The Legacy of Cybernetic Serendipity

Curator Paul Pieroni, artist Yuri Pattison and inventor and composer Peter Zinovieff discuss the contemporary resonance of the landmark 1968 exhibition Cybernetic Serendipity, followed by a short introduction by the exhibition’s curator, Jasia Reichardt.

Paul Pieroni is Exhibitions Curator at SPACE, London, where he runs an acclaimed programme of exhibitions and events. In recent years SPACE has presented UK debut solo exhibitions by Aleksandra Domanović, Marlie Mul and Max Brand as well as survey projects exploring the work of Jo Spence, Raymond Pettibon, Bernadette Corporation and Paul McCarthy. Pieroni is a regular visiting lecturer at Goldsmiths and The Royal College of Art and writes for a number of publications, including frieze and Art Review. 

Writer and curator Jasia Reichardt was Assistant Director of the ICA from 1963-71, during which time she curated exhibitions such as Cybernetic Serendipity (1968). From 1974-76 Reichardt was a director of the Whitechapel Art Gallery. 

London and Berlin-based artist Yuri Pattison has exhibited internationally, including solo presentations at Cell Project Space, London, Legion TV, London and New Museum, New York (all 2014); SPACE, London, 2012; Arcadia Missa, London; Bubblebyte.org (all 2013). Recent group shows include Snow Crash, Banner Repeater, London; Objectness, Outpost Gallery, Norwich and Guide to the Galaxy, Gloria Maria Gallery, Milan, Private Settings, Art After the Internet, Museum of Modern Art Warsaw, Poland (2014).

Peter Zinovieff is an inventor and composer, whose work featured in the Cybernetic Serendipity exhibition. In 1968 and until the late 70s, he developed Electronic Music Studios (EMS) a company inventing and designing synthesisers such as the VCS3, AKS and Synthi 100. Most notable pop musicians of the 60s came to the studio, but its real purpose was to fund the serious work of composing electronic music and particularly for ground-breaking work on computer music. Zinovieff worked closely with avant-garde classical composers, such as Harrison Birtwistle and Hans Werner Henze who became close friends. He then worked for many years on the libretto for Harrison Birtwistle’s opera The Mask of Orpheus and more or less retired.