PANDO is a curatorial collective investigating proxy politics as an artistic counter strategy. PANDO@EnclaveLab intends to use this space as a platform for exploring various manifestations of artistic proxies over a 5 week period. These manifestations focus on technological, economical and social conditions the artists deal with by utilizing the proxy as a method of withdrawal from the art market, the institution, authorship or identity politics. The program will consist of five exhibitions, including installation, performance and sonic art, as well as artist-curated exhibitions. Artists/collaborators include The Research Center for Proxy Politics (RCPP), Anne de Boer, Lars Hering, a project by GOLDSMITHSGALLERY hosted by Frederique Pisuisse and many more. PANDO will also produce one para-curatorial event each week. PANDO’s events will be aligned with the current exhibition, however host different individuals research on cyber feminism, surveillance technology, sonic art and moving image.
A proxy can be understood as “politics of the stand-in and decoy” (Levin, Tollmann; 2016). It can take many forms such as a bot, an algorithm, a scam, a sound, an avatar, an alter-ego, a body double, a decentralized and immaterial object or even a curatorial collective. For 5 weeks @EnclaveLab PANDO (an ever expanding collective of thinkers) will inhabit a proxy created by artist Anne de Boer. This proxy acts as a surrogate of both the artist and the collective, as well as an intermediary between them and the public. EnclaveLab will host Anne’s proxy on screens and structures he builds within this space. This forms the physical body of his proxy (through which PANDO also speaks), it will continually morph over the next week to support, retreat from or fit around other proxies which enter the space.
Contributors to PANDO can upload text, images, research on the subject of withdrawal or proxy politics at any time, but by doing so they agree to their contribution being anonymous in an effort to eliminate competition or valour from knowledge production. Likewise Anne’s site uses an algorithm that re-curates the information uploaded. The focus of this collaborative research is on the proxy as an artistic counter-strategy. Exploring the benefits and shortcomings of anonymous critique and relaxed authorship, allowing the production of meaning to happen through the process of distribution. These contributions are gathered by ECKS-EN-IS, an organism and work by Anne de Boer that grows in content and capability. It is accessible online via ecksenis.net/something/ as well as in de Boer’s installation.
Anne de Boer (b. 1987, Enschede NL) is a London based artist actively seeking potential collaboration with different forms of intelligence. Content, either produced or harvested, is being presented, manipulated and arranged through algorithms, shuffle functions, randomizers or other coded structures. Devices that normally function in the background as hosts to works on display, are equipped with tools that allow for forms of communication or contribution to his work as a whole. Currently these results are gathered by ECKS-EN-IS, an organism that grows in content and capability. This part is accessible online via ecksenis.net/something/ as well as in the installation on the screen. De Boer co-founded both HARD-CORE (2011) and the Mycological Twist (2014).
Recent projects include: Planned Obsolescence, Prolog.Vision, Moscow; KOSMO, Kevin Space, Vienna; Polluted&rearranged&garage& virtualized&LOVE&Fighting&repeat&usb&, Hartslane, London; Athens Digital Art Festival, Web Art, Athens; TEXT2SPEECH: Proxy Politics As Withdrawal, ICA, London; Пикник на обочине (Piknik na obochine), EXO EXO, Paris; Two Admirable Uncles Communicating to the Beat, Channel Normal, online; The Ripped Uk Power plug, Goldsmiths Gallery, London; the Mycological Twist / Riverside / Rust, Riverside, Bern.
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