Future Artefacts FM

We’re so excited to launch a new mini series commissioned by Henry Moore Institute @henrymooreinstitute as a part of their new exhibition Phantasmagoria: Folkloric Sculpture for the Digital Age.

In the first episode we talk to the exhibition curator Sean Ketteringham. Moving between folk art histories, sculptural practices, affect theory, hauntology, horror, and memetic culture, we discuss what functions as contemporary folklore, questioning what sculpture becomes when it exists through circulation and interaction rather than static objects.

This mini-series is commissioned by the Henry Moore Institute @henrymooreinstitute as a part of their program for their exhibition Phantasmagoria: Folkloric Sculpture for the Digital Age, open 15th May - 30th August 2026.

Bios;
Sean Ketteringham is Assistant Curator of Exhibitions at Henry Moore Institute and a Postdoctoral Fellow at the Paul Mellon Centre for Studies in British Art. His first book, Architectures of Identity: Imperial Decline and the Homes of English Modernism, will be published by Oxford University Press in 2027. From May 2026, he will join the University of Birmingham as a Leverhulme Early Career Research Fellow on a new project titled 'Postwar Folk'.

Henry Moore Institute's Galleries, Research Library and Archive of Sculptors' Papers are free to access and open to all. As part of the Henry Moore Foundation, they are a hub for sculpture, connecting a global network of artists and scholars to ensure the art form is accessible and celebrated by a wide audience. Discover their changing programme of historical, modern and contemporary exhibitions and events in Leeds city centre, where Henry Moore (1898-1986) began his training as a sculptor.

Guest Sean Ketteringham
Hosts @influential_bro @_rebecca.edwards @niamhschmidtke
Music @joemoss1 @jtre_v
Broadcast through @rtm.fm

For this episode, we recap our As A Chorus mini-series, revisiting conversations with artists Niamh Schmidtke, Dane Sutherland, Rhys Morgan, and Emily Roderick. The discussion expands from ideas around choirs and group singing into broader questions about authorship, infrastructure, collaboration, and collective survival within the contemporary art landscape.

We reflect on how artistic work is rarely created in isolation, touching on socially engaged practice, artist collectives, digital production, labour, and the emotional infrastructures that sustain creative communities. Collaboration isn’t just a working method, but a form of resistance and mutual support in increasingly precarious cultural and economic conditions.

Hosts @influential_bro @_rebecca.edwards @niamhschmidtke
Music @joemoss1 @jtre_v
Broadcast through @rtm.fm

What does it mean to amplify a collective voice through collective performance? How do traditions like bell ringing persist, evolve, or disappear, and what do strange histories reveal about their cultural significance?

Emily Roderick is the fourth and final guest of our ‘as a chorus’ mini series, sharing personal anecdotes, recordings, and sounds inside bell towers from her ongoing project Can You Call A Touch.

In this episode, we focus on her research around bell ringing, a deeply social, intergenerational practice that sits somewhere between music, ritual and public communication.

Interwoven with familial conversation, and sounds of the ascent of bells being rung up, and the resonant unwinding of ringing down, the conversation considers broader questions around collective expression using bell ringing as both a personal inheritance and a collective language. We hear how the practice functions as a “village voice,” marking time, signalling events, and shaping a shared sense of place, while also operating as a close-knit, sometimes opaque community.

Bell ringers:
Steve Roderick
Sue Roderick
Lynsey Roderick
Dave Peacock
Emily Roderick

With thanks to Martin and Louise Green at St Michael's Church, Bishops Itchington. This work was made with support via DYCP from Arts Council England.

Bio:
Emily Roderick is an artist, producer, and facilitator, teetering between 'the serious' and 'the silly'. Based in Berlin, her creative and often collaborative outputs include performance, film, workshops, walks and writing. Curiosity and questions drive her practice across its different lines of enquiry, exploring social space and interaction with non-art audiences and community contexts, using art to create conversation and exchange. Removing barriers to the arts is also a big part of her production work, with a focus on developing accessible and inclusive projects.

Artist @emilyhrodders
Host @influential_bro @_rebecca.edwards @niamhschmidtke
Music @joemoss1 @jtre_v
Broadcast through @rtm.fm

How can the rhythms of songs incite a crew, family or collective solidarity?

Rhys Morgan is the 3rd guest of our ‘as a chorus’ mini series, sharing 3 queer sea shanties from the project and choir, Seaweed in the Fruit Locker. Using Polari, a gay slang used to declare and protect gay people historically, the choir rewrites and performs historic sea shanties to describe queer lived experiences and histories. Founded in 2022, we speak about Morgan’s role in the choir, how queering shanties is a return to their origins,

Credits (in order of appearance);
Lion’s Den; Written by Rhys Morgan, performed by Seaweed in the Fruit Locker

Hell Cats; Written by Sef Penrose, performed by Seaweed in the Fruit Locker

I’ve My Own Suggestions Too; Written by Ben Doney, performed by Seaweed in the Fruit Locker

Bio;
Rhys Morgan is a queer interdisciplinary artist and curator based in Plymouth, UK. His work explores queerness as an operative in everyday experience and the expectations, possibilities, and limitations of how this is expressed. Being based in the South West of England, Morgan’s work often reflects on the heritage and experience of queer people on the peninsula.
In 2023 he completed the MFA Fine Art at Goldsmiths, London, being selected for Bloomberg New Contemporaries the same year. He recently worked for the National Gallery with conceptual artist Jeremy Deller, as one of four national Assistant Curators to deliver Deller’s 2025 work The Triumph of Art.



Artist @rhys__m
Hosts @influential_bro @_rebecca.edwards @niamhschmidtke
Music @joemoss1 @jtre_v
Broadcast through @rtm.fm

What conditions do we gather in? Can this exist without hierarchy, or even a physical space?

Most Dismal Swamp joins the second episode of our mini series ‘as a chorus’, sharing audio extracts from the recent film, The Bastard Fields. A mixtape of 3 sketches, each audio builds on the language of historical preachers, reddit forums and social media commentary. They weave a world which asks about the violence or nightmares that instills our need to come together.

With Most Dismal Swamp, we discuss the mechanics of making shared spaces, how an art practice can parody this by collaging the works of multiple authors into longer ‘playlists’ that become complex and inconsistent worlds (such as the ones we all live through), and a self-cannibalising process built on pattern recognition, outliers in data sets, and the impact of regional specificities in AI models.

We ask how art practices traverse creative production, curation and production to open up space outside of traditional systems and build artistic community both within and around the works being shown.

Bio:
Most Dismal Swamp is a mixed-reality biome; a place and a practice where a dank miasma of fictions, artists, model worlds, adversarial realisms, external hard drives, camera-tracking data, campfires, opaque rituals, game engines, amateur heresies, visual effects plug-ins, and other animals come together.
Emerging from the curation, artwork, and research of Dane Sutherland, Most Dismal Swamp’s multimedia projects involve collaboration and convivial speculation with many other artists. These projects are modular and densely populated, presented across various immersive and bespoke installations and online; Multi-User Shared Hallucinations dredged from the slumgullion swamp of adversarial digital, platform, and neural media.
A rigorous ‘acid pessimism’ inspirits the work of Most Dismal Swamp: an acerbic yet playful immersion into the composite hallucinatory lifeworlds, gamespaces, and protocols that make up the hostile architecture of our shared platform-mediated crises.

Artist @most_dismal_swamp
Hosts @influential_bro @_rebecca.edwards @niamhschmidtke
Music @joemoss1 @jtre_v
Broadcast through @rtm.fm