Dear Shareholder - a-n The Artists Information Company

Venue: THE RYDER
Starts: Thursday, December 8, 2016
Ends: Saturday, January 28, 2017
Address: 19a Herald St, London E2 6JT
Location: London
Organiser: THE RYDER Projects

The stock market, an endless pool of changing values. A constant movement of data circulation that stands behind the curtains of our everyday life. Its mechanical wheels turn slowly in the back stage’s of international corporations, translated into mathematical equations that determine their influence and power.

In the great hall of NYC stock exchange stand tall round pillars, covered by dozens of flickering screens. Green numbers and letters run up and down these custom monitors. To the untrained eye they are nothing more than a visual spectacle. Deciphering it is like trying to find meaning in the shapes clouds form in the sky. It is only the brokers, priests of the market, who can produce meaning by gazing at the sky of figures appearing before them. Only they can predict the economic rise and fall of kingdoms, the collapse of empires, or the birth of a new star. The delicate task of buying and selling is performed in part in screams, shouts and gestures in front of the screen. They are the prophets, practicing the divine art of money making –the knowledge of value and profit.

Occasionally (as in any astronomical system), something happens. A solar eclipse, a sudden but drastic change of climate…

The RYDER is proud to present the work of Fabio Lattanzi Antinori, which celebrates the fragile existence of mass data archives. Drawing from daily-trading figures, financial flash-crash algorithm records, news-websites, search engines results, dark pools operations and E-bay cheapest sales descriptions, Antinori manipulates these into stories of collapsed financial empires. Like the narrator of a Greek tragedy, his hand flickering on an imaginary harp, he plays the soundtrack of the predetermined collapse, transforming stock values and data entries into angelic voices who sing the chorus of inevitable catastrophe.

Fabio Lattanzi Antinori, born in Rome, earned his MFA in Arts and Computational Technologies from Goldsmiths, London, in 2013. Antinori was selected for the PS1 Summer School, New York, in 2012 to study with Marina Abramović; he recently had a solo exhibition at the MoCA Shanghai Pavilion and was also part of the Triennial of Fiber Art in Hangzhou (2016). Recent exhibitions include a duo show with Jeremy Everett at Kristin Hjellegjerde gallery, London (2016), Brun Fine Art (2016), East London Printmakers, London (2015), and Dream Home, Arebyte Gallery, London (2015). Group exhibitions include the Kaunas Biennial, Lithuania (2015), Heaven Is A Place Where Nothing Ever Happens, Pi Artworks, London (2015), NYU, New York (2015), Museum of Contemporary Cuts (2015), Production Methods, Watermans Arts Centre, London (2015), the Victoria & Albert Museum, London (2014), and the Museum für angewandte Kunst, Vienna (2013). He was awarded the Connections Through Culture bursary from the British Council (2016), the A-N Travel Bursary for extraordinary and inspirational research (2016), the Artist International Development Fund from the Arts Council (2016); he was selected for Guest Projects (2015), the Florence Trust residency (2014) and the Open Data Institute collection (2012). Public collections include the Villa Lagarina Civic Museum, Rovereto and the Crespina Civic Museum, Pisa and the V&A, London.

Bar Yerushalmi is of French-Israeli descent. His body of work has been based throughout and has worked in London, Paris, Melbourne and Tel Aviv, where he serves as an independent curator and art consultant. He received his BA in Fine Arts from École Nationale Supérieure des Beaux-Arts, Paris and MFA in Curating from Goldsmiths, University of London. His experience includes a wide range of curatorial work, in small to medium size gallery spaces. Bar currently represents Fehily Contemporary Gallery in London, and serving as associate-curator of ‘Into The Wild’, an artist development programme at the Chisenhale studios in London. His recent projects include EmbassyHACK (2016), a co-curated group exhibition at the Government Art Collection, London. Assistant to the curatorial team of Agnes Martin (2015) retrospective at Tate Modern, London, Panacea (2015), a group exhibition at 43 Inverness Street Gallery, London; MEIL (2015), a co-curated group exhibition at Chisenhale Studios, London; Partial Presence (2015), a co-curated group exhibition at the Zabludowicz Collection, London; CONFLUX (2015), a co-curated group exhibition at the Electrician’s Shop, London; BADLAND (2014), a group exhibition at Fehily Contemporary Gallery, Melbourne; and Chaiers (2013), a solo exhibition at ENSBA Gallery, Paris.

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Fabio Lattanzi Antinori

My practice encompasses sculpture, print, sound, poetry and interactive installations and it attempts to provide an understanding of the process by which notions of belief and the perception of reality are being shaped and shared between the world of corporate systems and the individual. More recently, my artistic research has focused on the world and language of the International Finance, as after all, as Neil MacGregor once defined it, the whole financial system depends on voluntary acts of faith. It is precisely this fictional aspect of money, the co-operational act of agreeing on its value and its consequent moral obligations that derive from such a shared view of reality that drives my interest and artistic production. I incorporate elements of the invisible yet pervasive domain of digital technology and responsive materials in my works, in order to manifest that which is otherwise intangible; coded surfaces and data informed structured so become a tool of investigation of the constant act of negotiation that goes behind the system of information we call tangible reality. My process is often collaborative and research based. From collaborating with RCA graduates in developing an innovative sensor based technology, to working with English and Chinese opera singers to create interactive artworks with a strong choral vocal component, to commissioning data analysts, scientists and a financial astrologer to forecast the value of International Finance markets, to working with an economist and explore ways to re-imagine the market driven society through language and poetry. Selected solo shows comprehend the MoCA Shanghai (2016), Ryder Projects (London, 2016), Museum für angewandte Kunst, (Vienna 2013); selected group shows comprehend the National Museum of Science and Technology (Milan, 2017), the Holon Museum (2017), the Galerie Für Gegenwartskunst (Freiburg 2017), the Odessa Biennale (August 2017), the participation in the Hangzhou Triennial of Fiber Art (Hangzhou, September 2016), the Kaunas Biennale, (2015), PiArtworks Gallery (London 2015), the Guest Projects (London, 2015), New York University (2015), the Museum of Contemporary Cuts (on-line, 2015), the Watermans Arts Centre (London, 2015 and 2014), the V&A London (London, 2014), the Contemporary Art Terminal (Shenzen, 2013) the Open Data Institute (London, 2012). Public collections that have acquired my work include the V&A (London), the Villa Lagarina Civic Museum (Rovereto) and the Crespina Civic Museum (Pisa); private collections include the Open Data Institute (London) and various private collections in Trento, Milan, London and Rome.