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Garageland
art, culture and ideas

issue ten: The Future

 

 

 

         

Cover by Mark Titchner


Mark Titchner, A Clockwork Orange, JG Ballard, Ackroyd and Harvey, Nam June Paik, Barbarella, Conrad Shawcross, a Futurist cat, gallerista's favourite art organisations, digital art, The Time Machine, feminism, Chris Petit, William Eggleston, Popular Science, apocalyptic tapes, the Hitchcock blonde, Suzanne Triester, Rose Wylie's studio and much more..
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For its tenth issue the critically engaging Garageland magazine examines The Future (Summer 2010).

There is a fear that we are becoming increasingly disconnected from the world around us. Straightforward machines have been replaced by impossibly complex technologies and what was once apparent in front of our eyes is now hidden in micro circuitry with the consequence that the majority of us no longer understand how things work. There are of course many artists and filmmakers utilising cutting edge techniques in their work but there does seem to be an increasing trend for artists to reconnect with materials and emotions. Cover artist Mark Titchner talks about the physicality and resonance of rusted steel and oak in his new sculptures in Multi Faceted Zone of Protection (page 22). While Conrad Shawcross describes a recent work which actually makes a rope in front of your eyes (albeit over two months) in Time Machines (page 56). There is also a renewed interest in analogue technologies such as audio cassettes (Tomorrow’s Futures, page 30) and 8-bit (as described by Sami Havuluoto in Musical Drift in the Tomorrow Calling pull-out) which is surely not only about nostalgia. Then, there is the thorny issue of the continued interest in painting – something we examine more closely in ‘What’s the future of painting? None of your god damn business’ (page 58), a series of sound bites from this year’s Jerwood Contemporary Painters. We redress the new media balance with a representation from the digital side in our www section in the form of a review of the recent Decode show at the V&A (page 54) and an interview with digital artist Gethin Jones (page 60)...


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