Jacquelene Drinkall

Jacquelene Drinkall works in painting, drawing, sculpture, installation, photography, text, architecture, real and virtual world performance, choreography, collage, EEG brainwave interaction, audio and video, kinetics, psychogeography and weaving with telecommunications wire. She is currently researching hyperstitions of military/industrial telepathy and a strange data storage centre that was recently identified by Edward Snowden as the NSA’s ‘Titanpoint’. Titanpoint is a windowless skyscraper with Brutalist aesthetics, also known as 33 Thomas Street and AT&T Longlines Building. Drinkall’s new artwork Data Centre Séance involves collaboration with Melbourne artist, curator and critic Peter Hill; a hacker/programmer; a psychic; and New York collaborators Artcodex.

‘Data Centre Séance’, part of Correspondence of Imaginary Places, involved a collaborative psychogeographic focus on an austere data centre in Manhattan known as ‘33 Thomas Street’ and the ‘Long Lines Building’. This unusual Brutalist building was built in 1973-4 as a windowless concrete and granite fortress, strong enough to withstand a nuclear blast. Collaborative proxies of the artist Jacquelene Drinkall included the New York art collective Art Codex (Vandana Jain, Glen Einbinder, Mike Estabrook), a psychic called Neptune Sweet aka Electric Djinn aka OmniJenn also known as Jennifer Berklich, a hacker called Ryan Holsopple, and the Australian art critic for ARTnews Peter Hill. These proxies, together with a few others, braved a snow blizzard to execute the psychogeographic investigation of this building that was only recently identified by Edward Snowden as the National Security Agency’s ‘Titanpointe’. For a full report, visit the blog here