An installation online by

Richard Ducker & Robert Good

20th November – 7th February

Hosted 24/7 at
Day cameras: 10.00 – 18.00hrs / Night cameras: 18.00 – 10.00hrs,  GMT
The Trailer:


Hito Steyerl states that in the 360 degree lens of VR bubble vision ‘…the viewer is at
the centre of a sphere yet at the same time he or she is missing. To be eliminated
means to be automated, and conversely, to be automated means to be eliminated’.
She asks: ‘Are you already rehearsing how to be your own ghost?’

Embedded in this pixelated excess is a shadow economy. Behind the spectacle of the
image is a virtual junk space of spam, conspiracy theories, fake news and surveillance
stored in giant server farms. This is the debris of the failed and the repressed, a black
economy of data and corrupted images, where agency is an illusion. Rage and fear are
the new currency.

According to John Gray ‘In evolutionary pre-history, consciousness emerged as a side
effect of language. Today it is a by-product of the media.’ BREAKING is a collaborative
installation in response to this conundrum by artists Richard Ducker and Robert Good
that immerses the viewer into this fraught disconnect and confronts a new self that is
fractured to the point of annihilation.

Their practice has been distilling these concerns for sometime into the familiar
language of film, installation and text. With the Covid19 situation it was an easy
decision to migrate to online only. The installation still exists, but can only be
experienced as mediated through the various platforms of the virtual: the 360 gallery
experience, the security camera, the online video and the website. All these aspects
now constitute the work as it operates between the heat of the present and slowed
down time of looking.

The gallery walls are lined with hundreds of collected Google News headlines,
transforming the exhibition space into a claustrophobic and disorientating reverberation
of claim and counter-claim. On an office desk a computer screen plays a looped
hypnotic video of a train journey in which back gardens and private spaces roll past,
while the two synthetic voices, one male, one female, seemingly engage in a
conversation that reveals itself to be a rhythmically choreographed exchange of spam,
news fragments, Facebook newsfeed, and spliced extracts from ‘Heaven’s Gate’ cult.

The gallery floor is carpeted in electric green Astroturf. This substrate becomes a
substitute, replacing our grounding in the ‘real’ world with a fictional space, in which the
artificial is privileged. Not the hyper-reality of online, but its over-heated anti-chamber:
a paranoiac waiting room, its corporate foyer. The installation offers a glimpse into this
overload, where the collapse of privacy, and its corollary, the conspiracy theory’s
paranoid escapism dominates the landscape. BREAKING articulates this spectacle of
fragmentation and disorientation, which can only be viewed online through live feed
cameras. This final process of mediation is not into the augmented constructs of VR,
but the banal voyeurism of the security camera.

Richard Ducker’s practice brings together a wide variety of processes: sculpture-
installation, sound, wall text, video, and photography and juxtapose these discrete
elements to suggest narratives of displacement and explore multiple positions of

While Sci-Fi as a metaphor articulates our hopes, anxieties and desires, a by-product
of its escapism is a loss of confidence in the present. It is these elastic narratives of
adopted memories and constructed myths locked into a spectacle of theatrical interplay
that is of interest. It is the sense of ‘wrong place, wrong time' that prevails, or to use
Giorgio Agamben’s phrase: ‘out of jointness’.

Since gaining his MA from Goldsmiths in 1991, Ducker has exhibited widely throughout
the UK and internationally, including: Kettles Yard, Cambridge; Royal Academy,
Edinburgh; Mappin Gallery, Sheffield; The Kitchen, New York; The Yard Gallery,
Nottingham; Katherine E Nash Gallery, Minnesota, USA; Venice Biennale (off-site); and
in London: Serpentine Gallery; Flowers Central; Cell Project Space; CGP; Anthony
Reynolds Gallery; Angus-Hughes Gallery; Coleman Projects; dalla Rosa Gallery; and

In 2006 Ducker founded Fieldgate Gallery, a warehouse space in Whitechapel, that ran
until 2008. Since then he has continued curate under the name of Fieldgate Gallery at
various venues.

Over the last 2 years his practice has predominantly been in making films.

Robert Good wrestles with words to consider the frailties of language and the problems
of knowledge. He asks how can we make sense of the news we are drowning in? How
can we possibly be wise to the subtleties of global, regional and local politics, whilst
also keeping abreast of fashion, sport, celebrity, the planet, space, science, and
technology? In the world of 24/7 online news it feels like we are being bounced around
like a pinball, ricocheting from one attention-seeking headline to another.

Robert Good collects the headlines offered to him by the Google News feed in an
attempt to pause and stand back: to see if it is possible to externalise the information
that we are fed and to take stock of it. Processing this material using both analogue
(print) and digital (Python programming) techniques, his representation of this torrent
of data is both challenging and strangely calming, a moment of Zen reflection.

Good graduated from Cambridge School of Art with an MFA in 2011. Recent projects
include: The Word Bank of Lost Dialects at The National Centre for the Written Word,
South Shields; Beyond Belief at Allenheads Contemporary Arts, Northumberland; and
How To Know The Starry Heavens with Laboratory of Dark Matters. He is due to
present Dr Good Investigates... What is Reality? at Science Gallery, Rotterdam in

He is editor of A New Dictionary of Art and hosts the podcast Something To Do With Art
on SoundCloud. He founded the artist collective Art Language Location in 2012.

8, Submarine Cable Depot, Warspite Rd, London SE18 5NX
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