Want to dig deeper into disciplinary interstices and entangled knowledge? Join an international community of artists, designers, cultural workers, and educators by becoming a HOLO Reader. You’ll receive the annual print edition and get full access to everything we publish online for a year.
“Every day you wake up in this country and you have a new problem. It isn’t our fault our governments are enemies. It’s already hard enough for us to survive.”
– An Iranian cab driver, on escalating cyber attacks between his country and Israel. Last month, Iran’s fuel distribution was hacked by Israel—causing massive disruptions; Iranian hackers responded by posting the personal data of 1.5 million Israelis on Telegram.

“Taskoch pipon kona kah nipa muskoseya, nepin pesim eti pimachihew | Like the winter snow kills the grass, the summer sun revives it” opens at the Robert McLaughlin Gallery (RMG) in Oshawa, Canada. Curated by Missy LeBlanc, the show features Joi Arcand (image: ekawiya nepewisi, 2017), Susan Blight, Tsēmā Igharas, and four other artists working in languages representing the seven major geographic regions of the land now known as Canada, ”celebrating and centering Indigenous language revitalization.”

“Past attempts to colonize space were spurned by civilization for being too boring. My goal is not only colonizing Mars, but entertaining everyone along the way.”
– Co-writers Daniel Rourke & GPT-3, invoking the world’s richest man in WHY I WANT TO FUCK ELON MUSK, a text for the upcoming “All of Your Base” exhibition at Aksioma (Ljubljana, Slovenia)

The Fall, a site-specific installation by Susan Philipsz, opens at Amsterdam’s Oude Kerk. Building on the former church’s acoustics and legacy, the Scottish artist has derived a ‘sonic tribute’ to composer and organist Jan Pieterszoon Sweelinck, who was buried on site in the 17th century. Philipsz’ installation adds her voice to Sweelinck’s music, and suspends organ pipe forms in space, creating “descending scale sounds, which swell and evoke a sense of collapse, fragmentation, and absence.”

“You will still have your heart broken in a world without capitalism, but maybe you don’t have to have that and also be stressed out about your loan debt.”
– Artist and writer Ingrid Burrington, discussing the merits (and nuances) of utopian narratives with science fiction writer Tim Maughan at Oddstream’s “Goodbye Internet” mini-festival. “To me, any dystopia is hopeful,” adds Maughan. “Because it’s presenting something as being wrong.”
Coming Soon

Tim Maughan pens dark fiction challenging the unquestioning optimism and lazy headline writing of mainstream science and technology journalism.
A new HOLO format, Dossiers are web-based research publications that contextualize and expand upon cultural initiatives in real-time

Dossiers are dedicated HOLO folios that augment and complement exhibitions, residencies, conferences, and educational initiatives. Realised in collaboration with artists, writers, curators, and cultural partners, they are designed to document process and disseminate knowledge through a variety of engaging formats—essays, interviews, artwork—all within a focused online magazine. If you’re interested in working with us on a Dossier, please get in touch via our Contact page.

Become a HOLO Reader: order the annual print edition and get full access to everything we publish online for a year
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A BESTIARY OF THE ANTHROPOCENE is an illustrated compilation of hybrid creatures of our time, equally inspired by medieval bestiaries and observations of our damaged planet.
236 pages on artist-in-residence programs at scientific institutes, VR’s latent potential, and a deep dive into the extremely weird history of random number generation
The first three instalments of ‘anticipatory’ designers N O R M A L S eponymous graphic novel series delineates a dark and unsettling world of hyper-mediated futures.
226 pages on an original digital art gallerist, the fascinating history of a powerful visual programming langauge, and an extended inquiry into how augmented vision is warping ‘seeing’ and ‘being seen’

Emerging trajectories in art, science, and technology (since 2012)

As an editorial and curatorial platform, HOLO explores disciplinary interstices and entangled knowledge as epicentres of critical creative practice, radical imagination, research, and activism

“I feel the language and concepts I’m working with don’t comfortably fit within the normal discourse about art and aesthetics. CERN’s physicists and engineers understood the tools I was using and I was able to talk about my goals. I just couldn’t have that kind of dialogue in an art context.”—sound artist Bill Fontana on his CERN residency (HOLO 2, p.206)

There is a space between a computer’s command line interface and the contemporary art museum, the legalese of Silicon Valley’s terms and conditions and the social contract, the whoosh of a particle accelerator and the romanticized “a ha” of artistic inspiration. For much of the twentieth century these gaps were chasms, separating science and engineering from the humanities and siloing them off; today, these gaps are narrowing and disciplinary interstices are the spaces to watch. Increasingly aware of how much technology governs not only entrenched fields of study but every aspect of modern life, we’ve come to realise that things are deeply intertwined.

HOLO emerged in 2012 to explore these entanglements—first with a periodical, now across an expanded platform. Set up in the grey zones between art, science, and technology, it frames scientific research and emerging technologies as being more than sites of invention and innovation—as epicentres of critical creative practice, radical imagination, and activism. The artists and designers working with related materials—algorithms and microcontrollers, meteoroids and fungi, data and archives—aren’t just updating notions of craft for the twenty-first century, they are researchers and cultural critics.

As an editorial and curatorial platform, HOLO occupies the same eccentric vantage points as these hybrid creative practices and puts them into perspective. Working across multiple avenues—print and online, events and production—HOLO collaborates with contributors and cultural partners to facilitate fruitful dialogue between domains and bring new voices into the conversation.

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