Manu Luksch
Manu LUKSCH is an intermedia artist and filmmaker who interrogates conceptions of progress and scrutinises the effects of network technologies on social relations, urban space, and political structures. Her works have ended up everywhere from street protests in Hong Kong to the collection of the Centre Pompidou in Paris. Her practice and process are atypical and bold, and sometimes carry serious risks such as getting cold and wet (KAYAK LIBRE – a ‘free=libre’ kayak taxi service along urban canals, which doubled as a vehicle for research and discussion on the future of transport), giggling uncontrollably (BLUESKY BLUEPRINT – an urban planning bureau led by young children whose ages weren’t publicly revealed), and an uncontrollable yearning for modernity (forthcoming artist’s audio guide to the Forberg Collection at the Albertina Museum, Vienna).
One recurring element of Manu’s work is the archive. Her seminal speculative fiction film FACELESS (2002–07), compiled from surveillance recordings recovered under data protection legislation, treats CCTV images as ‘legal readymades’, and derives its scenario from these legal properties. DREAMS REWIRED (2015, Luksch/Reinhart/Tode), her second collaboration with Tilda Swinton as voice artist, draws on over 200 films from the 1890s to the 1930s to explore current hopes and fears relating to hyper-connectivity. This questioning of the archive extends to its contemporary use in prediction: her forthcoming film investigates data analytics and the (cognitive) Internet of Things.
One recurring element of Manu’s work is the archive. Her seminal speculative fiction film FACELESS (2002–07), compiled from surveillance recordings recovered under data protection legislation, treats CCTV images as ‘legal readymades’, and derives its scenario from these legal properties. DREAMS REWIRED (2015, Luksch/Reinhart/Tode), her second collaboration with Tilda Swinton as voice artist, draws on over 200 films from the 1890s to the 1930s to explore current hopes and fears relating to hyper-connectivity. This questioning of the archive extends to its contemporary use in prediction: her forthcoming film investigates data analytics and the (cognitive) Internet of Things.
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A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
A major essay by media theorist Armin Medosch situates the work of the London-based artists amidst the rise of the ‘creative industries’ idea, inner-city regeneration, and the dot-com boom. Medosch identifies the work as a front in the wave of critical art that has emerged alongside the rise of digital networks and ‘open source culture’, and offers an analysis that draws on systems theory.
Other contributors to the book include independent media activist Keiko Sei on the ‘camcorder revolution’ in Burma; policy consultant and writer Naseem Khan on grass-roots regeneration in East London; activist-artist Siraj Izhar on praxis as process; and philosopher-dramaturge Fahim Amir on techno-democracy.
other, struggles over ownership and control of data in an user-generated archive.