Shane Hope.

Shane Hope works with future forecasting and speculative technologies. His Atomolecular Collages/Assemblages prints anticipate their own actualization in the coming age of molecular manufacturing; the models are drawn/built with customized versions of software that bio- and nanotech firms typically use for theoretical molecular research and pharmacological development. In response to the possibility of performing computations on dumb matter, Hope's Folk Computronium Laptop sculptures map folk art tactics upon the ubiquitous manufactured form of the laptop. To generate a graphic portrait of the link between globalized manufacturing methods and the mythic information economy, he recently produced Speculativernacular Blog Botherings; future dated, unfinished, typos and misspellings laden paintings, all off-shored, written in specialized futurist jargon and/or technobabble about post-singularity technological backdoors to the afterlife, H+ technologically augmented children, extreme synthetic biodiversity, runaway artificially intelligent self-evolving species and infectious anti-patent gene hacks.

http://www.shanehope.com

Goldin+Senneby

Goldin+Senneby is a framework for collaboration between artists Simon Goldin and Jakob Senneby; exploring notions of economic fiction and immaterial place. Their work includes The Port (2004-06), a virtual
island inside Second Life which they used as a point of departure for a series of projects addressing notions of publicness enclosed in a “social software”. Their current project Headless (2007-), looks at strategies of withdrawal as generating myth, specifically tracing an offshore company on the Bahamas called Headless Ltd. For MyComputer Goldin+Senneby are showing AfterMicrosoft (2006-07), an installation piece in which they have (re)visited the physical site of the most distributed image ever.

"The most distributed image ever is being phased out. What remains is a hill in Sonoma Valley, California. In the context of this project we have re-visited the hill. Download AfterMicrosoft as desktop image" Download

www.goldinsenneby.com

Goodiepal

Mr Scandinavia (I believe he is from the Faroe Islands) did a hell of a lot of whistling whilst moving toy planets around a graph paper. He then produced his mechanical bird which continued his whistling through the PA to sound like sitting outside on a summer's day. He then went back to his music box and whistling, now moving small bells around the graph paper along with the toy planets. To be blunt, it was terrible" - recent review of a Goodiepal live set.

The collection of words above relates to Mr. Kristian Vester a.k.a. The Goodiepal/Gaeoudjiparl/Manipal Inv/Gamers In Exile, a throughly silly musician shrouded in a smelly cloud of deep mystery.

This is true: he has a big beard & a bowl-head haircut and composes music: sometimes for his own uses and sometimes for some big clients, notably Warners (adverts for The Matrix), Carlsburg, Bang & Oluffson, Nokia, Hitachi, Statoil and Chupa Chups. His 'inverted brand series' did just that, a series of 7 inches that basically dragged the sound design work he had done for the afore mentioned companies through a scratchy bush backwards. As a live act he maybe on his own, bringing to the stage mechanised birds, planetary models and historical recordings of ancient rites recorded in magnetic stones, whilst playing a lute and whistling folk, and occasionally 'The Heart Must Go On' by Celine Dion. Pretty much everything he's done is available from his website for free download. He effectively scares people with his unique oddness.

I booked him to play at a gig I organised a few years back, I'm glad to say that although hardly anyone actually turned up, those that did will not forget the experience. Borrowing a couple of laptops the audience were invited to interact with his Maxgumtree environment.

These things are rumour: he is part of the family that invented Lego, he lives in the Faroe Islands as a nurse for the elderly, he has seen fairies on a hill in the Faroes, fell into a trance and woke up with his boots full of milk.

(text from: http://www.everyoneforever.com/content/2006-10-12/the_goodiepal)

http://brainwashed.com/vvm/micro/parl/index.htm
http://video.google.co.uk/videoplay?docid=5794365993783839326

Anna Wignell

Jag arbetar med video, ofta realtidsprocessad i installation. Ofta med konkreta referenser till mediet självt, den digitala bilden och det digitala videomediet som är konstruerat av beståndsdelar så som format, upplösning, uppdateringsfrekvens. Jag intresserar mig för de maktstrukturer som mediet inbegriper och hur dessa fungerar i relation till hur vi varseblir och producerar vår verklighet. Genom verken analyseras och lyfts mediet ut i det sammanhang och den verklighet det representerar. Baserade på en högst subjektiv tolkning gestaltas mina verk ofta i en strängt förenklad och konkret iscensättning.

Om verket:

On a black background, an undefined space, white particles are created and moving around. The particles are digitally generated in a computer program. Their amount and way of moving is decided by setting values (into numbers). In this way the work constitutes the
part of eternity which it by its title claims to be.

Mot en svart fond, i en obestämbar rymd bildas och rör sig vita partiklar. Partiklarna genereras I ett dataprogram.. Dess antal och rörelsemönster bestäms av givna siffervärden (tal). Härigenom utgör
verket den del av evigheten som det genom titeln gör anspråk på.

I matematiken är logiken fulländad. Verket “Part of eternity” refererar till denna logik genom sin titel; vissa givna värden, tal utgör hela förutsättningen för bildens existens. Med denna titel öppnar verket upp till alla tänkbara associationer, sin konkreta utformning till trots.

Videoverket ”Part of eternity” har gett upphov till ett antal ramade fotoutskrifter. Alla är unika (finns inte i upplaga) och fungerar på så sätt som en version av videoverket.

Part of eternity

http://www.annawignell.com/

Founder of Elgaland: Leif Elggren
Founder of Vargaland: CM von Hausswolff

The Kingdoms of Elgaland-Vargaland [KREV] were proclaimed in 1992 and consist of all Border Territories: Geographical, Mental & Digital. You are currently visiting the KREV digital territory as a citizen or as a tourist. You are encouraged to browse the digital territory of the Kingdoms: www.elgaland-varagalnd.org
Elgaland-Vargaland is the largest – and most populous realm on Earth, incorporating all boundaries between other nations as well as Digital Territory and other states of existence. Every time you travel somewhere, and every time you enter another form, such as the dream state, you visit Elgaland-Vargaland.

http://www.elgaland-varagalnd.org

Sture och Charlotte Johannesson

Charlotte Johannesson har en bakgrund som textilkonstnär och Sture Johannesson som grafisk bildkonstnär. Under 1960-talet drev de tillsammans ett galleri i Malmö och blev kända för politiskt provokativ konst i psykedelisk undergroundstil. Sture Johannesson började sina första experiment med stordator 1970 tillsammans med Sten Kallin, IBM Stockholm. Syftet var att utforska möjligheterna med Computer Graphics. De utvecklade ett bildsystem som interagerade med långsamheten hos den tidens plotterskrivare
Under 1977-86 utvecklade Sture och Charlotte Johannesson den digitala bildstudion Digitalteatern. De hade stöd från Steve Wozniak, Apples grundare, och Stiftelsen för teknisk utveckling. De hade nio stycken Apple II i ett nätverk, alla kompletterande med olika interface och grafikkort. Detta gjorde det möjligt för dem att digitalisera fotografier och arbeta med ett mer illustrativt bildspråk. Här stod Sture mer för den tekniska och Charlotte mer för den konstnärliga sidan av bildmakandet.

http://www.sturejohannesson.com

Bill Drummond

Bill Drummond (b. -53) is an artist with long experience from the music industry, for example as manager of Echo & The Bunnymen and as co-founder of The KLF. When leaving the music industry, Drummond started The K –foundation to burn the money earned in different kinds of art-projects, like NO MUSIC DAY or an attac on the Turner Prize. The last million pounds sterling were literary burned. The last years he has concentrated his work on The 17:

All music is written now to be recorded and to be heard over and over again. And all music heard is related to some sort of recording. Music is easy to save and spread. We can listen to any recorded music, from the entire history of recorded music, wherever, whenever, while doing whatever we want. In a time when we easily can get any recorded music, our relationship to music is changing fast. A by-product of this is that recorded music will no longer contain the meaning it once held for us. The era of recorded music is now passing and within the next decade it will begin to look and sound like a dated medium. Recorded music will be perceived as an art form very much of the 20th century.

What would it be like to start music all over again? And if it started over again, where would it go? To try these ideas, most important is to never make a record. To try these ideas, Bill Drummond has started The 17.

Down below follows the first chapter from Bill Drummond’s forthcoming book about The 17, which will be out by the end of July: Visit gallery to read more...

First chapter

www.penkiln-burn.com

Ian Campbell

Ian Campbell is a multi-media artist from Canada who works with discarded technology, shadows and tiny computers. Much of his work revolves around the nature of machines as well as people. He enjoys giving the useless and the obsolete the dignity and life they have so recently lost.

http//www.iancampbell.org

Kristoffer Zetterstrand

Zetterstrand's oil paintings are often characterized by the blend of realistic and pixelated elements, by imagery charged with references to the history of art, as well as narratives powered by contemporary concepts and issues. What one may not be able to grasp through the encounter with his pieces, is the whole world of setting up and production behind what is displayed, a process of vital importance in the understanding of the artist’s world of practice. The process of arriving at one of the paintings, begins in Zettestrand’s computer, where he generates sceneries and brings to life stages and set-ups, to be used as virtual still-lifes. Zetterstrand sculpts the architecture and the different parts of the environment in 3D software, using polygons and NURBS, and apply textures to it. These textures consist of various imagery - he samples pieces of his own earlier paintings, pictures found online, screendumps from computer games and pictures from his vast collected art archive consisting of over sixtythousand paintings. The computer-scetching process can take days or weeks, but during this work the facility and speed of the tools enables him to follow his impulses to try out new angles, switch backgrounds and picture elements in an instant, change the lighting and camera angles et.c.

For Zetterstrand, the 3D software has become a tool which he uses intuitively while constructing the motifs. His carefully composed virtual still-lifes often take the form of scenographies, where the landscape part is represented as side-scenes to which the figures relate. The figures, side-scenes and the dark space are parts of the same microcosmos being materialized in the paintings, like a play being performed on a stage. Important aspects are the interplay between the flat surfaces and the 3D-environment, and the possibilities that arise from that relationship as the image is being translated into painting.

For even though the digital part of the practice is essential for his work, the finished work being oilpainting is a necessary prerequisite. The computer-made images are motifs for painting, and no more a finished work than a traditional still-life is. The painting is what gives life to the images, and the craft of painting, with the possibilty that it gives for improvisation and painterly reformulations of the motifs is the most important part of his work.

http://zetterstrand.com/

Ola Pehrson

Ola Pehrson (1964 – 2006)

In the installation Yucca Invest Trading Plant, the electrical impulses generated by a yucca palm is translated into the stock market’s codes for buying and selling. A computer software retrieves the data from the plant via electrodes and transmitters and links them to an online source for stock trading. The plant is hence trained in the market economy and depending on its success of investment, it is rewarded according to its own vital values: water and light.

In the exhibition MyComputer, the Yucca Invest Trading Plant is presented as a documentation of the original installation. As the computer software would have to be reprogrammed and new online sources to be found a decision was made by the curators and the Ola Pehrson Foundation to re-enact the work as an almost identical illustration of the online trading original. As an addition to the work, artists have been invited to contribute with remixes on the original which will be presented on a website following the exhibition.

The Ola Pehrson Foundation has been established to create a structure and maintain documentation around the art works left behind by the artist after a tragic accident in 2006. An extensive retrospective exhibition and publication is currently in production where the exhibition has been presented in Ljubljana, Belgrade and will open at Färgfabriken in October 2008.
For more information about Ola Pehrson, please visit: www.olapehrson.com

http://www.olapehrson.com

Arne Kjell Vikhagen

Arne Kjell Vikhagen is an artist living in Göteborg. He also works as a teacher at Valand School of Fine Arts, and is currently working on his practice-based PhD project on game art.

http://www.vikhagen.net

Mateusz Pozar

Mateusz Pozar is with his background within photography and journalism interested in borders and principles - in accordance with what categories are we relating to our surroundings, and what conclusions can we draw based on these categories? His artistic work often make an attempt at being self-explanatory, bordering on self-annihilating, (as
in the video work Burn All Flags, 2003, wherein all the worlds national flags were burned, or as in his MFA work from Valand school of fine art in 2007, Locks, Lockpicking, Security, which took the form of a lecture on lockpicking) but often fail in their contradictory ambition of being both a statement of principles and a work of art in itself. Mateusz' work can be found in the gap between the well thought-through plan, and the subsequent failed execution of it; as a constant drive to define ones surrounding.

Virtual Photography from 2004 is primarily concerned to find out if photography as a phenomenon can be said to exist in computer generated worlds. The work was accompanied later with an essay titles "Is virtual photography, photography" which posed that photography should be seen as a social phenomenon rather than a technical definition of a process. The
photographies from the Virtual Photography series are taken exclusively in three-dimensional computer games, and bring to mind land- & city-scape photography; The goal is not to mask the origin of the images, nor to blend the virtual world with the physical, but rather to point out that as far as photography is concerned, there are more common
than different denominators between the virtual and the physical photograph.

Johan Löfgren

Johan Löfgren is born and lives in Stockholm, Sweden

//Text: Mathias Jansson

Dagens grafik närmar sig allt mer verkligheten, upplösningen bli högre och högre och därmed bättre och bättre. Nya tekniker som t ex HD-TV gör att det blir allt svårare att avgöra vad som är verklighet och vad som är illusion i det vi ser.
Men så har det inte alltid varit. I datagrafikens begynnelse var allt kantigt och platt. Grafiken byggdes upp av små fyrkanter, den låga upplösningen gjorde att nästan varje kant syntes. Denna typ av datorgrafik utgjorde på sätt och vis sin egen estetik. Man skulle kunna att säga att 80-talets grafiska begränsingar avslöjade bildens former och strukturer. Man skulle kunna jämföra 80-talets arkadgrafik med kubismen, en konstinriktning där konstnärer målade av verkligheten med hjälp av enkla former som kuber och rektangler.
Johan Löfgren är en konstnär som återvänder till de tidiga dataspelens estestik i sin målningar. Han målningar är i stort sett uppbyggga med hjälp av de små fyrkanter i olika färger som bildade arkadspelens grafiska bakgrund och karaktärer. Några av hans tavlor har fått titeln neoarkad och skulle man lägga till ett ism, så skulle man få en konstriktning nämligen neoarkadism som är en bra beskrivning på Löfgrens måleri.
Löfgren förnyar måleriet genom att tillämpa ett synsätt och formspråk lånat från arkadspel. Genom detta synsätt och färgspråk lägger han till nya dimensioner till vårt seende, preics som kubismens målningar avslöjar Löfgrens motivets former och strukturer. Det finns även en lekfullhet, och för min egen personliga del en nostalagi invävd i hans tavlor. I målningen "Assasination of cubism" ser man ett antal av Rubriks kuber där kubens fyrkantiga färgfält sammanflätas i en form av omöjliga figurer. Det är som om själva 80-talets fyrkantiga grafik upplöses och bildar nya former, helt enkelt neoarakadism.
Katalogen "From bits to pieces" innehåller ett kort förord och sedan en färgsprakande kavalkad av neoarakdiska målningar. Myten om att måleriet är dött kan man åter igen lägga avfärda, måleriet är inte dött, det har bara hittat nya inspirationskällor som t ex dataspel.

www.artgame.se

Darsha Hewitt

Darsha Hewitt is an artist from Ottawa currently based in Montréal Canada. She works mainly with hacked electronics, Open- Source programming software/hardware, ageing technology and public vicinities. Her artwork looks at the role of automation in everyday life and how technology-reliant society silences and reinterprets identity. Her Recent exhibitions include: PSE at Video Pool (CA), Damaged Goods at Piksel '06 (NO), Press Play at Interaccess (CA), Racines D'origine with Art origine (FR), Ma culture mes milieu at the Ottawa Art Gallery (CA) and the Make Art Festival (FR), She will be exhibiting in Media Povera at the Ottawa Art Gallery (CA) and with the HTMLles Festival (CA). She teaches workshops on versatile technologies and does mentoring with artists new to digital and electronic media. Darsha is currently the coordinator of the 2nd International PureData Convention.

http://artengine.ca/darsha/

Catriona Shaw

The girl with the curl right in the middle of her forehead...

Miss le bomb aka Catriona Shaw has now gone solo after playing on the underground electropop circuit for almost seven years, under various spooky guises - lead singer of Queen of Japan, founding member of infamous Munich-based punk club Club le Bomb and a visual artist she has collaborated with many different musicians and performers over the years including Electronicat, Gerhard Potuznik, Isabel Reiss, Hans Platzgumer, Kamerakino, Bulent Kullukcu and more.

Also a talented visual artist, Catriona Shaw translates her personal observations about art and popular culture into sketches, videos, and music. Her comic-like narratives arise spontaneously, as though they were diary entries in response to her surroundings. Stories about life and death, characters from the pop or art world, and animals who play human roles reflect her socially critical but usually also humorous thoughts. She also designs, illustrates and does 'drawing installations' trying to push the boundaries of the genre to the limit, more recently where her drawings were utilised as storyboards for short films see here

http://www.misslebomb.net

Pauline Curnier Jardin

Through story-tellings, movies, writings, photos, drawings, room-singing, she
builds up narrations.
She starts to write from concepts such as Magic, Phenomenon, Monster, Myth, Dream.
These usually follow the storyline of an extra-ordinary tale base on memories, real life
events or the creative mind of a "luggage-character" and of a "luggage-story".
The tortoise-man, the canary-man, the playpen-child are uncommon heroes from
contemporary stories. Each and every one of them stands in its own way somewhere
inbetween fake and rough reality, the horrible and the marvellous, the life and the death,
all these qualifications referring to a nostalgic and peotic world. Underlying is something
of a primitive nature, a desire to confront, a crude and funny game sent to the audience
as a teasing action, to remind us how difficult it is to understand the world and to state
what we are, what we love and what we believe in. When and What is the disapointment.
She is a kind of experimental story-teller who try to involve peoples, animals and
palmtrees at the other side of a cardboard screen.
Writing/Hearing/Singing songs like a bird wearing a human face`s fancy mask.

She participates into many live arts projects with diffrent artists (Antonia Baehr,
The scientist stuff, Hèlène Iratchet, Futurftmica)but mostly with the young contemporary
dance scene (LeClubdes5)
The Vraoums is her group of research in experimental room-music.
She also collaborates regulary with the sociolgist Henri-Pierre Jeudy in his
" Bob et David-les Mansardiens" projects and radio-shows (France Culture).

Thomas Broome

Thomas Broomé arbetar ofta med upprepningar, som i den uppmärksammade teckningsserien Modern Mantra där upprepade ord fyller ytorna och formerna – t ex wall wall wall. Ett annat exempel på upprepning är skulpturen Low res man. Den består av målade små glaskuber på 1x1x1 cm, liknande pixlar. En belysning inifrån får skulpturen att framstå som om den tagit ett kliv ut från skärmvärlden, in i vår. Andra återkommande inslag i Broomés konstnärsskap är intresset för psykologi, kanske mest uppmärksammat i spelet Brainball där den som har lägst hjärnverksamhet vinner. Med sådana här betydesleöverskridande grepp visar Broomé på i grunden politiska frågor om hur våra föreställningar och tankar formas av medievärlden. Thomas var även en av de första i en yngre generation som intresserade sig för datorkonst.

http://www.Thomasbroome.com

Andreas Nilsson

Andreas Nilsson, artist and director, based in Malmoe, Sweden.

http://www.nixonnoxin.com

Dånk! presents VÉLOPHONIK v.1.0

Dånk! presents VÉLOPHONIK v.1.0
Sustainable audio pollution in public space. Dånk! is a Göteborg based collective working with art,
design, sound and technology. In this project the Dånk collective examines the audible presence of bicycles in traffic, with the use of green power.

http://www.dånk.se

The Mobile box (presents Christian Pallin presents Le Ton Mité)

‘Lådan/the mobile box’ is an independent artist-run gallery space in Gothenburg, Sweden. Initiated by Mari Lagerquist but is now run by the additional members;
Goran Hassanpour, Nina Lassila and Lina Persson and Alciray Kiryaman.

The gallery provides a platform for temporary interventions in an urban public space and hosts a rolling program of exhibitions. Each artist has an opportunity to design the gallery interior and decides the location of the gallery within
Gothenburg.

http://themobilebox.com