Projects
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- Year
- 2026 - Present
- Location
- Folkestone, UK
- Role
- Evaluation
- Category
- Heritage Consulting
The Leas Lift is a Grade II*-listed water-balance funicular of 1885, carrying passengers up the cliff between Folkestone’s seafront and the Leas promenade in Kent. It runs on gravity alone: water fills a tank beneath the upper car until it outweighs the lower one, then draws it down the incline and pulls the second car up as it descends. Closed since 2017, the lift is the subject of a major restoration led by the charity that runs it and backed by the National Lottery Heritage Fund, Historic England and the Wolfson Foundation, ahead of its reopening.
As part of Alix Slater Consultancy & Training, Kandler is currently consulting on the evaluation of the project. Click here to find out more.
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- Client
- Clifford Chance
- Year
- 2026
- Location
- London, UK
- Role
- Curation, Advisory
- Category
- Exhibition
States in Flux, Clifford Chance’s 2026 Arcus Pride exhibition brings together emerging UK-based queer artists whose practices share a refusal to settle. Working across sculpture, scientific computation, and archival poetics, the show operates at the boundary between states, natural and industrial, recorded and imagined, fixed and perpetually becoming.
The result is a tapestry of practice with striking material range and dimensionality. Where rigid matter reads as living tissue, contradictory truths are held simultaneously, and historical material is reordered into something new. States in Flux takes tactile materiality as both subject and method, proposing that the most honest way to make sense of an unresolved world is to build that irresolution into the fabric of the work itself. Resilience lives not in fixed form but in the capacity to continuously reshape the environment around you.
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- Client
- Clifford Chance
- Year
- 2025
- Location
- London, UK
- Role
- Curator
- Category
- Exhibition
Transforming the Body, presented with Clifford Chance for Arcus Pride, gathers contemporary artists working across painting, sculpture, photography and mixed media. The show takes the body as its through-line, treating it as a site of identity, memory and change rather than a fixed form.
Across the works, the figure is held in motion, remade, layered, reimagined, and read less as a subject to be depicted than as something continually in the making. The exhibition brings together Sola Olulode, Divine Southgate-Smith, Shadi Al-Atallah, Andrés Sanjuan, Ella Witt, Cheo Gonzalez, Evan Purdy, Scotty So, Liberty Antonia Sadler and Khaleb Brooks.
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- Client
- Rizla UK
- Year
- 2025
- Location
- London, UK
- Role
- Production
- Category
- Commission
- Artists
- Mattia Guarnera-MacCarthy
A collaboration between Rizla UK and the artist Mattia Guarnera-MacCarthy, pairing an emerging contemporary practice with a heritage brand.
Guarnera-MacCarthy works across mixed media, drawing on nature, personal experience and the urban landscape. Through photography, collage and painting he builds multi-layered compositions concerned with memory, identity and the passage of time, holding the recorded and the imagined in the same frame.
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- Year
- 2024
- Location
- London, UK
- Role
- Curation
- Category
- Exhibition
- Artists
- Casey Reas, Erika Weitz
Art and alchemy meet in equal measure for Casey Reas’ London exhibition, Wet and Saturated Process. Featuring a variety of media, spanning generative software to a series of highly-technical prints produced in collaboration with Erika Weitz, the exhibition reveals novel approaches to understanding the intricacies of both the natural and synthetic worlds.
- All images courtesy of Casey Reas and Erika Weitz.
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- Client
- Phillips
- Year
- 2023
- Location
- London, UK
- Role
- Head of Sale
- Category
- Auction
- No. of works
- 1
- Artists
- Andrea Bonaceto
Tempus Fugit was offered as a standalone single-lot online auction at Phillips, previewed at the Berkeley Square galleries on 23 May 2023 ahead of the online sale from 1 to 5 June 2023. The work merges Bonaceto’s signature visual style with a generative AI component that takes inspiration from individuals who contributed to his past works, built on proprietary software developed in his studio and previously used for AB Infinite 1.
Offered in pounds sterling and Ethereum, the work extends beyond a static image: the collector receives a customizable avatar operable within the Somnium Space virtual reality metaverse, able to engage and merge into the artwork and back again, holding the piece between the fixed and the inhabited.
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- Client
- Phillips
- Year
- 2022
- Location
- London, UK / Paris, France
- Role
- Head of Sale
- Category
- Exhibition, Auction
- No. of works
- 44
- Artists
- Snowfro, Herbert W. Franke, Jeff Davis, Georg Nees, Frieder Nake, Dmitri Cherniak, Gottfried Jäger, Hein Gravenhorst, 0xDEAFBEEF, Vladimir Bonačić, Eduardo Kac, The Distributed Gallery, Vera Molnar, Tyler Hobbs, Matt DesLauriers, Harold Cohen, Anne Spalter, Jennifer & Kevin McCoy, Rhea Myers, Anna Ridler, Monica Rizzolli, Harm van den Dorpel, Charles Csuri, Casey Reas, Vuk Ćosić, Tomislav Mikulić, Desmond Paul Henry, Kelian Maissen and Johannes Gees, UBERMORGEN
The new age of information technology began with the invention of the Turing machine and the first mainframe computers by Konrad Zuse during and after the Second World War. As early as the late 1940s, Norbert Wiener and Claude Shannon formulated the first theoretical approaches to cybernetics, which form important foundations for information aesthetics. The binary system, electronic communication, algorithms and early programming languages also inspired artists. Herbert W. Franke is among the pioneers of computer art, who created works of art - so-called oscillograms - with analogue computing systems and cathode ray oscillographs in the mid-1950s. On the control panel, he turned, calculated and manipulated, and sine curves and sawtooth curves, which were photographed with the camera, were superimposed on the screen. Even then there was a group of artists who were open to new technology. Large corporations, namely Olivetti, Siemens and Bell Laboratories, provided them with electronic engineering equipment and the know-how of their specialists.
Looking back, 1968 is considered the high point of the computer art movement. At the Institute of Contemporary Art (ICA), London, Jasia Reichardt curated the groundbreaking group exhibition Cybernetic Serendipity, featuring computer-animated films, plotter graphics, generative music, robots and painting machines. Among the participating artists were Frieder Nake, Georg Nees, Desmond Paul Henry, and Vera Molnar. As a result, the Computer Art Society and the computer art magazine PAGE, edited by Gustav Metzger, were founded in London. Today, the Victoria & Albert Museum in London preserves a large part of the heritage of this period of promoterism. Abraham A. Moles opened the Computers and Visual Research symposium as a parallel event as part of the Nove Tendencije (New Tendencies) exhibition series in Zagreb, as well as a small accompanying exhibition with computer graphic by Charles Csuri, Vladimir Bonacic, and other artists. As a result, a major new art magazine, bit international (1968-1972), was launched in Zagreb.
At the same time, the German photographer Gottfried Jäger introduced the concept of generative photography with the exhibition of the same name in the Städtische Kunsthaus in Bielefeld, where his pinhole structures can be seen together with works by Kilian Breier (photograms), Pierre Cordier (chemigrams), and Hein Gravenhorst (photomechanical transformations). Gottfried Jäger defined the production principle common to the artists and inherent in generative photography as follows: "Creation of aesthetic structures based on defined programs, realized through photochemical, photooptical, or phototechnical operations, with the aim of achieving an optimal and functional relationship of all the elements involved in the construction of the aesthetic structure." Characteristic of generative photography is the experimental and serial process, along with the mathematical structure (program) and often the devices designed by the artists themselves.
Twenty years later, when the personal computer conquered office desks in the 1980s, the media theorist Vilém Flusser stated with foresight: "Changing the world is up to machines: they do it much better than humans. It is up to humans (for the time being) to program machines to change the world. So it is not people’s business to work, but to give work a meaning (to prescribe it). Rules are codified commands." At the end of the 1970s it was again Herbert W. Franke who took the initiative to organize a large exhibition Ars Ex Machina at Künstlerhaus Wien with the aim of creating an annual show highlighting the current artistic expressions in relation to the most cutting-edge technology. Unfortunately, the project could not be realized at the given time due to a lack of financial support. As a result of these ambitious efforts, Ars Electronica was founded in 1979, which has taken place annually in Linz (Austria) ever since and is still one of the most important exhibitions of media art today.
With the explosive rise of blockchain technology and the conquest of the art market by NFTs and digital art, Phillips is undertaking, for the first time in auction history, the endeavor to highlight the most important and overlooked art movement of generative art with the major artists of now and then.
- Curated by Georg Bak
- All images courtesy of Phillips. Thank you for granting them.
- © Phillips Auctioneers Limited. All Rights Reserved.
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- Client
- Phillips
- Year
- 2022
- Location
- London, UK
- Role
- Specialist
- Category
- Auction
The Asprey Bugatti La Voiture Noire was offered at Phillips, Berkeley Square, in the 20th Century & Contemporary Art Evening Sale on 30 June 2022.
A one-of-one sculpture, plated in 24k gold over silver with a rose gold finish, handmade by Asprey's silversmiths in their London workshop. It drew on La Voiture Noire, the single car Bugatti built on its Type 57 SC Atlantic. The collaboration set two houses long defined by craft and design alongside one another, with a fitting lineage behind it: Ettore Bugatti, the car maker, was the son of Carlo Bugatti, an artist and silversmith in his own right.
The sculpture was tied to a digital record of its provenance and authenticity, carrying the craft of the Asprey workshop into a form that had not been attempted by either house before.
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- Client
- Severndroog Castle Building Preservation Trust
- Year
- 2018
- Location
- London, UK
- Role
- Research, Marketing Strategy and Implementation
- Category
- Heritage Consulting
Severndroog Castle is a Grade II*-listed Gothic tower of 1784, built by Lady Anne James in memory of her husband and standing at one of the highest points in London, on Shooter’s Hill in the city’s south east. On a clear day the viewing platform takes in seven counties. As part of an organisational resilience programme, Alix Slater Consultancy & Training worked with the trust that runs the site to put its operations and audience engagement on firmer footing.
The work began with evidence. Visitor behaviour, secondary spend, hire conversion and social reach were analysed to establish a baseline, and the potential of paid events, weddings, venue hire and the tea room was assessed against it. The findings shaped the operational business plan, alongside a retail offer designed for a deliberately small footprint. A marketing plan followed, including a practical guide for volunteers on social media advertising, and a new brand identity was tested on site with visitors before the final choice was made. It remains in place today. Click here to find out more.
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