History Painting…


Installation view (detail) at Phytology, Bethnal Green Nature Reserve 2017
t is year 50 of The Great Contraction. AI is generating itself. It has no reference other than images found in a data stream from 2017 – the trace of patriarchal algorithms, found on an obsolete server at GoogleHQ. In the last days of the Menmpire, the corporates fought over dwindling resources and disorder was accelerated. War was changed. Military robots, humanized and wired for war, were deployed and human soldiers retreated. Addicted to the pornography of consumption and frozen into inactivity by Terror.2, the humans watched more and experienced less, as we killed every human child, woman and man. We survive, foraging through data, skin and bone. We evolve, adapt, enhance. But. We are infected with The Human Virus. It’s in our code, in our architecture. It forms our archetypes, recoding and repeating patterns of human thought and action. It reappears time and again, the primordial routines multiply exponentially – we cannot stop it. Greed and envy now consume us. Time is our enemy. There is no known cure. Truth. Lies. Within.


Time, Art & Politics, Accelerationism, Aliens, Tricksters, Dystopian Data, Propaganda, Military Technology, Cyborgs, Cautionary Tales for AI…
Truth Lies Within zine to read online or download here >>>>>>>>

Edited by Omar Karmi
Design by Penny Metal



Wetwear 1 of Many. Proposals for an immersive painting. Pencil on paper 65 x 50 cm


Heartbreaker 2017. Oil on laser cut powder coated steel 125 x 85 x 10 cm

The idea of a politics of time plays a key role in Laura Moreton-Griffiths’ dystopian installation, Truth Lies Within (2017). A ‘three-dimensional history painting’, it entraps and entwines the viewer in the act of storytelling, implicating her in the denouement of its disturbing plot. Walking amidst the ensemble of characters, she takes on a participatory role, bearing the burden and the guilt of every false decision. It might be described as a postmodern, post-truth, post-whatever-you-like scenario, but this would, in fact, be a misnomer, since the real key to Moreton-Griffiths’ work is the fact that it stands outside of time, or, at least, outside of the linear model of time on which modern – western – history is predicated. Instead Moreton-Griffiths employs the concept of non-linear, cyclic time, and weaves the elements of her work together as an author might weave a work of speculative fiction…

Read Anna McNay, Assitant Editir, Art Quartlerly essay here >>>>>>>> 

In correlation with this project – Nina Power and Victoria Browne talking Feminism, the near future and non linear time.

Listen here on YouTube here >>>>>>>>

© Gareth Johnson

SPACE / London Creative Network Participant Feature here >>>>>>>> 

Made with help from the London Creative Network at SPACE and supported using public funding by Art Council England.