Artist duo that develops forms of art-led inquiry into the multiples layers of power and violence that flow through physical and cultural spaces.
FRAUD̸ is a métis duo of artist-researchers (Audrey Samson & Francisco Gallardo). Their backgrounds include computational and software culture, environmental history, postcolonial feminism, cultural studies, disruptive design, performance and space systems engineering.
The duo focuses on exploring forms of slow violence and necropolitics that are embedded in the entanglement of archiving practices and technical objects, the negentropic logic of global logistics, and erasure as a disruptive technology in knowledge production. They also belong to networks of artist-researchers such as the Critical Software Thing (CST) exploring the critical face of "execution".
FRAUD̸ has received the Wellcome Trust People Award (UK), TapCity (US), Catedra Holdim (SP), Interactivos? ’10 (BR), Disonanzias (Basque Country), Emergent Geographies (SP), the architectural award for the Madrid Civil Registry building in collaboration with OSS, and funding from the Economic and Social Science Rearch Council (UK), the Canada Art Council, and the Danish Art Council (DM).
Past exhibitions and performances include Centro-centro (SP), Centro de Arte y Naturaleza (SP), Rotterdam Architecture Biennale (NL), Kunsthal Århus (DK), Haus der Kulturen der Welt (HKW) (DE), Festival MOD (MX), Bâtiment d’Art Contemporain (CH), Tabakalera Bilbao (Basque Country), Medialab Prado (SP), Maison d’Art Actuel des Chartreux (MAAC) (BE), Lugadero (SP), Connecting Spaces (HK), National Gallery Singapore (SG), and Arts Catalyst (UK).
Whilst in residence their inquiries focused on developing an ontology of erasure. For FRAUD̸, erasure is a fundamental force at play in the contemporary structures of power, administrative control and knowledge. They are interested in how erasure can categorise, divide, kill, heal, dispossess or rebuild memory, national identity, landscapes, finance, and computational networks. They also explored modes of death emerging with advanced capitalism, such as commercial extinction and social death. Such activities developed into fieldwork, installations, publications, tastings, and performative events.
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