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Tauba Auerbach

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Repetitive Overprinting(反复印刷）➡️ Entropy increase

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Hito Steyerl — "In Defense of the Poor Image"

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Hito Steyerl — "In Defense of the Poor Image"

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In the post-cinema era, the generation process of poor images is essentially the visualization of the increase in information entropy. When rich images undergo compression, dissemination and replication, the technical degradation process simultaneously triggers an increase in entropy, creating new possibilities amid the collapse of order. She points out that neoliberal media production has led to the marginalization of non-commercial films (such as experimental films and essay films), while low-resolution images (such as pirated AVI/JPEG files) generated by digital technology have been widely circulated through P2P sharing, YouTube and other platforms, allowing these "forgotten images" to "resurrect" at the cost of deteriorated picture quality.

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Hito Steyerl – Being Invisible Can Be Deadly  TateShots

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This series, by magnifying low-resolution images from the internet, explores the degradation of images in the digital age, the essence of media and visual cognition, and has become one of its most representative works. This work questions the "authenticity" of photography and the alienation of images in digital dissemination by exposing the compression flaws of the JPEG format (such as color banding, noise, and blurriness). The entropy increase is not merely a technical defect but an inherent attribute of digital images.

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an artist is called Richard McVetis who create a work, he use embroidery to express sense of density.

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The muted tones and simple stitches employed by Richard McVetis in his embroidery work have become a hallmark of his practice. The outcome has a pleasing minimalist aesthetic and is an important part of the story. But what's more significant is Richard's drive to go beyond the surface detail and ask questions about the very act and process of embroidery.

From stitched cubes exploring the concept of time, to personal narratives, which delve into his family history, a meticulous technical methodology always underpins his work. For Richard, embroidery has become a form of meditation, and a conscious study of the act of stitching.

Captured by the process of embroidery
TextileArtist.org: Tell us about your process...
Richard McVetis: My artistic practice centres on my training as an embroiderer, through the use of traditional hand stitch techniques and mark making. Laboured and meticulously worked wools, stitched with multiples of embroidered dots and crosses, explore the similarities between pen on paper and thread on fabric.

Each stitch or line acts as a marker for time lived, and becomes an embodiment of thought and patience.

By using a limited vocabulary of mark making and deliberately subdued colour, I'm able to create a binary simplicity. These physical, tactile and repetitive modes of creation allow me the time to visualise, consider and occupy a space.
What inspires you?
Mapping out space, marking time, and form are central themes. My ideas are often developed in response to a moment - to visualise and transform time or a place into a tactile and tangible object.

I'm inspired by the process and the act of making, and its ritualistic and repetitive nature.

Many of the patterns that appear in my work are inspired by rarely noticed everyday marks, like the metal tread of a station entrance, or the shadow created by the morning sunlight. By taking notice of these, and removing them from their context, I'm able to elevate the mundane to a higher status.

My fascination with textiles and the recording and communicating of time, started with my early work, My Grey Pencil Case. It was created by unpicking the seams of my Royal College of Art pencil case. The case revealed drawings and marks on the inner surface, such as the pen and pencil marks, which had secretly recorded the rhythms of daily life. Here I could see the abstract trace of my body's movement over a period of years.

This work directly inspired the cubes in my subsequent series Units of Time, and then Variations of a Stitched Cube, where I measured time and physically represented this invisible force using stitch.

A framework of sixty
What was the idea behind Variations of a Stitched Cube?
My series of embroidered cubes, Units of Time, was the starting point for Variations of a Stitched Cube, a sculptural work.

This project was inspired by the origins and methods of measuring time, as well as the work of the American artist Solomon 'Sol' LeWitt. LeWitt's 1974 work Incomplete Open Cubes exploredthe geometry, intrinsic nature, and perception of the cube as both a complex and playful shape. The viewer could consider each cube individually, but the work as a whole has a repetitive but varied style, with an almost obsessive quality.

Alongside LeWitt's work, I researched the measurement of time, which is based on units of sixty, using the sexagesimal system conceived by the Sumerian civilisation. There are sixty seconds in a minute, and sixty minutes in an hour. The Sumerians also had a calendar with 360 (60 x 6) days in a year.

The number sixty became the framework for my project.

Each of my stitched cubes measured sixty millimetres in each direction. The cubes were shown in sequence, each recording time through collections of embroidered dots measured in increasing and enforced increments of one hour.

The sequence started with the first cube, which I stitched for sixty minutes, and finished on the sixtieth cube, which I stitched for sixty hours.

The cubes were presented as one installation, initially installed on individual podiums that were conjoined at the base. The work has since evolved to be displayed on a table, and was part of my solo exhibition, Shaped by Time, in Farnham 2022.

The presentation of this work as a sculpture was integral. It marked a departure for my practice, allowing me to take my work from the wall to the centre of the gallery. I was interested in how I could affect a three-dimensional space with small objects.

Timed embroidery
And how did you create the work?
I wanted the cubes to show time, an ever-present invisible force, through a form that was both logical and playful, created through the random process of hand embroidery.

The cubes' variations imply and manifest the passage of time.

I used materials I was already familiar with: a heavy wool flannel fabric, cotton thread and Styrofoam cubes formed using a hot wire cutter. I created a net pattern in Adobe Illustrator, which was printed onto dye sublimation paper and transferred to the fabric using a heat press.

The longest part of the creative process was the timed embroidery of each individual cube.

I used seed stitch, starting at the same point each time, then stitching freely until the allotted time was up.During this period of making, I became hyper-aware of time. Time seemed to slow down to the point where ten minutes felt like an hour. As the time increased for each cube, I went through a roller coaster of emotions.

Embroidering for longer and longer periods had an effect on body and mind. The physicality and mental stamina required for this project really took its toll.

After I'd completed the embroidery, I cut out the net patterns, folding them over the Styrofoam cubes and carefully suturing the edges. This was probably my favourite part. My mini maps of time flowed up, down and around the cube, to create something completely random. The two-dimensional patterns took on a whole new life.
How has your work evolved?
My work has gone through various stages of development, from two-dimensional to three-dimensional, non-stitched and heavily stitched, and incorporating film and installation.

Process and making always form the main narrative, but reading and researching have become a more integral part. This has led me to exploring physics and philosophy. More recently, I've started a series of works with a more personal narrative, retracing my family history to a time and place.

While the themes and ideas change, I enjoy taking quite a simple process and arranging it in infinitely different configurations, enabling me to describe something that I can't easily communicate with words.

Stitching a narrative
Tell us about your work exploring family history...
In 2021, the British Textile Biennial theme focused on the global context of textiles, textile production, and the relationships it creates, both historically and today. The exhibition took place in various venues across Lancashire, the birthplace of the cotton industrial revolution. In response to this brief, I created two new works, A Portrait of Coal and Coal Seams.

Coal's importance in the cotton industrial revolution cannot be understated. It was vital to Lancashire's dominance of this industry; wherever coal was, change happened. Coal left its mark and defined this country, and the world, and will continue to do so for decades to come. The textile industry funded growth: towns grew from nothing and people came from worldwide.

Arriving in Scotland at the beginning of the twentieth century, my family took up work in the newly opened Lady Victoria Colliery in Newtongrange, Midlothian, Scotland. The colliery site was chosen because of its proximity to the Waverley Railway Line, making it an ideal location for transporting coal to the textile mills in the Borders.

My dad began his mining career at the age of sixteen, a forty-year career that saw him mine the coal seams in Scotland, Staffordshire and South Africa. The politics and deindustrialisation in the 1980s resulted in my parents emigrating to Witbank, South Africa, where I was born.

The pattern pieces printed onto the fabric are those of the first miners' coat, designed and conceived in Rugeley, Staffordshire, my mom's hometown, and the place we returned to after ten years in South Africa. The donkey jacket became a symbol of the British manual labourer and the political left.

Using a labour-intensive hand embroidery process, Coal Seams maps the hidden underground landscapes of this elemental material, formed over three hundred million years ago. It brings a story of race and class to the surface. It examines my family connections to materials and places, and how, like the seams that shape a garment, coal continues to shape our lives.
What first attracted you to embroidery as a medium?
It began on my foundation art and design course. Inspired by the passion of my tutor Amanda Clayton, it was here that I was able to see the potential of textiles as a medium for artistic expression.

While visiting an open day for the embroidery degree at Manchester Metropolitan University (MMU), I became aware of how embroidery could become a form of expression.

What attracted me was the chance to learn one of the world's oldest crafts, while exploiting its contemporary possibilities at the same time.

After my foundation year, I studied for an embroidery degree at MMU and then I became an Embroiderers' Guild Scholar. Following this, I took a year out from education and then headed to the Royal College of Art.

I find the diversity and exploration of the medium liberating. During my studies, my imagination was truly captured, and through great tutelage, I was able to develop my own style.

Richard McVetis in his studio.

How do you make the most of being a member of the 62 Group?
Being part of the 62 Group is a chance to be part of a community. An artist's life can be lonely and very insular, therefore it's vital to have conversations and support fellow artists who understand what you might be going through.

I joined the group in 2015. Since then, I've taken an active role, joined the committee and became the exhibitions officer. I'm responsible for the overall coordination of the exhibition programme, most recently the group exhibition at the British Textile Biennial.

Taking an active part allows me to meet all the members and network with institutions and galleries. It's also a chance to shape and build a progressive and diverse community.

In 2022, the group celebrates its sixtieth birthday, and I'm very aware of our responsibility to honour and maintain the legacy and work done by those who came before.
What piece of equipment could you not live without?
I like the honesty, simplicity and accessibility of hand embroidery. I'm lucky that my practice doesn't rely on any complicated tools: it means I'm able to create wherever I go. All I need is a needle, fabric and some black thread.

My camera is also essential. Most ideas begin with things I see when I'm out and about. With a camera, I can record these moments quickly so that I can review them at a later date.

Key takeaways

We often focus on the end result, but here's some other ways to get more out of your embroidery:

Richard's stitches mark the passing of time. How might you place the focus on the physical process of embroidery in order to gain a deeper connection to your work?

Embroidery art can be taken away from the wall by filling a space with small objects to create a sculpture. Think about ways of taking your embroidery into three dimensions.

Mark making is a great way to create maps, as Richard has done while exploring his family history and connections to places. What story could you tell using different embroidery stitches as marks?

Artist biography

Richard McVetis is a member of the 62 Group of Textile Artists. He has been shortlisted for several prizes including the Jerwood Drawing Prize (2011 and 2017) and the international Loewe Craft Prize (2018) and is a visiting lecturer in Textiles at the Royal College of Art, London.

He exhibited at The British Textile Biennial (2021), RENEW at Kettle's Yard (2019), Collect Open at the Saatchi Gallery (2017) and Form + Motion at the Cheongju Craft Biennale, South Korea (2017). In 2022 Richard staged his first solo show at the Craft Study Centre, Farnham.
Website: richardmcvetis.co.uk Facebook: facebook.com/richardmcvetisart Instagram: @richardmcvetis
Learn more about abstract art in Delightful distortion: Seven abstract textile artists. And if you are interested in other ways of using mark making to depict time and place, read Vanessa Rolf's interview Stitching Connections.
If you enjoyed reading how Richard places focus on the physical act of stitch, share this article with your friends. It's easy - simply click on the buttons below.

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Richard McVetis: The act of making - TextileArtist.org

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The muted tones and simple stitches employed by Richard McVetis in his embroidery work have become a hallmark of his...

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I think I was inspired by the process mode of work—Aiko Tezuka uses weft threads to create that overflowing feeling

（this work, titled certainly/entropy, was created in 2014）https://aikotezuka.com/category/works/#2014

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Kathy Prendergast City Drawings

以真实的城市地图为基础，用铅笔或版画技术将其临摹/重绘，甚至是局部抹除，造成城市网格逐渐消失、变形

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Prendergast's City Drawings are based on contemporary maps of the world's capital cities. However, she deliberately by-passes systems of orientation and classification, divesting her source material of its coded information and merely transcribing, in each case, the network of lines that conveys the pattern of routes through, within and around each city.

Prendergast began this series in 1992, interested in working on a sustained long-term project, as opposed to the piece by piece basis of her early work. She had previously used maps, grafting imaginary locations on to images, often of the female body, and intending the viewer to 'read' the body as landscape. The City Drawings reverse this approach. The map no longer offers itself as a narrative, or indeed as an interpretative tool, but is instead transformed by drawing into a zone of the imagination. This practice relates as much to a long history of artists using map images as a way of accessing states of mind and the unknown as it does to conventional map making.

The series was initiated and has unfolded during a time of world political instability. Nations and cities, in the former Soviet Union or Yugoslavia for example, have come into being and others have disappeared, so that we have become accustomed to hearing of important events in unknown locations. For the most part Prendergast's cities remain unknown to us. Without the level of information carried by the typical A-Z, or without what Italo Calvino's Marco Polo described in the novel Invisible Cities as the city's 'thick coating of signs' we are unable to give her places names but we are nevertheless able to infer something of their individual histories: tightly-knit medieval cities are encircled by the open grid of modern town planning. At the point where flat land meets a mountain range, a coastline or a river, the momentum changes as design submits to nature.

Prendergast's City Drawings are tiny skeletal images in which even the largest and most powerful communities are reduced to a frail network of lines. Prendergast works with a B pencil in a light, almost anonymous style on small sheets of paper taken from a sketchpad. She draws from the centre of each page with the city on a North-South axis. Because the immense disparities in scale between cities are impossible to represent in so compressed a form Prendergast has worked intuitively, following her own sense of scale and allowing the smaller cities to float amoeba-like on the page while the great conurbations threaten the edges of the paper. The drawings are regularly disposed in a line around the room at head height, inviting close and prolonged scrutiny. Like anonymous portraits, they are sites for speculation and fantasy. Aside from evidence of character and of lived experience we read the drawings through resemblance: resemblance to each other and to a generic notion of the city. But also to other things: patterns and textures in nature, such as finger prints, organic structures and microscopic life forms. Prendergast offers this as a form of knowledge, derived through curiosity and imagination, in place of the kind of factual information we normally associate with maps. Each drawing traces the imprint of history, recording a moment in a process of organic growth. As cities continually evolve, each drawing remains in a sense unfinished and this ambitious project, currently a work-in-progress, could continue for as long as there are borders of national identity to redefine.

Text written by Frances Morris

Born 1958 in Dublin, graduated NCAD, Dublin 1980 and RCA, London 1986, lives and works in London.

Programme

The 1996-7 exhibition programme is supported by the Hanry Moore Foundation, the Patrons of Fine Art and an anonymous donor.

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Art Now: Kathy Prendergast: City Drawings | Tate Britain

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Art Now: Kathy Prendergast: City Drawings: past Tate Britain exhibition

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多层打印、绘画、遮盖、手绘线条的“干扰”把结

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多层打印、绘画、遮盖、手绘线条的“干扰”把结构打破

城市或政治系统崩解过程中的动态混乱

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Julie Mehretu's work is about layers: the physical layering of images, marks, and mediums, and the figurative layering of time, space, place, and history. Working in a large scale, Mehretu draws on the 21st-century city for inspiration, transferring its energy into her gestural sweeps of paint and built-up marks in ink and pencil-often transposed from projections-and condensing seemingly infinite urban narratives, architectural views, and street plans into single unified compositions. "The narratives come together to create this overall picture that you see from the distance," she says. "As you come close to it [...] the big picture completely shatters and there are these numerous small narratives happening." Mehretu layers a range of influences and art historical references as well, from the dynamism espoused by the Futurists, to the scale and physicality of Abstract Expressionism, to the divergent markmaking of Albrecht Dürer, Eastern calligraphy, and graffiti. Mehretu was awarded a MacArthur Fellowship in 2005.

Julie Mehretu's work is about layers: the physical layering of images, marks, and mediums, and the figurative layering of time, space, place, and history. Working in a large scale, Mehretu draws on the 21st-century city for inspiration, transferring its energy into her gestural sweeps of paint and built-up marks in ink and pencil-often transposed from projections-and condensing seemingly infinite urban narratives, architectural views, and street plans into single unified compositions. "The narratives come together to create this overall picture that you see from the distance," she says. "As you come close to it [...] the big picture completely shatters and there are these numerous small narratives happening." Mehretu layers a range of influences and art historical references as well, from the dynamism espoused by the Futurists, to the scale and physicality of Abstract Expressionism, to the divergent markmaking of Albrecht Dürer, Eastern calligraphy, and graffiti. Mehretu was awarded a MacArthur Fellowship in 2005.

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Julie Mehretu's work is about layers: the physical layering of images, marks, and mediums, and the figurative layering of time, space, place, and history. Working in a large scale, Mehretu draws on the 21st-century city for inspiration, transferring its energy into her gestural sweeps of paint and built-up marks in ink and pencil-often transposed from projections-and condensing seemingly infinite urban narratives, architectural views, and street plans into single unified compositions.

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邱志杰-个展《无序之序》

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邱志杰-个展《无序之序》

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理必有对，生生之本也。有上则有下，有此则有彼，有质则有文。

——《二程粹言·论道篇》

在邱志杰的作品中，地图不是一幅画，而是一种思维，一种看待事物的方式。这种方式着意事物与事物的连结，不局限于某一物件，而同时关注这一物件的能动力和生命力。这意味着关注这一物件与他物的地理性与历史性联系，这一物件的线形与半径，直接与间接影响力，以及在诸多物件组成的庞大无序的世界轨迹中寻找秩序与规律。

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UCCA尤伦斯当代艺术中心

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2010年的时候刚好策展人小汉斯(HansUlrichObrist)约我画一张《21世纪地图》来参加慕尼黑的一个《DLD-Digital Life Design》（数字，生活和设计）研讨会。我画了这张《21世纪地图》之后我画得非常爽，虽然那个时候还没有尝到书法的快感，因为那张图必须得是英文的。然后到了2012年，我碰到了两件事情，一个是我被古根海姆美术馆的Hugo Boss奖提名，那么这个Hugo Boss 奖过去是办一个群展然后从中选一个人得奖，96年那次蔡国强入选，然后得奖的是马修*巴尼（Matthew Barney）。到我这一年游戏规则改了，它不做群展了，而是直接编一本书然后从中选一个人得奖然后做个展。这本书里面有6个P（即6页纸）是叫做artistic project（艺术项目），然后我就发愁我用6个P怎么介绍我自己，我觉得我自己好复杂，又策展人又教授又艺术家又writer（作家），就是我的艺术一直从书法到科技电脑里面的东西，从戏剧、装置、录像到摄影，那我怎么办？我就想那好吧，我很贪心，我不愿意被人简单化，所以我想那我来画5张地图。一张可以介绍我作为教师叫《总体艺术地图》，一张介绍我最重要的艺术计划叫《南京长江大桥地图》，那么一张介绍我作为策展人的工作就是为上海双年展做的《重新发电地图》，再有原来现成的《21世纪地图》，又画了一张乌托邦思想的《乌托邦地图》，我就用这5张地图去放进Hugo Boss奖的画册里面。
然后同时另一件事情是我被任命为上海双年展的总策展人。那我想全世界那么多策展人，我只是一个业余策展人，但是我是策展人里面素描画得最好的，因为我是浙江美术学院版画系的高材生。那我为什么要写一篇很长的1万字的策展文章放在画册的前面就像所有的策展人所做的一样，我不，我要画一张地图来代替我的那篇策展文章，所以我就画了上海双年展的《重新发电地图》。
所以因为这3件事情吧，因为小汉斯，Hugo Boss奖和上双，我就大规模地开始画地图。画了地图就收不住了，因为我发现这个事情非常适合我做，因为对我来说它可以把画画、书法、研究、写作包括策划都在画地图这件事情里面可以一起都实现掉了。有些时候我会觉得做research，做研究的快感超过画画，有些时候我会觉得作为一个策展人去组织起新颖的关系比去创造一个新的个体更重要，那么这些想法都可以在画地图这件事情里面实现。

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邱志杰：寰宇全图 | UCCA尤伦斯当代艺术中心

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UCCA尤伦斯当代艺术中心是中国领先的当代艺术机构。UCCA秉持艺术可以深入生活、跨越边界的理念，每年为超过百万的观众带来丰富的艺术展览、公共项目和研究计划。

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Languages evolve in ways that parallel biological evolution. Language diversity around the globe provides a window into human prehistory and the workings of the human mind. By combining large databases of linguistic diversity with computer models of language evolution inspired by biology, my work aims to test theories about ancient human population migrations and the mode and tempo of language evolution.

Atkinson, Q. D. (2011). Phonemic Diversity Supports Serial Founder Effect Model of Language Expansion from Africa. Science, 332:346-349.

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我们是不是可以用语言来重新绘制一张世界地图

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我们是不是可以用语言来重新绘制一张世界地图

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实体来表现时间流逝/演变

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实体来表现时间流逝/演变

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‘How We Fall’ uses technology most commonly seen in cinema or high-end productions, against it’s usual purpose – to observe a cloud of cement dust – a messy, ephemeral material. This continues an interest in the observation of moments of dramatic transformation. Using complex filming systems to capture elemental materials undergoing a moment or process of change, ‘temporal sculptures’ are created, exploring our relationship with change and disintegration, the passing of time, and in this case perhaps moments of personal or collective trauma.

The sound for this piece, made in collaboration with composer Jo Wills, is created solely from audio recorded during the shoot.

Bullet time photography setup by New World Designs

Lighting and Technical Assistance by Paolo Catalano
Filmed at and thanks to Islington Mill, Salford

Supported by The Arts Council England

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Commissioned by The Barbican, London 2017

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颜色=声音

3:10（2003年）

视频：Sophie Clements
声音：Sophie Clements、John Hendicott

这部电影和系统基于这样一种理念：这些波并非由光从物体反射回来（从而呈现出颜色），而是声波。配乐的创作过程是通过从环境中挑选出特定颜色，并找到其对应的声音波长来实现的。通过运用数学作为光与声两种媒介之间的转换工具，每种颜色都拥有独特的音高，从而创造出一种声色调色板。
例如，紫色 = 440Nm = 音符 A = 440KHz

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Advancements in biotechnology are providing us with a new perspective on what it is to be human - that we are in fact an ecosystem made up of trillions of micro-organisms living within and on our bodies. Not only that, they extend beyond our skin forming invisible clouds of microbes, called microbial plumes. The microbial plume is unique to each of us. As we interact with our surroundings, we leave behind parts of it, making it possible to trace it back to each person's unique identity, where we have been, who have we been with, and our microbial make up.

Body Ecosystem is a half-day workshop created by Nestor Pestana and Deborah Tchoudjinoff as part of our research phase of the Plumial Space project. The workshop had two iterations, one with London College of Fashion students, and a second one part of A Toolkit for the Future - V&A.
Workshop participants were given three characters from which they had to think about possible future implications of current investigations around the microbial plume. Materialisations included wearables, animations, performances, objects and sketches.

Microbial Plume visualisations of workshop participants

Images of the workshop with London College of Fashion students and alumni.

Pictures of the workshop with the V&A.

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Advancements in biotechnology are providing us with a new perspective on what it is to be human - that we are in fact an ecosystem made up of trillions of micro-organisms living within and on our bodies. Not only that, they extend beyond our skin forming invisible clouds of microbes, called microbial plumes.