“It was a week of work in progress. Mainly to develop ideas and works that explore the idea of glitch, glitch as a malfunction in the system that allows you to see the structure in the system, how the system works,” El Ultimo Grito explain in their audio interview with Fig-2.
The show included a number of digital prints developed from images created by encountering ‘glitches’ in Maps while walking around London.
El Ultimo Grito are interested in the political and social factors exposed by ‘glitch’: the historicity of glitch. We are in the middle of both a housing crisis (caused by our rich keeping supply of housing down to boost what they can charge us to buy or rent) and a migration crisis (caused by our rich selling weapons to indiscriminately arm every side of every conflict worldwide, which leads to people trying to flee these places to survive).
The construction and reconstruction of our cities is a document of political will. There’s no social housing, but cheesegraters keep multiplying in the city. Estates are knocked down, and spring up again as megastructures of gentrification. Sometimes our maps won’t update in time, and we will experience ‘glitch’: an uncanny sense of displacement, walking through two different realities at once, two different periods of history.
With the accretion of vernacular building in a city we in fact find countless levels of periodicity simultaneously. A new glass structure bolted to a medieval wall dominated by a prefab made of ugly. Each layer reveals the ‘ultimo grito’ of its period. Currently everything is glass that is largely flat, the next fashion will probably find this bending and twisting as new technologies develop, and then there’ll probably be some rage for sixties style stone cladding.
These architectural paradigms (fashions) are temporal but internationally uniform, and part of El Ultimo Grito’s method in their week was to render a number of different but recognisable styles together to create the forms and surfaces of a single United Estates conflated from images of London’s ‘iconic’ Brutalist housing block Trellick Tower, other buildings in Montevideo, and London housing estates. The United Estates sprang up over the week as a number of structures representing a glitched dystopic city that you can’t live in, just as you can’t live in a city without housing or a country refusing to accept immigrants.
In Iain Sinclair’s lecture Blake’s London: The Topographic Sublime the earnest psychogeographer describes how there is “a love of the fabric of this multidimensional city and also a cynical despair at the changes now being wrought … New enclosures, blue fences and razor wire topped with surveillance cameras, have sealed off enormous tracts of terrain along the eastern margin. We see the dominance of the virtual over the actual, the computer-generated version over the particulars of locality … What you are creating, in effect, is an electronic Golgonooza. A system predicated on affectless gazing. Therefore Los stands in London building Golgonooza,
Compelling his Spectre to labours mighty; trembling in fear / The Spectre weeps, but Los unmov’d by tears or threats remains. “I must create a System or be enslav’d by another Man’s. / “I will not Reason & Compare: my business is to Create.”