For over 60 years, scientists have been deliberately exposing plants and seeds to radiation in order to mix up their genetic material and speed up mutations. The results are unpredictable and only the mutated plants that show useful or otherwise desirable attributes (stronger, tastier, bigger, more resistant to disease, etc.) are reproduced, creating a mutant variety from the original one.
The technology is called radiation breeding. It emerged in the early 1950s, as part of Atoms for Peace, a program to develop "peaceful" uses of fission energy after WWII. So-called Gamma gardens were planted in laboratories in the US, parts of the former USSR, India, Japan and even in GMO-phobic Europe. A number of plant varieties were commercialized and some of their offspring can now be found in your local supermarket.
The Center for Genomic Gastronomy, an art think tank that investigates food controversies and prototypes 'alternative culinary futures', was concerned by the lack of research on radiation-bred edible plants and their possible impact on our health and on the environment. CGG founders Zack Denfeld & Cat Kramer worked with Heather Julius to create a barbecue sauce that contains some of the most common radiation-bred ingredients: Rio Red Grapefruit, Milns Golden Promise Barley, Todd's Mitcham Peppermint, Calrose 76 Rice and Soy.
The peppermint is a mutation of Mentha piperita, it is able to resist a particularly nasty fungal disease and can be found in chewing-gum, candies and toothpaste. The modified barley is used to make beer and whiskey. As for the grapefruit, it was developed to produce the deepest red. Hundreds of mutation-bred varieties of soy and rice have been registered in the International Atomic Energy Agency database. Now the name of the sauce is a reference to Cobalt-60, the radioactive source gamma gardens are submitted to.
Cobalt 60 Sauce is part of the exhibition Matter Of Life: Growing new Bio Art and Design at MU in Eindhoven. A big sauce dispenser is at the disposal of visitor who'd like to taste the recipe. It's very dark, very yummy and a bit sweet.
Matter of Life | Growing Bio Art & Design exhibition at MU, Strijp S, in Eindhoven. The show remains open until 22nd February 2015.
This week, i'm talking with French artist Benjamin Pothier who is currently frost-bound for an ARS BIO ARCTICA residency organized by the Finnish Bio Art Society at Kilpisjarvi Biological Station in Lapland.
Pothier is in the region to shoot videos and make sound recordings but because he a PhD researcher in Arts, Anthropology and Architecture at the CAIIA Hub of the Planetary Collegium, University of Plymouth, he is also investigating nomadic architecture, drawing lessons from the way nomadic cultures live in symbiosis with the environment and more generally exploring issues of global warming which are felt so acutely in circumpolar regions.
The artist had previously attended the FIELD_NOTES laboratory at Kilpisjarvi Biological Station and last year he had been invited as an artist to participate to the Arctic Circle Residency 2013, in the international territory of Svalbard.
I'm catching up with Benjamin while he is still in the Arctic and before he flies to South Africa to show his photos of icebergs in Johannesburg....
Benjamin Pothier, 8KNOT Trailer
Hi Benjamin! The ARS BIO ARCTICA residency has an emphasis on the Arctic environment and art and science collaboration. Are you working with scientists over there? How?
Well, I am not working with scientists right now as there are no scientists at the station at the time, I mean apart from me! What is specific to my work is that I am actually an artist AND a researcher. I am a researcher in anthropology, which is usually classified as a "Social Science". But of course anthropology means much more than that for me. I have been driven to anthropology researches for intellectual and artistic reasons. I think the perspective on society one can gain through anthropological studies or research is quite similar to the position of the artist in our societies, and maybe even in traditional societies, as long as you consider the role of the shaman, which in my opinion is connected in many ways to the role of the artist in contemporary societies. But this is probably more an artist statement than an academic point of view.
As an artist i'm connecting to the site, the landscape, the nature and surroundings, through Photography and documentary film direction, but it is really a way to connect to the site. because all of this also include long walks, or staying still under snow or strong wind near an arctic lake shore, for example, to do video or sound recording. And the body is as much an interface with the landscape as the camera or the microphone.
Then as a researcher I try, and sometimes manage, to get an overview about theses experiences, mainly life in the arctic circle for this residency, in order to widen the frame of reference for my research.
What brought you there? Because surely there must be art residency in more hospitable parts of the world?
I'm actually a PhD candidate at the CAIIA the Center for Advanced Inquiry in the Interactive Arts, in the program of the Planetary Collegium, which is supervised by the professor and artist Roy Ascott, and my research is focused on Circumpolar North Arctic and Subarctic Tribes... that's probably one of the reason! But I would love to visit... hum... Vancouver or San Francisco for example ! I am also passionate about the art and craft of the Haida people of Pacific Northwest Coast of North America for example...
Well last year I've been selected for the Arctic Circle residency, organized by The FARM,INC, a NYC based cultural organization. And we went up to 20° from the North Pole. I find this kind of residencies challenging. And I like it. For the Arctic circle residency we had to take a zodiac boat every morning to go to the shore, protected by three armed guide against potential polar bears attacks, and it's an "interesting" way to do film direction or photography. For me it was also a way to gain "field knowledge" on contemporary ways to "survive" in the arctic, through discussions with the arctic guide and a study of their gears and behavior.
As an artist I am also interested by that kind of harsh environments because it questions the place of humans on Earth... it's connected to some of my pursuits, I am quite interested by the work of Survival research laboratories, for example, or the Makrolab created by Marko Peljhan, or Angelo Vermeulen's Seeker projects. I'm honestly a die hard fan of "old school Cyberpunk", science fiction at large as well as bio-regionalism and vegan cooking... and to deal with rugged, waterproof or foldable technologies in this harsh environment, or to cook my vegan bolognaise with dried soy chunks in the station kitchen, all of these are experiences that fits with all those pursuits.
And well, of course the Arctic is NOT Antarctica, but I'm a big fan of the movies The Thing, the John Carpenter's one and the quite recent prequel as well. So some of the experiences I'm living there are materials for future art projects, who knows? Art installations, short sci-fi movies or novels, but with strong first-hand field experiences as background. And some like photographing the landscape or directing a cross media project here are very concrete art experiences with a result in the short term.
The Arctic is the perfect place to engage into those kind of life and art experiences. I like being in a place where I can feel that nature is stronger than me, even if it is always a very calculated risk, I'm very cautious and I have a kind of "preppers" mindset. But in a "philosophical" point of view, when I'm saying that "Nature is stronger than me", it's probably because "I" like when "I" becomes "Nature" and there is no more "me" for a few minutes. that's the reward. It's a Zen type experience. I am really not the first human nor artist talking about that!
This is not the first time you are at the Kilpisjarvi research station. You first went there in 2011 for the Finnish Bioart Society's Field_Notes workshop. So is this residency a continuation of the previous one? Or are you working on something entirely different?
Well I was working on something quite different at that time, an interactive documentary Installation about Computer History that I presented at the Computer Art Conference #4 CAC#4 in Rio de Janeiro in September, the project is called Maiitsoh: I've interviewed various people from William Gibson to Noam Chomsky, or John Cale, about topics dealing with computer history, consciousness and creativity, and I was working on that project at the time of the Field_Notes workshop. Maiitsoh is the Navajo word or more precisely the Dineh world because the so-called "Navajo" call themselves Dineh... And it's more than time to give some recognition to the indigenous people. So it's the Dineh word for the Wolf. It's a direct homage to the code talkers during World War II, at that time the Dineh language was used by the Allies as an "analog" cyphering technique, while the Axis Countries where using a mechanical cyphering machine, the Enigma machine. The first ever modern computer ever built, Colossus, was actually built to break the Enigma machine code. It's a part of history quite well known in the computer community. There is also a not that good movie directed by John Woo about the Dineh code talkers. I used the name Maiitsoh as a tribute to the Code Talkers, but also for it's similarities with Macintosh. Maiitsoh is made of wood, like the first computer mouse or the first Apple computer... it's really a multi scalar project. It's about creativity, it's a 3 or 4 dimensional Nodal point, in the Gibsonian perspective. it's a wooden computer and it's an icon of computer recent History. Forget about plastic, the first computers owe things to the wood!
Nowadays i'm very focused on my PhD research, which is a study of the patterns of the Ainu people, the aboriginal people of North Japan. It's for me one of the most beautiful form of craft on this planet. This is a very subjective comment. As an artist, I just love the shape of their patterns.
But the subject is a bit wider. I am questioning the origins of arts and craft on this planet, basically. Why did the human species started to draw, to do sculptures, embroidery ? That is the question! I never take for granted anything that exists on this planet. Why do people wear pants made with denim fabric for example ? And why don't we embroider our clothing nowadays ? What is an object ? Why do human grow those kind of vegetables in the area, and not other ones ? To get perspective is always a good way to make a daily fresh start and enhance your human experience.
You brought a bike in the Arctic? Is it a very practical mode of moving around up there? What's the story of the bike?
Yes, I brought a foldable bike there, a Brompton. For various reasons. First, It's an artistic and activist statement, here in the Arctic which is of course one of the first region exposed to global warming. I am really pro-biking, I was even close to people from Critical Mass at a time. I am proud about that past. It's a shame to see that people are so unconscious of environmental problems. Last year in Svalbard, at 20° from the North pole, we saw styrofoam on the shore. In that incredible landscape... and of course the invisible pollution is also quite dramatic... Species are disappearing , the arctic is melting, and I guess nobody forgot Sandy Superstorm... well , I don't have a short term memory and I remember being already aware of those increasing problems in the 90ies... And you can really make eco-friendly businesses and make money. So come on! Humanity is a teenager trashing its room.
So it is in a way an homage to old friends from the activists community, to bring a bike here in the Arctic, and to use it to circulate around the station, or to go to the grocery store few kilometers from here, despite the wind and snow... But there is also something related to artistic performance, to use that quite "urban Bike" which is in a way the "Rolls Royce" of folding bikes, and to use it on hard snowy roads in the Arctic Circle. I also applied a kind of "artistic protocol" to the use of the Bike, which is a direct homage to Joseph Beuys piece I Like America and America Likes Me.
The bike never actually circulated nor touched the ground on a road before I took it out of its rugged case, here at the station. The same way Beuys didn't touch the U.S. soil before being brought to that room with a live coyote... It was an homage to the political situation of "Native Americans", and here in the North of Finland there are still Sami people, northern Europe's last hunters and gatherers. So the title could be "I like Finland and Finland Likes me", maybe ! hahaha!
I don't personally know them but I have seen some work by a collective called Suohpanterror, they do street art and art related projects dealing with the Sami identity. They are probably much more reliable than me to talk about the Sami question. What I can give as an artist is some visibility about the question. And of course for the bike performance itself, there are some unconscious parts I can't myself explain. It's like making a collage, but in 4 dimension and in real life, with an Arctic logistic, and a study of the possible ways to bring that bike to a research station. It's very useful here for me, and it's of course a bit burlesque to bring it here. I like that mix. It's a very serious and complicated project, it's suddenly completely absurd, and then it becomes really serious again.
I honestly thought that it would be a bit more challenging than that to use the bike. The Brompton works quite well on Sapmi's roads...
And then of course the Brompton itself is a very amazing object. it's manga like and also almost Steampunk . But it's quite Beat-Punk for me. It's a super contemporary object with that 1950ies or 60ies taste and quality. And I'm actually NOT paid to say that.
You've also been invited for a training session with people who use Drones for Search and rescue for the Norwegian Red Cross in the High Arctic. Can you describe the experience? Are you planning to apply to your work what you learnt there?
It was honestly a fascinating experience... As a researcher I have a kind of "classical anthropology " approach, but as an artist I am more interested by digital anthropology or the anthropology of technology. Honestly i've been baffled to meet those people in Tromsø. I was missing some spare parts to make my drone works here in the Arctic, so I looked for forums in Norway on the internet, and two days later I was in contact with those people. And they are very skill full experts on that domain. Their practices are connected to many of my pursuits. I've been invited last year by European Union's oldest program for collaboration in Science and technology to deliver a talk about the future of 3D printing. And then one year later, in Tromsø, on a rest area in a mountainous road I've met this guy who actually makes homemade and huge Octocopters, with 3D printed part that he designed himself.
I remember when there was no mobile phone, that's something I always remember when I want to get some perspectives about the mutations of western societies, or the world at large. I don't take technical progress for granted. It's an organic process in perpetual evolution. It's fascinating to realize what we can do in our ages with technology. People tend to forget about that. I never complain when Skype is slow... I'm always amazed to be able to talk in video with someone in California when i'm in Paris.
And well, for the experience of Drone and FPV, which stand for First Person View. It's way more fascinating than what I imagined. It's actually a physical experience to see through a camera which is flying 200 meters above yourself or at 1 kilometer from you... it's a bit trance-like, or even techno-shamanic like. The only similarity I can find is when i used a 360° camera during a training at the SAT Society for Arts and Technology in Montreal in 2013, and when I was able to see my recording in the 360 dome theatre at SAT, the Satosphere. I had the same weird physical experience challenging my perspective on vision, the body, etc... very impressive!
And of course there is this satisfaction to realize that this technology is used to rescue people, to bring two ways radios or first aid kit to people stuck in mountains.
FPV in the Arctic is definitely an amazing experience. There is that contrast that I really like, I talked about that previously. To be in the middle of that impressive nature, and to be able to use the most up to date technology. So, yes, I will clearly apply to my work what I have learnt there, probably in the form of an installation, might be a short movie also, but it's a bit too early now, I still have to integrate the process and the experience. I am really thankful to those people, and particularly people from FPV.no, Hi Kristian! :)
From what you told me by email about your residency, meeting people is an important part of your work. You're also in contact with the Sami people, for example. How do they fit into your research there?
I am actually in a region that can be defined in many ways... I'm in North Finland, i'm in the Arctic Circle, but I am much more clearly in Sapmi, which is the proper name to describe this region, usually called Lappland. I prefer to use the word Sapmi, the land of Sami people. Lappland comes from Lapp which means rag in swedish. Honestly the Sami people are not the Indigenous people I know the most, I mean in terms of anthropology or basic contemporary History. I'm mostly here to do a comparative study of their decorative patterns. Well for me the residency is much more about feeling the landscape and the ways of living in the arctic.
Next month I am invited as a visiting scholar in Anthropology at the Center for Sami studies, at the University of Tromsø, in Norway. it is actually the northernmost university on earth, and the SESAME, center for Sami studies is at the forefront of Sami and Indigenous studies. They actually deliver masters in peace studies and in indigenous studies... quite an amazing place! There, I will meet Sami people and some colleagues from various countries in order to discuss my research.
What's next, after the ARS BIO ARCTICA residency?
Well in the short term, I will exhibit my series of photographs taken at 20° from the North Pole in Svalbard last year at Kalashnikovv Gallery, in Johannesburg, South Africa in December. The exhibition is organized in collaboration with the IFAS, the French Institute in South Africa. It's really a great opportunity for me to be able to exhibit this Arctic related work in Johannesburg. And it will be another opportunity to talk about the arctic situation and the globalized aspect of the Climate question. I am very thankful to the IFAS for their support as well as to MJ Turpin, one of the owner of the gallery for the invitation. I think he definitely understand my work, which is something rare. He is also an artist and I really like some of his printed work and performances. South Africa is a very specific country, there is a very active art scene, as far as I know through discussions with my South African colleagues, and I had a glimpse of South African creativity last year at the Gaité Lyrique in Paris.
I'm really thrilled to be given the opportunity to exhibit my work in Johannesburg. Then I'm definitely looking for other residency opportunities, as well as planning a trip to Japan in the coming two years for my PhD research.
All images by Benjamin Pothier.
Related story: Field_Notes: From Landscape to Laboratory.
What might sound like an ecological abomination is actually the start of a process that will create a new eco-system beneath the sea: an artificial reef. The sunken boat will provide a hard surface to which algae and invertebrates adhere, providing food for fish.
The artist bought the boat off eBay for 75 pounds. It was called Brioney Victoria and had been rotting for decade at a Canvey Island yard. He emptied it, added a concrete wheelhouse to make it look like a working boat and then stripped it of anything that could potentially be harmful.
Once ready, the small fishing vessel was towed out to sea. Faithfull set it alight, opened the seacocks, let water into the boat and dove off as it started sinking.
Five cameras were mounted on board to record the boat's descent and they are still monitoring its transformation, transmitting images via a dedicated website and relaying them to exhibitions. The first one is at Fabrica, a former chapel turned art gallery in Brighton. The show, which is part of the Brighton Photo Biennial, will later move to Calais and Caen.
In the Brighton gallery, a big overhead screen show the boat smoking and very slowly sinking beneath the waves. A series of monitors at ground level broadcast the images from the drowned boat.
Faithfull was interested in investigating how an ordinary object at the end of its existence is given a new, almost eternal life.
Like some of the artist's previous works, REEF documents the plight of a camera exposed to extreme elements or sent on a journey from which they might never come back. In 2003, for example, Faithfull sent a video camera attached to a weather balloon into the stratosphere.
Simon Faithfull Interview for REEF Project
Simon Faithfull will be giving a talk at Lighthouse on Tue 21 Oct 7- 8.15pm. And if you miss the evening, check out REEF at Fabrica in Brigton as part of the Brighton Photo Biennial. The show is open until 23 November 2014.
Also part of the Biennial: Amore e piombo: The Photography of extremes in 1970s Italy.
Visual artist Melle Smets and researcher Joost van Onna followed the travel of discarded cars from Europe to Ghana and ended up at Suame Magazine, near the town of Kumasi, in Ghana. In this area, 200,000 artisans are working in 12,000 workshops, stores and factories to repair and give a new life to European disused vehicles.
Smets and van Onna then collaborated with local craftsmen and mechanics to build a African concept car in three months. The vehicle is called SMATI Turtle. SMATI because it is the acronym for the Suame Magazine Automatics Technical Institute, an engineering training centre for the artisans. And Turtle because the vehicle is strong and sturdy like the reptile.
The completed car was even inaugurated by Otumfuo Nana Osei Tutu II, King Asantehene of the Kingdom of Ashanti.
The show opens on October 8 and i caught up with project leader Melle Smets to have him talk about his adventures in African mechanics.
Hi Melle! The text describing the project mentions the Buafo. Was this pickup truck prototype at the origin of your project? Where did the idea for the Turtle 1 come from exactly?
The Buafo was a car from the 70ies. From this vehicle we extracted a lot of essential idea's of what a African car should be. The existence of this car was unknown to us until a old mechanic from the neighborhood told us this story. Then we started to look for it and found one around the corner of our workshop. The reason we searched for this vehicle was the fact that we don't know anything about cars, and needed a lead to start working from.
And once you had the idea for the Turtle 1, what happened? You and Joost van Onna just turned up in Ghana and put your project into a full working prototype?
The idea to build a car came much earlier. We wanted to research the potential of a society without formal structures. Suame Magazine looked like the most incredible example of a city which was also a working car plant. Something we could hardly imagine as we thought car assembling is a very high tech business. Because the place is very hectic we thought of a narrative to tell the story of the informal car assembly line. This is how the idea came to built a car from scratch and go from workshop to workshop to learn the process and tell the story.
How did you navigate the Suame Magazine and find the right people to work with?
We went there a year earlier to scout the area and try to find a partner. This became Suame Magazine Industrial Devellopment Organisation. They liked the idea as a PR stunt for their NGO. They are a umbrella organisation for all guilds.
Apart from being skilled and resourceful, what did local people bring to the project in terms of creativity, ideas?
The car is developed by the whole neighborhood in terms of storytelling, throwing idea's, bringing in their networks and their labor. We tried not to take the lead in design and organised every step in the proces as a communal decision. For example the car design is done by wooden sticks. On the other hand people started to use the project to draw the attention on SMIDO by the media. This free publicity was good for the project but also good for growing the network of SMIDO members. In terms of work, we had to pay people to actually do the job.
And conversely, what did you bring that the Ghana craftsmen needed? They were already repurposing car parts after all....
The most lucrative thing we brought them is a story. The Turtle became a National story which they used to get access in the highest networks of the country. And this is where the real business is done. Wright now they are making contracts with Danida (Danish devellopment organisation from Ministry of Foreign Affairs of Denmark) for over 2 million dollars to set up a new land for a car production fascility.
The project involved building a car in 12 weeks. Why was this timeframe important to you?
Do you think it would make sense for western consumers to have a car culture driven by the moto "let's make things simple"?
We need to seriously start thinking in terms of what we really need and want, instead of try to build a paradise of things around us.
Of course our infrastructure is evolved in a way we need sophisticated cars to be save driving 140 KM/hour. But it would be healthy to keep rethinking the whole concept of traveling. There are a thousand ways we can go from A to B. Why we make ourselves dependent on this system? The concept of a highway is a hundred years old and in the time they made it up there were fantastic idea's to get from A to B in total different way. We would like to remind people on this freedom of choice but also responsibility to give meaning to our environment.
And is there any commercial interest for the prototype (or an adapted version of it) outside of Africa?
Not that I know of. But we also never put energy in this. I envision a car production future where every continent has its own species of cars. The climate, economy and landscape demand certain needs to a vehicle. Technology will make it possible to manufacture more on demand and more specific adjustments.
Turtle 1 is part of a broader project that looks at "the stream of discarded cars to Ghana in order to document their hitherto unknown destination." So which kind of images, videos and discourses do you bring to European destinations where you show the Turtle prototype?
We do lectures to governments, sit in advisory boards, work with industry on new idea's. Next to this we did some exhibitions on car shows, art festivals to show drawings, photo's and video's. Every member of the team had it's own medium. You will see on the exhibition. There was also a lot of media coverage on television, news papers and magazines in Germany and the Netherlands.
The prototype is called Turtle 1. Does it mean that there will be new and improved models of the Turtle? More generally, what's next for the project?
We are now working together with the Dutch car industry on a vocational training program. The ambition is to start this program in Suame Magazine next year. In the Dutch Design week we organise workshops around this businesses case. See Word doc for more detailed concept.
Check out the vehicle at the DISNOVATION exhibition, on October 8th- December 6th, at Le Bel Ordinaire, Billière, France. The 14th edition of the festival itself will run November 13th -16th, 2014, at Le Bel Ordinaire + associated venues in Pau & around. Programme curated by Nicolas Maigret and Bertrand Grimault.
I already mentioned the exhibition Strange Weather: Forecasts from the future in a number of posts (in particular this one which focused on clouds) so i won't bore you with repeating myself too much. The artworks on show invite the public to think about today and tomorrow's weather with the gravity that befits the topic but also with lightness and humour, asking questions such as:
Should human culture be reshaped to fit strange weather or should we reshape weather to fit our strange culture? Who is going to take advantage of climate chaos and how will strange weather benefit me? How will you choose to work, celebrate, live and die when weather gets weird?
Since so many pieces in the shows got my attention, i thought i should write on last post about Strange Weather. This one will include plastic flowers modelled on the alien species that have started to invade the Arctic, an instrument that monitors 'space weather', HazMat Suits for kids and more.
The Raindrop machine works like a mini open wind tunnel and it is both a continuation of the scientists original experiment and an artwork exhibited in a very different cultural context.
Scientists and ecotourists visiting the Arctic are bringing in thousands of seeds that were attached to the sole of their shoes or are falling off from their pockets. It wasn't a problem until a few years ago but temperatures are warming up and the seeds are now taking root, potentially disrupting the ecosystems.
Tania Kitchell 's Occupy II is a representation of alien and invasive plant species that have been sighted in Arctic regions.
In Occupy II the plants are made of ABS plastic that have been formed with 3D modelling software and formed on a 3D printer. Photos were used as references to reproduce plant forms; there is an intentional disregard for a precise likeness as sizes and proportions are not adhered to, but there is a strong connection to the existing plants.
Does this disconnect between perception and reality in any way parallel our misconceptions about the Arctic?
This was one of my favourite works in the show. It is simple and elegant. Yet, there is something slightly disturbing in this assembly of 3Dprinted plants. Even before you even read the text that explains what they represent.
The Solar Wind Aeroscope is another subtle, unassuming but fascinating work.
Jonas Hansen and Lasse Scherffig built an instrument that monitors 'space weather', the environmental conditions created by the Sun and the solar wind and that ultimately influence our own atmosphere.
The system relies on global network of amateur HAM-radio stations known as WSPRnet to measure radio signal range. The signals from this network can travel for thousands of kilometers, by bouncing off of the ionosphere. Because the ionosphere and its reflectivity is affected by the solar wind, the activity of the WSPRnet echoes space weather conditions.
By monitoring radio signals and their origin, the Solar Wind Aeroscope can 'see' the current atmospheric conditions caused by the solar wind. To make these measurements perceptible, the instrument translates the solar wind into actual wind--transforming the gallery into a terrestrial weather station for extraterrestrial weather. The effect is actually very subtle, you need to place your hands on the Aeroscope to perceive the strength of the wind.
Archive of Old and New Events, by Jodi Newcombe and Tega Brain, imagines what festivals and gatherings will be like after climate change has seriously messed up with the seasonal cycles and local climate conditions that were at the origin of these revelries. Strange new cultural phenomena could take their place.
This speculative project, set in 2030, brings side by side two collections; The Collection of Lost Festivals holds materials from events that have fallen into oblivion. The other is The Collection of New Festivals which documents recent cultural phenomena that have emerged in response to new weather and climate.
How could anyone not covet these stunning 'Toboggan shorts' worn by 2028 race winner worn for the 5th Ave Toboggan Race in New York City:
Or this container of dried jellyfish snack that will be a staple of our diet when jellyfish overpopulates seas that are getting increasingly warm.
Creepy children-size mannequins wearing HazMat Suits are loitering around the Science Gallery.
The corporation DuPont patents their Tychem cleanup suits for hazardous materials, these outfits are used in petroleum industry disaster response to mitigate ecological disasters. Cleanups are thus conducted with the same materials that potentially harm us. Marina Zurkow hand-sewn little HazMat suits for children. These suits, however, are sealed to prevent them from ever being worn by a child.
CoClimate invited artists and scientists in STRANGE WEATHER to produce scripts about what weather forecast will be like in the future. And then they had the brilliant idea of installing a fully functional weather forecast set, complete with green screen, teleprompter and camera. Visitors are invited to step in and play the television weatherman, recording the futuristic forecast of their choice and share it on YouTube if they want to.
More images from the show:
Strange Weather: Forecasts from the future was curated by artists Zack Denfeld, Cat Kramer from CoClimate and meteorologist Gerald Fleming. The show is open at the Science Gallery in Dublin until 5 October 2014.
There's nothing remarkable about a can of tuna, an empty packet of candies, a plastic toy bird, or a battered video tape of a Queen concert. But stories and issues that affect us all can hide behind the most mundane objects.
These items and many others are part of A People's Archive of Sinking and Melting, a growing collection of objects "from places that may disappear owing to the combined physical, political, and economic impacts of climate change." Each time the project is exhibited in a new city, artist Amy Balkin calls for local people to contribute to the archive and donate items which constitute an evidence of rising sea level, coastal erosion, desertification and extreme weather getting more extreme. Each object is then catalogued and archived as if it were a rare historical artifact, because one day it may well be.
The materials in the archive mark the asymmetry of present or anticipated loss, standing in as proxies for the contributors' recognition of the geopolitical production (or spatial politics) of precarity and slow-onset dispossession. Together, the contributions form one material record among many; a collection of community-gathered evidence, a public record, a midden.
So far, the collection includes objects from the antarctic, items rescued from the floods caused by Superstorm Sandy, water from Venice, etc. And i'm looking forward to seeing what Dubliners will contribute to the project as the archive is now on view (and open for submissions) at the Science Gallery. In the meantime, i've contacted
Hi Amy! The items collected come from places that may disappear owing to the impact of climate change. So how does Dublin fits into this? Are the effects of climate change already visible in the city and more generally in the country?
I hope your questions will be answered by people living in Dublin and across Ireland and its outlying islands, whose contributions to the archive, whether related to predicted increases in coastal flooding events along the East Coast, or other experienced or forecast climate impacts, will form a new Ireland Collection.
What kind of items have people in Dublin added to the archive so far?
None yet-the exhibition opened recently-the call for contributions is at https://dublin.sciencegallery.com/strangeweather/peoplesarchive
What were the most unexpected items that have been contributed to the archive so far?
It's hard to say, as each contribution is complicated by the circumstances and context of it's submission. Your readers can view the entire archive at sinkingandmelting.tumblr.com and decide for themselves.
And which ones would you say are the the most representative of the climate change crisis?
Items contributed from places where people's ability to remain is difficult or becoming untenable, such those in the Kivalina (Alaska, USA) Collection.
The description of the project says that "Through common but differentiated collections, contributed materials form an archive of the future anterior; what will have been." Could you elaborate on this? Explain in more details what the 'future anterior' means?
The phrase "common but differentiated" is taken from Article 3 of the United Nations Framework Convention on Climate Change, which states "The Parties [which have ratified the convention] should protect the climate system for the benefit of present and future generations of humankind, on the basis of equity and in accordance with their common but differentiated responsibilities and respective capabilities.
In A People's Archive of Sinking and Melting, all contributions together form a 'common' archive, a coalition of items from radically varied situations. These are 'differentiated' based on the UNFCCC Party status/commitment category of the country each was contributed from, which is included on the museum label (Annex I, II, B, Non-Annex, No Status) for each item in the archive .
In the context of the archive the language of "common but differentiated" is taken to situate the archive against the inequity of present climate politics, including the UNFCCC treaty process, which as it politically constructs the atmosphere, influences the habitability of locations represented by objects in the archive, influencing the meaning of the archive, the individual items within it, and the lives of the archive's contributors.
The future anterior, which describes "what will have been," is a position the archive asks its contributors, audience, and users to take. I understand this as a political task demanding insight and the willingness to confront uncertainty and loss.
I think what strikes me the most about A People's Archives is how tangible it makes the issue of climate change feel. When i discovered the project at the Science Gallery, i suddenly visualized how much part of daily life it has become, even if we don't necessarily realize it yet. The fact that you left the archive in the hands of everyone played a big role in this feeling. But do you 'curate' the collection? Or do you accept anything people give?
One framing idea of the archive is that it is not 'curated,' and is always presented in its entirety, whether all the contributions are exhibited, as they are in Dublin, or available as a research tool in archived collections, as it was at the Prelinger Library earlier this year.
As of August 2014 the archive contains roughly 100 items, none of which weighs more than 1kg, so presenting all the contributions hasn't created any logistical problems. If the archive gets much larger, there may be a need to do things differently.
Everything contributed to date has been accepted, other than two items offered that misunderstood the parameters of the archive. More complicated is the question of including items contributed after specific weather events, such as materials sent from Germany after the 2013 European Floods or from New York and Cuba after Superstorm Sandy, or materials offered from places that are at risk but will have significant adaptation infrastructure built, like Venice, Italy, which is getting a $7 billion flood-protection system.
Where will the objects go after the Dublin show? Because the project has been exhibited in several countries so far so i suspect that the collection is getting quite voluminous by now.
The archive will go to New York next for the exhibition Lenin: Icebreaker, which opens at the Austrian Cultural Forum in December. I'm currently working with Olga Kopenkina to solicit contribution from across Russia, with particular attention to the northern autonomous okrugs (administrative divisions) and Murmansk Oblast.
If your readers want to contribute to A People's Archive of Sinking and Melting, from Ireland, Russia, or anywhere else, how to submit is www.sinkingandmelting.org
Strange Weather: Forecasts from the future was curated by artists Zack Denfeld, Cat Kramer from CoClimate and meteorologist Gerald Fleming. The show is open at the Science Gallery in Dublin until 5 October 2014.