During 2011, Graham Harwood has been working with the University of the West of England and Bristol City Council on YoHa's Invisible Air - Database, Expenditure, Power. The project culminated with a Pneumantic Database Soiree.
In 2010, Harwood and Yokokoji, in conjunction with Demars, exhibited their Coal Fired Computers (300,000,000 Computers - 318,000 Black Lungs ) at the AV Festival 10 - Discovery Museum, Newcastle, CFC-200%5b2%5d
Harwood has also worked on a series of Social Telephony projects:
“Tantalum Memorial” is a series of memorials by the artists group Harwood, Wright, Yokokoji, to the people who have died as a result of the “coltan wars” in the Congo. The installation was constructed out of electromagnetic Strowger switches – the basis of the first automatic telephone exchange invented in 1888. The movements and sounds of the switches are triggered by the phone calls of London's Congolese community as they participate in “Telephone Trottoire” – a concurrent project also built by the artists in collaboration with the Congolese radio program “Nostalgie Ya Mboka”.
“Telephone Trottoire” is a “social telephony” network that calls Congolese listeners, plays them a phone message and invites them to record a comment and pass it on to a friend by entering their telephone number. This builds on the traditional Congolese practice of “radio trottoire” or “pavement radio”, the passing around of news and gossip on street corners in order to avoid state censorship.
Manifesta 7 - the European Biennial of Contemporary Art, 19th July to 2nd November, 2008. The Science Museum in London UK in October 2008. “Tantalum Memorial – Reconstruction” May 10 - August 31, 2008 was A FUSE Commissioned Residency for the 2nd Biennial 01SJ Global Festival of Art on the Edge, ZERO1, CADRE Laboratory and the Lucas Artists Program, Montalvo Arts Center.
Harwood worked with Mongrel 1997-2007, a celebrated artists group specialising in digital media. They had an international reputation for their pioneering arts projects, which is usually combined with working with marginalised peoples who are on low incomes, the socially excluded and cultural minorities.
Mongrel was formed after Harwood's collaborative work 'Rehearsal of Memory' (1995) produced with maximum security mental patients at Ashworth Hospital, U.K. (now in the permanent collection of the Centre Pompidou et du Musée National d'Art Moderne, Paris).
Before this, Harwood and Stefan Szczelkun set up the 'Working Press' (books by and about working class artists) in 1987. During his involvement with the Working Press harwood produced the UK's first computer generated graphic Novel in 1990 'If Comix Mental' (a Gulf war satire).
Harwood has taught in France, the Netherland's and conducted workshop throughout the world. While teaching at London Guildhall University (1989-1994 ) he helped to establish the MA in Computer Graphics and Animation. Harwood then went on to work at Artec (The London Art and Technology Centre) 1995-1997, where he ran their ground breaking training courses for the long term unemployed. It was during his time at Artec that Harwood founded the Mongrel group which quickly went on to win numerous awards including the ICA London’s Imaginaria award and the Clarks Digital Bursary. Mongrel is best known for its “National Heritage” and “Natural Selection” projects which explored racialisation and the new eugenics. It is also closely associated with the formation of social software and software art through it’s development of “Linker”, “HeritageGold” and “BlackLash”.
In 2001 Harwood received the first online commission from Tate Gallery London for “Uncomfortable Proximity” for which he won the Leonardo New Horizons Award for Innovation in New Media.
Harwood and Matsuko Yokokoji then spent the next two years working in the Netherlands with the Waag Society and Imagine IC constructing “Nine (9)” - an online application for collaborative artworks especially designed for celebrating the lives of marginalised groups and migrant communities. More recent work includes “Lungs (Slave labour)” which was commissioned for the 'Making Things Public' show (curated by Bruno Latour & Peter Weibel) at ZKM (Centre for Art and Media Technology, Karlsruhe, Germany) and was subsequently acquired for ZKM's permanent collection.