Pervasive Media Studio’s Post

📢 10 DAYS LEFT TO REGISTER! 📢 What’s this? It’s an annual review of the Margate Art scene. Let’s find out who’s here, what they’re doing and what organisations are working to make art happen in our town. The Margate Artist Almanac is a non-commercial, artist-led initiative to record an annual snapshot of artists, producers, curators and art organisations who are connected to Margate. It will form an historic record of those who are part of the town’s creative scene and help us understand the art landscape in Margate. Together, over the years, we will build a bigger picture of the ebb and flow of the arts. Entries are welcome from: 🎨 all artists currently based in Margate, or who have lived and worked in Margate at some point 🎨 all independent producers or curators based in Margate, or who have lived and worked in Margate at some point 🎨 all of Margate’s art organisations (including galleries, venues, studios), past and present Collecting independent data is important. We know that the arts make a big difference to the well-being, vibrancy and the economy of the area, but no-one knows how many artists and arts people are here. Margate is becoming a key moment in the history of art – let’s ensure everyone is celebrated for their contribution. We need your help to reach as many people as possible, please share this post! Register here 👇👇👇👇👇👇 https://lnkd.in/evNqTjVs

Hello LinkedIn Network! Alongside my continuing role at Leeds University Union, I am returning to University of Leeds to embark upon my final year of my Global Creative Industries BA. My dissertation will be exploring the question: How does the resurgence of vinyl records in the UK reflect evolving attitudes toward materiality, memory, innovation, and consumption in music? Once tied to American hyper-consumerism, vinyl records have found new life through a Gen Z movement—a rebellion against the fleeting nature of streaming services. In a world that craves instant access, vinyl offers something different: tangible permanence. To encourage reflection and discussion and to gather research, I’ll be curating an exhibition alongside my paper about the Vinyl Resurgence. I’m seeking:
📀 Visual art, sound installations, or mixed media
🎥 Films, documentaries, or experimental works inspired by vinyl culture
🖋 Zines, poetry, or written reflections This exhibition asks: how do we move forward without forgetting? How do we honour the pastwhile embracing innovation? This project is deeply personal for me. My father, who passed away last year from cancer, was a record collector, and vinyl has become a symbol of my own journey with grief—a dual process of holding on while moving forward. This exhibition will reflect how creatives use physical media to explore themes of memory, loss, growth, and the balance between past and future.

Art institutions should be safe, uncensored spaces for expression and opinion. Art that expresses political opinions based on historical events is readily accepted for exhibition by institutions and museums, but art about current political situations often is not. Regardless of your political opinion, some facts in world politics cannot be disputed. The question to ask here is: What forces are at work in modern-day censorship, and why? https://lnkd.in/eD-H-3PQ

Introducing Utopia, our new feature topic for January and February. ⁠ In her letter from the editor, Alison Hugill asks, what could “utopia” mean today? What social and political forms can hope take?⁠ ⁠ With this featured topic, we’ll consider how contemporary artists are contending with the lived realities of the past and the present and how historically speaking, utopia for some has often meant dystopia for others. ⁠ ⁠ Learn more in our Editor-in-Chief’s ‘Letter from the Editor': https://lnkd.in/eXx-qwQ5

There's a room in which arts funding dwells, and in that room is a table. Around that table, sit a group of regular faces, able to make their art through regular funding support. There are others in the room, who sometimes get to sit at the table. And there are the rest. Those who know there's a room, and know where the door is, but don't have a key to get in. Then there are those who can see the room, perhaps from a distance, but can't find the door. And then there are those who don't even know the room exists. While there is funding available through Creative Australia, etc., most people who make art in Australia have never had any support from any of the funding bodies. Sometimes it's because many people who make art don't know how to access that funding. Often it's simply because it's outside their skill set to write the right grant application.

In our latest Fieldnotes blog, we broke down some handy tips and tricks to keep in mind when preparing for a public art project. So artists, save this guide for when you embark on your next artistic production: https://lnkd.in/giKEdNU9 Got any other ideas or tips to make this guide even more useful for artists? We’d love to know!

How would a TOP-20 list of digital artists look if it were compiled according to the standards of the contemporary art? If it were based on facts like amount of exhibitions, collaborations with major institutions, publications, and so on. I found an article (I'll leave the link in the comments) where such a ranking was compiled using an algorithm and the Artfacts database. Can you guess who is in first place?😁 20. Stepan Ryabchenko 19. Alex May 18. Miguel Chevalier 17. Ryoichi Kurokawa 16. Lilian F. Schwartz 15. Marina Zurkow 14. UBERMORGEN 13. Claudia Larcher 12. Semiconductor 11. teamLab 10. Tamiko Thiel 9. Justine Emard 8. Banz & Bowinkel 7. Charlotte Johannesson 6. Tim Berresheim 5. Tishan Hsu 4. Daniel García Andújar 3. Louisa Clement 2. John Gerrard 1. Refik Anadol When it comes to my personal perception of the top digital artists in the world, I would certainly place Ryoichi Kurokawa closer to the top. teamLab is well-placed. Refik Anadol - I feel like it's time to think about someone else for the pedestal. And then, it's a bit sad to see the absence of the veteran Quayola. And it's quite strange without Beeple. And Ryoji Ikeda is ‘one love’, he should be here. I won't start about younger artists) What do you think? Does this match your personal ranking? Is this method suitable for the digital art scene?

Last year, McKinsey & Company published a landmark report on the UK arts sector. "The conclusions of the report are striking. Driven by the scale and quality of activity, the arts sector has an impact reaching way beyond its intrinsic value as a source of entertainment and stimulation. The sector contributes to the economy and to the lives of individuals—their health and education, for example—and helps improve the fabric of entire communities. It does so not only because of the efforts of individuals in the sector—artists, teachers, funders, venue owners, and audiences, for example—but also because of the strength of a series of connections between them, in a complex and dynamic ecosystem. However, that ecosystem can be vulnerable. A decision taken in any one part of it can, intentionally or otherwise, reverberate elsewhere, strengthening or weakening the whole." You can read the whole report here: https://lnkd.in/gNrK32M9

Jason Farago sums it up in this three critics review of the Whitney Biennial 2024 in New York. "... The Beauty and the Cynicism What can the Whitney Biennial be, now, so late after the end of modernism? Is it a grand intellectual battle, or just an insiders’ chinwag? A polemic, or a party? A get-’em-while-they’re-young (or while-they’re-old-but-underpriced) market showcase, the cultural equivalent of the N.B.A. draft? An atavistic society ritual, a debutante’s ball for the M.F.A. debtset? Choose your own metaphor, but one thing it cannot be is a summation of where art stands in the United States in 2024. When the larger culture is rudderless, and an avant-garde will not come again, the best you can offer — or so this year’s curators, Chrissie Iles and Meg Onli, seem to say — is a cross-section with a point of view. Their biennial is small, with just 44 artists and collectives across four floors of the museum and its outdoor spaces; another two dozen will screen films in the Whitney’s theater and, for the first time, on its website. Indeed, the show is small in other ways: resolutely low-risk, visually polite, and never letting the wrong image get in the way of the right position. ..." https://lnkd.in/giXDtBYx

Tomorrow, we're in conversation with artist and integrative arts counsellor, Michelle Rodrigues, exploring connections to ancestral heritage as part of our Methodologies series. How can artistic practice help us make sense of what we discover, or fail to discover, in the archive?   Register for 'Following the thread: creative responses to the archive': https://lnkd.in/eQFpzkZS?