In the second half of the 19th century, the Mexican government partnered with British companies to built the railway line that would connect Mexico City with the Atlantic Ocean. This iconic railway infrastructure now lies in ruins, much of it abandoned due to the privatisation of the railway system in 1995, when it was decided that transporting people was simply not profitable enough. Many passenger train lines were thus cut off, the infrastructure was left to rot and communities became geographically and economically isolated as a consequence.

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Ivan Puig and Andrés Padilla Domene, SEFT-1 in front of the volcano Yuhualixqui in the exhibition SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220 presented by The Arts Catalyst and Furtherfield, London June 2014

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Ivan Puig and Andrés Padilla Domene, SEFT-1 interior of cabin in the exhibition SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220 presented by The Arts Catalyst and Furtherfield, London June 2014

Ivan Puig and Andrés Padilla Domene, aka Los Ferronautas (from ferrocarriles which means railway in spanish), wanted to travel along the ruins of the passenger railway system and investigate the remains of what they consider a misuse of common resources and therefore a political issue.

But to drive around the rusty lines, they needed to build their own light vehicle. The result is a half car half spaceship hybrid called SEFT-1 (the Sonda de Exploración Ferroviaria Tripulada, in english Manned Railway Exploration Probe). But SEFT-1 is much more than a vehicle. Los Ferronautas call it a research tool because it allows them to investigate notions and promises of progress. The vehicle is also a transmitter of non-eletronic stories, it enabled the duo to visit and interview communities which the privatization of the railway has been left behind.

As they traveled through the country in 2010 and 2011, the artists shared their discoveries online, mapping their trajectory, archiving objects found by the tracks, writing down anecdotes, uploading photos and interviews with the people they met along the way.

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Marte (Mars in english) is a half-abandoned village in Oaxaca, in the south east of México

I've been following the work of Los Ferronautas ever since i read an article about them in the always excellent blog Arte en la Edad del Silicio so i'm really happy that they finally have their first London exhibition, SEFT-1 Abandoned Railways Exploration Probe: Modern Ruins 1:220, thanks to The Arts Catalyst and Furtherfield Gallery.

The show opens tomorrow 20 June between 6 and 8pm and there's a tour of the exhibition with the artist on Saturday. The vehicle will be on show of course but there will be more:

For this new exhibition, the artists are inviting British expert model railway constructors to collaborate by creating scale reproductions of specific Mexican railway ruins, originally built by British companies, exactly as they are now. One gallery becomes a space for the process of model ruin construction. The room's walls will show the pictures, documents, plans and other materials used as reference for the meticulously elaborated ruin construction. With this action a dystopian time tunnel is created.

I'm really looking forward to discovering what Los Ferronautas will do in collaboration with the model makers. Already, they have reproduced in photo and using their own vehicle a scene painted by José María Velasco in 1881. During a presentation they gave on Saturday at a London LASER04 session, they announced that the whole landscape would be recreated by British model enthusiasts.

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Ivan Puig and Andrés Padilla Domene, SEFT-1 over metal bridge in the exhibition SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220 presented by The Arts Catalyst and Furtherfield, London June 2014

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José María Velasco, Bridge at Metlac, 1881

SEFT-1 Abandoned Railways Exploration Probe

More photos:

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Esperanza station in Puebla, was created thanks to train traffic. Its population reached up to 19000 inhabitants in its heyday. The town is now looking for ways to survive

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This lunar landscape is in fact set in the salt mine of Las Coloradas, Yucatán, in the south east of México

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Los ferronautas started they journey on 20 November 2010 in front of the Museo Nacional de Arte, in Mexico City

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A Baldwin locomotive from 1925 (image Los Ferronautas)

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Ivan Puig and Andrés Padilla Domene, SEFT-1 in La Loma station, Durango in the exhibition SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220 presented by The Arts Catalyst and Furtherfield, London June 2014

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Ivan Puig and Andrés Padilla Domene, SEFT-1 in Telixtlahuaca in the exhibition SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220 presented by The Arts Catalyst and Furtherfield, London June 2014

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van Puig and Andrés Padilla Domene, SEFT-1 with Citlaltépetl in the background No. 2 in the exhibition SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220 presented by The Arts Catalyst and Furtherfield, London June 2014

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Ivan Puig and Andrés Padilla Domene SEFT-1 under the stars of Taviche in the exhibition SEFT-1 Abandoned Railways Exploration Probe - Modern Ruins 1:220 presented by The Arts Catalyst and Furtherfield, London June 2014

SEFT-1 Abandoned Railways Exploration Probe: Modern Ruins 1:220 is at Furtherfield in Finsbury Park from 20 June until 27 July 2014.

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Guest exploring wind turbine in Q121. Image György Kőrössy

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Outside view of Q121. Image György Kőrössy

I know you're not supposed to ever be tired of London but if you feel like a change of atmosphere, there's some rather spectacular disused wind tunnels to gape at in Farnborough, a mere 35 minute train ride from Waterloo station.

The Wind Tunnel project filled with site-specific commissions two wind tunnels buildings, known as R52 and Q121, that were built to test planes, from Spitfires to Concorde. These buildings were decommissioned after the 1960s and have remained closed to the public ever since.

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A Bristol Bulldog TM, K3183 fitted with a Napier Rapier I engine, suspended in the 24ft Q121 wind tunnel, 1935. Photo courtesy of Farnborough Air Sciences Trust

Opened in 1935, Q121 is the largest wind tunnel in Great Britain. Inside, two gigantic holes face each other. One is a powerful fan with 600kg blades which would drag air fast and furious across the space between them to test complete planes and sections of bigger airplanes.

R52 was built in 1917. It is now an empty hangar but it used to house one of the world's earliest aerodynamic testing facilities.

Contemporary artworks by James Bridle and Thor McIntyre-Burnie explore the past of the buildings.

McIntyre-Burnie's sound pieces makes use of archive materials from the BBC to fill the impressive Q121.

The basis of his sound work is an outside recording made by the BBC of the song of a nightingale in 1942 in a garden in Surrey. It was a yearly broadcast since 1924 but this year, the microphone accidentally picked up the sound of RAF bombers flying overhead on their way to Germany. The program had to be interrupted, for fear it would have tipped off Germany about the upcoming bombing attack.

McIntyre-Burnie's new composition fills the wind tunnel. It doesn't try and compete with the impressive structure (that would be foolish.) In fact, it make the whole experience of going through the historical space even more awe-inspiring.

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In Q121

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In Q121


In Q121

One of Bridle's works, Rainbow Plane 001, also paid homage to the history of the site. The installation outlines the silhouette of a Miles M.52, an experimental supersonic aircraft developed in secret to break the sound barrier at Farnborough in the early 1940s.

The contour is shown as if distorted by the pansharpening effect of satellite photography, as if viewed, in flight, from space. There never was any original photography of that Miles M.52 in flight. First of all because, the aircraft never flew. It was a research project that was cancelled in 1946 even though its aerodynamics had been successfully demonstrated by a scale model. Besides, satellites don't take 'photos' of what lays below them. Instead, they use sensors to look down onto the earth and acquire information about its surface and atmosphere.

Rainbow Plane 001 is ducted tapped under the site's portable airship hangar. The structure was one of the 6 airship sheds in the UK at the outset of WWI and it probably isn't as 'portable' as its name suggests. It is estimated that it would take 50 men ten days to dismantle the structure, 7 to load it onto railway and 2 to 3 weeks to reassemble it.

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James Bridle, Rainbow Plane 001. Image György Kőrössy

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James Bridle, Rainbow Plane 001. Image György Kőrössy

The Wind Tunnel Project was organised by Artliner and curated by Salma Tuqan. I must say that the website of the project is one of the most frustratingly dysfunctional i've ever visited. Anyway, you can see the tunnels and artworks in Farnborough until the 20th of July. A shuttle service is helpfully available outside the Farnborough railway station.

More images from the wind tunnel (I also posted a photo set from the opening on flickr, if ever you're interested):

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Launching paper planes in R52

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Control room for wind turbine in R52. Image Shaun Jackson

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Control room for wind turbine in R52. Image Jay McLaughlin

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Support structure underneath R52 wind turnbine. Image Jay McLaughlin

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Inside R52 turbine. Image Jay McLaughlin

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Inside wind tunnel in R52. Image Jay McLaughlin

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Testing of fir tree root loads for the Forestry Commission in 1967. Image courtesy of FAST (Farnborough Air Sciences Trust) Museum

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Wind tunnels project Testing of the Short Belfast aircraft in 1968. Photograph: Courtesy of Farnborough Air Sciences Trust

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In R52

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In R52

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In R52

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In R52

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In Q121

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Mauser and Bullet, 1938

The Michael Hoppen Gallery has just opened an exhibition featuring a selection of vintage prints by Dr. Harold Edgerton, a photographer whose works are found hanging in art museums and galleries across the world. He even won an Oscar with his short film Quicker 'n a Wink. Yet, Edgerton was adamant that he was a scientist, not an artist.

The professor of electrical engineering at MIT invented the ultra-high-speed and stop-action photography when he synchronized strobe flashes with the motion being examined, then took a series of photos through an open shutter that could flash up to 120 times a second. The invention enabled him to photograph motion that was too fast to be captured by the naked eye: balloons at various stages of bursting, bullets tearing through fruits, divers rotating through the air, devil sticks in action, an egg hitting a fan, drops of milk coming into contact with liquid, etc.

If that were not enough, Edgerton was also involved in the development of sonar and deep-sea photography, and his equipment was used by marine biologist Jacques-Yves Cousteau to scan the sea floor for shipwrecks. Or for the Loch Ness monster.

During the Second World War, he pioneered superpowered flash for aerial photography used to create night time reconnaissance images, revealing the absence of German forces at key strategic points just prior to the Allied attack on June 6, 1944.

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Bobby Jones, Golf Multiflash (Iron), 1938

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.30 Bullet through Apple, 1964

To trigger the flash at the right moment, a microphone, placed a little before the apple, pickes up the sound from the rifle shot, relays it through an electronic delay circuit, and then fires the microflash (via.)

Moments after the apple was pierced by the bullet, it disintegrated completely.

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Bullet through a Helium Bubble

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Bullet through King, 1964

A .30 caliber bullet, traveling 2,800 feet per second, requires an exposure of less than 1/1,000,000 of a second. Edgerton turned the card sideways and the rifling of the barrel caused the rotation of the projectile, which, in turn, carved out the S-shaped slice of card between the two halves (via.)

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Atomic Bomb Explosion, circa 1952 (more images)

After World War II, the Atomic Energy Commission contracted Edgerton and two of his former students to photograph atomic bombs as they exploded. The trio developed the rapatronic (for Rapid Action Electronic) shutter, a shutter with no moving parts that could be opened and closed by turning a magnetic field on and off.

Revealing the anatomy of the first microseconds of an atomic explosion, the fireball was documented in a 1/100,000,000-of-a-second exposure, taken from seven miles away with a lens ten feet long. The intense heat vaporized the steel tower and turned the desert sand to glass (via.)

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Untitled (Rugby ball), 1938

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Gussie Moran, 1949

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View of the gallery space

The exhibition Dr. Harold Edgerton: Abstractions is at the Michael Hoppen Gallery in London until 2 August 2014.
Image on the homepage: Antique Gun Firing, 1936.

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The Social Mining Union. Image courtesy of Tearlach Byford-Flockhart

Last weekend was the Goldsmiths degree show at the Truman Brewery in London. There were quite a few interesting projects but the one that really stood out for its depth, coherence and reach is Tearlach Byford-Flockhart's The Social Mining Union (SUM.)

The BA Design project aims to reposition the role of the 'labour union' (and function of positive activism) within a globalized landscape of post-consumer society, examining the industrial mining industry and peripheral territories it is associated with.

Tearlach's adventures took him from scrapyard in south London to Glencore Xstrata's Annual General Meeting in Switzerland.

Metal scrapping, i learnt from my conversation with the designer is a a multi-million pound business. A documentary on Channel 4 revealed that the business of a yard owner in south London can turn over £7million a year while "scrappers", the men who scour the streets in the hope of turning trash into cash, can make up to £800 a day.

Trailer for documentary 'Getting Rich In The Recession - Scrappers'

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Getting Rich In The Recession: Scrappers. Picture by Jude Edginton/ Channel 4 Picture Publicity

Tearlach joined the scrappers and collected discarded objects from all over New Cross, a district in the London Borough of Lewisham. He also 'mined' websites like Gumtree and freecycle for discarded computers. He then sold his scrap in scrapyards and used the money to buy Glencore (a multinational commodity trading and mining company) shares. Being a shareholder, he somehow managed to infiltrate the annual general meeting of Glencore Xstrata last May when he took the opportunity of a Q&A session to suggest more positive economic, social and environmental impacts in the mining industry. His intervention might not have had much effect but imagine what would happen if whole communities of scrappers engaged in similar forms of activism!

The Social Mining Union project looks back at the Industrial Revolution when large-scale industries were centred around people and place. The paternalism of companies such as Cadbury's and Unilever ensured that communities flourished around places of work, sharing a common ground and an inherent sense of place. This affiliation between workers, industry and environment strengthened social and cultural values and cultivated prosperity at an individual level, and consequently this had a positive effect on the commercial output. The picture is obviously quite different in today's global context.

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The Social Mining Union. Image courtesy of Tearlach Byford-Flockhart

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The Social Mining Union. Image courtesy of Tearlach Byford-Flockhart

Extracts from my conversation with the designer:

Hi Tee! I'm very interested in your experience in scrapyards. Could you detail where you collected the scrap and how you turned it into money that you then used to buy some Glencore shares?

I collected old radiators, piping, cans which were often left in skips and on the side of the road. I then visited two different scrap yards - Sydenham scrap metals and Lewisham scrap metals ltd. When you arrive you weigh your van load for the cheaper scrap - iron and steel etc and then for the more valuable scrap such as copper you weigh it separately on smaller scales. Once the van has been weighed you then remove all the scrap and weigh it again working out how much scrap you had.

You then get payed by check, which I put strait into a bank account set up for the union - this then gets transferred into my Barclays stockbroker account where you can by any public companies shares, once bought you can request a proxy from to attend shareholders meetings and other events.

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View of the project at Goldsmiths Degree Show

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These bullion ores are the processed, melted down scrap. They represent a variety of metals (iron, gold, copper, tin, alluminium, silver steed) mined from different sources

By the way, why did you chose Glencore rather than any other mining company? Any particular reason?

Glencore is the largest commodities and mining giant, from my research I was interested in the anonymity and secrecy they only recently become a public company so not many people know about their operations. I felt it was important to show some transparency and realised that whilst investigating them they were incredibly corrupt in a variety of ways.

One of the goals of your project is to question the role of the union and of activism nowadays. What is wrong with the way they function now?

Activism it seems still predominately relies on models such as protesting, embarrassment and sometimes aggression, these are important but outdated, as policing and government legislation has changed and evolved. The Battle of Orgreave is one of the signifiers to how policing was evolving to deal with large crowds with new techniques being used to control the people.

Unions have lost the strength they once held. Although in the past they did at times act like bullies, they have lost the sense of community connections and this is due to the combinations of small unions into larger ones. They are also stuck in a mentality that suits the past in terms of how they deal with gaining better paid employees based upon a time when striking had more of an impact.

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Glencore Xstrata, Annual General Meeting, 20 May 2014, Zug, Switzerland. Image courtesy of Tearlach Byford-Flockhart

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Tearlach at the Glencore Xstrata with a Colombian activist. Image courtesy of Tearlach Byford-Flockhart

During our conversation, you mentioned the industrial paternalism policy of Cadbury's and Unilever which 'facilitated social capital at a domestic level.' If i understood your project correctly, workers and unions would have to take matters into their own hands and recreate this social capital, instead of relying on corporate mining industries? Can you walk us through what you did once you owned some Glencore actions? And what you think could happen if other people did like you and the whole action was scaled up?

Once I bought the shares I was able to begin a dialogue with Glencore via emails, this enabled me to assess what was possible at the meeting I was planning to attend.

What I found from the meeting is that if we are to make a change within this centralised forum we need to one take matters into our own hands as management seem little concerned and two to speak through a collective voice, if we imagine The Social Mining Union with 1 million members each of these members holds a small amount of shares but collectively they hold a massive amount of shares then we collectively are a threat, as our voice is much louder than one. But I also think it is important to remember that this project is about access and navigation The Social Mining Union suggests a new way to engage with these global companies at a human level. ​

Thanks Tee Byford!

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Manifesta Bus Trip installation. Part of the Piratbyrån and Friends exhibition at Furtherfield Gallery. Photo Furtherfield

Now that I'm back from a series of trips, i might finally be able to catch up on the many conferences, festivals and exhibitions i've attended over the past few weeks. Starting with Piratbyrån and Friends, an exhibition at Furtherfield that presents screenings, installations and artworks by founding and more recent members of Piratbyrån (The Bureau for Piracy), keen to tell the story of the group on their own terms.

Piratbyrån was created in 2003 to support the free sharing of information, culture, and question intellectual property. In clear contrast with the 'values' of Antipiratbyrån, Hollywood's lobby group in Sweden. Until i saw this exhibition, i didn't realize how much contemporary culture owes to the trailblazing thinking and acting of Piratbyrån. Piratbyran is often reduced to file-sharing and The Pirate Bay. In reality, the group looked more broadly at the potential of copying in technical, artistic and philosophical contexts. As Geraldine Juarez wrote me "I don't know how whisteblowing would work today without someone knowing that you can copy files in a USB and send it to journalists. Leaking is fundamentaly file-sharing. Leaking an album or secret documents go through the same process of *copying*. And as the exhibition efficiently demonstrates, Piratbyrån is also about more egalitarian models of networked culture, about collaboration, about not being an artist but using art as a strategy to spread values.

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Piratbyrån Timeline

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Palle Torsson, Riot Chat. Part of the Piratbyrån and Friends exhibition at Furtherfield Gallery

In 2007 - after having kickstarted the Swedish debate over file-sharing, which by the time had become a major issue in the previous years national election and after having created The Pirate Bay as a side-project that became the world largest file-sharing system - the people from Piratbyrån had grown tired of the file-sharing debate and its endless repetitions of for-or-against, legal-or-illegal, payment-or-gratis. At the last day of April in a Walpurgis fire on the top of the highest mountain in Stockholm the masked members burned the remaining copies of a book on file-sharing they had published some years earlier and declared the debate dead. The video documentation of this ritual, set to the soundtrack of KLF's What Time is Love, found its way to the Indian Raqs Media Collective group who was just about to curate the next Manifesta biennial in Bolzano, Italy.

Piratbyrån closed in 2009 and the Furtherfield show tells the story of this group of friends through videos, a timeline, archive material and newly commissioned work by artists Geraldine Juarez and Evan Roth.

Quick and partial walk-though:

Appropriated police riot shields:

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James Cauty, PB2. Part of the Piratbyrån and Friends exhibition at Furtherfield Gallery

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James Cauty. PB2 & Smiley Riot Shield 2

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Geraldine Juárez, Torrent Tent

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Inside The Tent: Piratbyrån and Friends, Tapecasts. Geraldine Juárez / Simon Klose / Piratbyrån, S23m (System 23 Modified). John Higgs, KLF: Chaos, Magic and the Band Who Burned a Million

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Kopimi Totem by Evan Roth

The seven open wireless routers of Evan Roth's Kopimi Totem are arranged in the iconic Kopimi pyramid. Visitors can connect to each of the routers and download archival media (text, images, video, etc) from the 10 year history of the Piratbyrån organization. Visitors can also upload their own files, thus contributing to the harmony of the data life cycle of copy (yin) and paste (yang).

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Piratbyrån and Friends installation

From the dotcom bubble to the Embassy of Piracy at the Venice Biennale. Magnus Eriksson showed us snippets from the Piratbyrån archives.

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Magnus Eriksson presents Piratbyrån digital archive at Furtherfield Commons

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Magnus Eriksson presents Piratbyrån digital archive at Furtherfield Commons

Exhibition trailer: Piracy as Friendship @Furtherfield

More photos at Furtherfield and Paul Ros.
Piratbyrån and Friends, was curated by Rachel Falconer & Furtherfield. The exhibition remains open at Furtherfield in Finsbury Park, London, until Sunday 08 June 2014.

Mishka Henner has a solo show at the Carroll/Fletcher gallery right now. How come i never paid more attention to his work so far? Just like Edward Burtynsky, he looks at how industries shape landscapes. Like Trevor Paglen and Omer Fast, he is interested in (overt and covert) sites that the U.S. military deploys outside of its own borders. Just like Michael Wolf and Jon Rafman, he is a photographer using google mapping instruments instead of a camera. Yet, comparing his work to the one of some of the artists i admire the most is pointless. Henner is his own man slash artist. He uses contemporary technology to give a new twist on artistic appropriation and redefines the role of the photographer, the meaning of the photography medium and the representation of the landscape. Without ever using a photo camera.

The Black Diamond exhibition brings together four series of work, based on the collection and mediation of publicly available information sourced through the internet. Henner explains: 'I'm exploiting loopholes in the vast archives of data, imagery and information that are now accessible to us, connecting the dots to reveal things that surround us but which we rarely see or don't want to see.'

Oil Fields and Feedlots are large-scale inkjet prints taken from Google Earth's satellite imagery. The photos reveal landscapes carved by industries meeting the natural resource-devouring demands of two stalwarts of the U.S.'s hyper consumer society: oil and beef.

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Centerfire Feedyard, Ulysses, Kansas, 2013. Feedlots

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Randall County Feedyard, Texas, 2013. Feedlots

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Black Diamond Feeders Inc, Airbase, Herrington, Kansas, 2013-2014. Feedlots

Feedlots are cattle-feeding operations used in factory farming to 'finish off' livestock. Almost all the beef consumed in the United States will have been finished on a feedlot where up to 100,000 steers at a time spend the last months of their lives gaining up to 4 pounds a day on a diet of corn, protein supplements, and antibiotics. Everything on these farms is calculated to maximise meat yield; from the mixture in cattle's feed to the size of run-off channels carrying the animal's waste into giant toxic lagoons.

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Levelland Oil and Gas Field #2, 2013-2014

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Cedar Point Oil Field, 2013-14

In certain parts of the USA, natural features have long been supplanted by man-made marks and structures reflecting the complex infrastructural logic of oil exploration, extraction and distribution. The result is stunning. The prints look fake, painted over and heavily retouched. The exhibition essay compares the images to the work of abstract expressionists.

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Naval Support Activity, Bahrain, 2010. 51 US Military Outposts

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Diego Garcia, Indian Ocean, 2010. 51 US Military Outposts

Fifty-One US Military Outposts presents overt and covert military outposts used by the United States in 51 countries across the world. Once again, the sites were gathered and located using data which exists in the public domain, including official US military and veterans' websites, news articles, and both leaked and official government documents and reports.

"The internet is full of loopholes and leaks," the artist said. "I remember one day Hilary Clinton had categorically stated: 'we have no US military presence in Honduras.' However, the next day I was on Panoramio and was looking around pictures from Honduras - sure enough there was a photograph of a native Honduran worker with his arm around a sergeant major from the US cavalry regiment. The Honduran had even written to all his mates talking about how happy was to have got a job on this US military base. So the internet is full of these really simple leaks that completely contradict statements made by very powerful organisations."

The prints are displayed on plinths filling the rear gallery space, allowing visitors to walk around and watch the images from above, as if we were satellites. Or drones.

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The walls of the space downstairs are covered with Henner's ongoing Scam Baiters series. Scam baiters are internet vigilantes who pose as a potential victims in order to waste scammer's time and potentially expose their identity,. They respond to their email, pretend to go along with the scammer's demands in exchange for time-consuming requests supposed to ensure that the money transaction will be successful. Henner is showing cardboard signs that various scammers were asked to make as a result of email conversations, negotiation of fraudulent documents and bogus websites. One case involved an almost four-month long correspondence between Henner's associate, 'Condo Rice' and a trio of scammers spread across Libya and the United Arab Emirates. In one of his final message, the scam baiter asks the scammer for proof of identity. He asks for a photo containing a U.S. flag held on a stick, a sign with SKAMMERZ ISHU, and 'to be absolutely certain this is a genuine photograph", the scammer has to wear an Obama mask.

Sound recordings of the scammers singing popular songs permeate the space.

Henner is currently shortlisted for Consumption, the Fifth Prix Pictet Award. The exhibition of finalists will be on display at the Victoria and Albert Museum, London in May 2014, where Henner will show a selection of works from his "Oil Fields" and "Feedlots" series.

Black Diamond is at Carroll/Fletcher in London until 31 May 2014.

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