Pandemonium (working title) is a new work by Ami Clarke, commissioned by Radar for Risk Related and subject to further development through Clarke's residency at ZKM | Center for Art and Media Karlsruhe in May 2021. It forms part of an ongoing body of work by Clarke exploring probability and risk within surveillance/disaster capitalism from a trans-feminist post-human position. With these themes finding an inadvertently timely focus with the spread of COVID-19, it draws on her investigation into the faultlines of disaster capitalism via the enmeshed ecologies of media, finance and the environment—underpinned as they are by the neoliberal paradigm of financialisation and privatisation—in both the short-term of the pandemic, and the longer-term of ongoing environmental concerns.

See the work and read the article at
Radar, Loughborough’s website

‘On Animatics’

by Jamie Sutcliffe

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“…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.”

 

...“The economic effects of this biopolitical transformation have been recently mapped in an impressively diagnostic 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) exponential 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.” 

(Art Monthly no. 436,

May 2020)

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Ami Clarke 'the eye that remains of the
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