Neal White


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Neal White &
Office of Experiments

Neal White &
The Deep Field Project

*Under development*


Selected Projects 

2021
2020

Trondheim 2020
2019


2018
An Imaginary Island
2017



2016



2015

2014


2013


2012

2010



2006

2005



2004


2001


Events & Talks


Highlights, talks, events and fieldwork.




Study for a Pavilion
A collaboration between Neal White and Tina O’Connell features on Archive of Destruction
A project by Jes Fernie with support from Flat Time House
June 2021



Through this exploration of loss and rejuvenation, O’Connell and White’s on-going project seeks to recalibrate the narrative of an artwork, creating new locations, contexts and eras in which it is able to exist.

Archive of Destruction is a research project by Jes Fernie that she has been developing since 2011, looking at public art which has been destroyed by natural causes or by human action through fear, boredom, rage, entropy, greed and love.

Working with graphic designers Daly & Lyon and Flat Time House She has created an ‘archive’ of sorts, made up of suspect categories, open-ended artworks and wrong-footed journeys. Spanning a hundred years and many continents, the artworks tell cumulative stories of vulnerability, desperation, playfulness and bombast. Together, they forge an argument that a public artwork is never finished; it is in a continual state of flux according to the political, environmental, social context in which it is located. 

Archive of Destruction 
Study for a Pavilion


Podcast - The Deep Field Project for Kunsthall, Trondheim, Norway
Nov 2020

Above: Preparatory Sketch for the Atlas of Chronographic Things. Diann Bauer for The Deep Field Project.

This episode of the "Who Wants to Live Forever? Podcast Series" focuses on the work "An Atlas of Chronographic Things" (2020), which is the first work the artists Diann Bauer, Jol Thoms and Neal White, as The Deep Field Project. Here, the artists discuss understandings of time in relation to climate change and the ongoing pandemic.






COVID Experimental App - Habitability.art 
Weisman Art Museum, University of Minnesota, Minneapolis, USA
Autumn 2020



Autumn 2020 – HABITABILITY.ART – AN ONLINE, INTERACTIVE PLATFORM BUILT ON THE IDEA OF AUTHORSHIP WITHOUT OWNERSHIP

What if artists were in charge of how we learn—of how we ask questions and do research; how we teach and gather to share knowledge? Imagine a symposium run by artists. What could this symposium be? More important: what could it do? Who would need to be there, and why?

We are inspired by an art project from 50 years ago: the “First National Symposium on Habitability of Environments” by the Californian artist Robert Irwin. Habitability is the field of knowledge that asks: What does it take to have a habitable environment for humans, on Earth and in outer space? Scientist Ed Wortz worked on habitability in NASA’s Apollo Program. Artist Robert Irwin was Wortz’s close friend and a collaborator who grew increasingly frustrated with NASA’s approach to habitability as a technical challenge: e.g., provide this much air, water and food, the human lives, and that’s enough. Irwin also felt that just pointing out the problem was insufficient: rather, he argued, the very way we learn and discuss habitability needs to be reconsidered. And so, when Wortz asked him to help organize a symposium on habitability, Irwin hosted the gathering in his own studio, transforming the space into an unstable, dynamic environment that challenged everyone involved to think, feel, and talk habitability.

Half a century later, our team took Irwin’s symposium as inspiration and asked: If we, a group of artists and designers, were to create a “Symposium on Habitability” today, what would it look and feel like? We’ve been thinking and experimenting with that idea for the past two years…

and then — the COVID-19 pandemic came and changed the ways all of us inhabit everything. For many of us, this time of “social isolation” is challenging. We see this website as a collectively created social network for the pandemic. We hope that by sharing pictures and poetic reflections, what we see and how we feel, we will all learn about things we care about in places we live: things to be gained in this new world and things we stand to lose. Ultimately, we just want to hold a shared space. Thank you for convening here with us. We are grateful for your sharing your space with us, and promise to be as humanly sensitive and responsible as we can with what you share. We might use the images and texts you submit in future exhibitions and publications.

Team: Boris Oicherman, the Interesting Tactics collective (Mary Dahlman Begley, Isaac Hase, Drew Smith, Austin Watanabe), Peng Wu, Neal White, and Max Hoaglund.





Invited Artist  / Second National Symposium on Habitability of Environments
Weisman Art Museum, University of Minnesota, Minneapolis, USA

Oct 2019

Above: An image from the original symposium in 1970, with Robert Irwin, Larry Bell and others. Below, Assembled members of the second Sympoium on Habitability gather at Weisman Art Museum, Mineapolis.

In 1970, artist Robert Irwin and space program psychologist Edward Wortz designed NASA’s First National Symposium on Habitability of Environments, which brought researchers, engineers, architects and artists into Irwin’s studio to collaboratively tackle the challenge and reframe the ways in which we conceive, design and inhabit environments. Inspired by Irwin and Wortz’s collaboration, WAM will convene the Second National Symposium on Habitability of Environments in 2020.

In preparation for the symposium, a cohort of collaborators from the arts, commercial space exploration, architecture, space medicine, anthropology and art history will gather in Minneapolis this October to consider the question: What fields of knowledge and ways of knowing are necessary to address the notion of a habitability beyond ‘life support’?

HABITABILITY WORKSHOP PARTICIPANTS

Aleksandra Stankovic, Director, Human Performance Laboratory, Harvard Medical School, Boris Oicherman, Curator for Creative Collaboration, WAM, Christian Maender, Director, In-Space Manufacturing and Research, Axiom Space, David Valentine, Associate Professor, Department of Anthropology, University of Minnesota, Dawna Schuld, Assistant Professor, Department of Visualization, College of Architecture, Texas A&M University, Emmanuel Urquieta Ordonez, MD,  Assistant Professor, Center for Space Medicine, Baylor College of Medicine, Interesting Tactics, architecture collective (Isaac Hase, Mary Begley, Anna Jursik, Drew Smith, Austin Watanabe), Minneapolis, James Merle Thomas, Assistant Professor, Tyler School of Art and Architecture, Temple University, Marcus Young, artist, Minneapolis, Meghan O’Hara, Assistant Professor, Cinematic Arts & Technology, California State University Monterey Bay, Neal White, Artist, Professor of Art, University of Westminster, Olga Bannova, Director, Space Architecture Graduate Program, University of Houston, Peng Wu, artist, Minneapolis, Stuart McLean, Professor, Department of Anthropology, University of Minnesota

Supported by the The Andy Warhol Foundation for the Visual Arts through the Curatorial Fellowship awarded to Boris Oicherman



Artist Talk and Assembly Coordinator / Led by Ignacio Acosta with Arts Catalyst London, UK
Nov 2019

Preparatory projection for a proposal for a temporary monumnet for the diamond industry, Antwerp. The proposal is based on the Rio Tinto Diavik Diamond Mine, Canada. Neal White - 2015. See Sites of Excavation and Construction.

Assembly: Extractable Matters was a two-day gathering supported by CREAM at the University of Westminster that brings together artists, academics, activists and human rights experts to collectively explore the politics of extraction across the globe and the role that its operations play on environmental, ecopolitical and societal levels.

How can we understand the infrastructure of mining beyond its materiality and geography? What are the new frontiers of mining and what neocolonial patterns do they reveal?  Together, we will collectively explore the molecular effects of mining and extractive practices on a planetary scale. We will try to disentangle these complex interdependencies – for instance, between the demand for forms of renewable energy that require the extraction of scarce resources and the disruption of ecosystems and communities – and reflect on how we might build alliances and solidarity between artists, activists, and those affected by mining industries. Through talks, workshops and roundtable discussions, over two days we will delve into multiple case studies that expose the entanglements between extractive violence, financial networks and poisonous infrastructures. Together we will explore different forms of resistance, particularly those that seek to carve out spaces of autonomy and solidarity where the structural violence enacted through the exploitation of natural resources – of minerals, labour and cultures – can be countered.     

Confirmed participants include Ignacio Acosta, Lise Autogena, Bobby Banerjee, Suzanne Dhaliwal, FRAUD (Audrey Samson and Francisco Gallardo), Gaia Foundation, Que Kenny, London Mining Network, Margarida Mendes, Ainhoa Montoya, Rachel O’Reilly, Pluriversal Radio, Louise Purbrick, Xavier Ribas, Sim Chi Yin, Elena Solis (Ecologistas en Acción), Jol Thomson and Neal White.

Assembly: Extractable Matters is organised by Arts Catalyst in partnership with CREAM, University of Westminster. It is part of Resistance Labs, a series of discursive events, workshops and broadcasts that bring to the fore existing forms of solidarity between various anti-mining movements in the context of Ignacio Acosta’s exhibition Tales from the Crust at Arts Catalyst.


Fieldwork  / An Ecology of Senses, Lapland (Sapmi), Finland
Sept 2018
 
 
In September 2018, I participated in an amazing field-workshop led by Judith van der Elst for Field Notes, an event held in the sub-arctic at the Kilpisjärvi Biological Station in Lapland, Finland. The event is organised by the Bioarts Society, Finland.

Surfing the Semiosphere.
hosted by Judith van der Elst with Björn Kröger, Pia Lindman, Neal White, Paolo Patelli, AnneMarie Maes, Christina Gruber

All organisms perceive and react to certain sensory data as signs, carriers of significance picked up in their own perceivable surrounding or Umwelt. This concept was introduced by Jakob von Uexküll during the early 20th century and became the foundation of the current field of biosemiotics. The semiosphere is then the sphere in which sign processes operate in the set of all interconnected Umwelten.

As hunters, herders, gatherers, artists, and scientists, we will come together to experience, explore and inventory carriers of significance in, often radically, different, subjective worlds within the larger electric and magnetic fields in which we are all ‘suspended.’ Inspired by von Uexküll who anticipated many computer science ideas, especially in the field of robotics and theories of embodied cognition, we are guided by the question how these signals interact and interfere within our sphere to enable effective communication and navigation between and among organisms and their environment.

“The eyeless tick finding his way to the top of the blade of grass through his skin’s sensitivity to light”, and birds migrating over long distances using the Earth magnetic field in navigation; the masters who can show us novel interfaces to expand our semiosphere and intersubjective knowledge.

For further information, reflections and essays on this event - please see:

Bioarts Website
Closing Statement by the group
Makery Article
Artjournal Open



Artist Talk / Planetary Perspectives
London, UK
April 2018

Test Sites Assembly: Planetary Perspectives 

An artist talk with Professor Rick Stafford (Bournemouth University) in relation to ongoing research on ecological markers and the laboratory landscape of Brownsea Island, Poole Harbour.
 

Arts Catalyst: Join Arts Catalyst for a one-day gathering with CREAM at the University of Westminster. Together with artists, scientists and thinkers interested in re-imagining social, artistic and scientific research as a bottom-up community-led approach, particularly in relation to planetary health, we will explore the complex, interdependent relationship between the health of the planet and the politics of human health. For information and recorded talks - see:

Test Sites Assembly: Planetary Perspectives



Artist Residency with Tina O’Connell
Askeaton Arts, Ireland
July 2017



Askeaton Contemporary Arts, Ireland. July 2017

Askeaton Contemporary Arts will host Michael Fliri, Patrick Hough, Tina O'Connell and Neal White, Kevin Barry & Olivia Smith (Winter Papers) as part of the annual residency programme. Public events will occur during the artists’ stay, culminating with an open day and tour on Saturday July 15. More info




Artist Project Launch with Arts Catalyst
Test Sites. Poole Harbour, Dorset, UK
2017

Moths of Poole Harbour.
Moths of Poole Harbour - in action. 

Test Sites. UK, 2017

Arts Catalyst is developing an ambitious nationwide programme across ecological sites, in partnership with land agencies, research institutes and local partners. The programme will take the form of collaborative art and science research, participatory projects, site-specific artworks and public events.

During 2017-18, artist Neal White will develop a major new fieldwork project and feasibility study in Poole Harbour, Dorset, with scientists, a range of researchers, and architects spudgroup. Funded with support from University of Westminster.



Artist Talk. Mare Nostrum Festival
Santa Monica Arts Centre, Barcelona, Spain
2016



Superscale PsychoData - Ars Santa Monica, Barcelona. 18-20th Nov, 2016

“Super Scale Psycho Data” was an artist talk and workshop devised by Neal White (University of Westminster, United Kingdom). Seminar at Santa Monica Arts Centre included David Pirrò (Institute of Electronic Music and Acoustics, University of Music and Performing Arts Graz), of the Data Transpositions Project. 

Experimental fieldwork included a facilitated tour of the National Supercomputing Center MareNostrum (Barcelona) and experimental mapping fieldwork around the site. (see below). Organised by Monica Bello (CERN) and Andy Gracie. Supported by CREAM.




Artist led event with Tina O’Connell and Barabara Steveni.
An Incidental Meeting. Part of 9Events - Royal College of Art, London
2016

Photograph. Tina O’Connell

The Incidental Meeting, orchestrated by Tina O’Connell with Neal White and Barbara Steveni, both former Directors of O+I. Members of O+I, APG along with invited artists and students attended. Critically, a succession of events have come into play since, based on the idea of a future 'Incidental Unit' in which these former groups are reformed.


New Work - Neal White reaslises a Skoob Tower
A Lesson in Sculpture with John Latham.

Henry Moore Institute. 24th March- 19th June. 2016

Image: Jerry Hardman-Jones 2016

Coordination and realisation of a Skoob Tower with John Latham Foundation, for Henry Moore Institute.

For images from the exhibition, including images from Neal White realises a Skoob Tower, follow this link and scroll.



Artist Talk: Geo-aesthetics in an Anthropocenic World
Cultures of the Anthropocene. Royal Geographic Society International Conference. Exter University 4.9.2015


In this discussion of artistic research practices, Neal White will first discuss his ongoing fascination with large scale sensing networks. Examining existing and new sensor networks, White examines what Ryan Bishop has referred to as a 'long cold war’ in which sensing seismic activity and molecular detection are leading cultural practitioners into a re-imagining a collective experience of global scale scientific and military systems. Driven in part by ongoing research into deep time and the concept of contingency, the discussion examines the critical importance of the ‘anthropocene’ in framing new cultural practices.



Announcing new project with Office of Experiments.
HyperSensor, Wysing Arts, Cambridgeshire. 2015


A new project with Office of Experiments, including Rob Smith and Anna Troisi.
For more information see the video on Vimeo.

Hyperdrone Experiment - translating data from a remote global seismic sensor array used to monitor nuclear scale explosions and events.


Artist Talk: NEUSCHLOSS/ Das Träuman
Tuesday 21 April 2015 / 19.00 - 21.00
BALTIC, Gateshead, Level 3



A group of artists, writers and curators working with or at Northumbria University, will present Das Träumen within the Jason Rhoades’ installation The Creation Myth; a work described by Ingrid Schaffner in the exhibition publication as a “model of the artist’s brain at work”.
Read More 


Artist Talk: 
Politics and Practices of Secrecy.

Institute of North American Studies,
Kings Colllege, London.


Above - The Mike Kenner Archive. Office of Experiments.

Roundtable 2: Aesthetics of the Secret
• John Beck: 'Photography’s Open Secret'
• Neal White: 'Secrecy and Art in Practice'
• Clare Birchall: 'Art "After" Snowden'

For more informaition on this event, please read:
https://we-make-money-not-art.com/politics_and_practices_of_secr/


Artist Talk: The Experiment. Royal College of Art.
Critical and Historical Studies. March 6th 2015



Images from the Mike Kenner Archive, Offfice of Experiments.

Event with lecture by Neal White. Including Maya Oppenheimer, Ben Cook, Frances Morgan and Jenny Hodgson.






Artist Talk and work in the Archive Exhibition :
The Imaginary Archive, Whitechapel Gallery.

29th January 2015


Neal White, whose work from 2004 The Third Campaign that focussed on restoring th work of Jacob Epstein as seen on the former BMA Building, Charing Cross (see above) is is included in the show. Asl artist Paul Becker, whose research interests include fictional histories and Sue Breakell, Archivist and Research Fellow at the University of Brighton Design Archives, who has a particular interest in the theory and practice of archives in visual arts contexts. The panel will be chaired by Nayia Yiakoumaki.
Details


NOIT 2 Launch 20th June 2014




Ongoing research testing the ideas of Latham in contemporary context have recently included a number of skoob performances undertaken in and around Portikus. NOIT 2 features a DVD record of these works.
Order NOIT 2. Features an introduction to a series of peromances of Skoob Twowers enacted with Sophie von Olfers. 


Artist Talk: Art as Event. John Latham and Flat Time Theory.
Lecture 6th May 2014.
Stadehlschule Frankfurt.



Introduction by Neal White to Lathams' key concerns in terms of time and its relation to art. Followed by a Skoob Performance.

Recent Research Update:
A Report from the Field.
Data Flows and the open field

Eleonore, Linz, Austria
July 2013


Lisa Haskell and Neal White spent a week for Office of Experiments aboard the Eleonore, on the Danube with new found friends, Donautics. A curated residency programmed by Armin Medosch and Stadtwerkstadt, Linz.


Or listen to a new audio experiment for Austrian Art Radio. Listen




Recent Talks & Tours: The Portland Experiments
Resonant Terrains
Portland, Dorset.
Friday 11th October 2013



As part of an event organised by b-side, Office of Experiments led a tour around Portland in Dorset. A mini version of the Secrets of Portland Tour we had already done with Big Picture, we started inside the Verne, a high security prison inside a citadel where the Sympoosium was based. We then visited a number of locations, taking in a lecture from the staff of the MOD QinetiQ magentic resonance site at Portland Bill and a site visit to the former Underwater Defence Research Establishment.




Artist Talk: On Not Knowing/ How Artists Think
Whitechapel Gallery, London
15th September, 2013


Panelists Sarah Cole, Lizzie Fisher, Rebecca Fortnum, Ian Kiaer and Neal White (contributors to the book) explore how artists use strategies of ‘not knowing’ and discuss whether engaging with the unknown is a critical component of the creative process



Artist contribution to Workshop - Intoart Live Archive event
Tate Modern
Friday 2nd August 2013

Intoart LIVE 2014

Presentations of current research and workshops led by Intoart, alongside contributors Allison Foster (Tate Archives), Neal White (Office of Experiments) and Ntiense Eno Amooquaye (Intoart)





Artist Essay
NOIT Journal
Flat Time House



FTHo and Camberwell Press are launching the new creative journal, NOIT. Comprised of new writing, artists’ contributions and original research, NOIT will explore the theoretical concerns and artwork of John Latham and their continued relevance. The first issue, NOIT–1 JL: Time-based Portraits is guest edited by curator and researcher Antony Hudek. For the introductory issue, Hudek invited 43 contributors who knew John Latham or are familiar with his work to remember an episode or incident involving the artist, his art or ideas.
Read More





Book Chapter: Epistemic Events
Experimental Systems in Artistic Research

Orpheus Institute



The experimental approach of science applied to artistic research. We don’t know what we don’t know. This makes it difficult to imagine research that will produce truly new knowledge. In the sciences, the experimental approach has proved its worth in generating what subsequently requires understanding. Can the emergent field of artistic research be inspired by recent thinking about the history and workings of science? How can artists engage with experimentation to extend artistic values and deliver future knowledge?

In this book fourteen contemporary artists, musicians, and theorists engage with Hans-Jörg Rheinberger’s widely studied theory of experimental systems in an effort to determine how experimentation can productively be put to work in the arts. An interview with Rheinberger himself probes research as a potentially shared space between the otherwise different activities of art and science. Read More




Book Chapter: Overt Research
On Not Knowing

Blackdog Publishing



On Not Knowing - edited by Rebecca Fortnum and Elizabeth Fisher, brings together contemporary artists and thinkers from a range of disciplines to explore the role of ‘not knowing’ within the creative process. The state of ‘not knowing’ or engaging with the unknown is an important aspect in the making process, with artists often balancing a strong sense of direction with a more playful or meditative state of exploration and experimentation.




Book Chapter: Experiments and Archives in the Expanded Field
All This Stuff

Libri Publishing




All This Stuff: Archiving the Artist explores the documentation of the creative process. From their different viewpoints, fifteen leading artists, archivists and art historians, reflect on ways that artists and archivists deal with ‘all this stuff’, and how artists manage and relate to their own archives.

Introduced by Clive Phillpot, All This Stuff includes artists and writers such as Gustav Metzger, Bruce McLean, Barbara Steveni, John Latham, Barry Flanagan, Edward Burra, Penelope Curtis and Neal White. Read More




The Individual and the Organisation: Artist Placement Group 1966-79
Raven Row Gallery between 27 September to 16 December 2012


Image: Neil Cummings

As former Director of O+I and researcher in the APG Archive, I took part in three interrelated events; Education: Not Knowing; Planning the Future of the Art School with UAL Chelsea, an evening exploring The Politics of the Archive, a planning day with curator Antony Hudek and former members of O+I to plan the next move.





Dark Places and experimental geography – Interview with Neal White
June 6, 2012

Harwell Campus. Neal White - Office of Experiments

Coming out of the shadows of Experimental Geography is not easy, but there is an interview about this work here: we-make-money-not-art. An interview with Regine Debatty about Experimental Ruins - is also available on resonance.fm 



Office of Experiments is pleased to announce its support for Luce Choules new long term project: The Temporal School of Experimental Geography. 






Artist Talk: Ruinations; Violence, snafu and porn
AAG - Association of American Geographers,

New York, New York - Feb 2012.


On Overt research with Steve Rowell - Greenham common. 2008-9

Speaking on the International panel; Ruinations; Violence, snafu and porn, developed with Detroit Unreal Estate Agency and Dr Angela Last (UCL). With Steve Rowell, Office of Experiments is also planning a tour of Governers Island. Further work is being developed with a critical art space in NY for 2012-3. More news to follow.





Picture Essay with Steve Rowell
Critical Dictionary - Ed. David Evans.

Black Dog Publishing.



Office of Experiments features in this new publication edited by David Evans. "Inspired by Georges Bataille's critical dictionary, the project strives to declassify terms in a playful manner emphasizing the open-ended, the provisional and the unfinished nature of language."

Black Dog Publishing, 2011 Softcover 192 pages Fully Illustrated, colour ISBN: 9781907317491




Studies for a Catalogue: a Study for an Exhibition of Violence in Contemporary Art 
(Reprise 1964/2011).


These life sized target dummies were documented whilst I was trespassing on a SWAT training house at the Wendover Southbase, Utah. Clearly the victims of triggger happy trainees, they ended up in the exhibition and publication project by Mathieu Copeland at Flat Time House. July 2011 - with the longest list of International Artists... in facsimile... To download the publication - go to repriseme.com




Exhibition: Again A Time Machine.
Spike Island 16th Spetember- (9th october). 




This exhibition featued excerpts from the Bookworks commissioned 'Ott's Sneeze' as part of Bookworks own self-archived exhibition project.




Artist led Bus Tour:
Secrets of Portland - Field Experiments in Nature, May 2011
- took place in May. 


A spatially mediated one day field guide led a group of 36 in an exploration of sites and spaces that revealed a darker side of Portland's (Dorset, UK) experimental history. More information will be available soon through the Office of Experiments. See over.






Artist Talk: Unseen Sights / Sites of the Unseen
Gordon Matta Clark, Trisha Browne and Laurie Anderson.
Exploring the Downtown Scene. Ideal Spaces with Recreational Rec at Barbican Gallery, 24th March 2011.



Two ‘Betweens’ - First: Kunst als Soziale Strategie, Bonn, 1977. Podium discussion between APG artists and German ministers.. Second, On Value a Between at South Landon Gallery, 2007, that I coordinated with Chelseas Critical Practice and O+I. 

In this talk on Sites and Scenes. I explored the notion of a 'scene' as an event structure. Drawing on between spaces the talk started by drawing links between Matta-Clark's 'fake estates' project and the 'betweens' a format exploited by APG and , developed Jurgen Harten at Dusseldorf Kunstkalle in the 1960/70's





A Public Commission with Tina O’Connell
Where is Heidenheim. Heidenheim, Germany



This project was undertaken with newspapers all over the world including, from our old friends in Utah - USA, to Limerick, - Ireland, Imphal - Manipur India, Beirut - Lebano and Namibia. Commissioned as a public artowrk, for the Sculpture Symposium in Heidenheim, Germany, we worked with the local newspaper Heidehenheim Zietung. Having fabricated a large sign stating ‘Where is Heidenheim?’ we placed it on the newspapeer central offices, and then ran stories across the world, eacho fwhich was then featured inside the newspaper.




Covert Cultures: Art and the Secret State - CRASSH 
Cambridge University. 4th-5th February 2011



Spooks and Artists... As part of a panel entitled 'Exhibiting Ideology', my paper 'Exploring Dark Places' examined the relationship between experimental sites and work undertaken in the Overt Research Project. Specifically, the paper examined the role of experimentation in the work I have made, and moves onto explore how cultures of secrecy give rise to rumour and speculation to inform an imaginary that extends the logic of that which is concealed, classified or undisclosed. In terms of speaking truth to power, I was recommended by Trevor Paglen, whose work was explored in a detailed presentation. Alongside my own talk, both our positions contrasted interestingly with the anecdotal observations of keynote speaker Sir Richard Dearlove - former head of MI6. (spooks arent as wise as they think about artistic research or artists it seems, as Trevor was soon to be embroiled as cameraman in Laura Poitras Citizen4 film featuring Edward Snowden. Nice work, Trevor.) Way Back Machine Link







Drawings in Catalogue for Modern British Sculpture
Royal Academy, Catalogue

22 January – 7 April 2011




Two drawings taken from a parasite archive from 2004 appear in the catalogue of the new Royal Academy exhibition. Taken from 'The Third Campaign' with Henry Moore Institute in 2004-5, the project highlighted the infamous series of Jacob Epstein's destroyed public sculptures on the BMA Building on the Strand, London, re-igniting a debate around ruination as the impulse of heritage.Royal Academy of Arts, London (31 Jan 2011) ISBN-10: 1905711727 ISBN-13: 978-1905711727




Art as Research
Austrian Radio 13 December 2010

Interview with former colleague (Ravensbourne), sparring partner and friend, the late, great Armin Medosch , who sadly passed away much too young in 2017.

"Hören Sie einen Auszug aus der Ö1 Sendung "Radiokolleg – Kunst als Forschung" zum
Thema"Werkstätten neuen Wissens (Teil 1)" von Armin Medosch vom Montag, 13. Dezember 2010 um 09:30 Uhr in oe1.ORF.at".
http://apasfftp1.apa.at/oe1/programm/0000C00E.MP3

See Armin Obituray here 
https://netzpolitik.org/2017/nachruf-armin-medosch/






Dark Places - Overt Research Database  Launch,
Arts Catalyst
 
London - 9th December 2010


Overt Research Database was launched at the new Arts Catalyst project space. The website is a resource of Office of Experiments, and currently focuses upon the UK Dark Places Field Guide to the South, but will also include the next stage of the Overt Research Project - Experimental Ruins being developed in and around the London Orbital. Tours will start later in the year with support from Arts Catalyst. Register, participate, research!




Workshop: Experiment
Whitechapel Gallery for Sally O'Reilly
Nov - December 2010


Following an invitation from Sally O'Reilly (critic, founder of Brown Mountain College, and writer in residence at Whitechapel Gallery) I took a chance to re-stage part of an earlier experiment from 2003-6,  in her series of workshops at Whitechapel exploring issues in her publication 'The Body in Contemporary Art'. Based on an incident which was part of an infamous Yves Klein event in 1958, this consensual form of self-experimentation was conducted over two separate events. Fun and games, and blue pee!




Experimental Fieldwork,
RCA & Wysing- 16th December 2010



Mullard Radio Astronomy Observatory. Close to Wysing in Cambridgeshire.
 
Project Leader running an Experimental Fieldwork session for Royal College of Art MA in Curating Contemporary Art as part of Ways and Means, an Arts Council funded Retreat event. Wysing Arts Centre. 6-10th December 2010.




Militant Tendancy? Firstsite / Imperial War Museum I am NOT a War Artist (Part 2) Nov 2010



For the second time, I was shortlisted to act as an Imperial War Museum artist. Whilst being shortlisted a few years ago, my proposal was perhaps a step too far. I am under the impression dropping portable artist studios into beseiged communities for local war artists to work in, depicting their own view of conflict zones, was politically just too difficult. This time, I travelled to meet the 16th Air Assault Battalion, in Essex and along with other UK artists, facilitated by the rigorous staff at firstsite in Colchester, was able to make enquiries around the posting in Sangin, Afghanistan.  Given the embedded nature of this position, my work around military and secret spaces and that I would have to sign the UK's Official Secrets Act, I declined the final interview for the position.




Experimental Proving Grounds of Coast and Sea,
Bridport Arts Centre, Dorset, UK.



A micro-exhibition was curated from the Office of Experiments Archives and online resources as part of the exibition 'ExLab' at Bridport Arts Centre. This micro-exhibition drew on the Mike Kenner Archive and a focus on experiments conducted in and around Lyme Bay, Weymouth. The Critical Excursion 'Secrets of Portland - Field Experiments in Nature' will further extend this project. May 2011.

Experimental Society 
Peter Stott Gallery, Lancaster University
7/7/2010

The Mike Kenner Archive (ARC) of Office of Experiments appears in the exhibition that accompanies Experimental Society, the final part of the Experimentality conferences at Lancaster University. More




Workshop and Walking tour: Experimental Ruins
UCL / EPSRC London
6/7/2010




Office of Experiments run a workshop on 'Experimental Ruins' with Dr. Gail Davis at UCL Department of Geography. More




Experimental Subjects
Lancaster University

Anonymous Experimental Subject taking part in the performance work Truth Serum, FACT, Liverpool, in 2008.

Neal White presents ongoing work and theory on the body and place as 'sites of experimentation' at the Experimentality Conference, Lancaster University. More

NOTE - More information on the prroject Truth Serum (2006-8) to be added to Key Projects soon.



Exhibition Project: The Redactor
The Incidental Person, Apexart, New York
6/1/2010


Neal White working with Office of Experiments launches this intermitent periodical. The Redactor is an explores erased organisms, land and ongoing struggles with state censorship. Featuring work from Rich Pell, Jenny Holzer, Steve Rowell, and an extensive interview with Mike Kenner on staying under the radar. More




Residency continues; Centre for Land Use Interpretation,
Wendover, Utah
April 2008 - 2010


Neal Whites ongoing resiency at CLUI's Wendover site in Utah continues with research into Smithon Spiral Jetty, and an investigation of Land as Laboratory - with a new film being based around the Millard County Cosmic Ray Facility in the Great Basin.

Supported by Henry Moore Foundation.





Featured Works
New Topographics

BLUEPRINT magazine ran a six page full colour article on the Overt Research Project.





Featured Works
The Body in Contemporary Art




Thames and Hudson

Neal Whites work with Office of Experiments in relation to the site of experimentation, from body to spatial entity, is highlighted in this Thames and Hudson publication by Sally O'Reilly

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Secret Vitrine
UCL Cloisters Sept 09-Jan 2010




A classified map of a secret underground bunker obtained by Mike Kenner was visible through the code words used to name it. This was displayed alongside a Cabinet Office letter declaring the dates beyond which the names could not be used for display.





It has to end somewhere....
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