An interview with Monira Al Qadiri<i>Never cargo terminal…</i> @ Smart Objects exhibition photosErica Scourti, <i>Snow Crash</i> + dissolving into dataAn interview with Rachel LordThe problem of Paddles ON!John Seal @ Kraupa-Tuskany Zeidler reviewedAn interview with Harm van den DorpelEd Atkins’ exhibition + performance @ Serpentine galleries reviewedJoe Banks, Disinformation + <i>Rorschach Audio</i> exploredBladee, <i>old swedish hardcore punk</i> mixNicolas Pelzer @ Future Gallery reviewedAn interview with Mat JennerSome highlights from START Art FairAn interview with Hannah BlackA bodily experience of Sónar<i>It’s been four years since 2010</i> @ Arcadia Missa reviewedLooking in on 4REAL: Slava Balasanov interviewedAndrew Norman Wilson @ Project Native Informant reviewedParker Ito @ Smart Objects reviewedAn interview with Kari Altmann


  • Monira Al Qadiri’s socio-ethnic study of affect is central to her work. Often looking at themes connected to mass media, sadness, and what the Beirut-based artist calls “masculine narcissism,” much of her art –produced both in the Middle East and during her 10 years studying in Japan –explores the political contrast between East and West, and how different emotions are portrayed and valorised.
    A founding member of eight-strong Gulf art collective GCC, Al Qadiri is speaking to me over Skype from her flat in the Lebanese capital, where she’s been living for the last three years. She’s just returned from New York where the group…

  • The Lucy Chinen-curated Never cargo terminal has recently discovered the trembling hand of state secrets resounding oversold bounce child – running at LA’s Smart Objects from July 12 to August 8 – lifted its oddball title from a Google-translated text generated from the “Android Swype predictive typing of an ant pathway” by participating artist Adriana Ramić.
    Ramić’s featured drawings and ebook base themselves around something as obscure as the studies of insect movements by French civil engineer Victor Cornetz. They’re then retraced onto an Android Swype keyboard, which in turn predicts subsequent words based on gestures, crowd-sourced dictionaries, official documents, and Ramić’s personal habitual vocabulary.
    Perhaps, because so much of modern language…

  • “I had registered and dissolved. Into code. Into data”, writes J. A. Harrington, acting as conduit to the thoughts of artist Erica Scourti in a ghost-written memoir. The Outage: Her Story (as constructed by Him) is the culmination of mostly public, sometimes private data collected from the internet and surrendered to a stranger to give it subjectivity.
    As part of London project space Banner Repeater’s Snow Crash program, run throughout June and July and taking its title from the 1992 science fiction novel by Neal Stephenson of the same name, the exhibition reflects the overwhelming idea of Big Data through a space brimming with information….

  • “It’s very important to me that I be the change that I want to see in the world,” says Rachel Lord, quoting Mahatma Gandhi, as she explains her views on weed. The multi-discliplinary LA artist is full of surprises. This is why her recent debut solo show, Documental, closed with a lecture on marijuana laws by Professor of Public Policy Mark A. R. Kleiman (who has also unexpectedly joined in on our Skype call) and probably why she’s quoting Gandhi’s now-endlessly-re-blogged words to explain why pot is essential to her install process.
    Lord is passionate about extending the art conversation beyond the confines of the…

  • I’m underdressed. The realisation sets in as two door men dutifully pull open the heavy glass of the Howick Place entrance in London’s Victoria where Paddles ON! is holding its second “digital art” auction. The white walls of the reception area set the ominously neutral tone for what is more of the same upstairs, except for the Warhols and Basquiats that line them, while some appropriately attired people are cradling glasses of wine, eyeing up a Lucien Smith. I don’t think I’m alone in feeling weird as artists and onlookers, clearly not there to bid, wait outside for the 7pm start. It’s an evening…