Previously at the ICA - Events
22 Jun 2016
Artist Christopher Kulendran Thomas discusses his new work and recent practice in conversation with artist Simon Denny. Addressing the contestation that digital networks could be understood as sites of intersection between human and non-human materiality, whereby commercial processes become ever more deeply enmeshed in the fabric of our lives, the discussion will consider how the art-industrial complex could be imaginatively repurposed and will ask: how might a brand communicate as an artist?
Both artists are currently exhibiting as part of the 9th Berlin Biennale for Contemporary Art, in which Simon Denny explores future states enabled by technology and Christopher Kulendran Thomas launches a long-term artwork in the form of a start-up, speculating on the future of citizenship in an age of technologically accelerated dislocation.
Christopher Kulendran Thomas is an artist who works through collaboration and/or exploitation to manipulate the processes through which art is distributed. Exhibitions include the 11th Gwangju Biennale (forthcoming); the 9th Berlin Biennale for Contemporary Art; Emotional Supply Chains, Zabludowicz Collection, London; Bread and Roses, Museum of Modern Art, Warsaw (all 2016); Co-Workers: Network As Artist, Musée d'Art Moderne de la Ville de Paris (2015); and Art Turning Left: How Values Changed Making, Tate Liverpool (2013).
Simon Denny is an artist working with installation, sculpture and video to conduct research-based inquiries into the organisational forms by which technology is deployed. He represented New Zealand in the 56th Venice Biennale (2015). Selected solo exhibitions include WIELS Centre d'Art Contemporain, Brussels (2016); Serpentine Gallery, London (2015); MoMA PS1, New York (2015); Portikus, Frankfurt (2014); MuMOK, Vienna (2013); Kunstverein Munich, Munich (2013); and Aspen Art Museum, Aspen (2012).