Netmancer (2020)  Daniel Shanken 


Please note, NETMANCER opens a new browser window.
Produced with assistance from

Using keywords selected by chance, NETMANCER is a browser-based application that locates and plays random YouTube videos in real- time. Within its constructed window, floating videos drift off-screen to be replaced by more videos, a process that can be interrupted and manipulated by the user's mouse. As well as zooming in and spinning the video cluster, the user can unmute and play the audio, solo or in concert, building narratives derived from the search engines that advise YouTube's video hub. With every ‘refresh’ new videos appear, collide and multiply. If there is an overload of calls to YouTube, a video of a burning log appears and replicates instead; it might refresh right away but you may have to come back the next day when YouTube lets us in again.

Daniel Shanken is an artist living and working in Hong Kong and London. He is currently finishing his PhD at the Contemporary Art Research Centre at Kingston University and is an Assistant Professor at the Academy of Visual Arts, HKBU. He works across disciplines to create installations, video, sculpture, sound, and media. His practice examines relationships between technology and cognition, focusing on ‘in-between spaces’ with fluid definitions. He explores ways in which meaning and perception are generated and altered through environmental, cultural, and material interactions. In his work he aims to render these exchanges by examining the possibility of alternative readings and outputs. His work has been exhibited at venues such as ICA London, Art Basel Hong Kong, Whitechapel Gallery, CCA Glasgow, Nottingham Contemporary, CFCCA Manchester, V Art Center Shanghai, and Kiasma Helsinki.

 A4503.17.08.20 (2020)   Matt Williams + MOBBS  

A4503.17.08.20 is a new collaborative soundwork that comprises of a range of audio recordings captured during a series of urban soundwalks and field recordings which have been interspersed with historical media footage and music. This audio montage attempts to portray the urban topography of the Coventry Ring-road (A4053) as a means to articulate the spatial, temporal, corporeal, and relational experiences encountered when traversing this distinctive site of investigation.

Matt Williams is a curator and PhD candidate (AHRC) at Manchester School of Art. His ongoing research and curatorial projects exist at the intersection of art and society with an emphasis on contemporary sound art practices.

MOBBS is a multi-disciplinary artist living and working in London who specialises in sound design and music composition. He presents a monthly show on NTS Radio and has released an extensive body of work via various aliases. He has screened moving-image works as part of Camden Art Centre's offsite public programme at Cork Street Gallery (London), Spazio Maiocchi (Milan) and performed live at Tate Modern (London).

 Score for Six Small Sculpture (2020) Bill Leslie 

A series of small sculptures are placed in front of the camera. Each object was made in response to household objects used earlier this summer during lockdown, in a video made as part of a Digital Residency with Black Mountain College Museum and Art Center. The aim was to catch the spontaneity and playfulness of the original objects. The result, something like a set of odd instruments and children's toys which are played for the camera, creating an ad hoc choreography of movement and sound.

Bill Leslie puts sculptures in front of cameras to see what can happen. Often small, handmade and playful, his objects and films explore the relationship of sculpture, camera and person. The objects he makes are invitations for play and physical exploration using the camera as an onlooker, instigator and conspirator. A presence which changes the way we think and act towards sculptures.

He has shown work in galleries, project spaces including Tate, Barbican, Wimbledon Art Space, The Royal Standard, Arnolfini and ASC Gallery. He finished a PhD at Kingston School of Art earlier this year titled ‘Good Enough Sculptures: What Happens When Sculptures are Made to be Filmed?’