I’ll be showing some new work at a group show in Galeria Tabačka, Košice, Slovakia
leap beyond our tribal past
20.3.2024- 15.4.2023
Opening 20.3. 19:00
My work The End in Three Parts, Part One will be shown at Pofoda Festival in Trenčín, Slovakia
July 12, 00:00
Pohoda Festival, Visual Stage
Martinus Stage
My solo show SHRINE/ SVÄTYŇA opens at Nitrianska Galéria on Dec 1st
The exhibitited work has been supported by a bursary using public funding by the Slovak Arts Council
Opening preview: Dec 1st, 18:00
Exhibition open thorugh: Jan 29th
Galéroa Mladých
Nitrianska Galéria
Župné námestie 3
949 01, Nitra
My work Privacy During Pandemic is on view at WIP Arts & Technology festival at CYENS, Nicosia, Cyprus
CYENS M1, M2
Plateia Dimarchias 23, Nicosia 1016, Cyprus
Opening: Nov 11, 16:30-22:00
Exhibition: 12.11-23.11, 11:00-19:00
24 Hours at Aegean is included at the main exhibition at Athens Photo Festival.
Benaki Museum
Pireos 138
Athens, Greece
June 8- July 24
“24 Hours at Aegean” depicts a small area in the Aegean Sea, between the coast of Turkey and the Greek islands. Recorded from Google Earth shortly after the introduction of the EU-Turkey deal, deciding the fate of any asylum seeker entering Greece illegally, the footage of the sea shows nothing more than sunrise and sunset. Screenshotted each hour over the course of a single day, the images depict a day when seemingly nothing happened
All In. At Least a Possibility… an exhibition of Oskár Čepan Award finalists is finally open after weeks of lockdown-related delays!
All In. At Least a Possibility…
Kunsthalle Bratislava
Nam SNP 12
Dec 17- Feb 28, 2022
Wednesday- Monday: 12-19
Tue: Closed
Walls 2.0 is past of It’s So Easy, a gihfibition by Off Site Project curated by Rebecca Edwards on the occasion of STEM Day
To view participating artists' STEM statements and project URLs, right-click and save Gif, open: http://exif.regex.info/exif.cgi and upload the gif file
Interview in Slovak with Ema Hesterová about my work, thoughts and new work for an upcoming show with Oskár Čepan
My work Walls 2.0: Augmenting border reality is included in the latest book by isthisit? Network Futures: Online Exhibitions and Digital Hierarchies.
Front/Back cover: Keiken + George Jasper Stone, Feel My Metaverse, 2019 (still). CGI HD film (colour, sound), 36 min 23 sec.
Edited and designed by Bob Bicknell-Knight.
Generously supported by Arts Council England.
I am really excited to have been selected as one of the finalists of Oskár Čepan Prize 2021
Join me and the other artists and academics from (In)Security project for an online conversation at Eastside Projects, where we'll discuss the research methods, working processes, and ideas that have informed the development of works within the show.
15 April 2021
1-3pm GMT time
online
book tickets here
Excited for this exhibition to open online (for now) and hopefully IRL to the public soon.
The exhibition presents diverse research produced by artists as part of (In)security – a collaboration between academics, led by Doctor Katharina Karcher, from the Humanities, Engineering and Social Sciences at the University of Birmingham and a group of five artists based across the UK.
Visit the website to see my newly comissioned work Failed monuments
12/3/21- 29/05/21
Eastside Projects
86 Heath Mill Lane
Birmingham, UK
Visit online here
I’m taking part in Time Out Of Joint, an online exhibition by isthisit? curated by Bob Bicknell-Knight with my work Walls 2.0: Augmenting border reality. Have a look on a desktop near you!
I spoke to Brad Feuerhelm of the Nearest Trust podcast about my practice
Have a listen here
“Tamara’s work has evolved from a beginning with photography emphasis to its current form which uses digital technology and phenomenon to explore the hybridity between social contracts and digital distrust. The work emphasizes real-world current events pitted against technological innovation that promises a utopian future. She places her lens on inequality and migration as a form of topical engagement and asks the viewer to contemplate the potential calamitous disintegration between technological progress and human life.”
A great review of screensaver watching you –an online exhibition by Off Site Project, by Lara Chapman on Running Dog looking at the history of magic and ghost stories and the way they relate to the “haunted machines” of today.
“… the abstracted waves serve as a kind of morality tale typical of Enlightenment ghost stories—do not cross here or you will suffer. This ghost story enforces the 21st century political and capitalist norms where those who make money get to decide who is and isn’t important, what is and isn’t visible, what is and isn’t allowed. The author of the ghost story holds the power.”
rundog.art/when-devices-go-bump-in-the-night-screensaver-watching-you/
Interview with curator Huma Kabakci about Translocal Cooperation exhibition, that has been closed since the lockdown, about the work made during my residency past fall in Athens.
Essay by Hang Ling, one of the curators of For the time being, a performance commision for Snapchat platform, for which I made work last year reflects on the issues surrounding the place of art within online platofrms.
networkcultures.org/blog/publication/video-vortex-reader-iii-inside-the-youtube-decade
“Tamara Kametani’s what will be? broadcast clips extracted from the daily news.
The clips were superimposed with filters and digital stickers to encourage ironic
interpretations of what was happening in the real-life. For example, a photo of Kim
Jong-un was overlaid with a cute baby filter, for which the artist also chose a digital
photo frame decorated with cute bears, and a line said, ‘It’s a BOY’. On this post,
Kametani wrote the following headline: ‘North Korea fires 2 missiles’. The effect
of such subjective, witty social criticism was strikingly distinct from the solemn,
authoritative voice of news publicaitons like Politico. Aside from international
politics, Kametani also ridiculed surveillance technology. Posting a surveillance
camera shot of a flying pigeon, she wrote: ‘Pigeon flying over the speed limit in
30km/h zone in Germany is flashed by a speed camera’. Through evocative visual
and textural connotations to news, the artist seemingly brought the role of the
artist as a social critic into the social media context. Social media photo-editing
appeared to provide a chance for Kametani to construct a simulacrum wherein
live happenings are mirrored and layered with emotions, mockeries and biases.
No intention can be found in those works to tilt those subjective expressions into
authoritative representations.”
I’m very excited to be working on a commision for (In)security- a collaboration between academics from the University of Birgmingham, 5 artists and Eastside Projects. The project seeks to encourage critical conversations about counter-terrorism measures by exposing and challenging prevailing assumptions about what – if anything – can make us feel more secure in urban spaces.
Interview in Slovak with Debora Pastirčáková in 3/4 Magazine about my practice, but also about the lockdown, Google and the desire to feel safe.