Kennette Benedict, executive director of

quote, Kim Zetter, Countdown to Zero Day, kennette

“Countdown to Zero Day: Stuxnet and the Launch of the World’s First Digital Weapon”, by Kim Zetter





The New Yorker on Dark Content


Watch an art work about the Dark Web, on the Dark Web“, by Daniel Wenger, on The New Yorker

“Humans may be messier than humans would like, but “Dark Content” suggests that computers aren’t the solution. Sometimes humorously, sometimes disastrously, automation tends to result in appealing anomalies, hints of personality. In one episode, a prune-mouthed granny places undue emphasis on the “tent” in “content moderation”; in another, a shiny-haired woman in a ruffled blouse uses an unnatural rat-a-tat to say “gotta keep my eye on that,” cramming each syllable into a millisecond’s slot.”





The New York Times on our current show


The New York Times on our latest projects and current show in London at Carroll / Fletcher!

(Thanks Sandino Scheiddeger for the timely photo)





Video of opening

Here’s a video of last night, it’s the opening of our show “Abuse Standards Violations” at Carroll/Fletcher, London. Small surprise at the end of video… Thanks Callum Leo Hughes for the shot!





Interview with Modern Painters

portrait mattes modern painters 2016

We talked to Thea Ballard at Modern Painters about internet content moderation and the dark web, in advance of our exhibition at Carroll/Fletcher opening this week!





“United We Stand” in France

united installation annemasse france 01

united installation annemasse france 03

united installation annemasse france 02

In the last couple of months our endless campaign to promote “United We Stand”, a movie that never existed about Europe, hit Annemasse, a small city in south-eastern France. With the upcoming Brexit referendum in the UK we thought it was a good timing…

It’s our contribution to Les Incessants, curated by Céline Poulin.





Talk at Goldsmiths tonight!

Eva and Franco Mattes, Dark Content

Tonight we’re giving a talk at Goldsmiths, London, with Matthew Fuller, we’ll be discussing what we’ve been up to since we first met Matthew, in 2000, so we won’t run out of topics. Come join us, it’s free and open to the public: June 2, 6PM, room RHB 137a. Thanks Zach Blas for organizing this!





Conversation at the Photographer’s Gallery, London

Eva and Franco Mattes

Our days in London are getting exciting… we’ll be in conversation with the amazing Zach Blas at The Photographer’s Gallery, June 3, 6:30-8 pm!

It’s free, but booking essential

“Throughout the discussion, they will explore how what is concealed is often what matters most.”





Abuse Standards Violations at Carroll/Fletcher

Eva and Franco Mattes, Dark Content

The next chapter of our ongoing exploration of The Nothing (NeverEnding Story fans know what I’m talking about) is the solo show we’re about to open at Carroll/Fletcher gallery in London: “Abuse Standards Violations”.

It features all new works, including the next 3 episodes of Dark Content (YES they’re ready!), several crowdsourced performances from the series BEFNOED, reiterations of Image Search Result printed on different objects (including car mats…) and a new work about content moderators guidelines that were leaked to us…

Carroll/Fletcher, London, opening on Thursday June 9, 7-9pm

Here’s the press release.

BTW, we’re giving a gallery tour on Thursday June 9 at 6PM, come by!

“Eva and Franco Mattes’ exhibition Abuse Standards Violations investigates the dark side of the Internet. In a new series of video installations, the New York-based duo exposes the vast amount of unpalatable material kept away from our screens by an army of underpaid workers, while offering a bizarre but telling glimpse into the lives of an ever-growing, dispersed global workforce.”





When felonies become form, on ARTnews

news artnews stolen pieces

Super interesting article by Andrew Russeth on ARTnews: When felonies become form: the secret history of artists who use lawbreaking as their medium.

I’d like to reiterate one point though: the fact that we waited 15 years to disclose our work Stolen Pieces has nothing to do with the statute of limitations running out, as the author suggests, as of today we are not certain about it. We waited because we soon realized the work would have been completely misunderstood. We were teenagers, this was our first work, and we had no contact whatsoever with the art world, we didn’t know academics, critics or journalists. We wanted for this work to be critiqued in the context of art history, not vandalism. Luckily that’s what happened when we finally revealed the work, giving the exclusive to art critic Blake Gopnik who wrote a great piece on the Washington Post, setting the bar for the following writings.