Brenna Horrox

Fulfilment Services Ltd. built of the logistics of a systemised supply chain: from algorithm to ‘click to buy’, from factory worker to shipping container, from delivery driver to momentarily satisfied consumer; from there we link, de-link, and re-link. Taking place throughout London, with Gasworks as the nexus of a series of public interventions, our project invited artists to respond to the contemporary provocation of an alter-fulfilment narrative.

Fulfilment Services Ltd. was a city-wide exhibition of 12 billboards, 2 vans, online e-commerce platform and digital commisions In our network-based process of collaboration, the site of Gasworks served as a master fulfilment & logistics centre from which the commissioned artworks were transmitted into the public sphere. Like bees from a hive, like spokes from a hub, like light from a constellation, a series of billboards, vehicles and products are issued.

Fulfilment Services Ltd. placed the work of Arvid&Marie, D.N.A., Florence Jung, and Frank Wang Yefeng directly into this network of things, scattering their messages through existing systems of production and circulation. We utilised existing dissemination networks whilst also creating our own; working towards a rethinking of capitalist logistics disguised as the mechanical supply chain of fulfilment. We looked at chains of production, networks of transportation, and extortionist qualities of fabricated needs in order to ask 'fulfilment at whose expense?'.

Brenna Horrox’s curatorial practice is centred around socio-political concerns, with a particular interest in the existence and production of resistant spaces and radical forms of social organising that are based in spatial, temporal and material collectivity and expand into how we understand our relations to land, resources, culture and knowledge.

Framed by black and indigenous thought, her graduate dissertation ‘Owning Up: the pyramid of property, art & public (complicity, critique and resistant alternatives)’ focused on the oppressive logic of property as a lens through which to critique capitalism and question art's position within it. Brenna sees a potential to imagine alternatives to our propertied present by taking up grey areas which the western value sphere deem as fugitive or illegitimate and by organising spaces in which people can act, think and be ‘outside the normative gaze of the white man’ (Fred Moten, The Black Outdoors, 2017). Brenna believes art and curating should and can be part of this process.

Brenna is co-director of Hi-Noon, a platform designed as an economic prototype to help enable and sustain artistic practice. She co-curates and participates in two collectives: Body Odor Studios, an url & irl hub for learning new skills, skill sharing and creative production; and Bill Stickers Will Be Prosecuted, an open collective of artists using the fly poster medium to resist the policing of public space, reclaiming the street for activist communication.

The World has Ended Many Times for Many Ppl, D.N.A. n collaboration with Nancy Naser Al Deen We are all Bodies of Water, D.N.A.

Take Time Go Slow, Frank Wang Yefeng

Jung79

Smartphone, Arvid&Marie in collaboration with Post Neon

Jung79

Logistical capitalism and big-tech logistics have seen us monitored in unprecedented ways through the surveilling nature of the internet and internet-of-things. Products and information circulate through layered networks of visible and invisible infrastructures - transforming intangible human desires into a machine-legible language of algorithms and putting the predictive model of human behaviour into mass production. Economic and political models are based on this logic of fulfilment. This dynamic begins to feel extreme when the agents that hold economic or political power are no longer satisfied with simply responding to needs, but rather work towards creating new ones.

There is something fulfilment is always after.

Fulfilment Services Ltd was a critique of scaled up networks and their unrelenting effect on how we live our lives and consciously & subconsciously relate to each other and our planet.

Through billboards, vans, digital commissions and an e-commerce platform the artists' critiques of the predatory nature of big tech in terms of labour, data and resource extraction as well their alternatives worldviews of hydro-feminism and de-accelerationism were able to circulate publicly, resisting pre-conceptions around who can own and participate in art.