The White Building

Hover over the black capital letters of THE WHITE BUILDING on their website and it transforms into a conquettish HI THERE. Such playful, whimsical use of coding/CSS is, perhaps, inevitable of the Hackney Wick building that is known, particularly in glitch-kitsch enthusiast circles, as “London’s centre for art, technology and sustainability.” Run by SPACE Studios, the building runs a unique residential program involving artists from the famed James Bridle, who instigated the movement of the New Aesthetic, to Jesse Darling, John Rafman and the duo Kyoung Kim and Daniel Rourke who run the fantastic GLTI.CH Karaoke project.

It’s inspiring and refreshing to know that London still has innovative artistic hubs: more than a simple gallery or exhibition space, The White Building is a carefully curated space for cultural phenomena. From residency studios to event spaces and CRATE Brewery & Pizzeria, The White Building combines everything us humans need from Maslow’s hierarchy of needs – food, drink and a roof over our heads – and turns it into a post-internet sanctuary where anything and everything can happen.

The building itself was born as a section of the Clarnico Sweet factory and ended its lease of life as a print works. David Kohn Architects has rebirthed the location as a “space for creativity, built by and for local people, resonating with its historical context” even as the work that goes on within often strives towards the technology of the future. They’ve hosted seminars, talks on bio-aesthetics, eco-futurism and dystopia, discussed the untangling of the digital future and advanced awareness of Paranormal Activity – an introduction to anomalistic psychology. It’s undeniably a pavilion of art, education and the future of big ideas.

What does the future hold? Temporary Sculptures by Klas Eriksson, an art installation and collective performance spanning geographical locations around the world will be ushered in on the 22nd of February, and James Bridle will be giving a lecture On the Rainbow Plane on the 26th of February, “investigating the relationships between the public understanding of technology and networks, and the classification of people and things performed by technologies. He will explore the embdedded politics, from the technological gaze to data shadows, immigration, deportation, and rendition.” Definitely a talk not to be missed.

Even more excitingly, curator and writer Omar Kholeif has edited a new book entitled You Are Here: Art After the Internet, published by Cornerhouse, which arose out of a year-long residency at The White Building and claims to be the “first major publication to critically explore both the effects and affects that the Internet has had on contemporary artistic practices… Responding to an era that has increasingly chosen to dub itself as ‘post-internet’, this collective text traces a potted narrative exploring the relationship of the Internet to art practices from the early millennium to the present day.” If you’re interested, The Creator’s Project has written an in-depth interview with Kholeif in regards to the book and our post-internet relationship with the aesthetics of today.

To keep up to date with The White Building’s activities, follow them on Facebook and Twitter.

Camila Sadler

Camila Sadler has previously been chosen for the highly esteemed Threadneedle Prize 2012, showcased her work at various locations in Bath and held exhibitions at the British Inspiration Awards. Which is a set of industry awards celebrating achievement in the creative industries.

It is all around us, it fills all those empty spaces, it’s pure yet lacking at the same time. For Camilla this is what preoccupies her, the effect of white on white. It’s when you really have to look to see. Her intentions are to awaken an interest into the lives of one another, not through malice or surveillance but by opening our thoughts to the variation of life around us. Working in primary education, as a special need support, life and its variations must be all around her. Children are the ones who are less damaged and consequently more open. Does her approach to art employ the innocence of the young?

Existing materials, found object and locations all act as a stimulus for Camila’s practise. Her walls of feathers are ethereal and delicate. Although the translucent creation interrupts the eye, the way the light flows and is blocked, seems natural and soft. There is a definite feeling of intimacy, which explores the boundaries of personal space. In nature feathers are a skin to the elements and combined with a house like frame, “Notions of Home” provides a symbolic protection. Yet in physical terms the shell would provide little salvation from the real world. It is the conflict between the symbolic and physicality of Camila’s work that creates a tension between our instincts and our mind.

 

Artificial | Constructs

The creative process is usually one limited to the individual and one without a great sense of ‘community’ lying behind it. Artificial Constructs is a Sheffield based artistic network, which seeks to redress the individualized nature of art and inspire a new collective sense.

Still only in its beginnings, A|C is looking to curate artistic exhibitions, club nights, and collaborations between artists. The group has been ‘taking over’ bars, spaces, and exhibiting pieces of art alongside musical performances in, what looks to be, a new iteration of the Factory days.

The premise behind the group is inclusivity so for those looking to get involved or looking to discover the new creative output in the city then Artificial constructs is the place to look.

“A platform aimed at creating a community of Sheffield artists, providing a place to share and represent the underground culture.”

 

 

Artificial Constructs
Photos and imagery by -hush (A|C)