curator: Edith Jerabkova text for the exhibition: 'So much more' at MeetFactory, Prague (2009)
"Charlie Tweed constructs other worlds and other alter-egos. He puts on a pragmatic face in a fictive pre-apocalyptic world and misuses scientific information to construct hypothetical scenarios for the future to give some sort of premature potential survival instructions. Recycled film footage and sound collages, sometimes being made indistinct by simulated mechanical damage, mingle with his own film content. Using a captivating atmosphere, he melodramatically brings the moment of a worldwide collapse of science, technology, ecology and the whole civilization into the present tense."
Art Review on 'Notes' (2008)
“"Charlie Tweed diagnoses (or forecasts) the political mood in art and in the world – vaguely and terribly threatening yet somehow primed with possibility – in his three stunning and disturbing short manifesto videos, which feel like terrorist training guides – pixellated, fanatical, illicit, anonymous, you could be watching them on YouTube pre-their removal, or on some dodgy backwoods website, and the feds could be about to bust down your door. The videos, made primarily with found footage, are paranoiac calls to arms from bizarre political cults, made in blank, earnest computerized voices, for an apparently imminent revolution or action, like the release of a flood when a secret signal is given. In Where We Are Now a voice pushes on us its massive suspicion of mere birds and says 'we need to do more' to round them up and 'store them securely in places where they can operate freely'." James Westcott, Art Review
Review of Studio Voltaire Member's Exhibition (2008)
“"Charlie Tweed's sci-fi videos of dystopias that are even worse than the cultural wastelands Bracewell decries in his pop-criticism."
Curators Oscar Tuazon and Clementine Deliss
on the exhibition: dragged down into lowercase at Zentrum Paul Klee (2008)"Charlie Tweed proposes an alternative housing model for Bern’s citizens in the form of a safe community that lives below the ground in dugout shelters lined with disused washing machines and fridge freezers. Tweed’s Man from Below updates autochthonous mythologies of origin into an urban, new age pitch for white goods eco-homes."
Tweed's text for dragged down into lowercase
Selectors New Contemporaries (2007) (Nigel Cooke, Linda Norden and Michael Landy)
“Charlie Tweed gives new meaning to civil disobedience, full disclosure – and underground. His Man from Below TV is more like a message from the boy–child you hope will never grow up. He's too smart for his own good, but you know you'd never let him get away with his astutely, acutely damning enactments if you took him for an adult. Check out his graphic for the video Man from Below TV: a literal kid's rendition of his instructions for its display: '7 inch screen with live aerial extending as if live broadcast.”
"Is funny. He lives on nothing much but the idea of rebellion, off grid, down below. The expanse at the edge of London. Near City Airport perhaps is the basecamp for his pioneering media and eco activism. The props are limited, the hole not big, but the encouragement is surely convincing. Everyone should do it now, go there, dig, rebel, and then pass it on.”
BBC Collective on New Contemporaries 2007
www.bbc.co.uk/dna/collective/A25691600
Conflicting Interests and Interesting Conflicts’ by Fiona Woods
www.shiftingground.net/research_papers_conflictinginterest.htm