I met Dave Young at the small but very efficient exhibition Movable Borders: Here Come the Drones! at Furtherfield in London a few weeks ago.

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Credit: USAF (via)

The title of the show is pretty self-explanatory. Because, yes! The drones are indeed getting closer. Nowadays UAVs aren't just shooting at terror suspects and innocent civilians in Afghanistan, Pakistan, Yemen and Somalia, they also have civilians uses such as monitoring orangutans and other endangered species or helping farmers check the condition of their crops which is obviously valuable and exciting. But drones are also enrolled to increase control and surveillance over our heads: the German railway network is deploying them to combat graffiti-spraying 'gangs' and a European commission document suggests that, in the coming years, drones could be used in crisis management, law enforcement, border control and firefighting. Human right activists are calling for "greater clarity and transparency about when and how these tools are deployed." Eric King of Privacy International also told The Guardian that "the secretive way in which surveillance drones have been put into operation, and the failure of the police to recognise and address the human rights issues involved, has created a huge potential for abuse."

The exhibition addressed these issues with projects that range from the chillingly premonitory Bit Plane by Bureau of Inverse Technology (1997) to Young's most recent research projects. One of them is TELEWAR, a book and video made in collaboration with The Force Of Freedom (the book is available for free in PDF and it makes for a very informative reading about the uses and impacts of new warfare technologies.)

As part of the TELEWAR project, the group of artists were also showing military patches used on drone programmes. You can get some for cheapo on ebay and if you really are into creepy military patches, i can't recommend enough Trevor Paglen's collection of Emblems from the Pentagon's Black World (more in I Could Tell You But Then You Would Have to be Destroyed by Me.)

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Desert Prowler

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432 AEW Hunters -Predator drone

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MQ-9 Reaper patch

But let's get back to business because the reason why i wanted to interview Dave Young is that a couple of weeks ago he headed the workshop Movable Borders - The Reposition Matrix at the Furtherfield gallery.

Participants were invited to contribute to Movable Borders, Young's ongoing research project that investigates shifts in the permeability of territorial and political boundaries and the role that technology plays in the 'reterritorialisation' of the borderline.

The workshop focused on the use of cybernetic military systems such as remotely piloted aircraft (drones) and the Disposition Matrix, a dynamic database of intelligence that produces protocological kill-lists for the US Department of Defense. Together, participants were challenged to collaborate on developing a cartography of control: a map of the organisations, locations, and trading networks that play a role in the production of military drone technologies.

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Movable Borders: The Reposition Matrix Workshop. Part of the Movable Borders: Here Come the Drones! exhibition at Furtherfield Gallery. Credits: photos by Giorgia Cipolla

Since i only had a brief chat with Dave Young at the opening of the Furtherfield show, i decided to ask him a few more questions via email:

Hi Dave! The Reposition Matrix aims to create an "open-access database that geopolitically situates the organisations, locations, and trading networks that play a role in the production of military drone technologies." First of all, i'm curious about the source of the information that you collect through this project. Where do you find it? I guess some of it must be hard to come by? Concealed? supposed to remain out of reach of the public?

The fascinating thing about this project, for me at least, is how one public thread of information begins an almost overwhelming process of unraveling. A mention of a drone crash in a very public news source leads to the military crash report subsequently released under an open government initiative, which then mentions an external non-military public company involved in the piloting of the drone that day, who publishes some information about their involvement in military operations in their annual reports, and so on. The information is perhaps not deliberately concealed as such, but is hidden in the mass of documentation, hyperlinks, and search terms provided on governmental and corporate websites. Past participants have often expressed their surprise at what is deliberately revealed by companies - on their social media profiles, for example. These companies are often proud of their contributions to national defense efforts, and occasionally can be perhaps a little over-generous in the information they volunteer online. In the context of a single Facebook post, a corporate image can seem innocuous, but when cross-referenced with the correct secondary source, you can begin to reveal something otherwise concealed.

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A drone that crashed on the roof of an Iraqi house is recovered by Marines in 2006.
US Marine Corps Photo (via)

And how is the open-access database going to be kept alive? How and who updates it? Where can we read it?

The database is being compiled and added to by me personally at the moment, but I am developing a collaborative framework for use in the workshops which I will test out over the next few weeks. The database will be made available over the Summer (date to be announced!), and will form the basis for future workshops.

Another thing i've been wondering about is the way that you handle the data you find. Most of it i guess is obviously genuine information but how about the data coming from conspiracy theorists, or from people who have an interest at spreading as much dis-information as possible, etc? Is this something you consider?

This is an interesting question, and often leads to a good discussion in the workshops about how to filter sources. Participants have to debate what is important, and what can be considered trustworthy - or indeed if a fabricated theory can indeed be an important part of the map.

Most of the information participants work with is released 'genuinely' - as I said above, through official channels by public companies or governmental open data programmes, although it is important to place these too within the context of an agenda. The trustworthiness of the information we work with is always up for debate, and can be divisive amongst the participants, but in general, what tends to happen is we treat each thread of information as part of a wider network. Curiosities discovered during the workshop will corroborate or conflict with each other. This is where the world map becomes a useful interface for physically aggregating the found information, as participants can immediately begin to see a formalisation of their research, and can ask questions of it as it develops.

The drones and the US kill list seem to be far away from the kind of culture and preoccupations we have in Europe... Or are they? How much impact does the Disposition Matrix (a database that United States officials describe as a "next-generation capture/kill list." ) and drone program have in Europe? Why should it matter to us?

I think for the participants of the workshop it quickly becomes apparent that the production and military use of drones is truly a global issue. Washington quickly has links to London, Berlin, The Hague, Seoul, UAE, Turkey - the list goes on (and on...) What we can see emerging at the moment are the formation of alliances, power blocs that collectively invest in drones and share them and the information they collect as a trans-national resource. It is interesting to attempt to unpack this and examine how such alliances function as a network of power and control.

As for the disposition matrix, the use of an algorithm or protocol to compile a capture/kill list is really something worth having an open and frank discussion about. To me it really speaks of a wider societal shift which I find problematic, specifically these processes of monitoring and individuating populations. Indeed a well-treaded debate with many unresolved fundamental issues, but despite this, it can only be said that it is becoming increasingly embedded in governmental thinking.

Also, it is important to explore how and where these technologies function - while it is unknown for now how much impact the disposition matrix has in Europe, similar protocols are becoming increasingly pervasive here, particularly in countries such as the Netherlands, the UK, Germany, France, to name but a few. They may not be applied to such direct efforts as targeted killing, but they do appear to operate in welfare systems, immigration control, predictive policing, among others.

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Movable Borders: The Reposition Matrix Workshop. Part of the Movable Borders: Here Come the Drones! exhibition at Furtherfield Gallery. Credits: photos by Giorgia Cipolla

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Movable Borders: The Reposition Matrix Workshop. Part of the Movable Borders: Here Come the Drones! exhibition at Furtherfield Gallery. Credits: photos by Giorgia Cipolla

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Movable Borders: The Reposition Matrix Workshop. Part of the Movable Borders: Here Come the Drones! exhibition at Furtherfield Gallery. Credits: photos by Giorgia Cipolla

You recently organized a workshop at Furtherfield in London. Participants were invited to investigate drones and the Disposition Matrix. Can you describe briefly what happened? What the participants managed to achieve?

The workshop opened with a discussion framed around a few specific questions I wanted to put to the participants, as I was keen to encourage a critique of some of the conventional ideas regarding the use of drones that appear regularly in news reports. The participants were very open, willing to engage and question each other which was fantastic. Their backgrounds were quite diverse too, with a mix of artists, academics, social scientists, etc, and the ensuing discussion really reflected this. Following that, the participants formed small groups and began to work together on the world map. Each group worked with their own base document, researching its contents and trying to visualise its geopolitics through this process of mapping.

So, one example is a group who began looking at Wikileaks cables detailing US fears that Iran was using 'proxies' to get components required to build their own drone and evade trade embargoes. They began to draw the trading networks Iran had allegedly built up onto the map, criss-crossing West Asia, North Africa, Europe, and Japan.

What is interesting is where different groups collided on the map - important nodes in the network predictably appear in Washington and the FATA regions of Pakistan. Often some surprising locations pop up too, usually reflective of the backgrounds of the workshop participants as they try to investigate any connections between the drone war and their own politics and places of origin.

I'm also fascinated by the description of Google Boundaries, "a series of images taken by the Google Streetview car as it encounters border checkpoints. The project is an investigation into the geopolitical systems that influence Google's streetview product, re-situating its task of mapping the streets of the world as being an invasive, territorial act." Could you explain what you meant by that? And how you came to investigate border checkpoints through the eyes of the Google Streetview car?

The Google Street View car has famously made the debates about privacy and digital rights visible - people who in the past felt perhaps unthreatened by Google's data-harvesting all of a sudden saw it as an invasive act. They could suddenly see their own houses - perhaps even themselves outside, in all their vulnerability. I became more interested in this idea of Street View as a colonialisation while researching The Reposition Matrix. When you zoom out as much as possible with Google Maps, you can see the territories that have Street View - a strange hierarchical geography revealed by a blue overlay on the map. Recently, Iran have announced they will release their own "Islamic" version of Google Earth as they see Google's services as a threat to their national security, so there are strong territorial politics at play here: http://www.guardian.co.uk/world/2013/apr/10/iran-plans-islamic-google-earth

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I know this is still a work in progress but what have you discovered so far?

I started by trying to "road-trip" across the US-Mexico border control using Streetview. You can't pass through them like you often can in Europe - frequently the Street View car seems to get as close as possible to the border then turn back at the last moment. It is interesting to examine historically contested borders - the Israel 1949 Armistice Borderline shows a border control officer looking straight at the Street View car, gun hanging from his shoulder.

Examining the border crossings begins to illustrate the materiality of Google's task, and the beuraucratic issues operating in the background. Despite Google's omnipresence in the cloud, the Street View car is often caged in by boundary politics. They are regularly adding new Street View data to the map, so I'll be curious to investigate how this changes over time.

Any upcoming projects, areas of investigation or exhibition you want to share with us?

There are some more Reposition Matrix workshops coming up over the following months - Dublin as part of the Glitch Festival on the 15th June, another one at V2 on July 6th, Share conference in Croatia 18-20 July. People are of course very welcome to get in contact and come along to the workshops if they'll be in the right place at the right time! More information available on http://movableborders.com.

There are some more projects that are part of the Movable Borders series, following on with these investigations of alternative territorialisations and geographies. One of them requires some research into the history of cocktails and mixology, which I am particularly excited about...

Thanks Dave!

More images of the workshop at Furtherfield.

Sponsored by:





The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this afternoon at 4pm (London time.)

Today i'm talking with artists, curators, writers Ruth Catlow and Marc Garrett who, 16 years ago, founded Furtherfield, an organization with a very strong online and offline presence. Furtherfield.org is an online community where artists, theorists and activists meet and talk about art, technology and society but Furtherfield is also an art organization with a gallery located in Finsbury Park that invites the public to discover and reflect upon digital/networked media art and social changes.

The conversation has been fascinating: Ruth and Marc talked about the early days of the internet in London, about the legendary Backspace (now a Starbucks as Alison and Jon from Thomson and Craighead informed me yesterday), about how they've been curating exhibitions and events with the help and feedback of their large community for years, etc.

Finally, they discussed unmanned aerial vehicles. Their new show, Movable Borders: Here Come the Drones!, opens at the Furtherfield Gallery in Finsbury Park this Saturday afternoon. I'll be there and hope to meet some of you.

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The show will be aired today Wednesday 8th May at 16:00. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.

Movable Borders: Here Come the Drones! will open from Saturday 11 until Sunday 26 May 2013. The opening is on Saturday 11 May 2013, 2-5pm.
The following Saturday, Dave Young is organizing the workshop MOVABLE BORDERS: THE REPOSITION MATRIX.

Finally, Furtherfield has a fund raising campaign going on. I can't think of a better cultural cause to support right now.

Image on the homepage: Spinning Desktop by Antonio Roberts. I nicked it from another of Furtherfield's upcoming show: Glitch Moment/ums.

For some reason, i always forget to check the programme of lectures and exhibitions taking place at the Architectural Association School of Architecture in London. And when i do, it's bliss and joy on every floor. Right now the institution is showing Cultural Hijack, an exhibition which presents a series of provocative interventions which have inserted themselves into the world, demanding attention, interrupting everyday life, hijacking, trespassing, agitating and teasing. Often unannounced and usually anonymous, these artworks have appropriated media channels, hacked into live TV and radio broadcasts, attacked billboards, re-appropriated street furniture, subverted signs, monuments and civic architectures, organised political actions as protest, exposed corporations and tax loopholes and revealed the absurdities of government bureaucracies.

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Ben Parry and Peter McCaughey, Balaclava Road (in collaboration with Lauren O'Farrell), 2013


Tatzu Nishi, Ascending Descendingi as part of Cultural Hijack at the Architectural Association London. 24th / 25th April 2013

Some works are openly political, others are more playful. Some have been designed to be used by people whose needs are otherwise overlooked, others are clever pranks. Cultural Hijack brings art out of the galleries and into the street. Which imho is always a good thing if you want to reach people who are not already convinced and content with your artistic, cultural or political ideas.

Cultural Hijack unfolds over three chapters: a slightly messy and crammed exhibition documenting the artworks in videos, photos, installations and artists' talks; a series of live-interventions around London; and CONTRAvention, a weekend of lectures, symposia, screenings, participatory actions, interventions, dinners and debate that will close the programme later this month. I'm spectacularly annoyed to miss that one as i won't be in town that week.

So let's wipe off a tear and make a quick selection of the works included in the exhibition.

Chicha Muffler Black Cab: yes, that one does exactly what it says on the tin. Instead of rejecting smoke, the modified exhaust of the cab provides a service of mobile hooka.

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BGL, Chicha Muffler Black Cab, London, 2013. Image Ben Parry

My jaw almost dropped to the floor when i saw the description text and the video for Visual Kidnapping. Street artist Zevs cut out a 40ft woman from a Lavazza billboard in Alexanderplatz, Berlin and 'demanded' a 500,000 Euro donation to the Palais de Tokyo art center in Paris for her return. Which he apparently obtained.

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Zevs, Visual Kidnapping, 2002

With the same haircut, twelve members of Ztohoven took a portrait pictures and using the Morphing software they merged every two faces into one. They applied for new Ids with these photos, but each of them used the name of his alter-ego. They lived for 6 months under someone's else identity, voted in the elections, travelled outside of the country, obtained a gun license or one of them even got married. After this period, they revealed theirs secret identities and documented the whole operation in an exhibition in Prague. The police confiscated their ID's and arrested co-founder of Ztohoven Roman Tyc for failing to show his ID card which was at the time part of the exhibition.

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Ztohoven, Obcan K (from Citizen K), 2012

Paolo Cirio is showing the irresistible Loophole for All, a service to democratize offshore business for people who don't want to pay for their riches. It empowers everyone to evade taxes, hide money and debt, and get away with anything by stealing the identities of real offshore companies.

You can buy the identities of offshore companies on the website of the project Loophole4All.com at fairly low costs.

Cirio also interviewed major experts and produced a video documentary investigating offshore centers to expose their costs and to envision solutions to global economic injustice.

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Paolo Cirio, Loophole for All

For his series of Minaret performances, Michael Rakowitz stands on a rooftop at the five designated times of prayer with a megaphone and an alarm clock that plays the entire adhan (the call summoning Muslims to prayer) from an embedded digital chip.

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Michael Rakowitz, Minaret, 2001 - Ongoing (Enver Hoxa Monument (Pyramide), Tirana, Albania 2005)

Electronic Disturbance Theater's Transborder Immigrant Tool hacks cheap GPS mobile-phones to install a device for helping Mexican immigrants cross the U.S.-Mexico border, providing them navigation, poetry, the location of highways, border patrols and water left by Border Angels in the Southern California desert.

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Electronic Disturbance Theater 2.0/b.a.n.g. lab, Transborder Immigrant Tool (2007; photo courtesy 319 Scholes)

EPOS 257 crafts oversized bullets that he fills with paints then shoots at commercial billboards and architectures using an extra-long shooting instrument. Each piece is both a unique abstract painting and a gesture of reverse takeover.

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Urban Shoot Painting, Prague and suburbs, winter and spring of 2009

An 'old' one i was ignorant about: The Clandestine Insurgent Rebel Clown Army [or CIRCA], an army of professional clowns who protest against corporate globalisation, war and other issues.

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The Clandestine Insurgent Rebel Clown Army. Photo Karen Eliot

I'm sure you know this one already. I still find it as charming as ever: Matthias Wermke & Mischa Leinkauf's In Between („Zwischenzeit") used homemade handcars that can be folded into backpacks to sneak into Berlin's U-bahn and navigate it at night.

Matthias Wermke & Mischa Leinkauf, Zwischenzeit Trailer

Cultural Hijack was curated by artists Ben Parry and Peter McCaughey. It runs daily at the Architectural Association School of Architecture, London, until 26th May 2013. The final weekend will be dedicated to CONTRAvention, a series of lectures, symposia, screenings, participatory actions, interventions, dinners and debate.

The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this afternoon at 4pm (London time.)

Designers and biohackers Raphael Kim and Funk are in the studio with us today to talk about the London Hackspace, a community owned, non-profit organisation where members come to meet, create and fix things individually or together. A hackerspace obviously involves much coding but there's a lot more going on: there's also laser cutting, soldering, drilling, woodworking, sewing, 3d printing, learning, tinkering, repairing and pizza eating. The space even welcomes a small bio-hacking lab.

A few weeks ago, the London Hackspace moved to a new, brighter and much bigger location on Hackney road. HSL is the largest hackerspace in the UK, with hundreds of members. And if you're not one of them the space opens its doors to visitors every Tuesday evening.

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Image by Raphael Kim

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DI Biohack Workshop 2013 at the (old) LHS. Image by Raphael Kim

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DI Biohack Workshop 2013 at the (old) LHS. Image by Raphael Kim

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New space for the LHS, just before moving in. Image by Raphael Kim

The show will be aired today Wednesday 1st May at 16:00. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.

Today is the last day to witness All Rise, the week-long performance from Liberate Tate at the Tate Modern gallery. Filming devices strapped on to their chest, performers are reading aloud sections of the transcripts of the trial which started in February in New Orleans and sees BP stand accused of gross negligence over the Deepwater Horizon disaster, the largest accidental marine oil spill in the history of the petroleum industry.

The performance marks the third anniversary of the disaster but it also questions the sponsorship of Tate by the oil multinational. Each day, three different performers are whispering courtroom transcripts from the BP trial. The videos are streamed live for anyone who can't make it to the Turbine Hall and other exhibition rooms of the institution.

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Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

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Liberate Tate action at Tate Britain, 2011. Photo credit: Amy Scaife

Two years ago Liberate Tate performed Human Cost in the Duveen Gallery in Tate Britain, where a naked man curled up on the floor had oil poured all over him. And last year the group delivered a 16.5 metre wind turbine blade to the gallery, along with documents officially gifting it to the nation as piece of art. '

Strangely enough, Tate itself triggered the artistic protest. Liberate Tate was indeed founded during a workshop in January 2010 on art and activism, commissioned by Tate. When Tate curators tried to censor the workshop from making interventions against Tate sponsors, even though none had been planned, the incensed participants decided to continue their work together beyond the workshop and set up Liberate Tate.

Now the performance interested me for two reasons: the trial against BP isn't receiving the major international coverage i would have expected (even though the damages to human health and the environment are still very much felt, even though the clean-up is far from being finished and even though the local communities are still struggling to recover from the economic devastation.) The second reason is that, like many people working in art, i find it difficult to make up my mind: is it really so bad to take some dirty money to support the art community? Do we really have a choice in these harsh times of cuts in the art funding?

Mel Evans of Liberate Tate has kindly accepted to answer my questions about the performance.

Liberate Tate has been protesting since 2010 but has been achieved so far?

Well, over 300 artists and cultural workers have signed their name to letters calling on Tate to drop BP sponsorship in the press. Over 8000 Tate members and visitors have petitioned Nicholas Serota to end the sponsorship deal with the oil company. And, at the 2012 Tate Members' AGM, a full hour of the session was filled with diverse voices calling for Tate to disclose more information on the sponsorship deal and heed members' perspective on it. For Liberate Tate, their performance interventions are now held in Tate's archive: a mixed response, but a recognition of significance nonetheless. More and more artists have gotten on board with the call for change, including Conrad Atkinson who has numerous works at Tate, and Raoul Martinez, who has been exhibited as part of the National Portrait Award. Beyond this, we regularly hear tell of Tate staff at all levels sharing our concerns with BP sponsorship at Tate.

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Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

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Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

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Liberate Tate, All Rise, 2013. Photo credit: Amy Scaife

Because of Liberate Tate, I (and i'm sure many members of the public) am now acutely aware of the sponsorship and entering the exhibition space with a sense of guilt...

Liberate Tate doesn't intend to make anyone or any visitors feel guilty: our slogan is Love Tate Hate Oil.

We want to raise the question, what does a future look like beyond oil? What role does culture have in shaping oil? And what democratic processes are available in a public body such as Tate to question the social legitimacy given to an oil company whose global impacts are devastating lives and livelihoods? We welcome anyone's participation in this questioning, and this gathering of momentum to push for a shift in this cultural sphere. The arts have moved away from tobacco and arms sponsorship; likewise they will shift from oil, we simply insist it is sooner rather than later.

But it is not a sense a guilt we wish to generate, but rather one of possibility - often this is the question the arts often ask, how do we understand the world, how might we understand it differently, and what might we make possible. Just because oil is a feature of our every day lives does not mean we cannot question it - in fact it is when something is so pervasive that we must consider it more.

In these times of cuts in public funding, corporate sponsorship seems to be a reasonable option. What right do we have to judge Tate and decide where they can and cannot take the money to produce and exhibit contemporary art?

Pressure on arts institutions to make deals with corporations is certainly premised by the Tory-Lib Dem government as justification for the cuts. The opportunity for sponsorship and the impact of the cuts is felt very differently according to organisations sizes however: smaller arts organisations have lost everything through the ACE cuts, and have little opportunity for corporate sponsorship, because business is only interested in the notoriety of allegiances with big name institutions. With Tate as the key example, all of their corporate income from events and sponsorship amounts to a minimal percentage of their overall income. Tate has refused to dispose figures on the BP deal, but we estimate it to be £500,000 - a minuscule slice of Tate's budget. From Tate's own figures we know they still receive about 35% state funding, and raise almost half via Tate Enterprises in their shops, cafes and restaurants. The picture of the corporate knight in shining armour saving the flailing arts institutions is a total misnomer. It is in fact the CEO of Tate Enterprises Laura Wright who has led the way in securing Tate's financial stability.

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The tip of a turbine blade is carried over the Thames from St Paul's Cathedral by Liberate Tate for the artwork The Gift in Tate Modern's Turbine Hall 7 July 2012 Credit: Martin LeSanto-Smith

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The Gift performance by Liberate Tate Tate Modern 7 July 2012. Credit: Ian Buswell

Last year, Tate wasn't too pleased about the wind turbine blade that you offered them as a gift. How is Tate reacting to this year's performance?

The Gift was probably our most confrontational performance to date. It was certainly the largest! Over a hundred people and a 16.5 metre wind turbine blade...It feels good to go in absolutely the other direction with All Rise, and make a work that is quiet, small, unobtrusive. All Rise is really about the ripples a performance can make. Over this week we've drawn in audiences from around the world who can watch the three performers move around Tate Modern via live stream every day 3-4pm GMT+1. On the first day Tate staff questioned what we were doing, but now we have been told no-one will interfere. Visitors notice us and ask questions as performers pass them in the gallery, or stop and listen to the legalistic text of the trial whispered by the performers, but we're not obstructing anyone in any way, so I think there's little grounds to ask us to leave. Tate might also be aware that should they eject us, we have news media on speed dial. Overall, allowing this piece to grow into the space has been great, and unlike The Gift, we're able to bring our questions back to the terrible harm still being felt since the BP Gulf of Mexico disaster, at the same time as inviting Tate visitors, members and staff into a conversation with us.

What do you say when people claim that BP has no influence about what is exhibited in the galleries anyway?

It's very hard for us or them to make an absolute measure on BP's curatorial influence. The presence of a sponsor can censor silently even if not directly - any cases of which would be surely fiercely hidden from view. Several artists note numerous cases in which they have seen BP related censorship take place. Liberate Tate was itself founded during a workshop at Tate in which BP sponsorship was raised when staff sent an email to the organiser stating "to be aware that we cannot host any activism directed against Tate and its sponsors". Beyond that. I see the question also being about, what impact does BP have on Tate by its presence and association? What does Tate become, despite presenting itself as a politically savvy, progressive institution, by association with BP?

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And what can we, general public, do to help 'liberate Tate'?

Go to Tate and raise the questions. Write to Tate. Make art about BP at Tate. Speak to Tate staff you know and ask them what they think. This is an art movement for change that affects us all as artists on some level - we have a stake in the values that influential contemporary art institutions uphold, and it is for us to shape those values in our work. See you in the gallery, challenging the presence of BP in whatever creative way you see fit, be it on feedback forms or something more adventurous! And get in touch at liberatetate [at] gmail.com or @LiberateTate on Twitter if you want to connect with us and what we're trying to do.

Thanks Mel!

If you've missed All Rise, i'd recommend that you check out Tate à Tate, Lib­er­ate Tate's altern­at­ive audio tour of the Lon­don Tate gal­ler­ies.
Also check out Platform London's book The Oil Road - Journeys from the Caspian Sea to the City of London, it's available on Amazon.com and amazon.co.uk.

I've managed to keep it under control so far but i've got quite an obsession with the work of Marcel Dzama. The world he creates mixes childhood nostalgia, violence, sex and history (without necessarily knocking you down with historical references) in the most sinister and seducing way.

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Let me be cruel, not unnatural, 2013

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Infidels, 2009

Luckily for Londoners, the David Zwirner gallery has just opened a show about Dzama's latest work: Puppets, Pawns, and Prophets. The main protagonists are helpfully listed in the title.

Part of the exhibition centers on his 2011 film A Game of Chess, with props, preparatory drawings and the final short film. The characters dance across the checkered board, wearing papier-mâché costumes and masks.

The works is influenced by Bauhaus artist Oskar Schlemmer whose Triadic Ballet from 1922 included puppet-like costumes, and mask-wearing figures dancing across a checkered surface. More generally, the inspiration for the work is the early twentieth-century avant-garde who drew analogies between chess (with its balance between improvisation and predetermination) and artistic practice.

The video shown at David Zwirner, however, restages some of the footage of A Game of Chess and turns it into Sister Squares, splitting the screen in four. The result is even more confusing and fascinating than the original film.

The filming and the creation of the costumes took place in Guadalajara, Mexico, and the influence of local culture (cue to splendid Mariachi trumpeting and sombrero-ing the video) infiltrate the work.

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Sister Squares, 2012. Video on monitor

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Sister Squares, 2012


A Game of Chess, 2011

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A Game of Chess, 2011

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A Game of Chess, 2011

But the video i couldn't get my eyes off is The Infidels. This time the puppet-like chess figures go to war against stockinged female "terrorists," AK-47 in hand. It's violent, joyful, enigmatic and sexy.

I don't want to sound overly enthusiastic but this is probably the most sublime video i've ever seen.... (The quality of the video is not great but i think it should give you an idea.)


Marcel Dzama, The Infidels, 2009

It's not in the gallery but check out the music video that Dzama directed together with Patrick Daughters for the band Department of Eagles:

Screened on monitors facing the street:

Marcel Dzama, Death Disco Dance

And since we're on a video roll, check out this short interview that TateShots did with the artist 4 years ago:

Back to what's on view in the gallery. With no comment:

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View of the work installed at David Zwirner

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View of the work installed at David Zwirner

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The Death Disco Dance Steps, 2013

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The Renowned Union Jackoff

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Descending Pawns, 2012. Courtesy David Zwirner

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Malala Will Have Her Revenge, 2013

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The Factious Feast, 2013

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Waiting to Be Anointed, 2013

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Kings have been his fellows, 2012

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Opportunists mingling with combatants, 2012

I really loved that video. Please, go and see the show.

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The Infidels, 2009

Marcel Dzama. Puppets, Pawns, and Prophets is open until 11 May at David Zwirner gallery in London.

Previously: Even the Ghost of the Past.

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