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Brownsea; An Imaginary Island
Artist Field Guide - Limited Print 2018
Published by Arts Catalyst
Published to accompany the exhibition - Brownsea; An Imaginary Island, and participatory fieldwork. Part of the Test Sites projects. More information here.
The Field Guide draws on research into Brownsea Island in Poole Harbour in Dorset (2016-). This is a place in which boundaries, between land and sea, private land use and ecological needs, between scientific and amateur understanding of bird and migratory patterns, between the needs of leisure boat users, tourists, shipping and the oil industry, compete with nature, flora and fauna.
Whilst the natural boundaries are visible to the many thousands of visitors who must cross waters, navigate tides and ferries to visit tourist sites, beaches and the Island of Brownsea, invisible layers of control also shape and regulate this site of outstanding natural beauty which boasts numerous Sites of Special Scientific Interest, the start of a UNESCO world heritage park and countless European Union protected environmental habitats.
The field guide allows visitors to the exhibition and Brownsea to reflect upon shared social and spatial imaginaries, the romantic, sublime, utilitarian, economic, social etc., as a result of their interaction with deep and hidden aspects of the landscape; from hidden large scale oil extraction to marine pollution and leisure overload.
Deep Architectures of Inquiry
Artist Field Guide - Limited Print 2017
Published by Office of Experiments
This publication is one dimension of the work, All that is Data melts into Air – first exhibited Färgfabriken, Stockholm 2017, and describes the research project: Deep Architectures of Inquiry – including a series of site specific works at the R1 former Nuclear Reactor space. Stockholm, 2017
The works are commissioned as part of the final research event of the project Transpositions: Artistic Data Exploration, which is curated by Gerhard Erckel, David Pirro and Michael Schwab. Stockholm, October 4 to 6, 2017
The research event Transpositions: From science to art (and back) aims to provide an overview. It brings concepts, data, artworks, and people together for a three-day set of events spread across Stockholm. It offers numerous opportunities to engage with transpositions in exhibitions, installations, performances, presentations, and discussions.
In cooperation with the Royal College of Music, the Royal Institute of Art, the Royal Institute of Technology, Färgfabriken, Audiorama, and the University of Music and Performing Arts Graz.
Funded by the Austrian Science Fund
Sites of Excavation and Construction
Exhibition Booklet
Published by Objectif Exhibitions,
Antwerp 2015
For his first solo show in Belgium, British artist Neal White presents a range of recent and new work – some of them in collaboration with artist Tina O’Connell – that reflect his ongoing preoccupations with deep time and the spaces of art.
Inspired as much by the global scale of computer networks as the theories of John Latham (1921–2006) or the work and ideas of Robert Smithson (1938–73), White’s practice confronts geological as well as data mining. At Objectif Exhibitions, White takes his interest in dark places and subterranean cavities to another level (so to speak), by creating an auxiliary entrance to the Objectif, via its basement.
Curated by Anthony Hudek. Design by Sarah de Bondt
NOIT 2
Artist DVD and text
with Sophie von Olfers
Published by Flat Time House, 2014
N0IT 2: Burning was published to accompany the exhibition: John Latham | Neal White : God is Great (10-19) at Portikus, Frankfurt.
Edited by Lisa Le Feuvre
Included with NOIT 2 is a DVD documenting a series of recent ‘Skoob’ performances undertaken as experiments in relation to the recent exhibition.
With texts by Lisa Le Feuvre, Annea Lockwood & Irene Revell, Anthony McCall, Jo Melvin, Marlie Mul, William Raban, Lucy Reyndols, Donald Smith, Camila Sposati, Claire Louise Staunton, Ursula Ströbele, Marin R. Sullivan, Neal White & Sophie von Olfers
English
Softcover, 108 pages
NOIT-2 Burning
ISBN 978–1–908971–34–0
︎Available Here
#33 Neal White:
Fieldworks from the Museum of the Void
Published by CHELSEA space 2010
An exhibition booklet that accompanied the exhibition of Neal White, edited by
Daeun Jeong with an interview with the artist by curator Donald Smith.
For the past few years Neal White has been engaged in an ongoing project as Artist in Residence at the Centre for Land Use Interpretation, Utah, USA.
White explores notions of experiment through a range of practices, from site-specific installations to performative documentation. His work examines how archives operate and raises critical questions as to what it means to preserve artworks, physical spaces, and documentation, specifically in relation to an artist’s own intentions, and in relation to concepts of time.
White has focused on specific artist's archives as collections, as physical spaces, and as a conceptual territory to be traversed, some of his themes and concepts have been developed around the ideas of the American, Robert Smithson, and the conceptual work of the British artist John Latham.
Available from; Chelsea Space:
Limitations Permitted
A Field Guide to Un-permitted Events
Published by Office of Experiments 2009
A Field Guide that explores the legal, ethical and moral limitations that are used to control Peckham Space, a public square in London. Presented in the format of a bird watchers eye-spy book, it allows users to understand how bye-laws are interpreted by the local council to moderate behaviour, often stretching the interpretation of visitors public rights as outlined in the European Court of Human Rights. The booklet was distributed from an Office of Experiments kiosk where local residents could engage in dialogue and discuss their attitudes to behavious in the public space.
Interpretive Text by Marsha Bradfield
Printed and finished by: Modern Activity
With thanks to Peckham Platform.
A Limited Edition of 250
Experimental Ruins
Artist Field Guide - Limited Print 2012
Published by Arts Catalyst.
A collaborative publication, Field Guide, documenting the Experimental Ruins West Edition workshops and critical excursions collated by Luce Choules
A participatory project to explore the Capital's uncharted places of scientific secrecy and technology.
Experimental Ruins: West Edition was a critical excursion and an artwork devised by Neal White of The Office of Experiments (OOE). It is part of a series of artworks by OOE which use a technique called Overt Research to explore the UK landscape as a multi-layered territory that can be interpreted through aesthetic, archaeological, geographical and techno-scientific interpretations. This participatory project focused attention on the history and geography of post-1945 scientific research, and the facilities and spaces created to house technological advances, that were developed around the periphery of London and especially the corridor to the west. Participants explored the often improbable, underground or unremarkable suburban settings in which scientific research institutions have pushed the frontiers of investigation.
THE REDACTOR
Artist Publication - Limited Print - 2010
Published by Office of Experiments
THE REDACTOR was launched for 'The Incidental Person' at Apexart on January 6th 2010, in New York.
THE REDACTOR is a stamped limited edition publication that features an exclusive interview with leading UK secrecy activist, campaigner and journalistic source, Mike Kenner, as well as incidental editorials, news and features from our correspondents in the field - Rich Pell (Nature Correspondent - Center for Post Natural History, US), Steve Rowell (US, Real Estate) and visual features on John Latham and Jenny Holzer.
The Launch issue is a stamped limited edition of 500 and is published by the Office of Experiments. Design - Sara de Bondt.
THE REDACTOR was launched in the UK at DARK PLACES, John Hansard Gallery on 23rd January 2010, following the Office of Experiments event: The Secrecy and Technology Bus Tour -The Cold War Legacy in the South.
Dark Places
Exhibition Catalogue -
John Hansard Gallery 2009
Beatriz Da Costa, Office of Experiments, Steve Beard & Victoria Halford, Steve Rowell, Sally O'Reilly
Dark Places uncovers hidden sites of scientific and technical research – the 'Dark Places' of the modern world.
New artists' works include The Office of Experiments' ambitious Overt Research Project, which maps, observes and records those advanced labs and facilities that are unwittingly – or purposefully – concealed from public view.
Steve Rowell from the US group the Centre for Land-Use Interpretation (CLUI), in his new project Ultimate High Ground, uncovers the shared US-UK spaces of military power that dot our landscape.
Steve Beard and Victoria Halford's new film Voodoo Science Park unpacks the extraordinary constructed sites of the Health and Safety Laboratory in Derbyshire, where train crashes and industrial accidents are re-created to examine their destructive pathways, while Beatriz da Costa's A Memorial for the Still Living reflects on the impact of our advanced society on the species that live here.
Dark Places was commissioned by The Arts Catalyst and co-curated with the Office of Experiments (OOE), John Hansard Gallery and SCAN.
New artists' works include The Office of Experiments' ambitious Overt Research Project, which maps, observes and records those advanced labs and facilities that are unwittingly – or purposefully – concealed from public view.
Steve Rowell from the US group the Centre for Land-Use Interpretation (CLUI), in his new project Ultimate High Ground, uncovers the shared US-UK spaces of military power that dot our landscape.
Steve Beard and Victoria Halford's new film Voodoo Science Park unpacks the extraordinary constructed sites of the Health and Safety Laboratory in Derbyshire, where train crashes and industrial accidents are re-created to examine their destructive pathways, while Beatriz da Costa's A Memorial for the Still Living reflects on the impact of our advanced society on the species that live here.
Dark Places was commissioned by The Arts Catalyst and co-curated with the Office of Experiments (OOE), John Hansard Gallery and SCAN.
The Self Experimenter
Artist Publication - Limited Print 2005
Max-Planck Institute & Wellcome Trust
Published to support the event and performance work ‘The VOID’ at: Colour After Klein, Barbican Gallery; BAR- (Berlin - Karl Marx Strasse with Max-Planck Institute).
In ‘The VOID’ visitors to the experiment-event could become self-experimenters by taking the pill that was distributed as an artwork from the artist, who was sealed inside a bubble, signing each as an individual work. The audience as the self-experimenters literally became the artwork – what was described as a form of ‘invasive aesthetics’ as they peed blue for the following days.
The VOID was exhibited at International 3 in Manchester, with Max Planck Institute in Berlin, and with Barbican Gallery in London.
NIMR residency funded by Wellcome Trust. The VOID was commissioned by Cecilia Andersson.
Ott’s Sneeze
Artist Book with Lawrence Norfolk - 2001
Published by Bookworks
On January 7 1894, Frederic P. Ott, a laboratory assistant of W.K.L. Dickson (the inventor of the Kinetograph) stood before the world’s first movie camera and sneezed. The paradox of the forty-five frames of Record of a Sneeze is that it shows no sneeze − the droplets and globules of Ott’s explosion were too fast, too many or too small. Having eluded the Kinetograph, the sneeze has spent more than a century in representational limbo; perpetually announced, perpetually failing to appear.
In Ott’s Sneeze, novelist Lawrence Norfolk and artist Neal White have reconstructed this missing sneeze employing the most recent developments in laser, video and computer technologies. The resulting sequence of photographs of the progression of the sneeze in space is shown alongside Dickson’s original forty-five frames together with a commentary linking the two centuries.
︎ Available here
Artist / Academic Texts
You can also find publications and essays, scholarly articles and critical reflections on a range of subjects from Epistemic Events to Destruction in Art and Science, by following a link to my academic research profile here.