Mark Fisher

Where did the critical tradition of art go? Maybe that’s the wrong question. Because we know the answer. It went into spectacle. It went into finance. It got privatized, democratized, scrutinized, defunded, bureaucratized, then professionalized. The critical stick became a seductive carrot. But maybe we don’t have to see this only in terms of a fall from grace. Maybe this is the time for a long-overdue realism that an art field still in the thrall of modernist humanism struggles to avoid recognizing. Isn’t it strange how we are subjected to the most extreme aspects of this new order and yet ...
Unheard since (and arguably even at) its performance at a conference at The Hacienda in 1996, this recently rediscovered cassette tape containing an audio version of Swarmachines, featuring the voices of Sadie Plant, Angus Carlyle, Mark Fisher, and Nick Land machinically integrated with some premium mid-90s jungle, is a very early production of the Cybernetic Culture Research Unit (CCRU).
In this panel discussion held as part of The Real Thing at Tate Britain in 2010, participants explore the aesthetic, political, and philosophical questions raised by Speculative Realism
In his response to Badiou’s analysis of globalisation, subjectivity, and terror, Mark Fisher calls for a new politics to counter both the decadence of capitalist realism and the nihilistic appeal of ISIS
We have our own concept of Time and Motion comes from a growing network of artists who have formed around Auto Italia and its programme and, although a long time coming, is a logical conclusion of artists finding affinity with each others projects, ideas and aspirations. This publication (produced in two parts) outlines a live programme which will see Auto Italia become a base for the production of new work and ideas, pushing artists to the forefront of collaborations with other fields. Produced by Auto Italia in collaboration with Federico Campagna, Huw Lemmey, Michael Oswell and Charlie Woolley this project showcases ...

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