Carroll / Fletcher

Eva and Franco Mattes @ Carroll/ Fletcher, Jun 9 – Aug 27

7 June 2016

New York-based artist duo Eva and Franco Mattes are presenting their exhibition Abuse Standards Violations at London’s Carroll/Fletcher, opening June 9 and running to August 27.

The pair, who are arguably most famous for their inception of fictional person, Darko Maver, a Serbian artist who made very realistic replications of brutal murder scenes and posted them on social media to get attention (as the story goes), will make all new work for this coming exhibition.

According to the artists’ website, which seems to talk to potential fans that are reading, in the space will be the “next 3 episodes of Dark Content, several crowdsourced performances from the series, Befnoed, and a new work about content moderators guidelines that were leaked to us…”

Abuse Standards Violations will focus thematically on the pair’s long-term examination of imagery that is deemed too dark to be seen on the web and is routinely censored before reaching our eyes by underpaid workers.

Also showing in the London gallery will be a solo show, Planetary-scale Computation, running for the same duration by Joshua Citarella.

See the Carroll/Fletcher website for more details.**

Eva and Franco Mattes, Panick Attach (2016). Installation view. Courtesy SPRING:BREAK and the artists
Eva and Franco Mattes, ‘Panic Attack’ (2016). Installation view. Courtesy SPRING/BREAK and the artists.



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Neoliberal Lulz @ Carroll/ Fletcher, Feb 11 – April 2

8 February 2016

The Neoliberal Lulz group exhibition will run at London’s Carroll /Fletcher, opening February 11 and running until April 2.

The show’s press release explains the relationship between the collapse of the gold standard and the rise of conceptual and immaterial art in the early 1970s. How do artists avoid or address the issue of making a commodity now, in a neoliberal framework where the dynamic of the financial market is no longer necessarily understood to be in a volatile, global and sparse field but held by fewer and more powerful corporations.

Artists Constant Dullaart, Femke Herregraven, Émilie Brout & Maxime Marion, and Jennifer Lyn Morone are included in the show.

See the Carroll / Fletcher website for more details**

Émilie Brout & Maxime Marion, Les Nouveaux chercheurs d’or (The New Gold Diggers) 2015. Courtesy the artists.
Émilie Brout & Maxime Marion, ‘Les Nouveaux chercheurs d’or (The New Gold Diggers)’ (2015). Courtesy the artists.
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Jesse Darling + Juliet Jacques @ Carroll / Fletcher, Nov 11

10 November 2015

Author Juliet Jacques and artist Jesse Darling discuss digital spaces and trans* identities at a sold-out event at Carroll / Fletcher on November 11.

The event is part of a special season-long series collaboration titled Networked Culture, Digital Politics between Carroll / Fletcher and Verso Books which examines the relationship between culture and digital technology.

Jacques, author of Trans: A Memoir published by Verso this year, joins artist and writer Darling to discuss feminist thought, queer theory, non-binary and trans-identities and “their articulation in online spaces”, as well as the general artistic practices and explore both body and technology.

See the event page for details. **

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Kim Asendorf + Ole Fach @ Carroll/Fletcher, Jan 22 – Feb 21

19 January 2015

Carroll / Fletcher is bringing artists Kim Asendorf and Ole Fach together for a two-person exhibition titled Computer’s World and running at the London space from January 22 to February 21.

The fictive world created by the two artists ascribes markers normally associated with sentience to machines, creating a uncanny “familiar world made strange” in which the machines do as humans do, looking, analysing, expressing, rejoicing, “all the while watching us, consuming us, reflecting us, learning, becoming… becoming us.”

While Asendorf and Fach’s show questions how computers experience the world, Helen Carmel Benigson‘s opening night performance, ‘Anxious, Stressful, Insomnia Fat’, inspired by a health app that monitor’s women’s bodies, uses everything from a rap performance by alter ego Princess Belsize Dollar to live female weightlifters to explore the”flatness prescribed by the Internet onto the body”, much like Kate Cooper’s recent show at the KW Institute for Contemporary Art.

See the Carroll / Fletcher exhibition page for details on Computer’s World and their event page for details about Benigson’s performance. **


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Constant Dullaart @ Carroll / Fletcher, Jun 12 – Jul 19

10 June 2014
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‘The Uneventful Day’ @ Carroll / Fletcher, Nov 27

21 November 2013

London gallery Carroll / Fletcher is presenting The Uneventful Day group exhibition, featuring artists Jim Woodall, Alexander Page and Luke Burton, opening November 27 and running to December 21.

The three artists investigate the relationship with landscape and architecture and their role in shaping memory and temperament, social and political networks, through sculptural installation, photography, video and illustration. In setting the natural against the urban environment and exploring their effects and outcomes, it makes you wonder, with all this focus on the impact on the online interface, whether we haven’t skipped a step or two.

See the Carroll / Fletcher website for more details. **

Header image: Alexander Page, ‘Wherethrough gleams that untravelled world’ (2013).

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Michael Najjar now represented by Carroll / Fletcher

10 September 2013

Berlin artist and “future astronaut” Michael Najjar is now being represented by London’s Carroll/Fletcher.

Practicing in Berlin since 1988, the artist working within photography and video approaches his ‘visual futurist’ practice by fusing reality with the virtual utopias one can only hope to look forward to in a rapidly evolving technological era, giving form to his visions of a ‘telematic society’.

See the Carroll / Fletcher website for more details. **

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‘Emily’s Video’ by Eva and Franco Mattes explored

19 April 2013

People look shocked in Eva and Franco Mattes latest work ‘Emily’s Video’. Some hang their heads in shame; others cover their eyes. It’s unclear they’re watching but the artists assure us it’s “the worst video ever”. The original clip these volunteers are watching is never actually shown. In fact, it’s said to have been destroyed, along with anonymous P2P network ‘darknet’, which the blurb for Carroll / Fletcher’s Brand Innovations for Ubiquitous Authorship -running Saturday, April 23 to Thursday, May 11 -claims is “the internet’s disturbing alter ego”. It must be something terrible.

Then again, some people are looking through the gaps of their fingers, others laugh off what they see. Very few ignore the footage completely. It must, then, be an ‘intolerable image’, close to the one philosopher Jacques Ranciere describes as unwatchable “without pain or indignation”. Yet, oddly, it also seems optimistic. We’re not shown anyone masturbating, for example, which by the way, did happen when Franco Mattes staged a suicide in ‘No Fun’ (2012) on random access, peer-to-peer web-cam site Chatroulette.

You might argue the volunteers knew what they were up for. “NOTE: Emily’s Video is extremely graphic and extremely violent. EXTREMELY. We don’t recommend it to anybody”, runs the artist disclaimer. The viewers are primed for what they’re about to watch, and, in a sense, made to feel they should be guilty before they record themselves. And that’s just it. Afterfall editor Melissa Grunland notes that their skill lies, not just in the fact they work online but that they know how to tell stories and manipulate emotions. Arguably one of their cheekiest works, ‘NikePlatz’, saw the two Mattes’ install a fake headquarters in Karlsplatz, Vienna, claiming that the company had bought and re-named the square, causing an uproar and provoking an unsuspecting audience.

‘Emily’s Video’ questions trust to an even greater degree and that includes our very own reactions. Artinfo’s Ben Davies argued that, essentially, the Mattes’ “hijack the ‘Two Girls One Cup’ reaction-video craze of a few years ago”, where two fetish stars eat each others excrement, and add a bit of mystery by deleting the original video. But their artwork is not a ready-made and the point is not so focused on our shock towards the darkest parts of the internet but that we rely on users’ expressions to make judgments on what they see, and how they behave.

Fact and fiction, reproduction and authenticity, this is how we, as voyeurs, come to understand a subject and how we gauge our opinions in relation to another audiences’ reaction. The idea of an original ‘Emily’s Video’ points to a deeper Internet and a deeper truth. ‘Darknet’ is a real area of cyberspace that only users with software such as Freenet currently have access to. Whether these software programmes have a potential to unlock a Web 2.0 version of Pandora’s Box is yet to be seen. **

‘Emily’s Video’ is showing alongside the Eva and Franco Mattes-curated grup exhibition, Brand Innovations for Ubiquitous Authorship, at Carroll / Fletcher Tuesday, April 23 to Saturday, May 11, 2013.

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