In development

Autonomous Military Robot Child (Heartbreaker) 2017 
Laser cut powder coated steel hand painted in oil 125 x 80 x 7 cm

 

 

 

It 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, humanised and wired for war, were deployed. Human soldiers retreated. Addicted to the pornography of consumption and frozen into inactivity by The Terror, 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…

Work in progress (Woman, to be titled) 2017 
Digital Collage on platinum etching 29.7 x 21 cm

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… 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, Assistant Editor, Art Quarterly full text here

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Work in progress (Agent Provocateur, to be titled) 2017 
Digital Collage on platinum etching 29.7 x 21 cm

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Attempting to describe our history, I have run into many philosophical problems, so have been reading alot – that’s how I came across the books One Dimensional Woman by Nina Power and Feminism, Time and Nonlinear History by Victoria Browne. I invited the authors to talk about Feminism, the near future and non linear time. Listen here.

 


Nina Power & Victoria Browne talking at SPACE

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TRUTH LIES WITHIN 2017 (detail) installed at the SPACE/LCN 2nd edition Showcase

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TRUTH LIES WITHIN 2017 (detail) at The Subculture Archives

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TRUTH LIES WITHIN 2017 (detail) at The Subculture Archives 

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The project is supported using public funding by Art Council England and made with help from the London Creative Network at SPACE.

Read my SPACE / LCN Participant Feature here 

 

TRUTH LIES WITHIN photography
Kirstin Sinclair