#thefuturesmarketmeetsbehaviouralfutures
Real Time is a hybrid, multi-platform project reflecting on time and the present – a deep breath, a slowing down, a taking stock.
at Seventeen gallery from June 20th - July 18th 2020
Rejecting the anxiety-inducing FOMO of the current livestream drive, Real Time is a slowly unfolding project engaged with a mode of deceleration, instead of ramping up the feeling of ‘constant now’ we so desperately need to leave behind. Consisting of contributions from artists, designers, writers and musicians, this exhibition takes place across various spaces, from gallery website, to radio, social media, playlists, PDF publication and email. Taken as nodes in an organic, reactive network, the constituent parts will collide, overlap, bounce off of each other and the outside world to create refracting frictions and possibly, hopefully, portals for a slow, contemplative meditation.
At its core, Real Time offers an optimistic, progressive vision of art and its reception. The project advocates a change of pace, reversing the trend of an increasingly accelerated response to the now, exploring alternative models of being and comprehension, through the elusiveness of the present.
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Please note that this exhibition takes place online across a variety of platforms. Works will be released slowly over the duration of the show.
such a great take on my work The Underlying (@arebyte gallery 2019) which pre-empts many of the conditions brought into sharp focus by the Covid19 pandemic, from Jamie Sutcliffe, writing in this months Art Monthly - tnx @introndepot @art_monthly_uk - here’s a quick excerpt below referring to The Underlying:
“…two recent projects by Adham Faramawy and Ami Clarke have built complex animatic interfaces that are receptive to both the personal and economic fluctuations of a ‘pharmaco-pornographic’ era in which rogue biochemical agents unprecedentedly affect the production and maintenance of life. Both works present composite images that differ formally from the cartoon-like animations discussed so far, but nonetheless allude to important considerations of the animatic subsumption of emergent life worlds.”
“The economic effects of this biopolitical transformation have been recently mapped in an impressively diagnos-tic way by artist Ami Clarke, whose exhibition ‘The Underlying’ at London’s Arebyte Gallery in 2019 presented a daunting image of market responses to the shifting perceptions of Bisphenol A’s (BPA) expo- nential presence in global water supplies and foodstuffs. A product of polycarbonate plastic production, BPA’s structural similarity to oestrogen risks unpredictable effects on human cellular and reproductive health through molecular absorption. Clarke’s film Lag Lag Lag and VR work Derivative, both 2019, fuse the financial analytics toolset of live sentiment analysis of online news feeds covering BPA with fluctuations in pollution data, the ‘health’ of the FTSE 100 and a dauntingly totemic 3D model of the chemical structure of Bisphenol A. The result is a brilliantly paranoid-critical interface that animates the codependencies of human and non-human cognition as they coevolve within the animatic apparatus.”
pls support the mag by buying this months copy which has the full article ‘On Animatics’ by Jamie Sutcliffe
(Art Monthly no. 436, May 2020) and many more great articles and reviews.
CLOT Magazine is an online publishing platform dedicated to art and science explorations who aim to collect, display, broadcast and promote the crossover of Art, Science and Technology.
