Top 8 Best 3/4 Electric Guitar Reviews 2023

Electric Guitar Reviews

Are you obsessed with a 3/4 electric guitar but still don’t know which one is best for your needs and budget? To help you with, Carroll / Fletcher has listed the top best 3/4 electric guitar. A 3/4 electric guitar is also called ‘mini,’ ‘traveler,’ or ‘short scale length’ guitar. It is a fantastic smaller sized guitar for almost everyone. For young children from 8 to 12 years old or maybe older, this 3/4 electric guitar is an excellent choice because it is very easy to handle. Young children can hold and play this guitar with no issues because they are designed for small hands. Besides, this kind of guitar is also great for professional players who would like to have one so as to carry it around easily during travel, or going on a long trip. We have done some studies, read some reviews from customers and some guitarists about this 3/4 electric guitar and have narrowed down to just 8 guitars that we think you should consider buying. If you don’t know what types of guitars you need, then you should read our detailed reviews of 8 best 3/4 electric guitars below. Quick Comparison: Best 3/4 Electric Guitar 2023 Squier By Fender Mini Strat Ibanez GRGM21 GIO Mikro Fender Kurt Cobain Jaguar NOS $$$ $$ $$$ Best for beginnersBest For younger playersBest For traveling Best for Younger rockers Best for Left-handed players Detailed Reviews Of Top Best 3/4 Electric Guitar Squier by Fender Mini Strat: Best 3/4 Electric Guitar for Kids (Ages 6-10) Specifications: The Squier Mini Strat is an excellent electric guitar for children from 6 to 10 years old. Most new learners and travelers also use this guitar since it is very easy to use. The Squier Mini Strat has 22.75 inches scale length, which is a small scale length compared to a full-sized Stratocaster with 25.5 inches scale length. Because this guitar has a shorter scale length with a small reach between frets, it will make us feel comfortable when playing and have a fantastic playing experience as well. Moreover, this guitar also has a slim body as well as a thin neck profile, which all makes the instrument lighter and easier, comfortable to play. This is a wonderful guitar for players who have smaller hands. The three single-coils set up, and the controls make it look like the Squier Bullet-its big brother. When plugged in, it is able to generate a high tone. Ranging in color and hue, Rosewood ordinarily has deep rich browns with some highlights colors such as orange, green, purple, and yellow. This Strat has comfortable body contours so that we can play more easily. Besides, Rosewood-capped genuine maple neck which makes the instrument ring true. This guitar also has a 6-saddle hardtail bridge that allows for stable modulation along the fretboard. Some professional players who are obsessed with the smaller sized guitar may want to use this guitar for some reasons. The guitarists may feel convenient using this small guitar because they can bring it anywhere, anytime, and on any occasion, such as going to school, going on a trip, going camping, traveling around or just hanging out with some friends. Besides, most guitar players who have back injury may find it hard to handle the weight of some guitars like a Les Paul for a long time, so that they choose to play the lighter one like this Squier Mini Strat. One more outstanding feature of this guitar is that we can replace the tuners and the strings easily, and this guitar stays in tune perfectly, which means it plays as well as other guitars. Overall, the Squier Mini Strat Electric Guitar is a totally capable starter electric guitar, with only a smaller size. Squier Classic Vibe Telecaster ’50s Electric Guitar Squier Classic Vibe Telecaster ’50s Electric Guitar has vintage styling with a customary single cutaway. It has a pine body with a maple neck. The hues for the Vibe are somewhat restricted, with just Butterscotch Blonde and Vintage Blonde for ’50s models or Sunburst when you buy this Squier Classic Vibe Telecaster Custom model. The first outstanding thing of this Classic Vibe is its playability. The neck is quite smooth, and the switches and handles are comfortable and straightforward to control. This Classic Vibe sounds amazing for a wide range of music styles. It remains in tune well and has amazing inflection directly out of the crate. Broadcasters are known for a sort of twangy sound, and you can undoubtedly hear a sort of twangy sound on this Vibe because Telecasters are well-known for this sound. The pickups are generally excellent, although you have to know that Butterscotch Blonde has an unexpected pickup in comparison to the Vintage Blonde. This 3/4 electric guitar also comes equipped with vintage-style tuners with a split shaft, and The three vintage-style Tele seats connect with metal barrel saddles. This Classic Vibe is one of the best 3/4 electric guitars that has a high-quality structure. There are no sharp frets, and it has a flawlessly done maple neck. However, there is one drawback of this Classic Vibe that the weight. It is maybe a little on the substantial side for certain individuals. On the off chance that you are searching for something lightweight, this probably won’t be the great choice for you. Overall, this Classic Vibe is quite expensive for a learner guitar; however, it will have incredible resale esteem if your kid or teenager chooses not to stay with learning, so the hazard is insignificant. If you get your kid an excellent guitar, it will initially make figuring out how to play that a lot simpler. Your children will realize that you believe them with a tolerably costly guitar, and they will pay attention to learning and feel pride in having a delightful instrument. This Classic Vibe is among the best 3/4 electric guitars that is suitable for young children and those with small hands. Gibson SG Special The Gibson SG Special is another … Read more

Best Electric Guitars Under 1000 And What Is The Best Choice For You?

Best Electric Guitars Under 1000

Are you still in trouble with finding a suitable electric guitar under 1000 that meets your requirements? Carroll / Fletcher is here to help you by listing the 15 Best Electric Guitars Under 1000. Even though you are on a tight spending plan, you can still have the chance to choose many perfect electric guitars. Regularly with regards to instruments, you can’t expect spending fledglings’ instruments to be in the same class as the best ones that cost tenfold the amount; however, it doesn’t imply that there aren’t deals to be looked for. Daze test recordings have gotten mainstream, where you can tune in to costly instruments and modest electric guitars and check whether you’re ready to figure out which will be an expensive guitar and a cheap one. Some of the time you can truly hear a distinction between them, yet on different occasions, it’s difficult to listen, and the value contrast doesn’t coordinate the sound contrast. We have read some guitarist’s reviews of some best electric guitars under 1000 and have narrowed them down to just the 15 best electric guitars under 1000 that we think you should look at closer. We hope you can find the best electric guitar under 1000 after reading our detailed reviews, a summary table, and a buying guide below. Best Electric Guitars Under 1000 Comparison 2023 Fender American Special Telecaster Epiphone Les Paul Cherry Sunburst Gretsch G5420T Electromatic Hollow Body $$$ $$ $$$ Best for Country, rock, blues Best for Vintage-style lovers Best for rock ‘n’ roll and rockabilly fans Detailed Reviews Of Top Best Electric Guitars Under 1000 PRS SE Custom 24 Floyd SE Custom 24 Floyd is an affordable alternative option to the great PRS Series “Floyd” Custom 24, with the same general vibe and construction for players who don’t have much money to get a guitar with more than three thousand. Similar to the original Custom 24, this SE Floyd has a 25 inches scale length with a perfect combination of a rosewood fingerboard with 24 frets and a maple neck with a gloss finish. It also features a mahogany body with a maple top and on this Custom 24’s version, the maple is a veneer rather than a solid slab. There are humbuckers pickups that are controlled by a three-way sharp selector instead of a five-way switch, ace volume handle, and great tone with a push/pull coil-splitting capacity. Furthermore, this SE Floyd has better playability and tone than the early forms of the Custom 24 that PRS produced in the 80s. This guitar is surely shred-worthy as it has a wide slim neck outline and Floyd Rose tremolo. However, its appearance and tone will certainly satisfy vintage lovers. Combined with a high-gain amp, the SE humbuckers can create amazing metal tones, but the guitar can also go in many extraordinary ways through a perfect amp setting with the coils split, which gives real twang and soul-filled bite. It is an amazingly adaptable electric guitar that can deal with three or four distinct models and can have a better performance. Overall, PRS SE Custom 24 Floyd is among the best electric guitars under 1000 with lots of outstanding features, including great playability and tone. ESP LTD EC-1000 ESP LTD EC-100 is one of the best electric guitars under 1000 that has a lot of outstanding features. This EC-100 has a 24.75 inches scale length with a great combination of a mahogany body, a mahogany neck, an ebony fingerboard with 24 extra-jumbo frets, and various beautiful finish colors. It also has a lightweight which makes it easy to carry since you can simply bring it with you during traveling or going on a tour. The pickups are EMG 60/81 which are controlled by two volumes, a nice tone and a three-way selector. This guitar’s hardware is a Tonepros TOM bridge and tailpiece. Although the body shape may be simple and familiar to you, we surely inform you that the EC-100’s tones are definitely not. Well, you can get substantial sounds out of a Gibson Les Paul; however, when you need more extras, this EC-100 will get you into some genuinely outrageous tone. The pair of dynamic EMGs won’t be profoundly desired by more polite players. However, for anybody hoping to join genuine gain to their arrangement, they could do more regrettable than take into account one of these overall veterans of the scene. This electric guitar has great installations and fittings, which make this a genuine guitar with a long life-span. We are obsessed with the vintage dark design because of its glossy silk smooth completion and tasteful gold equipment. Overall, This ESP LTD EC-1000 is a perfect guitar under 1000 is among the best electric guitars under 1000 with a fantastic design, beautiful colors, and an amazing tone, making it a good choice for you to consider. Fender American Special Telecaster Fender American Special Telecaster is another best electric guitar under 1000 from Fender Standard. This guitar has two Texas Special Tele pickups and it is ideal for incredible American musical styles, such as country, rock, and blues. This Special Telecaster blues guitar has a dazzling alder body and a maple neck. Quite similar to the 50’s Stratocaster, it also has a vintage appearance, but the Vintage Blond version we are mentioning in this article looks vintage in a cooler and less romantic way. The sound of this vintage-style guitar is most likely the best among all guitars we have listed, at least when you would like to play the music that needs a customary electric guitar sound, then this Telecaster must be your first consideration. It also works well for pop, so the only sort of music that it is not very helpful for is the stronger and heavier musical styles. Overall, Fender American Special Telecaster is one of the best electric guitars under 1000. It has many outstanding features, especially its amazing sound and a beautiful appearance. With an affordable price, this guitar is absolutely a great choice for … Read more

Eva and Franco Mattes: Abuse Standards Violations

Eva and Franco Mattes: Abuse Standards Violations

Eva and Franco Mattes’ exhibition Abuse Standards Violations investigates the dark side of the Internet. In a new series of video installations, the New York-based duo exposes the vast amount of unpalatable material kept away from our screens by an army of underpaid workers, while offering a bizarre but telling glimpse into the lives of an ever-growing, dispersed global workforce. Dark Content (2015-ongoing), the centrepiece of the show, probes into the Internet’s most secret corners by looking closely at the largely anonymous labour force of content moderators that has emerged with the rise of social media. Content moderators are in essence the gatekeepers to any material accessed online. Their role is to screen all uploads according to specific corporate standards of propriety: making sure beheadings and gang rapes don’t crop up in our Facebook news feeds, and nipples don’t surprise us on Instagram. Along with the major corporations that employ them, these de facto patrols of the Internet shape our daily existence. With each ‘yes’ or ‘no’, they edit the experience of our culture in the name of many different forces: political, moral, ethical, even religious. Once the offending material has been removed, it’s virtually impossible to know it was ever there. Content moderation is for the most part a very discreet service as the companies who hire this workforce seek to present themselves as free and transparent tools of self-expression. The moderators in turn often hide their work from their friends and families, preferring not to acknowledge the kinds of things they are required to witness everyday. Over a period of more than a year, the Mattes interviewed a number of them about their work. These conversations developed into a series of video episodes – first released on the Darknet – with the interviewees’ identities withheld through the use of voice software and stock avatars, a further distancing from both the person and the content itself. Each video is displayed in sculptural surrounds made from mass-produced office furniture, alluding to the home offices and identikit office cubicles around the world where this work often takes place. Alongside, a new series of wall-mounted insulation panels are printed with corporate moderation guidelines that were leaked to the artists in the course of their investigations. They serve as a reminder that this act of filtering and ‘safeguarding’ is always a reflection of the ideology of the organisation commissioning it. See Also – A.R. Hopwood: False Memory Archive By Everyone For No One Every Day (BEFNOED, 2014) also calls attention to a new form of labour in the digital age. For this series, the artists used a range of crowdsourcing websites to give instructions to anonymous workers to realise a variety of absurd performances for webcam. The artists laid out instructions for them to follow and interpret. Once received, the videos are dispersed on obscure, peripheral or forgotten social networks around the world. While for Dark Content the artists act as a sort of confidante, here their position is more complex, as their unusual demands appear to both entertain and exploit their performers. In the gallery, the placement of the monitors in the space is such that, in order to watch the work, viewers are forced into a series of physically awkward and bizarre positions, in a sense taking on the role of performers themselves. In much the same way that the performances are crowd-sourced in BEFNOED, the production of their series Image Search Result (2014-ongoing) is entirely outsourced to the Internet. For each work on display, the artists have selected a search term from their personal browsing history in their preparation for this exhibition. Adopting an idea purchased from a fellow artist, they take the first image a search engine yields for that term and have it printed on a range of objects by online custom printing services. Once produced, the objects are delivered directly to the exhibition venue, where they are unpacked, exhibited and seen by the artists for the first time. Eva and Franco Mattes share a long-held fascination with the invisible. In Emily’s Video (2012), they show a disturbing video sourced on the Darknet only through the reactions of its viewers. They’ve also programmed a computer virus (Biennale.py, 2001), and co-curated an inaccessible exhibition in the Fukushima exclusion zone (Don’t Follow The Wind, 2015). For the New York-based duo, what’s concealed is often what matters most. Eva and Franco Mattes (b. 1976, Italy) live and work in New York, USA. Recent solo exhibitions include I Would Prefer Not To Include My Name, Essex Flowers, New York, USA (2015); Breaking Banality: The Dysfunction of Remediation, Feldman Gallery, Portland, USA; By Everyone, For No One, Everyday, Postmasters, New York (both 2014); Emily’s Video, Carroll / Fletcher, London, UK (2013); Anonymous, untitled, dimensions variable, Carroll / Fletcher, London (2012); and Lies Inc., Site Gallery, Sheffield (2011). Group shows and biennials include the 20th Biennale of Sydney (as part of Don’t Follow the Wind), Sydney, Australia; Electronic Superhighway and Artists’ Film International, Whitechapel Gallery, London (all 2016); Big Bang Data, Somerset House, London; 2050. A Brief History of the Future, Royal Museums of Fine Arts of Belgium, Brussels (both 2015); Performa, New York; MoMA PS1, New York (both 2009), New Museum, New York (2005); NTT ICC Museum, Tokyo, Japan (2004); Manifesta, Frankfurt (2002); and the Venice Biennale (2001). In 2016, they were recipients of the Creative Capital Award.  Carroll / Fletcher supports established and emerging artists whose work transcends traditional categorisation, using diverse media in order to explore socio-political or technological themes. From rising talents such as Constant Dullaart, Mishka Henner, and Basel Abbas and Ruanne Abou-Rahme, to interactive installation artist Rafael Lozano-Hemmer, and computer art pioneer Manfred Mohr, the gallery represents an international range of artists who use interdisciplinary research and broad means to produce work that reflects on and provides insight into contemporary culture. To download a pdf of the press release, click here.

Neoliberal Lulz: Constant Dullaart, Femke Herregraven, Émilie Brout & Maxime Marion, and Jennifer Lyn Morone

dulltechtm-dulltechtm-flag-2015-courtesy-of-the-artist-and-carroll-fletcher-london

The birth of conceptual art has long been associated with the collapse of the gold standard in 1971. With one decision, the value of the dollar was no longer backed by the intrinsic value of a physical commodity, but instead became immaterial, opening financial markets up to greater speculation and volatility. At the same time, contemporary artists adopted similar tactics, distancing themselves from objects in order to avoid the forces of the market. Yet, these market forces are all-pervasive. With each downturn and recession, it has become ever more apparent that a handful of investment banks and corporations hold immense power over our everyday lives. Neoliberal Lulz brings together work by five artists who interrogate this relationship and respond by adopting corporate strategies to their own ends. Constant Dullaart’s business DullTech™ exists as a fully-fledged technology start-up. The DullTech™ Media Player is, in the words of its inventor, a ‘smart, hassle-free, plug-and-play USB-friendly media player that works on all screens and syncs without problems or cables.’ Conceived in 2012 during the artist’s residency at OCAT Shenzhen, China, DullTech™ grew out of a frustration with the common difficulty for syncing video files across diverse hardware. Dullaart decided it was time for a media player that could make life simple, one box which could ‘get rid of remote controls, expensive AV professionals, stress and drama.’ DullTech™ is at once both a hardware start-up and a performative artwork. It creates technologically simplified or ‘DULL’ products as a form of radical corporate production, both in tune with and subverting this age of high-efficiency capitalism. A retort also to the rise of ‘cool-hunting’, which sees industry stealing creative ideas from artists and pitching them back as trends, Dullaart’s ‘DULL’ technology circumvents this dynamic from the outset. The artist is at once the creative, developer, marketeer, and venture capitalist, placed to cash in on any commercial success. Going one step further, Jennifer Lyn Morone has incorporated her person as a registered company Jennifer Lyn Morone™ Inc, with 10,000 shares available for purchase on the occasion of the exhibition.  Corporations enjoy many human rights and have a variety of privileges not extended to individuals, and so Morone has addressed this imbalance by engineering a new business model for her own ‘human corporation’. Describing the contemporary condition as one of ‘data slavery’, Morone responds to the multi-billion dollar personal data industry by reclaiming the individual’s right to the data they produce. JLM™ Inc is currently developing a software called DOME (Database Of ME) which will allow users to collect, track, analyse and monetise the data they generate. Taking direct ownership over her own personal data, Morone offers it for sale in categories including demographic, lifestyle or health, among others. Her identity is also fully branded, with trademarks applying to not only the company name but also the smile, sound, gait and image of Jennifer Lyn Morone. As the business grows, JLM™ Inc looks to capitalise on a variety of other possibilities for corporate revenue through its subsidiary companies, ranging from a line of cosmetics made in Morone’s biometric likeness to marketing the artist’s organs. While this approach may appear as playful satire, it is made all the more sobering by the fact that each of these ideas are entirely possible within the prevailing corporate environment and reflect existing industries and markets. At Carroll / Fletcher, JLM™ Inc will debut a ‘Behind the Scenes’ film showing the inner workings of the corporation, as well as a manual educating readers on how they might become Incorporated too. Émilie Brout & Maxime Marion’s Untitled SAS (2015) takes its name from ‘société par actions simplifiées’, the French equivalent of a registered limited company, much like ‘Ltd.’ or ‘Inc.’ in English. A limited company with ‘work of art’ as its sole corporate mission, the work’s only physical manifestations are its certificate of incorporation and share register. Indeed, Untitled SAS‘s corporate capital is readily available in the form of 10,000 shares for purchase online. Having bought into a company-cum-artwork, each shareholder is at once an investor and a collector, and as such is able to trade shares at the price they have set and influence both the company and artwork’s overall value. In this sense, this fully functional corporate shell performs and mirrors the art market, where the value of a work of art resides in its cultural capital, and in the ability of invested parties to manipulate it to their will. Les Nouveaux chercheurs d’or (The New Gold Diggers) (2015) is a series of samples of artificial gold products obtained for free online by the artists posing as a company. These items that may appear precious but have little intrinsic value, are part of the artists’ research into ideas of worth and wealth creation. From the extensive description printed beneath each sample, it becomes clear that each one has required huge amounts of technical and human resources to produce, often passing through several different countries in the process. Adopting an approach similar to that of an archaeologist or naturalist, the artists track the way in which luxury is fantasised and consumed. See Also – Manfred Mohr: Artificiata II Striking at the core of the capitalist system, Femke Herregraven investigates how financial markets shape demand. Infinite Capacity Al13 (2015) reveals the warehouses where huge volumes of aluminium were stored by investment banks to allegedly enable financial speculation. An array of works also explore the phenomenon of High Frequency Trading, described by the artist as ‘one of the most opaque, automated and sped-up processes of the present moment’. A three-part series, A timeframe of one second is a lifetime of trading (2013-16) draws attention to the speed of these transactions, the semiotics of the naming of such algorithms, and maps the dissemination of such trades over time. Rogue Waves (2015) is a series of metal sticks, laser-cut with the outline of a trading pattern in which algorithms illegally manipulated financial markets. Drawing on ancient trading customs, the form references the tradition of the tally stick, bones or wooden batons once used to record value and transactions. Finally, an … Read more

Manfred Mohr: Artificiata II

Manfred Mohr: Artificiata II

12 February – 2 April 2016 For his second exhibition at Carroll / Fletcher, digital art pioneer Manfred Mohr presents a series of new pieces mapping his formal investigations of theoretical space in generative screen-based works, drawings, and inkjet paintings. One of the very first artists ever to produce drawings on a computer, Mohr originally trained as a painter, and has made rigorously minimal paintings and drawings since the late 1950s.  Abstract Expressionism informed his early works, but the artist rapidly grew suspicious of the lack of control inherent to most expressionist practices. Inspired by philosopher Max Bense’s thinking that a ‘clear and logical’ form of art making was possible – and indeed desirable – Mohr began to develop what he called a ‘programmed aesthetic’ while based in Paris in the 1960s. He soon introduced algorithms and formal rules to his painting process in order to generate artworks that conveyed his vision in a more rational way. During the same period, he met composer Pierre Barbaud, known for his role in shaping early ‘algorithmic music,’ an encounter that alerted him to the artistic possibilities afforded by then-fledgling computer technologies. The events of May 1968 radically changed Mohr’s access to these new tools. As universities opened to all in the aftermath of student and worker protests in Paris, the artist was able to use a computer at the University of Vincennes. Drawings – executed by hand but calculated on a machine – shortly followed. The first computer drawings produced with Mohr’s computer programs were made on a light-plotter at Brookhaven National Laboratory in 1969. These first experiments set Mohr on a path that he has followed to this day, despite the art world’s resistance to the idea of the computer as a legitimate art medium. Soon after the early Vincennes works, he was granted access to one of the first computer-driven drawing machines – a Benson flatbed plotter – at the Paris Institute of Meteorology. At night, after the engineers went home, Mohr was able to use the large CDC computer and this plotter to give shape to his experiments working with computer programs, and to develop a controlled system, which enabled new visual forms founded on the algorithms he had written. The artist was offered his first museum exhibition at ARC – Musée d’Art Moderne de la Ville de Paris – in 1971, a watershed moment, now widely acknowledged as the first museum show of digital art. Music has always been a great influence on Mohr, a saxophonist as well as an artist, regularly playing in jazz and rock bands. In much the same way that a musician might play an instrument, Mohr found the perfect vehicle for his investigations in the geometric shape of the cube, the driving force of his work since 1973. He gradually moved on to the ‘hypercube’ in 1978, a cube of four or more dimensions, which can exist mathematically even if it is difficult to fully comprehend: a space that is unimaginable yet computable. Artificiata II gathers several animated mappings of the hypercube alongside a selection of images drawn from this process, what the artist calls ‘êtres graphiques’. The exhibition is a continuation of Mohr’s investigations into geometric abstraction as visual music, which is inherent to his practice and emphasised in Artificiata I, his first artist book. Featuring hand-drawn pieces from 1969, these were the last works the artist ever produced manually. Artificiata II is presented here alongside the original drawings from Artificiata I. Exhibited together for the very first time, these works are a testament to both Mohr’s rigorous consistency and depth of research. It is important to note that for Mohr, what is of interest is not the mathematics of the hypercube itself, but rather ‘the visual invention which results from it’, the way in which these highly rationalised forms are reflected in two-dimensional signs, to striking and endlessly surprising effect. For while the artist creates the algorithm, parametric random decisions built into his formula mean that he can never entirely predict the result. ‘My artistic goal is reached when a finished work can dissociate itself from its logical content and stand convincingly as an independent abstract entity’, he says. Explored through the medium of painting, blocks of colour create tension fields of push and pull, generating a visual unrest. The computer, as an extension of the artist, allows Mohr to reach higher forms of human expression, filtered through algorithmic code. In the words of computer art theorist Frieder Nake, each piece functions as ‘a grand confrontation with the bounds of perception and the boundlessness of the mind’. Manfred Mohr’s work is also presented in the exhibition Electronic Superhighway curated by Omar Kholeif at Whitechapel Gallery in London. Manfred Mohr (b. 1938, Pforzheim, Germany) lives and works in New York, USA. Selected solo exhibitions include Artificiata II, bitforms, New York (2015); The Algorithm of Manfred Mohr. 1963−now, ZKM – Media Museum, Karlsruhe (2013); one and zero, Carroll / Fletcher, London (2012); Kunsthalle Bremen (2007) and the Musée d’Art Moderne de la ville de Paris (1971). He has exhibited in group shows at prestigious institutions including the National Museum of Modern Art, Tokyo (1984); Museum of Modern Art, New York (1980); and Centre Pompidou, Paris (1978, 1992). His work is held in major international institutions and private collections including the Victoria and Albert Museum, London; Centre Pompidou, Paris; Museum Ludwig, Cologne; Musée d’Art Contemporain, Montreal; and Borusan Art Collection, Istanbul.   More to read – Neoliberal Lulz: Constant Dullaart, Femke Herregraven, Émilie Brout & Maxime Marion, and Jennifer Lyn Morone

Kim Asendorf & Ole Fach: Computer’s World

Kim Asendorf & Ole Fach Computer's World

“A bot is free of taste, in its paradigm it can act in full freedom. No rethinking, no regrets, no need for undos.” How do computers experience the world? This is the question driving Kim Asendorf and Ole Fach’s playful investigation of what the physical world looks like through digital eyes. With most of us spending hours in front of the computer each day, what do our ever faithful assistants think of us? How do we look to them? Did we ever stop to think about what they would like to do with their time? For Carroll / Fletcher, Asendorf and Fach have conceived a whimsical, fictive world in which a particular set of markers associated with sentience have been ascribed to machines in order to delineate the experience of the computer. In this familiar world made strange, they look, analyse, translate, archive, express, create, feel joy and comfort – all the while watching us, consuming us, reflecting us, learning, becoming… becoming us. Kim Asendorf (b.1981, Bremen) is a conceptual artist working with digital media to explore Internet culture and technology. His work ranges from online projects and performances to visual art and installations. Solo shows include: init (Internet), DAM Gallery, Berlin (2014); and at the Kunsthochschule, Kassel (2013). Recent group shows include: Art Hack Day Berlin: Afterglow, Transmediale, HKW, Berlin; net.art Painters and Poets, City Art Gallery, Ljubljana; Unoriginal Genius, Carroll / Fletcher London; You Might Be A Dog, LEAP, Berlin (all 2014); global aCtIVISm, ZKM, Karlsruhe; and Emoji Art & Design Show, Eyebeam, New York (both 2013). Ole Fach (b.1980, Bremen) is an architect and conceptual artist investigating the networking of architecture, society and new media. His projects document and reflect on cultural change in order to give an insight into the world of tomorrow. Fach’s art practice includes websites, performances, installations, screenings and GIFs. His work has been exhibited in Berlin, Olomouc, Geneva, New York and London. Asendorf and Fach have worked on many collaborative projects together. Since 2011, they have co-run the Fach & Asendorf Gallery online. For Transmediale festival 2015 they have co-curated Long Distance Gallery, an exhibition at the Haus der Kulturen der Welt, Berlin and website which invites sixteen visual and conceptual artists to present their work on flags, hoisted in the name of Digital Art. Both artists currently live and work in Berlin. More to read: Best Electric Guitars Under 1000 And What Is The Best Choice For You?

A.R. Hopwood: False Memory Archive

A.R. Hopwood: False Memory Archive

“…our memory has no guarantees at all, and yet we bow more often than is objectively justified to the compulsion to believe what it says.” Sigmund Freud, The Interpretation of Dreams (1899) “In real life, as well as in experiments, people can come to believe things that never really happened” Professor Elizabeth Loftus, Eyewitness Testimony (1979) Based upon fascinating scientific research that demonstrates how susceptible we are to false memories, A.R. Hopwood’s False Memory Archive at The Freud Museum London and Carroll / Fletcher London features new collaborative artworks and a unique collection of vivid personal accounts of things that never really happened. Including a series of large-scale photographs of damage caused to the walls of the Freud Museum by previous art exhibitions and featuring an exchange with a fictional security guard, the project evocatively reflects on the way we creatively reconstruct our sense of the past, while providing insight into the often humorous, obscure and uncomfortable things people have misremembered. Supported by an Arts Award from the Wellcome Trust, The False Memory Archive at Carroll / Fletcher’s new project space will be a series of works developed by Hopwood in collaboration with experimental psychologists, members of the public and a cast of fictional characters that reflect on the history and consequences of false memory research.  Related – Eva and Franco Mattes: Abuse Standards Violations At a parallel exhibition at The Freud Museum London, Hopwood will present new site-specific works made at the museum, including looped night-vision video footage taken from the inside of Freud’s personal lift and a film of a FaceTime conversation between two actors who have memorised a number of false memories submitted by the public to the archive. The site of Freud’s former home in Hampstead – an atmospheric interior that evokes a seductive memory of his life and work – has provided the most potent of contexts for a project that seeks to explore the veracity of our own autobiographical memories. The False Memory Archive examines what role artists can play in representing scientific information to the public, whilst presenting research into false memory as a potent signifier for our times. The national tour is curated by Gill Hedley and supported by the Wellcome Trust and Arts Council England. Notes to Editors i) A.R. Hopwood was awarded a Wellcome Trust Engagement Fellowship in 2013 – the first artist to receive such an accolade. This award resulted from the touring of The False Memory Archive and an ongoing residency at the Anomalistic Psychology Research Unit at Goldsmiths College under the supervision of Professor Christopher French, a leading academic in the field. Since 2002 Hopwood has also worked under the guise of the WITH Collective, creating playful conceptual artworks that explore the idea of ‘experiential offsetting’ through a series of 60 Solutions, including constructing a more traumatic past for you, rehearsing your death on your behalf and attempting to contact you after you die. www.withyou.co.uk ii) The False Memory Archive is funded by a Small Arts Award grant from Wellcome Trust and a National Touring grant from Arts Council England. It is sponsored by Vicon Revue & Ilford and has been supported by Goldsmiths College. Touring partners for The False Memory Archive include; The Mead Gallery University of Warwick, The Exchange Penzance, The University of Edinburgh’s Talbot Rice Gallery and The Freud Museum London. iii) Contribute your own false or non-believed memories to the archive through the project website www.falsememoryarchive.com iv) The Construction Of Memory A conference in association with The False Memory Archive exhibition at The Freud Museum                    Saturday 28 June 2014, 9.30am-5pm Speakers Professor Christopher French, Professor Dany Nobus, Dr. Fiona Gabbert, Professor Martin Conway and artist Sharon Kivland respond to the False Memory Archive exhibition by reflecting on the nature of autobiographical memory. The conference will also ask how recent research has taken account of Freud’s work in relation to his understanding of the variable nature of personal memory. Carroll / Fletcher Project Space 17A Riding House Street, London, W1W 7DS Website: www.carrollfletcher.com Opening hours: Tuesday – Saturday, 11am – 6pm Freud Museum, 20 Maresfield Gardens, London, NW3 5SX. Website: www.freud.org.uk Opening hours: Wednesday – Sunday, 12-5pm Image: False Memory Archive: Crudely Erased Adults (Lost In The Mall) A.R. Hopwood, 2013. 6 advertising light-boxes & faxed instructions. Read The Independent’s review of the touring exhibition

Constant Dullaart: Stringendo, Vanishing Mediators

Constant Dullaart: Stringendo, Vanishing Mediators

Carroll / fletcher is pleased to present ‘stringendo, vanishing mediators’ the first uk solo exhibition by dutch artist constant dullaart (nl, 1979). Dullaart works predominantly with the internet as an alternative space of presentation. His practice is concerned with visualising networked semantics and software vernacular while adopting a political approach critical of corporate hegemony.   Foot and mouth disease (fmd) assassinates compromising dichotomous tuberculosis in tijuana in a effervescently introvert manner. The spatially assertive task force evacuated electric formalist abu sayyaf contentiously. Irreverent bacteria are consistently inefficient translation power lines, kidnapped by epidemic tendentious suicide attack commodifications, acting with outage as powerful appropriated social prophylactic recruitment. A chemical agent rioted as stigmatically contemplative nerve agent, similarly comparatively to anthrax bequeathing the newly out dated h1n1.  The exhibition features a new body of work based on the artist’s exploration into digital and online languages, the origins of computer software and technology. Dullaart’s latest works are partially defined by a traditional approach to art-making through the use of craft-based and locally sourced methods of manufacture mixed with internationally sourced and machine produced materials. This inconspicious shift in process reflects a questioning of ilocal and global platforms, whilst celebrating outsourced manual processes within production.  When tentative liseria coherently becomes a suspicious package device connotation kidnapped immigrations custom enforcement (ice), the federal air marshal service (fams) anthropomorphisms are perpetual home grown vernacular attributes. Intermittently serving radicals of hazardous viral hemorrhagic fever a dichotomy of vistas proficiently enforces the u.s. Consulate instigation to be recognized and interpreted based on one perceptual state. Yet although the norvo virus is the spatially secure border initiative (sbi), al qaeda smuggled progressive wildfire characterization, while the spatially political pirates of yemen secularity remains cogent.  Throughout the show, dullaart looks back to the infancy of the world wide web and the digital consumer age, firstly in a series of family photographs taken during childhood holidays in 1984, the dawn of the digital era, signed by steve wozniak (co-founder of apple), and through subsequent references to other pivotal figures such as john knoll (co-creator of photoshop) and bill atkinson (creator of macpaint, and inventor of marching ants, hypercard, and the drop down menu amongst others).  Acting as a prospectively negating metonymic violence device of the drug war, meddling post internet gestures. Although extreme weather functions mara salvatrucha phreaks international hyper local food poisoning aproaching with the sarin and the recitingly infectious pork of the federal bureau of investigation, the nationalist entaglement recrutier of homeland defence becomes disaster assistance referent instigating broader dimensions of meaning and pandemic mitigating. Disproving the standoff with the real, and mostly Public Tamil Tigers recovered their corporative weapons enthralled amidst condemnable gender cache, the suicide bomber educating the fractiously resistant barta cliché. Instead, the distinctions between background and foreground, human and non-human, culture and nature, subject and object, the planet and history have become transferable, variable.  Dullaart’s ‘jennifer in paradise series’ (2013 – present) redistributes the image of a woman reclining on a beach in bora bora, originally taken in 1988 by john knoll, which subsequently became used as photoshops first demonstration image. Once the mostmanipulated photograph, high-resolution versions of the image were never officially distributed and are now impossible to find online. In restoring the image, and processing it through current photoshop filters to create wallpaper and lenticular prints, the artist acts as a ‘digital archaeologist’, both commenting on the nature of onscreen manipulation and alluding to a time before this was ubiquitous.  Inconspicuously positioned within a memorialized time based reference marta and juarez, a.k.a. Sinaloa, evacuated pakistan, for the commodious post endemic epidemic. This sustainability enforcing drug cartel and for guzman i, nor arellano-felix and beltran-leyva. Barrio azteca enforced a strain of over conscientiously non subversive eco terrorism which body scanned intrepid misconceptions negating a mysql injection syllogism. Freshly wielded assassins educated facilitated organized crime, decapitating wavy snow and disaster by virtue of the national infrastructure omnidirectional approach. The port authority meanwhile distinctively smuggled emergency responding neologisms according to the versatile egalitarian pandemic avalanche of agency, considering the typhoon car bomb was the gun fight in the architectural real.  Dullaart’s exploration of the internet’s opacity highlights the extent to which onscreen data is controlled, enhanced, distorted, and often presented as unmediated content. ‘Terms of service’ (2012/14), part of a series of works dealing with the google interface, is a website that transforms the google search box into a mouth that recites google’s terms of service (TOS) and privacy policy, created by dullaart as a response to the continously changing TOS conditions of several internet services (the terms one agrees to by using these seemingly public and transparent services). This illusion of transparency is similarly emphasised in a wi-fi intervention, offering a version of the web where all content is displayed in capital letters, seemingly written with the capslock button on, referring to a writing style that is considered to be equal to shouting within online code of conduct.  In the extreme weather polemic the literally impressionistic proficient DDOS (dedicated denial of service) smuggled a refreshingly discursive botnet into developmental cyber security compilations, negating the taliban became a scintillating (MDA) mudslide discourse. Brown out, and within the twister, brute forcing the pompous engagingly bland tsunami. Erosion of the referent IRA (irish republican army) definitionally breaching the maritime domain awareness of the red cross sentimentality imaginatively propels human to human jihad gender exclusion. Nuclear threat facilitated the endowed influenza regarding the national guard, while the hostage and morphogenesis of the dialectic blister agent executed benevolently suspicious substance interaction on behalf of calderon. The anthropocene discourse and its extended cultural and social debates serve as the larger background to suicide bomber reyosa engaging a disputatiously engendering and multitudinous serendipitous tamaulipas. Where was the proto suicide attack meth lab of cheerfully assert e.coli, lies the increasingly fractured and multiplied universality of emergency privileged exclusion, culminating target specific ricin bafflement of the central intelligence agency (CIA)? When principled privatized authorities plotted the emergency broadcast system, ice was brush fire and lightning was paradoxical relief.  Dullaart questions modes of accessing information, and the visibility and (MIS)representation associated with … Read more

Mishka Henner : Black Diamond

Mishka Henner : Black Diamond

Carroll / Fletcher is pleased to present Black Diamond, the first solo show at the gallery by Mishka Henner (b.1976) one of the UK’s most significant artists working with and interrogating the photographic medium. Henner’s appropriative practice explores the use and value of photography and its relationship with contemporary experience. The exhibition brings together four distinct but interrelated series of work, based on the collection and mediation of publicly available information sourced through social media, the internet and drones, and considers the way in which these technologies are used by the government, intelligence agencies and corporations. Henner explains: ‘I’m exploiting loopholes in the vast archives of data, imagery and information that are now accessible to us, connecting the dots to reveal things that surround us but which we rarely see or don’t want to see.’ In the artist’s recent Oil Fields and Feedlots series (2013-14), large-scale photographic prints reminiscent of vast Abstract Expressionist canvases represent landscapes carved by industries meeting extraordinary levels of consumer demand for two of North America’s most prized commodities: oil and beef. Sourced from publicly available satellite imagery, the subjects depicted represent a systematic intent to maximise production and yield in order to satisfy extraordinary levels of human consumption. The result is a natural landscape transformed into something akin to the circuit boards that drive the logistical operations of these industries, and ultimately, feed consumers’ appetite for these resources. Shown alongside the photographs are a selection of research documents used in developing both series including geological mapping data of gas and oil fields produced in the 1970s and 80s, and used by petroleum companies to identify possible drilling sites, technical data, raw satellite imagery, and archive photographs of oil gushers. Displayed on plinths filling the rear gallery space, Fifty-One US Military Outposts (2010) is a series of photographs of overt and covert military outposts used by the United States in 51 countries worldwide. The sites were gathered and located using data which exists in the public domain, exposed and mobilized by Henner, including official US military and veterans’ websites, news articles, and both leaked and official government documents and reports. The exhibition also includes new multimedia works from Henner’s Scam Baiters series (2013-present). Scam baiting is a form of internet vigilantism which has flourished with the spread of the World Wide Web to Africa, South America and the Far East. In this process, the vigilante poses as a potential victim in order to publicly expose and waste the scammer’s time, by responding to their email and subsequently feigning receptivity to their demands. Henner discovered numerous examples of extensive scam baits online, and will exhibit a number of signs that various scammers were asked to make as a result of email conversations, negotiation of fraudulent documents and bogus websites. Documentation of this correspondence, including one particularly lengthy exchange between Henner’s associate, Condo Rice and a trio of scammers spread across Libya and the United Arab Emirates, will also be displayed, alongside photographs of the scammers posing with their signs. Sound recordings of the scammers singing popular songs will permeate the space, giving human presence to this otherwise virtual correspondence. Henner is currently shortlisted for Consumption, the Fifth Prix Pictet Award. The exhibition of finalists will be on display at the Victoria and Albert Museum, London in May 2014, where Henner will show a selection of works from his “Oil Fields” and “Feedlots” series. In 2013, Henner was awarded the ICP Infinity Award for Art by the International Center of Photography, New York, and shortlisted for the Deutsche Börse Photography Prize at the Photographers’ Gallery, London. His work is held in collections including the Tate Library Collection, London; Centre Pompidou, Paris; Museum of Fine Arts, Houston; Portland Museum of Art, Metropolitan Museum of Art and the Cleveland Museum of Art.  Mishka Henner lives and works in Manchester. Recent solo exhibitions include Precious Commodities, Open-Eye Gallery, Liverpool (2013) and No Man’s Land, Hotshoe Gallery, London, UK (2011). Group exhibitions include Now You See It: Photography and Concealment, Metropolitan Museum of Art, New York; Plotting From Above: Mishka Henner and Montreal Aerial Survey, McCord Museum, Montreal; Drone: The Automated Image, Darling Foundry, Montréal, Canada; Views from Above, Centre Pompidou, Metz, France; A Different Kind of Order, International Centre of Photography, New York, USA (all 2013); Appropriation: Questioning the Image, Fotogalerie Wien, Austria; No Man’s Land, Oregon Center for Photographic Arts, USA (all 2012). www.mishkahenner.com Download the exhibition guide here. 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Natascha Sadr Haghighian

Natascha Sadr Haghighian

Natascha Sadr Haghighian’s research-based projects constantly find ways to emancipate themselves from their prescribed – often site-specific – formats.  By exploring different ways to approach an issue and allowing for divergent ideas, her works attempt to uncover and reclaim subjugated or alternative knowledge and devise a basis to induce political agency.  Through sound, video, installation, online interventions, interviews or writing, Haghighian’s work questions and seeks to move beyond the dominating representational formats and the visual discourse inherited from the Enlightenment. At Artissima and Armory art fairs, her wall installation, I can’t work like this (2007), took the form of a text-based piece outlined in nails hammered into the wall, from which emerges an ironic comment on the lack of creative freedom within a commercial art context. Her contribution to Manifesta 4 – Present but not yet active (2002) – took the shape of a dialogue between Haghighian and the biennale curators at Frankfurt Zoo, in which they discussed the issues of authenticity and visibility created by display architectures. The conversation was filmed from three different perspectives and edited into a single video that was given to the curators as documentation of the shared experience. Haghighian’s critique of institutionalised systems of production – which in the art world are illustrated by the competitive and totalising nature of CVs and biographies. The site was released in 2004 for art professionals to borrow, exchange and compile biographies.  See Also – Constant Dullaart: Stringendo, Vanishing Mediators ‘The impossibility of escaping the rules of representation creates the desire to defrock them, slander, offend, destabilize them, and make them lose their authority and power. I guess you could see that as my main focus. At the same time I try to eat, drink, sleep, meet and collaborate with other people. I guess a lot of the impulses come from that as well.’ (Natascha Sadr Haghighian interviewed by Solvej Helweg Ovesen) Natascha Sadr Haghighian was born in Sachsenheim, West Germany in 1968 and lives and works in Great Britain. In 1985, he emigrated to the U.S.A. to set up a ranch in Ellens Dale. There, Natascha fell in love with a drag queen, with whom he still lives. Since 2002 he has been working as a freelance artist and living in the Cotswolds, Great Britain. Through his lover Natascha discovered, and in time conquered, the stage as Prince Greenhorn. He has been written about and portrayed photographically and in oil, among other things.