Brigitta Zics: The Transparent Act

Wednesday, 17 April 2019

wednesday is pleased host a reception and an open conversation with Brigitta Zics to mark the London launch of her book The Transparent Act.

The Transparent Act explores a radical shift that immersive and interactive technologies have brought to the role of the spectator. The evening will reflect on shared experiences of interactive art practices and invite dialogue about ways in which the complex relationhsips between form and content can be shaped in the era of virtual realities.


Experiential Art Manifesto

1.0 Experiential Art concern the experience and the process of experience by individuals and audiences.

2.0 Experiential Art utilises technology, both analogue and digital, to expose audiences to unorthodox experiences.

3.0 Experiential Art acknowledges the shift from the so-called information age to the age of experience and related practices and methods.

4.0 Experimental Art is always time-based and frequently facilitated through a purpose-designed environment.

5.0 Experiential Art challenges the medium and form of art presented and experienced. It often appears in new environments beyond institutional settings.

6.0 The aesthetic concern of Experiential Art is the human body and how it gives rise to living experience. 

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Fari Bradley: Hearing on Mute

Fari Bradley, Hearing on Mute

19 October – 10 November 2019

Fari Bradley (b. Iran) is sound artist, composer and arts-broadcaster who works with listening, language and the environment to question our sense of self and our place within the society and nature.  Bradley’s practice spans performance, broadcast, installation and sculpture, and revolves around experimental music, listening and exercises in modes of communication. 

Bradley’s sculptural works employ treated found objects, textiles and electronics, while live performances overlay architecture, public space and history. Often centered around sculptural installations, Bradley’s research-based practice, also involves collaborations, from performing with noise improv quartet Oscillatorial Binnage from 2016-2013, into the sound-art duo Bradley-Weaver, working together with Christopher John Weaver in the Middle East since 2013.

The project is supported by University of the Arts London.