Jem Finer

Jem Finer ¡Arriba! photo: Thierry Bal


For the 2012 Biennial, Jem Finer presents three new works:


Taking inspiration from the power of cinema and dreams to create reality – and standing in opposition to the enormous technological and economic cost of space flight – ¡Arriba! travels far beyond the suborbital reaches of space tourism, through the myriad spaces and extreme scales of the cosmos and the mind, to regions bounded only by the limits of the imagination.

The Cloud Museum

The set of six paintings are part of a larger project called The Cloud Museum. As yet unrealised, The Cloud Museum is a vast minimal sculpture, in the form of a rectangular open box, of such scale that it spans the horizon and its height can rarely be fully seen. Thus it literally provides a frame for the landscape, relating to the idea that 'landscape' is defined by the way it is framed and portrayed in painting, photography, garden design and its relation to architecture etc. The unbounded nature of its scale, the fact that one can never see it all, is important in a more expanded notion of landscape, in which, paradoxically, it is too big to frame and is a union of land and sky. The paintings are imaginary Cloud Museum installations.

Addendum to Luke Howard's Classification of Clouds

This addendum is an expansion of the classification of clouds to include those made by mankind's technological interventions - which usually come about through the negative forces of destruction or industrial irresponsibility. The images were taken from photographs the artist found in the Archive of Modern Conflict in Kensington, originally collected and published in Draft magazine.


Jem Finer is a UK-based artist, musician and composer. Since studying computer science in the 1970s, he has worked in a variety of fields, including photography, film, experimental and popular music and installation. His 1000-year long musical composition, Longplayer, represents a convergence of many of his concerns, particularly those relating to systems, long-durational processes and extremes of scale in both time and space. Among his other works is Score For a Hole In the Ground, 2005; a permanent, self-sustaining musical installation in a forest in Kent, which relies only on gravity and the elements to be audible. Between 2003 and 2005 he was Artist in Residence in the Astrophysics Department of Oxford University, making a number of works including two sculptural observatories, Landscope and The Centre of the Universe. He is currently working on a number of new projects continuing his interest in long-term sustainability and the reconfiguring of older technologies.