The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, London's favourite radio art station, is aired this Wednesday afternoon at 4pm.
Today's guests are Evan Roth, Becky Stern, Geraldine Juárez and Magnus Eriksson from the Free Art and Technology Lab (F.A.T. Lab), a network of artists, engineers, scientists, lawyers, and musicians who are committed to supporting open values and the public domain through the use of emerging open licenses, support for open entrepreneurship, and the admonishment of secrecy, copyright monopolies, and patents.
Some of the members were at the MU gallery in Eindhoven last week for a F.A.T. Lab retrospective as well as for the launch of THE F.A.T. MANUAL. In this episode, we will be talking about 3D printed guns, Ideas Worth Spreading which allows you to deliver your own pirate TED talk, open culture and how to remove Justin Bieber from your web browsing.
The radio show will be aired this Wednesday 20 November at 16:00, London time. Early risers can catch the repeat next Tuesday at 6.30 am. If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud.
F.A.T. GOLD Europe. Five Years of Free Art & Technology is at MU in EIndhoven until January 26, 2014. THE F.A.T. MANUAL is on print on demand but you can also download it for free.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, London's favourite radio art station, is aired this Wednesday afternoon at 4pm.
Brett Scott, a campaigner, former broker and a Fellow of the Finance Innovation Lab. Scott is the author of The Heretic's Guide to Global Finance. Hacking the Future of Money published by Pluto Press (and available on amazon USA and UK.) The book "is a friendly guide to taking on the world's most powerful system. It sets up a framework to illuminate the financial sector based on anthropology, gonzo exploration, and the hacker ethos, and helps the reader develop a diverse DIY toolbox to undertake their own adventures in guerilla finance and activist entrepreneurialism."
We'll talk about the book, the bitcoins, Brixton Pound and other radical approaches to global finance of course but also about Scott's plan to start a London-based school of financial activism.
Explore Everything: Place-Hacking the City by Bradley Garrett, an ethnographer from the School of Geography and the Environment at University of Oxford working within the global Urban Explorer community.
Publisher Verso writes: It is assumed that every inch of the world has been explored and charted; that there is nowhere new to go. But perhaps it is the everyday places around us--the cities we live in--that need to be rediscovered. What does it feel like to find the city's edge, to explore its forgotten tunnels and scale unfinished skyscrapers high above the metropolis? Explore Everything reclaims the city, recasting it as a place for endless adventure.
Plotting expeditions from London, Paris, Berlin, Detroit, Chicago, Las Vegas and Los Angeles, Bradley L. Garrett has evaded urban security in order to experience the city in ways beyond the boundaries of conventional life. He calls it 'place hacking': the recoding of closed, secret, hidden and forgotten urban space to make them realms of opportunity.
Explore Everything is an account of the author's escapades with the London Consolidation Crew, an urban exploration collective.
The book is also a manifesto, combining philosophy, politics and adventure, on our rights to the city and how to understand the twenty-first century metropolis.
Like almost everybody else i guess, i'd like to be Bradley Garrett in my next life... Minus the troubles with the Transport for London, of course.
Bradley is a writer, photographer and researcher at the University of Oxford. He is also part of a group of urban explorers who trespass into derelict industrial buildings, sewer mazes, construction sites, deep shelters, drains, transportation networks, skyscrapers and other tall structures (mostly for the unique perspective they offer on the city below), and even in the (then) under-construction 2012 Olympic stadium. Urban explorers enter where they are not supposed to set foot, they avoid security guards and often operate at night. They never, however, willingly cause damage nor commit criminal offences. Bradley compares urban explorers to computer hackers: both groups assist in strengthening security by exposing systems' weaknesses through benign exploration.
The reason why Bradley's name might be familiar to some of you is that he is part of the London Consolidation Crew. The group were all over the English newspapers last year when they entered, one after the other, London's 'ghost' tube stations. They had already gained access to a number of them when, 4 days before 'the royal wedding', they tried to get to the British Museum Tube Station, starting at Russel Square station, running across the platform, down the piccadilly line, then switching to the central line tracks. They were caught but the British Transport Police let them off with a caution but Transport for London issued an ASBO forbidding them to talk to one another for 10 years, or to carry any equipment that could be used for exploration after dark.
They've also infiltrated many other fascinating locations (some of which we will never see, no matter how much we are ready to pay.) They climbed on foot the 76 stories of the Shard when it was still under contruction. Or Burlington, Britain's Secret Subterrean City, the place where the British government was to be rebuilt in case of a nuclear attack. They also visited several of the 33,000 derelict buildings in Detroit. The took photos from the roof of the closed down Sahara casino in Las Vegas. They climbed up the wings of the Angel in Gateshead to wrap a scarf around its neck. The played with the London Rail Mail, a miniature underground railway used by the Post Office to move mail between sorting offices. They walked around the unglamorous but rather interesting London sewerage system designed by Joseph Bazalgette in the 19th century. And they managed to move around unnoticed in the spectacular plane graveyard of the George Air Force Base (The Southern California Logistics Airport).
In his book, Bradley narrates the many expeditions of the LCC in London, in the rest of Europe and in the United States. It does sound dangerous (and indeed it often is) but, as he explains, UrbEx is not just about adrenaline. It is also about exploring the fractures in the city, working together as a group, gaining a deeper understanding and awareness of the city and more importantly experiencing the world in non-scripted, non-normative, non-capitalist ways.
The pages also come with the reflections and lessons that each expedition brought about: the social exclusion felt by urban explorers who become unable to connect with people living a 'normal' life, the direct experience of the authoritarian state, the realization that the city is built vertically as well as horizontally.
Explore Everything: Place-Hacking the City is a lively book. One moment, you're exploring the architectural remains of the Soviet Union. Next, you are wondering along with the author whether or not it is ethical to visit drains when you know you might be disturbing the homeless who live there (as it happened in Last Vegas a city of 580,000 inhabitants that count 14,000 homeless people)?
I have severe vertigo and a reluctance to spend the night in a cold, humid bunker. But i'm grateful to Bradley for giving me an opportunity to live vicariously and comfortably through some of the episodes of his breakneck adventures.
Crack The Surface - Episode I, short documentary focusing on the culture of Urban Exploring
This Will Have Been: Art, Love, and Politics in the 1980s, by Helen Molesworth, chief curator at the Institute of Contemporary Art (ICA) Boston.
Publisher Yale University Press writes: Art of the 1980s oscillated between radical and conservative, capricious and political, socially engaged and art historically aware. Published in association with the Museum of Contemporary Art, Chicago, this fascinating book chronicles canonical as well as nearly forgotten works of the 1980s, arguing that what has often been dismissed as cynical or ironic should be viewed as a struggle on the part of artists to articulate their needs and desires in an increasingly commodified world. The major developments of the decade--the rise of the commercial art market, the politicization of the AIDS crisis, the increased visibility of women and gay artists and artists of color, and the ascension of new media--are illuminated in works by Sophie Calle, Nan Goldin, Mike Kelley, Jeff Koons, Sherrie Levine, and Lorna Simpson, among others. Essays by leading scholars provide unique perspectives on the decade's competing factions and seemingly contradictory elements, from counterculture to the mainstream, radicalism to democracy and historical awareness, conservatism to feminist politics.
Unlike the fashion of that decade, the art of the 1980s never really benefited from a revival. It generally remains overlooked and unbeloved. Yet, while reading through this book, i realized that just like today's artists, the artists of the '80s had plenty to fight for and fight against.
Many factors contribute to make the 1980s a fascinating period: the HIV/AIDS crisis, Ronald Reagan elected twice as the President of the U.S.A., the secrecy surrounding gay and lesbian life (Molesworth argues that the 1980s began with feminism and ended with queerness), queerness itself which i think is a very 80s word, the return to figurative imagery, a world that became increasingly media-saturated (and indeed the artists represented in This Will Have Been belong to the first generation to have grown up with a television in the home), etc.
But the 1980s are also hold mirror to our times. Think of the ongoing resurgence of feminism, the current debate about footballers ashamed to 'get out of the closet', the Occupy movement which has so much in common in form and force with the ACT UP actions against a governmental lack of concern for the AIDS pandemic, the global economic recession, etc. Are we as combative, as revolted, as inspired as they were in the '80s? Is there anything today's socially-engaged artists can learn from a previous generation?
This Will Have Been is the catalogue of an exhibition of the same name. It is only one of the many possible retrospectives of art in the 1980s. First of all, because it is very U.S.A.-centric but also because it looks at the artistic production of that decade through the lens of desire.
This Will Have Been is divided into four non-hermetical sections that each explores a specific issue/desire.
"The End Is Near" is about the desire to break with the past. The 1980s was characterized by debates about the end of painting, the end of the counterculture, the end of history, the end of modernism.
"Democracy" addresses political desires under the conservative governments of Reagan and Thatcher, and in particular the renewed interest in the street as a site for public intervention, the increasing awareness of the importance of the mass media, the growing prominence of South and Central American artists and artists of color, and the pervasive commitment to the political that shaped the period.
"Gender Trouble" elaborates on the implications of the 1970s feminist movement by gathering works that interrogate and ultimately expand our sense of the social construction of gender roles.
In "Desire and Longing" artists working with appropriation techniques are held in relation to the emergence of queer visibility brought on by the AIDS crisis.
Peter Hujar's portray of members of the gay subculture in New York's East Village were often part document, part theater--collaborative performances between himself and the person in front of the camera.
Formed in 1982 and dissolved in 1998, the seven-person Black Audio Film Collective (BAFC) explored Britain's emerging multicultural society, combining a montage aesthetic with personal reflection to invent a new genre of moving image that challenged traditions of British documentary and drama, and profoundly influenced contemporary avant-garde film-makers and theorists.
The painting of a blond and blue-eyed Reverend Jesse Jackson's was originally installed in Washington, DC, near the National Portrait Gallery which displayed no portraits of blacks at the time. Misinterpreting the work as racist, local African American youths smashed the piece with sledgehammers. The painting was moved into a traditional gallery and David Hammons subsequently added a row of upside-down hammers as a reference to the incident.
Marlon Rigg's Tongues Untied mixes documentary footage with personal account and fiction to address the specificity and difficulty of being both black and gay in North America.
Richard Hamilton's Treatment Room, where a video of Thatcher giving a speech plays over a hospital bed in a bleak room, was an urgent response to the assault on the National Health Service.
The design of the catalogue (by Scott Reinhard Co. with James Goggin) is particularly stunning, simple and efficient.
Disobedience Archive is a video collection which explores four decades of social disobedience: from the uprising in Italy in 1977 to the anti-globalization protests and to the insurrections in the Middle East.
The Castello di Rivoli is a stunning contemporary art museum a few kilometers away from Turin. The exhibition had a theme i'm particularly interested in. The works brought together were worth the trip to Rivoli. So far so good. Except that Disobedience Archive (The Republic) was an extremely frustrating exhibition. Videos that were made to inspire people to question, contest and discuss suffer from being hosted into a grand castle located in a provincial town. Rivoli might be one of the most prestigious contemporary art centers in Europe but the well-earned title is not enough to attract the crowds. When i visited the show, on a Saturday afternoon, the rooms were almost empty.
Still, splendid castle to spend an afternoon:
This one is part of the collection of the museum. It has nothing to do with Disobedience Archive but how could i resist adding it:
But let's get back to my grievances about the exhibition. The whole setting was as unappealing as possible: aside from a stern broadsheet at the entrance of the show, there is no information to give context and meaning to the works. The chairs to view the videos -some of which are over an hour long- are remarkably uncomfortable. There are too many videos to see in one visit and i'm not sure many people are ready to shell out 6.50 euros each time they want to come back and watch the films they had missed on their first visit.
There is a website for the video archive. It contains no video at all.
A frustrating exhibition thus. I would have liked everybody to spend hours watching the videos but i can't blame anyone for not doing so. This was a show that only the 'intellectual elite' would have seen. It shouldn't have been. Still, i'm glad i fancied myself as being part of that 'cultural elite' because the content was exceptional.
The archive is divided into nine sections: 1977 The Italian Exit looks at the revolutionary movements in Italy in the 1970s, with a focus on 1977, year of large-scale violent confrontations with a reactionary state. Protesting Capitalist Globalization documents or comments on the new social wave against globalization. Reclaim the Streets presents proposals to create autonomous social spaces through experimental forms of education, community, urbanism and architecture. Bioresistence and Society of Control refers to Foucault's analysis of the ways the operations of power extend beyond the institutions of state. Argentina Fabrica Social explores the political and economic crisis that stretched from the 2001 uprising to the election of Néstor Kirchner. Disobedience East brings together videos of political and activist art from post-communist Europe. Disobedience University shows alternative practices and strategies in which consumption is seen as a form of co-realization and collaboration. The Arab Dissent tries to raise questions about changes and antagonism in the Middle East. Gender Politics suggest the destruction of gender identity.
The show counts 57 videos. I wish i could link to all of them but only a handful can be viewed online. Here's my very subjective selection.
Unsurprisingly i made a beeline for the section entitled Bioresistence and Society of Control as it focused on issues encountered within prisons and asylum centers, on bacteriological experiments in warfare programmes and on other strategies deployed in the modern state to regulate and control life.
The Critical Art Ensemble had 3 films in the show. One of them was GenTerra, a collaboration with Beatriz da Costa. The video documents a participatory "theater" performance that gave the public an opportunity to get a more critical and hands-on understanding of transgenic organisms in relation to environmental and health exposure.
No video for Ashley Hunt's work, alas! In Corrections, the artist investigated the privatization of the prison system in the United States, exposing the role of the penal institution in preserving racial and economic divisions within society.
Angela Melitopoulos filmed three interviews with sociologist and philosopher Antonio Negri. The first in 1997 while he was in exile in Paris, the second in 1998 in the cell of Rebibbia prison in Rome, and the final one in 2003 in Rome, after his release.
Negri's report on his life as a prisoner describes new forms of control in the penal system, the psyche and mentality of prisoners, and forms of resistance with which he was able to retain "the freedom of his spirit".
Videograms of a Revolution uses -professional and amateur- video archives to examine the role of television in the infolding and understanding of the 1989 Romanian revolution. 'Demonstrators occupied the tv station in Bucharest and broadcast continuously for 120 hours, thereby establishing the tv studio as a new historical site.'
Half of the videos in the section The Arab Dissent were dedicated to the occupation of Palestine.
Khaled Jarrar, Infiltrators (Trailer), 2012
Khaled Jarrar's Infiltrators follows individuals and groups as they are looking for gaps in the seven meter high wall that separates the Palestinian territories from Israel.
I only saw one film in the Disobedience University selection and i think i struck gold with that one:
According to professor Yeshyahu Leibowitz, "the honest man should know that he should never respect the law too closely". Israeli filmmaker and critic Eyal Sivan sat down with the philosopher and listened to him talk about ethics, science, values, but also about State, religion, law and human responsibility.
Even though Leibowitz took part of in the 1948 Arab-Israeli War, he openly criticized the politics of the State of Israel, in the name of a Jewish tradition of responsibility and divine law. During the conversation, the philosopher expresses his support and solidarity with the Israeli soldiers who refuse to serve in the Occupied Territories.
The 57 videos were accompanied by two thematic rooms. The opening one contained artworks and archive documents related to the student and workers protests in the Italy of the 1970s. Again, a bit of context and explanations would have been welcome.
The final room amassed books, props and other objects associated with political and social dissent in first decade of the 21st century. Works by Nomeda & Gediminas Urbonas, Superflex, Journal of Aesthetics & Protest, Oliver Ressler, Arseniy Zhilyaev, Critical Art Ensemble, etc. It should have been a fascinating, informative and inspiring display. Alas, and I'm going to repeat myself, short texts about their meaning and significance would not have been superfluous (the ones in the broadsheet/guide of the exhibition were a bit too general.)
The Weather Underground -also called the Weathermen- were a 1970s American radical left organization characterized by positions that included the opposition to the Vietnam War, the achievement of a classless world, a marked sympathy for the radical Black Panthers, etc. Their strategies included active recruitment in schools and violent militancy.
The Weather Underground inspired The New Weathermen, a fictional group of activists at the center of David Benque's investigation into the interrelationship between ideology and science. The New Weathermen are equally dissatisfied with the state of the world but the focus of their demands is climate crises rather than capitalism and racial privileges. Their weapon is not the bomb but Synthetic Biology.
Their ideas to achieve radical environmental change are neither the ones of the Bio-Conservatives who argue for a curbing of consumption, a return to an unadulterated Nature and are suspicious of new technologies. Nor are they the ideas of the Techno-Progressives who enthusiastically embrace progress, and see technological and scientific developments as the solution to modern problems.
Instead, The New Weathermen are looking into possible alternatives for the relationship between environmentalism and science. Among these are the DIYBIO or Biopunk movements and the campaign for open access to science, as well as efficient, headless and cell-based networks of activists such as Anonymous.
Challenging the borders between activism and crime, The New Weathermen's actions aim to disrupt the status quo and propagate an ambitious vision for the greater good. Deliberately radical and ambiguous, they provide a starting point for discussion about our existing beliefs and ideologies.
The whole ethos of the New Weathermen is based on the idea of the symbiosis (see the PDF of their manifesto):
The New Weathermen's ambitions are represented in their testing rigs and small scale experiments that reflect much more radical ambitions and are designed to make people aware of the group's larger mission. Their plans are slightly delusional (some are very seducing though.) Here are 3 of them:
The first one is The Pirate Pollen Club which targets the perfectly manicured lawn of the suburbs and golf courses. The New Weathermen would use Open Source GMO weed able to remove the gene responsible for the grass resistance to herbicide and ultimately outcompete it.
The action makes use of TALENs Transcription activator-like effector nuclease which uses enzymes for genome editing in situ, cutting DNA strands at a specific sequence when they are introduced into cells.
The scheme reminded me of Heath Bunting's SuperWeed Kit, a DIY kit capable of producing a genetically mutant superweed, designed to be resistant to current herbicides and thus threaten corporate GMO monoculture.
And now for my favourite plan: PalmOPS, an oil press that zeroes in on the increasing use of palm oil in the food and biofuel industries. Although the rush to palm oil is motivated by the necessity to reduce greenhouse gas emissions, the irony -as Greenpeace writes- is that the effort could make things worse because the growth of the palm industry is often accompanied by deforestation, displacement (without compensation nor consultation) of indigenous people occupying the land, loss of natural habitats for endangered species such as the orangutan and Sumatran tiger, increased greenhouse gas emissions, etc.
The New Weathermen's oil press inserts a lypase inhibitor in the kernel of the palm fruit that will make it impossible for you body to digest the oil.
PalmOPS is inspired by the inky caps, common mushrooms that are edible but become poisonous when consumed with alcohol. Inky caps contain coprine, a chemical which blocks the action of the enzyme that breaks down acetaldehyde in the body, leading to violent hangover symptoms. Coprine was studied by scientists who wanted to use it to make alcoholics averse to drinking.
Finally, Bioccupy Diesel, attempts to sabotage fossil fuel. The project was inspired by an existing bacteria responsible for the diesel bug that creates a biofilm that separates oil from water and and creates waste. Over time, the (existing) bug is responsible for a sediment which forms in the tank. These build-ups will not pass through the filters of the car and can eventually damage the vehicle.
New Weathermen would optimize the bacteria using synthetic biology. The modified bacteria would then contaminate car after car through petrol stations. To be effective, the infection would have to start with just one petrol station. All the cars refueling there would become infected.