2012 in review

The WordPress.com stats helper monkeys prepared a 2012 annual report for this blog.

Here’s an excerpt:

600 people reached the top of Mt. Everest in 2012. This blog got about 2,100 views in 2012. If every person who reached the top of Mt. Everest viewed this blog, it would have taken 4 years to get that many views.

Click here to see the complete report.

New Exhibition opens 1 March at Islington Arts Factory, London

We’re super excited to be starting the new year with an exhibition at a location that we’ve been desperate to hang our work in since…well, forever!

‘Ghost in the Machine’ opens on Friday 1 March and runs until the 8 March at Islington Arts Factory, welcoming all to the preview from 6pm, 1 March, for a glass of vino!

Expect to see new work from each artist.



Visit our Facebook Page for the latest info

We have a new artist!

It’s all go here at the Ipconfig\flushdns Collective HQ!

We’re pleased to introduce you to Subash Thebe, our newest addition to the troupe. His oeuvre is very idealistic; he listens and responds to music through the medium of paint. In case you were thinking that he may have finished listening to Slayer’s entire Raining Blood album (some of his marks can appear a little aggressive at times) you couldn’t be further from the truth. He much prefers classical.fm.


Error 404 Exhibition at A-side B-side Gallery, Hackney Downs Studios, Hackney

Our recent exhibition at A-side B-side Gallery was a success! Artwork was as diverse as ever with quite a strong focus upon the human figure, reflecting the transition from human sincereity to mechanical indifference.

News Release: Error 404



Ipconfig/flushdns Collective: Error 404

19 – 25 September 2012

Private View: 20 September 2012

Calling a person a machine has long been an insult to humanity. A machine built to replicate the appearance and social exchange of human beings is contentious still.

To want to emulate, rip off, or physically ‘be like’ something else can appear unsavoury, narcissistic and against nature, as the benevolence of humanity emphasises the importance of individuality and admires the unique. Yet we still brood, desiring to be fitter, healthier and more productive.

In some ways a robot or a machine is the manifestation of these collective aspirations. A pre-programmed, outwardly controlled entity doesn’t feel pain, experience loss or times of hardship. When emotions and pain take hold, the streamlined computer logic of a machine may appear constructive in alleviating the oppressive force of grief. If our emotions were not of consequence, perhaps we would not suffer, and bad experiences would not inform our future lives.

The collective’s inaugural exhibition, Breathe & Reboot, charted the artists’ coping strategies in a world where a fine art graduate may feel alienated from the job market. In response to feeling cast adrift, we invent our own logical route to guide us to where we would like to be. Error 404 is an impediment in this logic; as logic cannot account for the irrationality of emotions that we may face along the way.

A computer system epitomises logic and rationale; however a computer can throw up an Error 404 message when a request cannot be found and it is unknown why. If a computer can lapse and fail to reach a conclusion, then this unsettles us further still. Faith in logic, when logic has failed forces us to confront our fears, deal with our emotions and accept that we are only human.

A-side B-side Gallery, Hackney Downs Studios, E8 2BT, London

Wednesday 19 – Wednesday 25 12 – 6pm, admission free, http://www.asidebsidegallery.com/

For further information and images please contact:

Zoe-Lee Skelton | zoeleeskelton@gmail.com

Or please visit:


Zoe-Lee Skelton’s review of Nadiya Pavliv Tokarska: Contemporary Cityscapes

Nadiya Pavliv Tokarska  / Contemporary Cityscapes.  After E HOPPER and D HEPHER

Unreal City, 60 Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Sighs, short and infrequent, were exhaled, And each man fixed his eyes before his feet.

T. S. Eliot, The Wasteland, 1922

London town; Do we acknowledge the architectural giants in between sips of our extra hot, extra skinny, mocha-decaf latte as we drudge routinely through the chartered streets? We take their lining of the street and London’s turreted skyline for granted. We can all identify with the names: Gherkin, the shard, the thrusting peaks of Canary Wharf – but have you ever really looked at them. Have you ever stood at the summit and exchanged a submission of proportion with these benevolent giants, or stopped in the middle of Oxford Street while the drones throng and swell to the beat of the consumer drum?

Nadiya Pavliv Tokarska’s exhibition sheds an appreciative light upon some of London’s buildings that have literally become part of the scenery. For all we know, these buildings that we regimentally pass could be standing with the profound crudeness of a spaghetti western backdrop. If you ever happen to study these magnificent old buildings, do you ever see anybody ushered in or ever leave? Often the functions of these buildings remain supremely coveted; the secrets there in are as old as the buildings themselves.

It is a shame that these structures once symbolic of London’s irreverent global power have fallen into disenfranchising circumstances in spite of the commercial buzz below. However, the tired, tarnished facades that may have originally averted us now enthral and overwhelm as we appreciate the immutable detail of the paintings. Their convoluted realism alone transfigures a fresh love of our surrounding beauty. I feel as if Nadiya’s work has taken me on an alternative whistle stop tour of the capital; a tour of a begotten London miraculously silenced, captured in snap shot frames of time standing still.

This somewhat magic ability to pacify the pandemonium has been executed in rather uncanny detail, reminiscent of the veritable old master technique – a certain style that reasserts the once stirring power of these builds. Snapshots of Finsbury Circus inter-changed with sights of heritage and familiarity such as Oxford Street, St Pauls and the National Gallery have not just been copied for picture postcard compatibility, Nadiya is a modern day flaneur, living and breathing her city – more importantly flexing her love for this city.

However, scratch the surface, pat away the brick dust and the artist’s brush has introduced a polemic. The juxtaposition between the semi-suburban dwellings of Finsbury Circus and the tourist hot spots of the Albert Hall and St Pauls characterises the receding domicile in to commerciality. The magnificent detail of Finsbury Circus, Northern Side, London ratifies the wealth of these once domestic households, now outlets for vagrant bureaucratic ends.

A bygone era of London has emerged: Nadyia cultivates a Britain upholding its revered Imperialism through architectural plains, dimensions and stone, yet now aching and quite functionless – unless some enterprising go-getter musters the rental money to dwell in these aging pieces of history. And the cycle will continue, wheels within wheels, beauty undone by the mercenaries of progress.

Remember what we have and what we should not ignore. This is London in transmission. Nadiya has perhaps inadvertently presented us with a future battle to contain London’s disappearing domiciles and earlier centuries radical architecture. In favour of what: speedy builds, swaying bridges, unmanned Olympic stadiums and fiscal greed?

Zoe-Lee Skelton