about the author
Gillian Wylde is an artist and researcher. She works mainly with video, performance, object and text. Central to her work is a critical engagement with new technologies, the mediated and the installed and simple interconnections of agency. Her works tend to get made in response to contexts of location and place, encounter and dialogue(s), ad-hocism, foraging and chance. Works comment on some of the social and political implications of new technology and practices, often challenging traditional ideas of the art object and means of production or productivity. ‘Material things or stuff’ in relation to the video camera, processes of appropriation and post-production are constants through most of the work – perhaps a savage smell or hairy logic.
Recent projects include: The Day The World Turned Day Glo Arnolfini Gallery Bristol (2016), Because Internets ISEA2016 Hong Kong 22nd International Symposium on Electronic Art (2016), Inna-deno pudenda membra Issue 7 | The Interior published by Eros Press (2015), Queer, The Space’ (2012) – a project inspired by the work of queer theorists such as Sara Ahmed (Queer Phenomenology) and Judith Halberstam (In a Queer Time and Place); and ‘The Nabokov Project’ (2013), an experiment in how to do and, perhaps especially, how to teach literary criticism today.
Work has been shown nationally and internationally including Transmodern Live Art Action Festival, Baltimore; Videotage, Hong Kong; Alytus Biennial, Lithuania; Tao Scene, Norway; Lounge Gallery, London; and CCA, Glasgow.
info & contact
Falmouth University, UK
gillian.wylde [AT] falmouth.ac.uk
(in DARE 2015: the dark precursor ) apparatus, assemblage, Donna Haraway, Gilles Deleuze from A to Z, rhizome, video