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South Ho
Still from South Ho, How far are we from the sea, 2017-2018, video.
Nominated by Wendy Wo, CHAT: Centre for Heritage, Arts and Textile.
Ho Siu Nam (South Ho)’s artistic practice began with photography and has since evolved to the inclusion of performance, drawing and mixed media installations. Siu Nam’s (HK) works encompass the wonders and helplessness of living, the spirituality of existence, as well as the socio-political awareness of Hong Kong.
How far are we from the sea reflects on the geographical construction of Hong Kong; particularly the material-intensive processes of land reclamation that turn bodies of water into dry land.
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Antonio Roberts
Antonio Roberts, Nodes, 2020, video featuring live coded audio
Nominated by Charlotte Frost, Furtherfield, UK
Live coding is a performative practice where artists make music and visual art live using programming. This piece seeks to demonstrate the creative potential of this practice, showcasing two prominent software tools, TidalCycles (music) and Blender (visuals). The title refers to how the live coding community consists of nodes spread across the globe, linked by the software and interest in live coding.
Antonio Roberts (UK) is an artist and curator based in Birmingham, UK, working primarily with video, code, and sound. He is critically engaged with the themes surrounding network culture and in his practice explores how technology continues to shape ideas of creation, ownership, and authorship. As a performing visual artist and musician he utilises live coding techniques to demystify technology and reveal its design decisions, limitations, and creative potential
Commissioned on the occasion of Peer to Peer: UK/HK Online Festival 2020 by Centre for Chinese Contemporary Art, Open Eye Gallery and University of Salford Art Collection.
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Sarah Friend
Sarah Friend, clickmine, online game, blockchain-based, 2017. A co-commission by Furtherfield and NEoN Digital Arts Festival, 2017.
Nominated by Charlotte Frost, Furtherfield.
clickmine is a blockchain based clicker game. With each click, you can “mine” a virtual plot of land: each click mints a new cryptocurrency coin on the Ethereum network, as well as allowing the player to buy new power-ups. But what is a token, anyway? As wealth is created, it is also destroyed.
clickmine is a critical look at the tumultuous, hyperinflatory, financial landscape of cryptocurrencies. It also speculates on the historicity of currencies: we can tell much about an ancient culture from excavating coins and other tokens of assigned value. How, then, will historians of the future excavate cryptocurrencies, and what conclusions will they draw about the way we generate and define value?
Friend (UK) is an artist and software engineer, specializing in blockchain and the p2p web.
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Sharon Lee Cheuk Wun
Click to view work.
Sharon Lee Cheuk Wun, Same River Twice, 2020, Gelatin silver prints, 4×5 large format B/W negative films, 6-channel B/W video, 6-channel colour video (sound), links to Google maps.
Nominated by Bess Chan, Hong Kong International Photo Festival.
Lee (HK) approaches the absence, disappearance and the lost in history and memory using an analogue and digital hybrid. She virtually revisits Hong Kong’s Harcourt Road in 2014 using Google Maps’ Street View – she then re-photographs the digital “true-views” with an analogue camera before ‘solarizing’ the images. The haunting results challenge the way we see, remember, and forget.
Lee obtained her BA in Fine Arts from the Chinese University of Hong Kong and is currently an MFA degree candidate at the same university. She was winner of the WMA Masters Award in 2018/19.
Commissioned on the occasion of Peer to Peer: UK/HK Online Festival 2020 by Centre for Chinese Contemporary Art, Open Eye Gallery and University of Salford Art Collection.
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Suki Chan
Suki Chan, MEMORY, 2019, Ultra High Definition Video.
Nominated by Zoe Dunbar, Centre for Chinese Contemporary Art.
MEMORY draws the audience into an appreciation of the contrasts of geological time and a human life span; of neurological processes and geological processes; and unexpected similarities between micro and macro perspectives. Subterranean panoramas of caves are juxtaposed with extraordinary aerial views of Somerset and time-lapse confocal imagery inside a fly. These enigmatic images are given further authority by voice-overs that tell of pilots caught between life and death, traversing the air above the earth, some able to reflect back on their hard-won experiences, some forever silenced.
MEMORY features compelling stories told by former RAF pilot Dave Linney and wartime historian Robbert Turner.
Chan (UK) is a London based artist and filmmaker. She uses a range of media including installation, moving image, photography and sound to explore our perception of reality. Her immersive, mesmerising film works draws the viewer into a cinematic ‘elsewhere’, investigating memory, subjectivity, belief and knowledge systems.
Timelapse confocal microscopy imagery provided William Constance & Darren Williams, Centre for Developmental Neurobiology, King’s College London.
Commissioned by Somerset Art Works. Funded by Arts Council England.
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Shezad Dawood
Shezad Dawood, Leviathan Cycle, Episode 3: Arturo, 2017, single screen 17:25 mins.
Nominated by Skinder Hundal, New Art Exchange.
Leviathan Cycle is a multi-episode film series and part of Dawood’s groundbreaking multimedia Leviathan project (2017-), exploring the intersection of climate change, migration and mental health. Each film has been crafted as a self-contained work blending fictional narrative and documentary footage, with the possibility of being endlessly reconfigured with other episodes to create distinctive storylines extending from the evolving corpus of Leviathan material.
Ben and Yasmine arrive at a strange and enigmatic community based on an island in the lagoon of Venice. They engage in scavenging raids to the mainland and partake in the group’s Bacchanalian orgies. Their gluttonous sexual vagrancy is paralleled with images of overfishing and unnecessary cruelty in the fishing industry of the Mediterranean.
Dawood (UK) works across the disciplines of painting, film, neon, sculpture, performance, virtual reality and other digital media to ask key questions of narrative, history and embodiment.
leviathan-cycle.com/information/
Commissioned by Leviathan – Human & Marine Ecology
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Sarah Eyre
Sarah Eyre, Twitch, shift, jerk, slip, repeat, 2020, still from animated GIF.
Nominated by Stephanie Fletcher, University of Salford Art Collection.
‘Twitch, shift, jerk, slip, repeat’. These are words that describe both my animated GIF and the feeling of being on the cusp; of being suspended between different spaces and states, and the feeling of fragmentation as we navigate unfamiliar terrains, constantly re-drawing our boundaries as our physical presence and visibility in the world continually slips and changes. The piece reflects the way that many of us find ourselves existing in an in-between place, somewhere between virtual and physical worlds, communicating through barriers, windows and screens and having to negotiate the unexpected materialities of this new space including the disruptive buffering, freezing and glitching of our virtual lives.’
Eyre (UK) is a lens-based artist based in-between Manchester and Leeds. She recently completed a practice-led PhD at Manchester School of Art.
Courtesy the artist, commissioned by University Of Salford Art Collection in partnership with Open Eye Gallery.
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Parham Ghalamdar
Parham Ghalamdar, Birds or borders (2020) Stop motion Animation, commissioned by University Of Salford Art Collection in partnership with Castlefield Gallery.
Nominated by Matthew Pendergast, Castlefield Gallery.
Birds or Borders is the title of a short film created using stop-motion techniques, drawing, and collages of archival footage. The film engages with socio-political subjects such as freedom of movement, in a poetic approach to depicting a state of suspension, a situation which most people have experienced during the Covid-19 disruptions. In order to animate such a subject, the film attempts to explore the medium of time by proposing an Absurdist anti-narrative structure of story-telling where there are no punch lines to any of the sequences.
Ghalamdar (UK) is an Iranian-born painter, researcher, and curator based in Manchester. Due to the Covid-19 disruptions and inaccessibility to his studio he is expanding his painting practice into the digital realm by creating montages of stop motion animation from drawings edited alongside collages of archival footage.
ghalamdar.com/
Courtesy the artist, commissioned by University of Salford Art Collection in partnership with Castlefield Gallery.
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Megan Broadmeadow
Megan Broadmeadow, Above The Firmament, 2016 – 2019, VR/360 film
Nominated by Peter Bonnell, QUAD Derby.
Broadmeadow (UK) is a visual artist of Welsh heritage, who lives and works in Bristol. She makes immersive exhibitions which include video, sculpture, performance and digital installation technologies. Above The Firmament is a VR film made as part of Broadmeadow’s touring artwork SEEK PRAY ADVANCE. In biblical cosmology the firmament is a border-space mapped out as a section of the universe which isn’t quite of earth, but is also not quite inside the realm of God. It has been reported as a dome or sphere within which water is held on the earth, a space from which land was formed, a shield from the infinity of deep space and even a vault of heaven.