BACK TO HOME





. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Art+science | Artificial Intelligence | Audiovideo | Audiovisual Design | Bio Art | Clubbing | Connected Live Art | Design | Digital Animation | Electronica | Experimental | Experimental Cinema | Free Software | Game Art | Generative Art | Graphic Design | Hack Art | Hacking | Hacktivism | Hybrid Design | Hyper Architecture | Interaction Design | Interviews | Live Cinema | Live Media | Locative Media | Net Art | Net Sex | Networking | Networks | New Media | New Media Art | New Media Market | P2p | Performing Art | Report | Robotics | Software Art | Sound Art | Surveillance | Techno Theatre | Technology | Theories | Video Art | Video Clip | Virtual Worlds | Vjing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
 
  Digicult RSS Digipod RSS
Digimag RSS
 
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SEARCH ENGINE
Do your online research inside the Digicult's website and Digimag magazine, through our powerful search engine







NEWSLETTER
Subscribe to Digicult newsletter and stay tuned on our curatorial projects, critical publications and our partner events









SUGGESTIONS
Write to Digicult Editorial Staff and suggest artistic projects and event links which could interest our readers online

 

 


CATEGORIES

NETWORKING
 
SOCIAL MEDIA
 
LAST RELATED ARTICLES



THE MOBILE AUDIENCE


The convergence of mobile technologies and ubiquitous computing is creating a world where information-rich environments may be mapped directly onto urban topologies. This book tracks the history and genesis...


TRACING MOBILITY


Tracing Mobility explores how electronic networks and mobile media are transforming our conceptions of time, space and distance.


MY WAR:
PARTECIPATION IN AN AGE OF CONFLICT


MyWar investigates identity, participation and the reality of conflict in a digitally networked


PIKSELK 10: UNSTABLE


The 8th edition of Piksel celebrates the unstable as a source of creativity, revolt and development. At the edge of a new decennium, 100 years after futurism and dada permanently changed the artworld,...


ECONOMIES OF THE COMMONS 2


Economies of the Commons 2 is a critical examination of the economics of on-line public domain and open access resources of information, knowledge, and media (the ‘digital commons’)


THE INVISIBLE CITY


To rethink the ‘invisible city’ under the pressure of rapid urbanization, this edition of Test_Lab will feature a selection of freshly graduated artists, architects, and designers from European art and...


MAPPING FOR CLARITY


Map Fest takes place at Mediamatic on July 6, 8 and 9. Map Fest brings together kindred spirits to explore, create, define and oppose maps.


V2 TEST LAB:
URBAN SCREEN SERIES


A screen is a powerful medium in an artist’s hands, and public space is an appealing domain for encounters between an artist and his or her audience. Urban screens can therefore be seen as an ideal tool...


TRACING MOBILITY SYMPOSIUM


Joining forces with Nottingham Contemporary as part of their forthcoming Uneven Geographies exhibition, Tracing Mobility, the first of Radiator's three international symposia, examines the emergence of...


MICHELLE TERRAN BUSCANDO AL SR. GOODBAR


”Buscando Al Sr. Goodbar” is a journey through Murcia, Spain that involves a search for the locations and authors of various YouTube videos produced in the city.
ARTICLES
Feral Trade Cafe'
       
Feral Trade Cafe' Post it on FacebookFeral Trade Cafe' Delicious it

HTTP GALERY - LONDON

13 JUNE - 12 AUGUST 2009

 

Feral Trade Café, an art exhibition that is also a working café, opens at HTTP Gallery for 8 weeks during Summer 2009. Serving food and drink traded over social networks, Feral Trade Café by artist Kate Rich (AU) provides a convivial setting from which to contemplate broader changes to our climate and economies, where conventional supply chains (for food delivery and cultural funding) could go belly up.

Feral Trade uses social and cultural hand baggage to transport grocery items between cities, often using other artists and curators as mules. The exhibition includes a retrospective display of Feral Trade products (2003-present), alongside ingredient route maps, bespoke food packaging, video and other artefacts from the Feral Trade network.

The café will stock and serve a selection of Feral Trade goods from a menu including coffee from El Salvador, hot chocolate from Mexico and sweets from Montenegro, as well as locally sourced bread, vegetables and herbs. Along with their food and drink, diners will be served waybills detailing the socially facilitated transit of goods to their plate.

Feral Trade Café is the first element of three-year Media Art Ecologies programme, which aims to provide opportunities for critical debate, exchange and participation in emerging ecological media art practices, and the theoretical, political and social contexts they engage. The café will be host to events, initiated by Furtherfield.org and others, examining issues related to the Feral Trade and Media Art Ecologies projects, including a Media Art Ecologies networking day. Further info and dates (TBC).

On the occasion of the exhibition, Furtherfield.org and HTTP Gallery are pleased to publish a new essay about the Feral Trade project by writer, artist and designer Femke Snelting of De Guezen (NL)

About Kate Rich

Kate Rich is an Australian-born artist & trader. In the 1990s she moved to California to work as radio engineer with the Bureau of Inverse Technology (BIT), an international agency producing an array of critical information products including economic and ecologic indices, event-triggered webcam networks, and animal operated emergency broadcast devices. The Bureau's work has been exhibited broadly in academic, scientific and museum contexts. Restless at the turn of the century, she headed further east to take up the post of Bar Manager at the Cube Microplex, Bristol UK where she launched Feral Trade. She is currently moving deeper into the infrastructure of cultural economy, developing protocols to define and manage amenities of hospitality, catering, sports and survival in the cultural realm.

About Http Gallery

HTTP Gallery is based near North London's thriving Green Lanes area is dedicated space for media art. Furtherfield.org provides platforms for creating, viewing, discussing and learning about experimental practices in art, technology and social change. Furtherfield.org and HTTP Gallery are supported by Arts Council England, London.

 

 

http://www.http.uk.net/exhibitions/FeralTradeCafe/index.shtml

 


Hi- Mute just posted a review of Feral Trade Cafe: http://www.metamute.org/en/content/so_feral_it_s_tame In her recent show, Kate Rich harnesses the spare baggage capacity of the globe-trotting art world to create a ‘feral trade’ network of human scale exchange. John Millar has trouble suspending his disbelief

lois_ann | lois@metamute.org | www.metamute.org
24 Sep 2009 at 13:38


ADVERSTISMENT AND PARTNERSHIPS







FACEBOOK FANPAGE



DIGICULT FLICKR POOL



DIGICULT VIMEO POOL




TWITTER FANPAGE

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

AGENCY | MAGAZINE | PODCAST | ARCHIVE | CREDITS | LINKS | CONTACTS

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .



DIGICULT IS SUPPORTED BY: