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Publisher Melville House Publishing says: A photo of a secret CIA prison. A map designed to help visitors reach Malibu's notoriously inaccessible public beaches. Guidebooks to factories, prisons, and power plants in upstate New York. These are some of the more than one hundred projects represented in Experimental Geography, a groundbreaking collection of visual research and mapmaking from the past ten years. Experimental Geography explores the distinctions between geographical study and artistic experience of the earth, as well as the juncture where the two realms collide (and possibly make a new field altogether). This lavishly illustrated book features more than a dozen maps; artwork by Francis Alÿs, Alex Villar, and Yin Xiuzhen; and recent projects by The Center for Land Use Interpretation, the Raqs Media Collective, and the Center for Urban Pedagogy.
The book accompanies the traveling exhibition of the same name. You can catch it until September 20 at The Albuquerque Museum in New Mexico. A quick look at the calendar of the exhibition tells me that, alas, they have no plan to come to Europe. I'm usually weary of reviewing the catalog of an exhibition i've never visited. Just like i tend not to blog about artworks and events i've never experienced. This time however, i feel that the book stands on its own legs. Mostly because the field of experimental geography has not been overwhelmingly explored in publications. So i take what i can get get my hands on and didn't find any reason to regret it. Artist and geographer Trevor Paglen coined the term 'experimental geography' back in 2002 and given his experience in the field who better than him could define this emerging genre? Experimental geography means practices that take on the production of space in a self-reflexive way, practices that recognize that cultural production and the production of space cannot be separated from each another, and that cultural and intellectual production is a spatial practice. Moreover, experimental geography means not only seeing the production of space as an ontological condition, but actively experimenting with the production of space as an integral part of one's own practice. (More in his essay Experimental Geography: From Cultural Production to the Production of Space.)
The fact that Paglen's work has inspired the exhibition and the book, doesn't prevent him nor the other authors of the volume to pay tribute to Walter Benjamin, Robert Smithson, Henri Lefebvre, Vito Acconci, Michel de Certeau and Guy Debord and of course the work and thoughts of the Situationists. However, many of the artists featured in the book do not stick strictly to the ideas and methods of the European artistic avant-garde. They are somehow much more pragmatic and show a greater commitment to engaging "everyday" people into the discussion.
Among the projects i found most interesting is The Road Map by Multiplicity. In 2003 the Italian collective tried to measure, with their EU passport, the density of border devices in the area surrounding Jerusalem. They first traveled on the highway 60 along with a person with an Israeli passport from the colony of Kiriat Arba to the colony of Kudmin. The following day, they traveled along with a person with a Palestinian passport from Hebron to Nablus. Both routes start and end in the same latitude. Their traveling times, however, are different. The Israeli traveler took around one hour, while the Palestinian took five and a half hours.
Another striking map is the one that Bill Rankin made to document the locations of U.S. Indian reservations. The kind of questions triggered by the map is particularly interesting: can a traditional map accurately represent the sovereignty rights (or claims) of indigenous peoples? Experimental geography reflects the width of geography's interdisciplinary approach. It is made of loads of maps (there's a wonderful archive of artists, designers and activists maps online) but it also involves interventions in public space, bus tour, performances in urban areas and nature, etc.
It takes 154,000 breaths to evacuate Boston by kanarinka (Catherine D'lgnazio) is a thought-provoking and probably quite exhausting performance. In 2007, kanarinka run the entire emergency evacuation system installed in the city to demonstrate the city's preparedness for evacuating people in snowstorms, hurricanes, infrastructure failures, fires and/or terrorist attacks. By attempting to measure the distance in human breath, the artist also aimed to measure our post-9/11 collective fear. Experimental Geography is currently on view at The Albuquerque Museum, Albuquerque, New Mexico until September, 20, 2009. Previously: Book Review - An Atlas of Radical Cartography, Trevor Paglen's talk at Transmediale and Conflux 2008: notes from the panel Cartography of Protest and Social Changes. |
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Haarlem was a city i associated so far with OTT Dutch cuteness and with the novel The Black Tulip by Alexandre Dumas.
Haarlem is just a 20 minute train ride from Amsterdam. I was there a couple of weeks ago to see an exhibition called Green Revolution at Nieuwe Vide, a new art space located in an old industrial area turned into a hotspot for all kinds of creative practices.
Green revolution is an agricultural revolution of the 50's that encouraged the use of industrial and biological technology in agriculture. Not in order to create alluring black flowers but to feed nations. Today, some agronomists state that the Green Revolution has allowed food production to keep pace with worldwide population growth while others believe that it caused the great population increases seen today. What is sure is that the Green Revolution has had major social and ecological impacts, making it a popular topic of study among sociologists.
The exhibition Green revolution, which invaded the walls of the Nieuwe Vide art space until last June 13th, offers a broader, contemporary and decidedly darker take on the idea of a green revolution. The show brought together artists whose work investigates and comments on the current, complex and often hard to fully grasp mutations in our environment, whether it's the environment in its green and eco sense or more generally the new political climate. Some of the artists selected use or comment on man-made disasters, others bring about distressing scenarios of a future life, others investigate the field of biotechnology, opening up new perspectives and questioning the world we live in. That was a lot to take in in one go.
The Bureau of Inverse Technology's Antiterror line accumulates audio reports on civil liberty infringements and other 'anti-terror' events. You make a simple phone call and leave a message. Your audio recording is automatically uploaded to an open online terror database, thanks to BIT's uphone system which enables any phone to act like a distributed microphone. The audio files can also be monitored, syndicated or remixed for your purposes. An audio accumulation of micro- incidents which individually may be inactionable but en masse could provide evidence for a definitive response.
Akos Maroy's project bio.display is of a more playful and experimental nature. Its purpose was to create a dynamic display made of millions of genetically modified fluorescent bacteria. The project is inspired by GFPixel, a static display made of fluorescent and non-fluorescent bacteria and created by Reinhard Nestelbacher and Gerfried Stocker. Unlike its precursor, bio.display would change its contents with time. The display used using E-Coli bacteria that has TorA-Green Fluorescent Protein mutant 3* (TorA-GFPmut3*) added to it. The pixel of E-Coli can be turned 'on' and 'off' by changing the pH value of its surroundings.
Other works in the exhibition include Jon Ardern's project Design Solutions for Post-Crash civilization that stems from the discrepancy between the mounting body of scientific evidence that reveal the dangers inherent in continuing with our current lifestyle and the fear of impeding the current economic paradigm. His project is echoed in drama and aesthetic by Alice Miceli's photographies of Chernobyl's exclusion zone (check also the interview with Miceli, Chernobyl Project - Images of the Invisible).
I was also glad to see again Immolation, a video installation concerned with the use of incendiary weapons on civilians after the Geneva Convention and the Protocol on Prohibitions or Restrictions on the Use of Incendiary Weapons of 1980. The U.S. have refused to sign the convention and make regular use of firebombs in the Middle East. This video highlights the major war crimes of the United States involving these weapons on a ( macro) landscape level, and contrasts it with the damage done to the body on the (micro) cellular level. To reach the cellular level, the Critical Art Ensemble grew human tissue at SymbioticA, and using high-end microscopy shot the micro footage of skin cells dying by either exploding or imploding. In parallel, CAE shows film footage of present and past wars that have used immolation against civilian targets as a strategic choice for the sole purpose of terrorizing entire populations. Green Revolution, curated by Emilie Oursel, closed on June 13th, 2009. See also Transmediale 09 - Survival and Utopia, Sk-interfaces (Part 1). |
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Wanted to share with you a couple of links that have deeply interested and distressed me today and yesterday. The first one is a lecture that Wendy Brown, a professor of political science at the University of California, gave at the London School of Economics and Political Science. Her recent research focuses on the concept of political sovereignty as it is connected to globalization and other transnational forces. Archived by Resist, a project i am involved in, the lecture explains how the building of walls around the world today is so starkly at odds with images of a world that is ever more connected & unbordered. Whether they aim to deter poor people, illegal workers, asylum seekers, drugs, weapons and other contraband, enslaved youth, ethnic or religious mixing, walls and fences basically do not work.
The list of walls she gave is absolutely alarming, especially considered that she focused on the ones that have risen since the much celebrated fall of the Berlin Wall: the U.S. border with Mexico and the Israeli West Bank barrier (these two share high technology, sub-contracting and they also reference each other for legitimation), Post-Apartheid South Africa's internal maze of walls and check point, Saudi Arabia concrete structure along its border with Yemen, India's reinforced border with Pakistan and Bengladesh, Botswana's electric fence along the border with Zimbabwe, the wall between Egypt and Gaza, etc. But also walls within walls: gated communities so popular in the U.S. (in particular in Southern Californian communities living closer to the Mexico border), walls around Israel settlements in West Bank, walls around the Museum of Tolerance in Jerusalem and the walls that partition the city itself, the triple layer of walls around Spanish enclaves in Morocco, the wall of Via Anelli inside the Italian city of Padua that separate white middle class with immigrants living in an "African ghetto" (i'd recommend Italian readers the documentary Stato di Paura, you can find the trailer here), the Baghdad wall built by the U.S. military, etc. The list goes on and on and the analysis Brown makes of the phenomenon is thought-provoking. I can't recommend enough the audio file of Prof. Brown's lecture.
The second video depicts in a particularly moving way a project which might not be new to most of you but i had never heard about it so far. Israeli NGO B'Tselem has given Palestinian families across the West Bank video cameras to document how they are treated by Israeli soldiers and settlers. Simple, smart and apparently effective. Here's two interviews with Oren Yakobovich, Director of Video at B'Tselem: a video and an audio. The blog Subtopia covers this kind of topic in a very documented and intelligent way. |
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Otto sent me a paper copy of the thesis last year and because i'm about to leave to the airport i'm just going to copy/paste its abstract. It does what it says on the tin after all: This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a form of social activism. This social design practice can be called the hacktivism of fashion. It is an engaged and collective process of enablement, creative resistance and DIY practice, where a community share methods and experiences on how to expand action spaces and develop new forms of craftsmanship. In this practice, the designer engages participants to reform fashion from a phenomenon of dictations and anxiety to a collective experience of empowerment, in other words, to make them become fashion-able.
As its point of departure, the research takes the practice of hands-on exploration in the DIY upcycling of clothes through "open source" fashion "cookbooks". By means of hands-on processes, the projects endeavour to create a complementary understanding of the modes of production within the field of fashion design. The artistic research projects have ranged from DIY-kits released at an international fashion week, fashion experiments in galleries, collaborative "hacking" at a shoe factory, engaged design at a rehabilitation centre as well as combined efforts with established fashion brands. Using parallels from hacking, heresy, fan fiction, small change and professional-amateurs, the thesis builds a non-linear framework by which the reader can draw diagonal interpretations through the artistic research projects presented. By means of this alternative reading new understandings may emerge that can expand the action spaces available for fashion design. This approach is not about subverting fashion as much as hacking and tuning it, and making its sub-routines run in new ways, or in other words, bending the current while still keeping the power on. Related: Interview with Otto von Busch, Experiments in fashion heresy. |
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Previous stories on this panel: Positions in Flux - Panel 1: Art goes politics - Hans Bernhard from UBERMORGEN.COM and Positions in Flux - Panel 1: Art goes politics - Wafaa Bilal. Geert Lovink has already reviewed the whole panel on his blog: Political Work in the Aftermath of the New Media Arts Crisis.
The third person to take the stage was Christian Huebler from Knowbotic Research who are also artist in residence at NIMk this year. Knowbotic Research (Yvonne Wilhelm, Christian Hübler, Alexander Tuchacek) was established in 1991, and has experimented with formations of information, interface and networked agencies. Ok, now this will sound weird but Knowbotic Research happens to be one of the art groups i find most interesting today. And that's in spite of the fact that i don't understand fully what their work is about. But now was my chance to get a better idea of what they are doing.
Huebler's presentation focused on BlackBenz Race (BBR), a semi-fictitious car race of black Mercedes from Zurich to Pristina (Kosovo) and back to Zurich. The project refers to the big Kosovo-Albanian community that migrate to Western Europe with Zurich as a node. The aim of BBR is to make visible the translocal space produced by Kosovo-Albanian migration across Europe. BBR explores the intersection of public spheres and migrant networks by using the metaphor of the race. The 'Black Benz' represents both a status symbol, and a symbol of the mobility that is inherent in migrant culture. The site of that mobility is the corridor along which the cars travel, from Pristina and Tirana to Zurich, Rotterdam, or London. The Black Benz is both a tool and a symbol, a vehicle for trading and trafficking of people and goods, as well as a sign of economic success. Knowbotic Research was using a discrimination platform to hack into the space.
Unfortunately, the city of Zurich (which had commissioned the project to KR) was not ready to accept their idea. It would have been an interesting experience for Albanians living in Zurich as they feel alienated both in Switzerland and in their home country. KR doesn't work with participants but provide a framework for them to get involved. Certain stages of the races nevertheless took place. The artists managed to get the authorization to organize a race in front of the United Nations headquarters in Pristina. They pretended they were shooting a film and got the city blocked for the ghost race from 3 am to 6 am. While in Pristina they discovered there was also a burnout party going on. A group of men would block a car that a driver brings into full gear until the tyres totally dissolve and no one can see anything because of the fume. NEWBORN - undeliverable? is the second project of Knowbotic Research that engages with translocal spaces and Kosovarian migration. It took place in Zurich but this time the artists didn't ask for any permission. The idea was inspired by a photo (see below) the group saw in NYT article about Kosovo declaring its independence from Serbia.
Knowbotic Research copied the sign and paraded it on a truck around Zurich. Obviously the reference to the historical event was evident mostly to migrants from the Balkans. KR invited a rapper form Kosovo who had migrated to Switzerland to use the sign as a starting point to explain what it means to be 'newborn' in a political space. Besides the circulation of the NEWBORN sign through Zürich coincided with the kick off of the EURO2008. Because the public and imaginary space was monopolized by commercialism, people who do not belong to the Kosovo Albanian community probably assumed that the NEWBORN circulating through the streets was just another advertisement signage on its way to be installed somewhere in the city. The Project NEWBORN -- Undeliverable? conducts research into the constitution and interaction of multiple, parallel publics within the local space of Zurich shaped by the dynamics of translocal migration, national identity and globalized commercialism. Such a research endeavor needs to take place in the public space itself. Only by intervening directly the latent, often invisible dynamics can be brought to the surface. Activating existing and triggering new dynamics is an essential part of the approach. One of the battle cries of KR is that they want to see the development of new zones of intransparency in which people can fully experiment and circulate, where one is neither representable nor identifiable. A bit like the character (some kind of Cousin Itt alter-ego) that appears in their projects macghilie - just a void. What would happen if we fight surveillance society with transparency?
The project tiger_stealth explored in a more tangible and direct way this idea of navigating through space without being detected. Together with with Peter Sandbichler, the group re-engineered a stealth boat as depicted in a propaganda video of the Tamil Tigers, the Tamil liberation army based in northern Sri Lanka. The boat (which appears in an online video) seems to be a formal adaptation of the stealth bomber F117 Nighthawk, a myth of invisibility.
KR's stealth boat cannot be detected by radar and other modern technology. It appears to be unmanned, but a person is hidden inside the boat. Equipped with a silent electrical engine it stays invisible for a radar station positioned on the river bank. The boat can be purchased online. It is thus fed back into a commercial public context where its technical invisibility becomes a good that must be shown. |
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Previous post on this panel: Positions in Flux - Panel 1: Art goes politics - Hans Bernhard from UBERMORGEN.COM
Art goes politics, the first panel of Positions in Flux, discussed how/whether media art has the potential to contribute to global and local problems such as religious and territorial conflicts, environmental or social crisis. One of the three artists invited to participate to the discussion is Wafaa Bilal. Born in Iraq, Bilal gained worldwide fame in 2007 with his performance Domestic Tension (aka. Shoot an Iraqi) which enabled web users around the world to control a paintball gun and shoot at him 24 hours a day. For a whole month. His works are being exhibited and discussed internationally and he is currently Assistant Arts Professor at Tisch School of Arts, NYU. The artist presentation was articulated around his artworks: Domestic Tension How can artists today make images mean something, stimulate people and provoke them? Problems that political art face: disengagement of the issue and tendency of some artists to express the issues at stake through aesthetic pain rather than aesthetic pleasure. Bilal grew up in an oppressed society and didn't have the leisure to meditate on aesthetic alone. He therefore works with both aesthetic pain and aesthetic pleasure. On May 4, 2007, Bilal set up his living and working quarters in a Chicago art gallery to perform Domestic Tension - Shoot an Iraqi. The project was a way for him to deal with the grief over the death of his brother in his hometown back in 2004. Bilal realized that he lives a comfortable life in the USA while his family is still in Iraq. Americans have been relatively shielded of the pain and suffering people experience in Iraq in their name. What kind of ethical consequence would seeing the consequences of war trigger? Would it humanize the issue? How can an artist go beyond a mere street protest (which alienates people most of the time anyway)? Bilal found out that internet enables an artist to enter the safety zone of people's house whether they like it or not. Domestic Tension ended up exposing more complex issues than the artist had imagined at first. It was also a bigger success than he had hoped for. By the end of the one month performance in the gallery, the Domestic Tension website had received 80 million hits. The results of the work were both healing and disturbing for him. Some took control of the paintball gun in a very aggressive way, hacking the system so that the gun would shoot non-stop but by day 21, Bilal noticed that the gun was going right and left, not aiming at him. It turned out that a group of 39 people had united force to prevent people from shooting at the artist. They called themselves 'the virtual human shield.' On day 14 of Domestic Tension, a link to the project was posted on Digg.com and Bilal was bombarded non stop, he couldn't fill the paintball fast enough to keep up with the demand. The themes Domestic Tension explored: Domestic Tension embedded the horror in the experience and allowed webusers to participate. People invested their own narrative and integrated the one of the artist. After Domestic Tension
In 2008, while he was in residence at Rensselaer Polytechnic Institute, Wafaa created Dog or Iraqi, asking people to vote who -- a dog named "Buddy," or an Iraqi, himself -- would be submitted to waterboarding, a form of torture that consists in immobilizing the victim and pouring water into the breathing passages to have them experience drowning. PETA obviously went mad about the idea that a dog would be harmed in the project, they were quite undisturbed by the fate of the Iraqi. Bilal lost to the dog and was submitted to waterboarding. The next project was Night of Bush Capturing: Virtual Jihadi, a modified version of the first person shooter video game Quest for Bush, itself a "hacked" version of the commercial video game Quest for Saddam. In Bilal's version the artist inserted his personal narrative by casting himself as a suicide bomber who gets sent on a mission to assassinate President George W. Bush. He was intrigued by the idea that a terrorist organization had released a free game to recruit people. Rensselaer Polytechnic Institute had to cancel the show after governmental pressures. At the time, the College Republicans called the RPI's Arts department "a safe haven for terrorists" on their blog. A second exhibition of the project had to be shut down due to the fact that the gallery didn't comply with some regulation about the size of its doors. The objectives of the game were many: For Bilal, new media art and interactivity presuppose the active involvement of a public whose function was once limited to viewing only. If the audience takes an interest in the work, they are more likely to engage in a dialogue that might, in the best cases, be revolutionary. I would, once again, like to recommend Waffa Bilal's book Shoot An Iraqi, Art, Life and Resistance Under the Gun to get to know more about his experience and art work. Previously: A few words with Wafaa Bilal and When interactive art becomes bored with you. |
