“We fear forgetting, losing memories, and want to store and archive everything, throwing nothing away. Do we have the courage to forget?”
— Matilde Crucitti, Losing the Backup

The Phreaking Collective invited visitors to Bit Rot, a group exhibition that explores the fragility, decay, and obsolescence of our digital age. Taking its name from the slow degradation of digital files over time, Bit Rot stages a post-human reflection on the technologies that once promised progress and the lives they now leave behind.

Visitors were invited into a world where bots are trained on the voices of forgotten users and inactive profiles, where decaying systems generate new poetics, and where digital forgetting becomes an act of care. Curated by a collective of computational artists born into the internet age, Bit Rot is both a mourning space and a speculative future archive.

Alongside the exhibition, the Phreaking Collective hosted a weekend of free public programming, including hands-on workshops, artist talks, live performances, and community events. This will open access to new forms of digital literacy, storytelling, and cultural memory.

Pixel-sorted telephone operator artwork for BitRot
Wide show of gallery with art installation
Gallery wide shot
Wide shot of a gallery with art installations
Gallery wide shot

Artwork

Caught on CCTV — Jack Jessé & Paula Molina

Caught on CCTV (2025) © Jack Jessé & Paula Molina

Chorus Inútil — Nikos Antonio Kourous Vázquez

A choir of ChatGPT text-to-speech instances repeating nonsensical syllables, causing it to diffract and glitch, revealing ghosts, music, rhythms, and words trapped in its training data. The piece runs in real-time, launching live google chrome windows and typing directly to the chatGPT.com interface.

Chorus Inútil (2025) © Nikos Antonio Kourous Vázquez

The place where its buried — Xach Hill

Collection of collapsed panels, unable to arise, repeating its actions, looping forever.

The place where its buried (2025) © Xach Hill

Hear how you look, see how you sound — Yunzhi / Melissa Li

'Hear how you look, see how you sound' is a self-eroding portrait booth that turns every visitor's image into sound, invites them to “play” that sound, then burns the edited audio back into the picture's pixel data. Each cycle bruises the file a little more, leaving behind a corrupted photographs that audibly and visually catalogue the show's slow decay. The piece literalises data's tendency to drift, break and disappear once it leaves our hard drives and circulates in public space.

Hear how you look, see how you sound (2025) © Yunzhi / Melissa Li

The screens I had weren't enough; I had to go out and get three more — Eryn English-Polch

The screens I had weren't enough; I had to go out and get three more (2025) © Eryn English-Polch

TYPEFACE — Lucy Ellis

TYPEFACE reflects on the artist's personal relationship with prolonged periods of screen time inducing blurry vision and insomnia. The use of keyboard keys introduces loss of clarity in the image. When you look at the image from far away the image is clear but in an attempt to connect more as you move closer the image drifts further away.

TYPEFACE (2025) © Lucy Ellis

The Ghost of two mountains, ornithopter. — Zepu Li

The Ghost of Two Mountains, Ornithopter continues the artist's investigation into construction structures in the city as artificial mountains. Using maps, symbols, and layered transparent 3D-printed components, the work articulates a vast, dense, and floating field of whispering gaps.

The Ghost of two mountains, ornithopter. (2025) © Zepu Li

Gone Fishing — Lyra Robinson

Gone Fishing (2025) © Lyra Robinson

A rather favourable I — Zepu Li

A rather favourable I (2025) © Zepu Li

I Missed the Bus Because it Wasn't Real — Maisy Charlton

I Missed the Bus Because it Wasn't Real (2025) © Maisy Charlton

A rather favourable II — Zepu Li

A rather favourable II (2025) © Zepu Li

memes are the only true contemporary art — Rizq Yazed

This installation replicates the damage to digital formats as a result of repeatedly sharing, resharing and screenshotting. These artefacts are then sonified using pd.

memes are the only true contemporary art (2025) © Rizq Yazed

fyp — Phoenix Isla Kea

drowning in automation, 'fyp' investigates how ai sees virality. scrapping YouTube for short-form content, this piece hopes to give insight on how mundane and calculated the algorithm is.

fyp (2025) © Phoenix Isla Kea

Subtle Crisis — Jin Xie

Subtle Crisis is an interactive audiovisual work that translates personal social anxiety into a form of digital decay. A serene point‐cloud landscape opens the piece, drawn from 3‐D scans of spaces in which I once felt safe. A live microphone continuously samples the gallery's ambience—footsteps, murmurs, coughs, unforeseen clatters. Each sonic fragment is analysed in real time; its amplitude and spectral “noise” values become parameters that fracture the point‐cloud in subtle increments: vertices blur, drift, or vanish outright, as if corrupted sectors were blooming across the image.

Subtle Crisis (2025) © Jin Xie

Internet Checkpoints — METAL_UPA

Internet Checkpoints is a reflection on the fragments of the web that live outside of visibility. Broken links, forgotten pages and digital traces that no longer serve the logic of the algorithm. Rooted in the idea of Legacy Russell's glitch as digital resistance, an error that shifts outside the expected flow, the work draws from a specific kind of online artefact: intentional uploads with no proper name, blank titles, usernames made of symbols, and nostalgic game landscape footage shared without explanation. These artefacts often float without context, designed to evade recognition, to appear only through luck or misdirection and often unreachable again.

Internet Checkpoints (2025) © METAL_UPA

Me, Her, and the Computer

Me, Her, and the Computer (2025)

i tried to remember but…. — Louise Wan

i tried to remember but…. (2025) © Louise Wan

Untitled — Lucy Ellis

Untitled (2025) © Lucy Ellis

Edu2000 — Lucy Ellis

Edu2000 (2025) © Lucy Ellis

Event

Talk

Artificial Intimacies & Erotics of the Synthetic Self: Making XXX Machina

Artificial Intimacies talk artwork

Lecture given by Erin Robinson & Anthony Frisby, hosted by Lyra Robinson and Nikos Antonio Kourous Vázquez.

Talk

Long Live The New Flesh (or Whatever)

Long Live The New Flesh poster

A performance lecture given by Dian Joy.

Workshop

Oops, You Found A Glitch

Oops, You Found A Glitch workshop poster — reviving broken Glitch.com sites

This workshop had participants revive “dead” Glitch.com websites by reverse‑engineering thumbnails and rebuilding URLs using simple HTML & CSS.

Workshop

Object Oriented Storytelling: From Field to Virtual

Object Oriented Storytelling: From Field to Virtual workshop poster

In this two-hour workshop, participants learned to treat everyday objects as narrative anchors that bridge physical material to virtual.

SCHEDULE

Show open: 8–10 August, 10:00 AM–5:00 PM

Private View: 7 August, 6:00–9:30 PM

After Party: 7 August, 9:30 PM–12:00 AM


Performances on 7 August:

6:30 PM: Zhanlan (OrangeSpy)

7:30 PM: Lagtime_Seedling

8:30 PM: Yiding Zhang


Events:

Thu 8 August, 6:30 PMLong live the new flesh (or whatever), performance lecture by Dian Joy.

Sat 9 August, 11:00 AM–2:00 PMoops, you found a glitch, public HTML workshop.

Sat 9 August, 3:00 PMArtificial Intimacies & Erotics of the Synthetic Self: Making XXX Machina, lecture by Erin Robinson & Anthony Frisby.

Sun 10 August, 1:00–3:00 PMObject Oriented Storytelling: From Field to Virtual, 3D scanning & worldbuilding workshop.

ABOUT US

The Phreaking Collective is a London-based group of emerging computational artists working across code, sculpture, sound, installation, and digital media. Formed in 2025, the collective takes its name from phreaking, a term initially used to describe the subversive practice of hacking telephone systems in the 1960s and 70s. Drawing from this lineage of creative mischief and network disruption, the Phreaking Collective reclaims the term as a gesture toward experimentation, resistance, and intimacy within digital systems.

ARTISTS

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About Copeland Gallery:

Located minutes from Peckham Rye Station at the heart of Copeland Park, Copeland Gallery is a landmark within Peckham's cultural quarter. Providing a supportive platform for emerging artists since 2013, the gallery has played a key role in the rise of Peckham's art scene, housing hundreds of exhibitions, fashion shows, and workshops. Global brands, cutting edge artists, large filming productions as well as student exhibitions have all graced Copeland Gallery's walls.

Location & Event

Contact

For press, programming, and general inquiries, please get in touch with us:

info@phreaking.co.uk
Instagram: @phreaking_collective