Michel de Broin hung a gigantic disco-ball over Paris, threw 12 tons of asphalt on the road to create a absurdly twisted bike lane in Montreal, rode his polluting bicycle in parks, knitted New Orleans street lamps into a satellite-shaped structure, silenced an alarm bell under a vacuum system and famously got his pedal-powered 86' Buick Regal car pulled over by the police.
Michel de Broin lives between Berlin and Montreal. I've seen his work in Spain, Belgium, Germany. I read about it in catalogues and other books about urban art and public art. The more i saw of his work, the more i wanted to interview him. Hence the following Q&A:
I'm very curious about the way you work. You graduated in visual art at Université du Québec, in Montréal. But looking closer at your artworks, it appears that they require the kind of knowledge that most art program do not teach such as a knowledge of mechanics and engineering.
I've never seen an artist succeed at simply applying knowledge learnt from school. Ideally art schools are not simply technical; you don't learn a skill in art school. But each student develops specific skills from their interests. You learn to learn, and you discuss a lot. Like many others, I was not good at high school and I was kicked out of 2 before attending art school where things changed and I began to be successful because you are asked to think for yourself and make your own work.
When I was a kid, I was doing mechanics and electronics and a lot of funny things playing with found objects in the garbage. I hated high school so much, but I was not a problem at home because I was helping my father, who was handicapped, round the house; doing a lot of things at a very young age like using power tools and fixing appliances. So I inherited all these tools from my father, and I was then able to build tree houses, go carts and caves. My older brother was studying mathematics and was playing with electronics. Nothing fancy, but I remember we installed an alarm system in our bedroom to prevent adults from getting in. I don't remember learning anything; I was just looking outside and playing with what was around me. I was hostile to institutions, schools and adults in general, and so I was more inclined to do things by myself.
So how do you handle the crafting/building/hacking/engineering of each of your projects?
I've been growing since then, and I now do big things with serious people. When it is a public commission I need an engineer to sign my drawings, I prefer to work with an engineer who lets me do my work and does not get stressed about the consequences. But you normally need good insurance to play outside, and fortunately I have worked with some very helpful people.
Do you rely on the expertise of other people, like Carsten Holler or Takashi Murakami do?
I'm not working at the same scale. But still there is sometime friends, technicians, and collaborators working or answering my questions. The most difficult is not the technical aspect of the project but to have a project interesting enough to keep my attention for the duration, generate the resources involved, and also to induce the will to make it happen.
Or do you do have a more hands-on approach, acquiring the expertise yourself and experimenting?
I like to learn new skills when I'm experimenting, and refuse to rely on experts. But I'm very grateful to experts from whom I can learn something or share some knowledge with. Making art is more difficult than solving problems, but problems are generative and can contribute to creating new thought.
And why this choice (relying on other experts vs going through the trouble of DIY)?
It is part of the process to work through problems, I need a confrontation with the world to be able to create an outcome. But it doesn't need to be technical; it can be emotional, social, philosophical... It depends on where I address my work. Most of the time I use devices that were made by others. I sometime question how it would be if I was making all the objects that surround me. Making a light bulb seems like very hard work, I would guess it could take me almost a year to make one functional light bulb, and only if I could have access to existing technology. But if I had to go mining for the tungsten, and make everything from scratch, I don't think a whole lifetime would be enough to create a light bulb.
Few artists make their own canvases, collect their pigments from plants, or collect the silicone to power the microprocessor of their computer. Duchamp would say that we are all doing readymade, applying a very low level of transformation to the manufactured object of our appropriation. It is as true for the images, the language, and the tools we are using, they were developed over time and I arrived afterwards. Most things already exist before we figure them out, and being able to draw an image doesn't mean it belongs to us. The origin is very far behind and very difficult to claim.
Some of your work deals with a progress and progression that goes awry: stairs that are supposed to lead you up but end up leading you to your point of departure, road signals that confuse you, roads that go nowhere, etc. Do these works translate a cynical or pessimistic vision of where the world is going? Or are they about something else?
This is your interpretation, I'm trying to not have any moral value about how things should or should not be. For more than ten years, I have been building stairs as infinite paths of circulation, extracted from architecture and stripped from all functionality. I think they raise the question of progress by showing how things rise and fall in a continuous cycle, like living species, bringing my understanding of natural processes against a dated modern belief in progress.
In Entanglement 2001, I created a cycle path inspired by abstract gesture, but represented at the scale of the urban landscape. The freehand drawing defies the rationality of the public planning. It is not about confusion but about having a different experience other than rationalism in the public space. I'm optimistic, even in my pessimistic vision, because I need to believe in something to make it work in reality.
Works such as Shared Propulsion Car, Reparations and Keep on Smoking take art outside of the museums and into the streets. Is that so just because of the nature of the work or because you want to engage with the public in a different way? or with a public that might otherwise not enter a museum or art gallery?
The public is not my concern; I'm interested in art. Sometimes it is fun to please the public, but it is different to making something that makes sense in art. My public interventions were not 'spectacles' where the public was invited. It was more a kind of experience of the outside, a test for the object itself that could be perceived as a gentle act of terrorism. I didn't ask permission, but I didn't break the law. No one was invited. They were isolated acts, documented and carefully collected and presented by galleries and museums.
It is on site that an opportunity of making sense appears. Then those occurrences can be brought into a studio, sampled, edited, deconstructed and transformed into works of art.
How did people react to Keep on Smoking?
Some people love it, some people hate it. There is a good articale from Bernard Schutze, available online at this address http://www.micheldebroin.org/text/2006_schutze_en.html
The Shared Propulsion Car went through some misadventures. It was pulled over by the police in Toronto. Did the brush off with the law go any further?
This car seems wrong from a normative point of view. The police were fooled by the successful illusion I created. There is noting against pedaling a car in the law, there was no reason for the arrest. For the police it is illegal to modify a car, but what happens when you modify it until it is not a car anymore? A car is defined by its engine, with no engine there is no car, and there is no cause. I knew this before taking it out onto the road, but I also knew that there were some risks, luckily the judge could see clearly in this case.
Have you driven the vehicle in other cities?
New York (USA), Toronto (Canada), Montreal (Canada), Poitier (France) now it is part of a French collection in Angoulême.
And were you expecting or maybe even hoping for the police to stop you? Maybe to appear in the newspaper and get a discussion going about car culture?
If an object creates new perception it risks creating problems and misunderstanding. I like to try to make the impossible possible, because it is a sign of the presence of the art for me. When we look at history we see that some of the good art confronts the mind and takes time to be accepted.I got a lot of attention from media, there were 15 journalists in the courtroom, and it was interesting to see how an art project can create a discussion outside of the art world. But I got tired of answering questions from journalists that made no research and were misinformed. It is very boring to deal with the mainstream media.
Reciprocal Energy is a fascinating work. The project speculates that the automobile could acquire its energy directly from the body fat of its driver. It looks like an ambitious scientific research verging into dystopian territory. What was the inspiration for it? Is it pure imagination or are elements of it based on some scientific research?
The human body can be compared to a machine that transforms ingested food into energy. If a surplus of food is ingested, the energy is stored in the form of fats in the adipose tissue beneath the skin. However fats can be transformed into fuel through an chemical process. The procedure consists of removing the suspended water in order to trigger a chemical reaction known as transesterification, which entails the extraction of glycerine. A chemical reaction is obtained through the conveyance of methanol alcohol (CH4O) and caustic soda (NaOH). The resulting fuel is comparable to diesel fuel.
Why not recuperate the stored fat extracted in liposuction clinics in order to transform it into biodiesel and use it as a fuel? The conversion of the fat into fuel would make it possible to recover the potential energy, which is otherwise merely incinerated or dumped into the environment.
This project seeks to draw attention to a particular problem: the fact that automobile drivers and their automobiles are not yet sufficiently well assembled. In effect, when the human body uses a machine, it economises a certain quantity of energy. The energy provided by the ingestion of food is then stored in the form of fats. At the same time as the automobile driver stores energy and accumulates fat, the automobile consumes fossil fuel and wastes energy resources. Why not couple man and machine in order to resolve both the problem of obesity and the energy crisis, while also providing an ecological alternative?
This coupling would make possible an intimate reciprocity between man and machine. Moreover, the use of fat as a fuel would contribute to resolving the problem of which it is itself a symptom by maintaining the resource both renewable and accessible.
Any upcoming works, exhibitions, projects, or events you could share with us?
Retrospective at the Musée d'art contemporain of Montreal, summer 2013 (with a Catalogue)
Installation of a permanent public sculpture in Berlin in the German parliament in 2014.
Installation of a permanent public sculpture at the National Gallery of Canada.
Neal White is an artist, an Associate Professor in Art and Media Practice but he also holds the enigmatic title of 'Director of Experiments' at the international collaborative research practice The Office of Experiments.
One of the current interests of the Office involves an 'overt research' that attempts to build up an alternative and experimental knowledge source about the UK's "Dark Places", the labs and facilities of advanced technological development which are often (purposefully or not) concealed, secret or inaccessible to the public.
The techno-scientific and industrial-military sites under study are approached through publicly available information but conspiracy theories and rumours surrounding these sites form also part of the narrative. The Dark Places place is headed by Neal White and Steve Rowell, but the overt researchers also invite artists, amateur scientists, urban explorers and local communities to contribute to the investigation by participating to bus tours and by contributing to the online geo-mapped database Dark Places.
The next critical excursion that will take people on an Overt Research tour will be in London in October. In the meantime, here's what Neal White had to say about my many questions regarding the Dark Places and his work at the Office of Experiments.
Hi Neal! My only contact with the world of sites of advanced technological development in the UK took place a few months ago when watching an episode of the tv series Sherlock: The Hounds of Baskerville.
Your experience and knowledge of these sites, while not being complete, is obviously much wider and more grounded in research than mine. Does getting to get closer to these sites makes you more worried about what goes on inside than before? Should we be concerned about what is devised and created in these places?
In our research we are interested in where the limits of an experiment end; literally, spatially and structurally, but also in terms of the 'public imaginaries' that closed spaces of all kinds generate - myth, rumour, conspiracy. So we are interesting in interrogating our own relationship to the military-industrial or techno-scientific complex as cultural and critical practitioners. Sharing practices and approaches with other culturally positioned research organisations, such as the Center for Land Use Interpretation in the USA, our aim is to utilize some of the technologies and techniques used by this contemporary complex and developed by them in terms of technologies of surveillance, mapping, intelligence and to invert them. So with Overt Research for example, our aim is to re-frame documentation of a site or sites.
Within this research we also explore alternative archives and knowledge extracted through new open governance policies as well as posthumous release of information from the official accounts of such sites. We make links with autonomous and independent researchers, activists and amateur enthusiasts, whose work in this area is often informed by a person having worked at a site, having a personal issue or a political motivation.
We feel that the bodies of knowledge produced by this unofficial research are overlooked and should play a stronger role in our cultural life. In using, interpreting and sometimes exhibiting such knowledge, our aim is to create new and open resources that anyone can use or interpret. It is this opening up of what is not visible that makes the world less full of fear.
The Overt Research Project relies on personal research and field trips. How much can you actually discover through these field trips? I guess most of the structures you investigate must be off limits.
You will appreciate yourself that much of the way in which we experience the world is shaped and informed by media, including online sharing of photographic imagery of remote, interesting, derelict or even secret places - or artwork in exhibitions. The staff at the sites we focus on are of course also aware of this and so use the media to project the official story of a site, or not. We visit the sites as this information about them often frequently does not add up or we have information about them unofficially which we want to explore.
For example, you may go to a site, standing in plain sight with a high viz jacket (the Overt part that inverts the logic of the secret site and the technology) of a site that might be a decommissioned Nuclear Power Station, and find that this is only part of the story. Part of the site is decommissioned but a new business park or some new activity is going on there, more discretely communicated shall we say. We can document that in the images. The interpretations on our site of these images then alludes if not explicitly points to the other activity. Part informed by our dark sensibilities and by a critical eye, we point to the construction of scientific research as one which shares intimate links with some of the more sinister aspects of government, security organisations etc. And if you want to add to our database, or undertake Overt Research, we insist that you must first participate physically by joining us on one of our research fieldtrips to learn more about what we do and how we do it. We like to make a link between the worlds we inhabit - informational and experiential. Testing limits and boundaries from the spatial to the virtual I suppose.
You're working with Steve Rowell from CLUI and Lisa Haskell on the Overt Research Project. How do you complement each other?
I met Steve Rowell through the Center for Land Use Interpretation as I received a grant from the Henry Moore Foundation in 2008 to make some work with them and consequently spent too much time at their research residency in Utah, on and off over three years (See 'Museum of the Void - Experiments in the Event of an Archive'- Chelsea Space 2010). During this period I was also undertaking initial research for the exhibition Dark Places at John Hansard Gallery in 2009-10. It seemed like a good idea to see if Steve and I could work together as he was based in Europe for a while. So we performed an informal and strategic knowledge exchange about how to approach, document and uncover information about the sites in which we were interested. I had realized OOE could learn more directly about the methods developed by CLUI and then start to build on these. This formed the basis of the site Dark Places around which the exhibition was then curated. The inclusion of Steve and then Beatriz da Costa, who worked closely with Critical Art Ensemble, made total sense for that exhibition then.
I had known Lisa Haskell for some time (we worked together at Ravensbourne College with Prof Karel Dudesek and Armin Medosch). Wanting her great experience as well as some gender balance in our organization, I approached her to come on board as Technical Director. In this capacity she not only builds our technical back end, but her experience with smaller activist organisations, such as Irational etc, have meant that we could also exchange ideas and knowledge in approach to physical and virtual sites, what to disclose and reveal, intelligence and its counter forms.
I had a look at a few of the sites mapped on the Dark Places website. These sites don't seem to hide themselves, their architecture is often even massive. So what makes them dark?
As I have mentioned, we know that the sites we list may or may not fully disclose all of their activities. Some of the work that goes on is official, but in others it is unofficial. In the USA, the approach is different, and as Trevor Paglen (Experimental Geographer - Blank Spots on the Map, etc) or Lize Mogel (Radical Cartography) would tell you, there is a different official attitude and foundation in law in terms of what constitutes official secrecy and a security threat. Also, in the USA, the vast scale of the landscape is used to conceal.
Here in the UK with such a dense population, and a different legal structure (Officials Secret Act), the aim is to sometimes create public secrets in plain sight, about which we do not speak. As I have mentioned, there are numerous ways in which the truth is presented, leaving room for other truths to remain untold or hidden beneath.
Can you tell us something about the ones that are secret? The ones that don't have such a visible presence in the landscape? How do you find about them? Are there national or international networks of amateurs investigating them?
Take for example GCHQ, nearly everyone knows it is there, Google it! But disclosing more information about how they organize themselves, who works there, etc. would leave you open to direct legal problems. So when we documented it, we photographed the housing estate that surrounds it, with only small glimpses of its structure. Obviously, no people, cars, no number plates. We avoid disclosing any information of this sort. However, the documentation creates a different landscape, something we explored at Apexart in New York in our publication - The Redactor. Redaction is the ultimate aesthetic of a security driven world. Inadvertently the act of redaction drives speculation and conspiracy in terms of the security networks, which is something advantageous to those with power, so to short circuit or speak truth to power in some ways is good. Back to GCHQ, you can go there and drive around.
However, sites like Hanslope Park or Porton Down are less visible, even by car. They make use of geomorphology to reshape the landscape, traffic controls to create circuits of access and entry at high speeds, a range of measures and counter measures. Since we documented Hanslope Park, they have updated their websites and attempted to communicate a little more - openness can be a strategy too.
There is the word 'research' in the Overt Research Project but may we take it at face value? Where do you intervene as an artist? And how important is it that artists and citizens engage with these sites?
Art has always sought to question the way in which we know and understand the world. It cannot simply take the world for granted, but how can it take into account the globalized scale life? Academic research does much to enable greater understanding of the world, but it is slow, bound in a set of ethical dilemmas and almost moribund when it comes to unofficial or non-institutional accounts of the world.
The Office of Experiments itself is based on what Maria Lind has called the 'fourth wave of Institutional Critique', the pseudo institution. However, our aim is to go beyond a critique of the artworld institution per se, and alongside others create new and alternative resources, knowledge and interpretations of the world that surrounds us. Research is a word used to describe this, but it is experimental, non-standard and undisciplined in our minds and in its practice. Our research is collaborative, discursive and opens up dialogue to discussions that many wish to keep concealed. It is a dialogue outside of the mass media, beyond the art of the aesthetics of protest, but is networked and precisely focused on its subject. I wonder if it is an emergent form - structural aesthetics. That would chime with the drive of artists like Ashok Sukumaran or writers such as Owen Hatherly and Stephen Graham.
Another chapter of the research, 'Experimental Ruins', focused on sub-urban London. What did you discover during that phase of the project?
Experimental Ruins refers to the shifts and changes in the specifics of scientific research. As we virtualize through models on computers, less laboratory space is required. Digitisation has meant that models can replace organisms, the infrastructure of labs is shrinking onto networked, distributed and smaller scale sites. There are empty labs in the heart of London. So we wanted to explore the recent geology of science, to excavate its ruins and see what else there was and make a relationship between sites. We started with a workshop with academic colleague Dr. Gail Davies at UCL, a while back and have taken it from there.
Of course when you think about it, Sub-urban London is the perfect place to conceal in public as you have the cooption of local workers, the banality of infrastructure with the efficiency of logistics. It remains a key space in which to place a site of interest to us.
JG Ballard lived in Shepperton all his life. I was born very near there and was always fascinated by the barbed wire fences and private spaces of anonymous private organisations - firing my imagination perhaps. However, JG Ballard also knew that suburbia is a space of fear, a thinly veiled reality that behind its net curtains is morally dark. By way of example, you can go to a site on a small business park in the heart of suburban west London just off of Ballard's beloved M4 corridor and as you come around the corner, you will find it guarded by armed Military Police. This is the Defence Geographic Centre (DGC), which includes the MOD Geospatial Library and Map Depot.
We are currently organising a critical excursion - another of our fully mediated bus tours following on from hugely successful versions around Southampton, Falmouth, Newcastle and Portland, that will train people to undertake Overt Research based on this specific project. This tour will explore the London Orbital to the West of London. As is often the case with our work, it is supported by Arts Catalyst. The tour will launch from The Showroom in West London in October.
On your website there is an announcement for the Office of Experiments Department of Catastrophe - with Museum of London, a new project examining 'Post-Event Archaeology'. Can you already tell us something about the project?
We are working with Museum of London on 'Experimental Ruins'. This has led to the possibility of exploring their vast archives, but also into looking more deeply into contemporary archaeology, a development that enables the forensic exploration of sites at a micro level.
As we are interested in event-structures (a term coined by John Latham with whom I worked a little) - that is the temporal dimension of space and its use, and the context of a social engagement, then this works with the history of site, also revealed in archives. Thinking further about this in an International context, we started to explore ideas of time and events through sites. Catastrophic is probably a category at one end of the register - a very sudden event. At the other end is a slow social decline, in places such as Detroit. Both ends of this register are difficult to document, either due to the rawness of trauma of conflict or massive environmental disaster, or as illustrated in the photography of Detroit, with Ruin Porn. In February, both Steve Rowell and I discussed these challenges at the Association of American Geographers in New York with the Detroit Unreal Estate Agency. The panel was called Ruinations: violence, snafu and porn. We also started to explore the Catastrophic area in a major public artwork that Steve Rowell curated in Washington DC - the 5x5. With the Irish artist Tina O'Connell and Transformer Gallery, we tried to draw on links between communities in the USA and Japan following the Tsunmai and Fukushima Diaichi disaster last year.
Overall as a project it is exciting, but fraught with danger of all kinds. Ultimately it might spell disaster for us, or for those with who are exploring how we might turn their Museum into a ruin itself. This is what we mean by the Department of Catastrophe.
It's hard to believe that it took me so many years to finally email Mogens Jacobsen and ask him for an interview. I've been following his projects since the very beginning of the blog (which was 8 years ago, in case you were wondering.)
Jacobsen is a media artist based in Copenhagen and an Adjunct Professor in Digital Culture and Mobile Communication at IT University, Copenhagen. His artistic work either closely follows social, political and ethical questions or sabotages technology, by mix-matching new and old media or by inviting web users to subvert web banners.
Some of his most acclaimed works include Crime Scene, two computers swapping copyrighted material in full view of the public; Power of Mind 3 Dissociative Defense, an installation powered by potatoes and hosting a report on human rights in Denmark; and TurntablistPC, a series of vintage turntables that spin their record according to visits to certain websites.
One of his most recent pieces, OECDlab comments on the cult for data and more precisely the instrumentalization of statistics by politicians, academics and economists. By manipulating the levers, dials, and knobs of three retro-looking lab-instruments, people can adjust parameters like percentage of women in parliament, distribution of income, military expenditure and see how these alterations are influencing other factors in society. The countries remain anonymous but all the data used is real data supplied by OECD, the WorldBank and UN.
I was curious to know more about OECDlab and that was the excuse i needed to finally get in touch with Mogens Jacobsen and discover if he could possibly be wittier than his own artworks:
Your work often responds to current social and cultural issues: human rights in Denmark, the rise of surveillance, file sharing, interactivity/reactivity, etc. What do you think are the themes that should be urgently addressed right now? Either by you or by other artists? Do you think that artists have any impact on ethical, cultural or social issues? Can they change the way a problem or situation is perceived and handled?
I'm sad to say this - but I wouldn't overestimate the impact done by artists at the moment. I wish more media artist would deal with real-world, everyday political issues. There seem to be a rather dominating escapist interest in phenomenology and the individual spectator. A problem I personally blame on the "experience economy" focus some years back. Now the "money" economy has crashed and experience economy has become unfashionable, it might be a good time to make art relevant outside the safe haven of the established art spaces again.
By turning the knobs of the OECDlab instruments, people can manipulate different parameters such as the percentage of women in parliament, distribution of income (the GINI index), military expenditure, etc. and then see how the alterations are influencing other factors in society. Can the manipulation ever lead to a satisfactory situation? One with maximum freedom of the press, one without shocking income inequality, etc.
One of the things that surprised me was the chaotic behavior of the instruments. Naively I thought there might be some correspondence between parameters such as freedom of press and distribution of wealth. But not so.
The OCEDlab lets you explore the world as it is - according to statistics at least, not construct a personal utopia. On one of the instruments, the one titled "Qui magistratum obeunt mundum credunt sibi subiectum esse ut ad suam voluntatem flectatur", you will never be shown the name of the country as you try to combine parameters. So it is not a travel/emigration-guide, but more a disrupting guide through your own beliefs of social-economic politics.
Have you thought of making an online version of the OECDlab?
I have thought of an online version. But of course I won't do it. I am really trying to avoid screens and fancy visuals at the moment. It like a personal struggle to be in the "media arts" and not revert to amazingly colorful pixels on a screen. Ten years ago I said Flash spoiled net.art by pulling the attention towards the surface. So now I really try hard to avoid the screen altogether.
And basically all data of the OECDlab is already available online on the website of the OCED, the Worldbank, UN and a couple of other sites. So you can easily access the data, which was what I did as I started on the project.
I'm also interested in the reason why you gave the instrument such a retro look. Why not present them with fancy touch screens and spectacular infographics?
The project OECDlab is deliberately looking quite old - like the apparatus of science, at a time when science was thought to be objective, when science was trusted and thus allowed to control society without anyone questioning the facts.
So OECDlab looks like the nostalgic technical tools of objective power. Like test-equipment in a lab or instruments from the science lab of a school: Dark polished wood, analogue meters and large knobs.
Have you tested the Democratic Dazzler or the Oplyser (two devices that disrupt surveillance systems and transmits by Morse code article 1 of the United Nations Universal Declaration of Human Rights) on security cameras in public space? How did it go? Did you get any reaction? Either from passersby or from the people who are monitoring the surveillance cameras?
The Dazzler project started when I was invited the Danish gallery "Torpedo 18", which is a gallery for "inaccessible art". What a freedom to get invited to do something inaccessible! As the first version of Dazzler was working, I wanted to do a small presentation of the project. So I arranged an event in front of the Danish Supreme Court one evening at 8 PM. Only a very few friends showed up at this event. But as the clock struck 8, I thought I needed to do some sort of welcome. So I stepped up a small staircase, raised the Dazzler and was getting ready to speak. Then the door behind me opened and the - at that time - Danish prime minister Anders Fog Rasmussen (now Secretary General of NATO) stepped with his security guards. Everybody - including myself - were quite baffled. The prime minister quickly got in this limo and drove off. Sadly nobody took a photo.
Your work Crime Scene (in which two computers exchange copyrighted works) is illegal to show in Denmark. What happened? Did you get into legal troubles because of the installation?
At the time I was working in a small ground with some people from museums and cultural institutions around Denmark. And all were really scared of showing digital art due to unsolved questions regarding intellectual rights. I really tried to understand the Danish copyright laws but was baffled. And nobody was really capable of answering my questions.
So instead I made this piece, not as a provocation or protest, but more as my way of stating a question. I was approached by some lawyers from the ministry of culture, who thought it was an interesting question. And they asked me if they could investigate it as a legal case (and they guarantied me I would not get into trouble). Well, the case ended by stating the piece was legal for me to produce - referring to artistic freedom and freedom of speech. But a museum wanting to exhibit the piece might get into trouble.
So far, the Crime Scene has been shown in Sweden, Spain and France. But it has never been shown in Denmark.
You define yourself as a media artist. Is this a 'label' you find important? Would it be just the same to you to say you're a 'contemporary artist'?
It does matter that much for me. I used the "media" label to put some distance to painting and graphics (even thing happening on a monitor). I would like to get the attention away from the visual imagery. "Media" sort of covered a lot of thing - and as "new media" has grown old, I settled on just using the word "media".
What kind of advice would you give to someone who would like to establish themselves as a media artist as well?
First of all - and very important - get some way of having an income. Artists don't make money. And media artists certainly do not, as nobody is buying media art.
Then secondly: Learn to program. Any programming language: C#, C, Java, processing whatever lingo that fits your needs and abilities. It might sound very old fashioned - focusing on learning the craft. But it gives you a lot more freedom sketching things out in the actual medium, not only working on the conceptual level. And let you experiment without having to beg, bribe or pay somebody else.
Are there any upcoming projects you could share with us?
I have some things coming up. A new piece for a group show with the theme "money". This might end up with another apparatus in the style of OECDlab. Also I will be showing some works at the exhibition Audio Art - Sound as Medium for the Arts at ZKM in Germany. The exhibition opens on March 16th. And one of my contributions is a new piece which I'm really busy making right now. The working title is Pairs - Conversation Piece from 1965. It is based on a note from one meeting between several Danish artists in 1965. Each artist will be represented by an old wooden chair, and rearranging the chairs you will be navigating between their discussions.
Malin Vrijman, one of the founding members of Kultivator, was kind enough to answer my many questions:
In an interview for publik.dk, you said that there are many similarities between the way you live and work as artists and how an organic farmer live and work. Could you give us more details about this?
When we came to live close to the farm, we discovered that both we as artists and the organic farmer were struggling with "companies", or enterprises, that are based on cultural resp., ecological calculations as well as the usual economical one, and that this sometimes clashes. For example, when the EU farm subsidies suddenly changes and the farm has to adapt (or just suffer), or the art money gets directed differently and we must adapt (or just suffer). We both have offices full of unwanted paperwork... And we both always go for this cultural and ecological conviction in the end anyway because it´s the only thing that makes sense. Since the reason that we are publicly funded must be that we take responsibility for those two things first.
Another parallel that we've talked about is like a shared frustration over being exclusive, when we rather would like to be accessible, mainstream, or whatever you call it. Like in the organic farm shop where people come from the city and they buy two peppers, and one small melon, instead of 10 kilos of potatoes. Or in a museum art show that only a certain small crowd visits. As if art and good food are luxury things, when they should belong to everybody. Another similarity is that most people have their own idea about what a farmer does, and also what an artist does, and it's usually very far from today's reality. Both occupations are in fact alienated from people as it is now.
But even more interestingly, what did you bring to each other? I can easily imagine that it's handy to have an organic farm nearby for an artist studio but what does the agriculture community get from having artists on their land? Which form(s) take(s) your collaboration/cohabitation?
OK, it is right that for the artists-residency, it is ideal to be able to produce the food for everyone, and for visiting artists to use the farm and farmers as inspiration and information source.
But the benefit is not one way - when we get this question (and we often do) Henric's answer is always the same;"The good thing is, that there are people around". It may seem like a small thing, but I think it is not. When Henric's grandparents ran the farm, five families lived and worked on it. And there were six farms like that in the village. Now Henric's (Kultivators) is one out of two, and the owner of the other farm lives elsewhere. Last year alone something like 30 artists have stayed here, for longer or shorter periods, plus visitors and schools, parents of the kids, etc. It gives life and energy to the agricultural community that in our part of the world is getting almost dangerously lonely.
So when the cows escape, when a calf is stuck, when there is slaughter or harvest or forest work, there is always helping hands nearby. Collecting and preparing food is an incorporated part of living here, and this means helping out. Of course, parties, dancing, evenings discussing world politics by the fire is enjoyed from both sides...
This was also the reason why we arranged the marriage between art and agriculture last year. We want the discussion of what would be the future of agriculture, ethical concerns when it comes to keeping animals and exploiting land, etc, to go on not only between farmers and intellectuals separately, but in meetings between the two. This is the direct way, here in the village. In more general way, we have been asked to sit on the cultural board of the Swedish farmers union, LRF, that has as objective to support quality culture in rural areas, and to make farmers and farms visible and present in the cultural life as a whole. This corresponds of course very well with what we want, and what we think is beneficial both for the farming and the rest of society.
Kultivator offers residencies to artists but also works with the local community such as schools. Which kind of activities do you organize with or for people living in the area?
We always invite public to come and meet and see results from the visiting artists at the end of their stay. Once a year, at the Harvestfeast, we make like a summing up of the year, and stay open all night. Then we have also made a few projects directly addressing the nearby area, like the Souvenir of Öland competition, where we asked people to imagine and produce a new souvenir for the island, and the Glocalguide, were we restored an ancient walking path and made an online guide to it, with local stories and facts from people in the neighbourhood.
With schools we always have very hands on work, which often stays as part of our "place". It can be to build a mobile chicken house, construct an outdoor shower, make a picnic place, etc. We have had very nice nature walks with students and immigrants recently arrived to Sweden, where students give an introduction to Swedish right of public access to nature, and what berries and mushrooms you can pick and so on.
What are the 'post (r)evolutionary exercises'? For whom are they intended? I'm also curious about their design. Does the particular aesthetics refer to past movements?
The post (r)evolutionary exercises are the outcome of a meeting/friendship/project that started in summer 2010, when we took part in "Goings on" seminar in Beirut, Lebanon. In this seminar, curated by Cecilia Andersson, Scandinavian and Middle east art groups were invited to meet and learn about each others practices. That's what we did, we got along really well, and we started at once to think of ways to do something together again. After the seminar, The Danish group rum46 applied for money to get everyone to Denmark and Sweden in summer 2011, in a project called Camp.
Then in between, as we know, the Arabic uprising came - our new friends stood on the Tehrir square, or struggling in Damascus and so on, and we felt that when they came to us, that is what we wanted to talk about; What now? What do you do after the revolution? We wanted some kind of physical outcome of the talks, and choose posters, also so that we could distribute them to the people taking part afterwards. And then finally, in August 2011, when everybody (except sadly, the Syrian group that did not dare to travel because of the violence in Damascus) had arrived and were gathered on the farm, we all as usual began to do "the farm things", (like slaughtering, fencing, milking, etc,) someone came up with that "this is actually what you must do after the revolution"; building up again. So we discussed, and sketched, and identified these "exercises". Intended for anyone who hopes to live through a revolution. They are illustrated with pictures from projects we have made, some from the actual meeting that summer with the Middle East art groups, and some from previous events taking place on the farm.
And yes, we took the design from a manuscript of William Morris, the radical frontiers person of the Arts and crafts movement in the late 19th century in England. Nowadays, these patterns are popular interior decorative, but then they represented a criticism on industrialisation and its enslavement of the masses. It had nothing to do with bourgeoisie or elitism, just like we don't believe that art or farming should be elitist, or conservative. I suppose the design kind of underlines this contradiction on the surface, to be radical and yet traditional. We like to play with that.
Could you tell us about some of the most exciting works developed during artist residencies at Kultivator?
Well...this is hard to choose. One piece here on site that has meant a lot for us is the Cambuche, an installation by Colombian/Namibian/Norwegian group el Parche, members Olga Robayo, Herman Mbamba, Marius Wang. They build up this favela housing structure here, from farm waste, and provided it with visual kind of street art stories of the Robert Mugabe land reform act and the USA/Monsanto war on drugs (and small farmers) in Colombia. It became a place here on the farm to reflect on "another side of farming", that can be easily forgotten in our idyllic countryside. For us it has been an important part of the communal thinking that has shaped our practice into what it is, or heading towards.
Another very exciting work we have been happy to host is Super Meal by Erik Sjödin that investigated the Asian water fern Azolla. The plant had been explored by NASA, as a possible future space crops, due to its enormous growth and great nutrition value. Erik planted it here in our biopool, that cleans water from the farms up streams, and it really did grow enormously, (by this cleaning the polluted water) and was eaten with great appetite by our pigs and chickens, and used as fertilizer in the raised beds of the garden. For the Wedding between art and agriculture, Erik also cooked it, and served together with his fascinating story of the might-be-saver-of-the-planet plant.
Others, like French/Indian dancer and martial arts performer Keity Anjoure came with their own poetic research, in her case over the relation between people and trees, that resulted in a video of her climbing our big old oaks with a soft, ten meters-high silage plastic ladder.
I must also mention the work for the Android smartphone app "boskoi", made by Theun Karelse this Summer. He biked around and mapped out more than 60 different wild apple trees in the surrounding of our farm. They can now be found with the help of the boskoi app, which is a world wide communal inventory of edible plants.
I'm very interested in the Wedding between Art and Agriculture which took place in 2010. A year and a half after the happy day, would you say that this is a happy, fruitful marriage?
It is a happy, fruitful marriage, but more than that, it is serious.... When we arranged it, we called it a re- marriage, and meant that these two human activities had been very closely connected back in history, and only recently been separated. For everybody´s best they needed to go back to each other again. Something in the time we live in wants this, there is a lot of initiatives that shows that. Like people who are developing creative, poetic farming, look at Detroit, or the rise and organisation of small farmers in Africa and the Campesinos in South America. And I also mean all the interest in farming projects from the urban art world. I have seen big exhibition projects every year over the last years in every big city that deals with food production and farming in some way. This was certainly not the case seven or five years ago.
Maybe one could say that this going back together at this point is not really happening out of love, but out of necessity, pure survival. It is a good old fashioned arranged marriage. Then again, what comes first, love or need?
In Europe at the moment we are experiencing recession, all sorts of crisis and there is a sense of fear for what tomorrow will bring. What has the Kultivator experience and projects like 'Imagine Farm' taught you that might be applied to the time we are living? I wondered if you had lessons to share about for example, self-sufficiency, relationship to nature, other living creatures, sharing, etc?
What it has taught us...This is a question that can have so many answers. To begin with, the Kultivator initiative comes out of a wish for something less catastrophic than today's society... We try all the time in what we do to promote, or discuss ways to achieve a sustainable, creative and social way of living. This is what we start with. The big learning experience from working with the projects we have been doing, that we took up and elaborated in Imagine farm, is that cooperation, sharing and discussing visions are crucial things to improve if we want to reach this.
The whole Imagine farm project was an attempt to create a communication tool/situation, where it was possible for kids to play with the future, and show others, over generation borders, what they were thinking and what they wished for. All imaginations of the future that we worked with were from a positive point of view, only focus on what the kids wanted, not what they were afraid of. This we had asked especially for, to avoid the usual guilt and sacrifice carousel that we too often put our kids and ourselves in when talking about the future.
I can't say that the futures the kids visualized were a surprise. They wanted, not unexpectedly, and also not unreasonably, a peaceful, just, and clean world. It is stating the obvious, but that should be like the most heavyweight policy document that there is. Not one thing of all the things we think that it is OK to compromise peace, or justice, or cleanness for, was on their list. And, (again stating the obvious) they are the ones, not us, that will live the future.
We have in general, by all our practical experiments, realized that it is much easier to collaborate than we are brought up to believe. In the present western individualist worldview, the cooperation between for example the farmer and the artist is hopeless, since the practicality of the first will kill the poetry of the latter, and the other way around. But what we experience again and again is that these two aspects together takes ideas and progress further than if they were alone and specialized. Working with more than a hundred children, like in Imagine farm, also showed that if we only put some effort in creative systems to work and think together, we can do almost impossible co operations. Maybe naively we think that the relation with the rest of the ecosystem will work out fine, if we manage to have fair and fruitful relations to each other.
Any upcoming projects Kutivator could share with us?
We have a lot of very nice collaborations going on this spring, now in February we travel to Kirkenes and the Barents Spektakel in Norway, to make another Crosscultural Nomadic cheese, with milk from the bordering countries Norway, Russia and Finland. We work with a new kids - future project in Gnesta, Sweden, and some more exhibitions, seminars and residencies. We also work here on our long - term project the farm, of course, with building an earthhouse, and establishing more of a perma culture garden, to in the end go for self sufficiency for us and our visitors.
We also have another big new project, or direction, still in its very beginning, that we call "The Grandmothers University", with inspiration from Vendana Shivas Navdanya center in India. This will be an exploration into concepts of learning and practicing, and what forms an effective exchange between generations could take. We have some very interesting partners for this, but it is a bit early to announce all details. We are just starting up...Hopefully we can come back on that!
All images courtesy Kultivator.
Previously: Herbologies/Foraging Networks at Pixelache Helsinki and Azolla Super Meal.
On January 31, 2010 a life-size statue of Ronald Mc Donald was abducted from a McDonald's fast food joint in central Helsinki. The kidnapping took place in broad day light as the video below demonstrates:
A few days after, the kidnappers, a group of health-food activists called the Food Liberation Army, uploaded a video message on YouTube threatening to 'decapitate' Ronald if the hamburger corporation failed to answer questions about the quality of its food and its work ethics. The only unequivocal the FLA received was a stern warning that the company "does not negotiate with criminals." So poor Ronald was guillotined. Only that it was only a copy of the stolen figurine that lost its head. The 'original' one remained intact.
Somehow, the Finnish police managed to discover the identity of one of the food activists: artist Jani Leinonen. They raided his home, seized mobile phones and computers, threw him in jail for thirty hours and heroically freed Ronald the "hostage".
It wasn't the first time Leinonen's artworks engaged with food products, satirizing and dismantling their symbols and marketing strategies but this action proved too much for the authorities and the fast food chain. As Leinonen explained in an interview "I thought I was just stealing a store decoration, but I must have done something much worse."
I discovered Jani Leinonen's work at the Venice Biennale back in 2009. The cardboard signs he had bought from beggars across the world were framed and gracing the dining room of the Danish and Nordic Pavilions curated by Elmgreen & Dragset. He had actually bought these signs from people asking for charity and i still remember vividly how uneasy their presence at the swanky art event made me feel.
Thanks to the kind help of James Hudson, i got in touch with Jani Leinonen and bombarded him with questions about the beggars signs, his crazy sexed-up versions of cereal boxes for children, experiments with selling contemporary art works by the bulk as if they were vegetables and of course i was curious about the aftermath of the Ronald affair.
What happened after the Ronald affair? I read about the whole ordeal with the police and how the fast food decoration eventually went back to the restaurant. Is the police still looking at you suspiciously? Has McDonald's banned you from its restaurants?
Fortunately I was not banned from McDonald´s restaurants because I do visit them often. I keep telling myself it´s artistic research but I think I am lying even to myself. We just got the final charges via mail a few weeks ago. I and two other FLA members are charged with forgery and fraud, and the trial will be held in June in Helsinki. The prosecutor claims that the repair form of a fictional statue repair company we left at the table at McDonald´s is a forgery. Even more surprisingly he claims we committed a fraud and tried to profit economically by kidnapping Ronald. I am very happy about the chance to make my case in trial. We are planning to invite the best food specialists and art scholars to witness that our action was art and and served a revolutionary purpose.
Of course, there are many things I would have done differently. Then again, there was no way of knowing that, for example, the police would be doing a six man raid at my home just because we took a plastic store decoration. The project happened mostly in the web and media, and the debates it started and the attention it got there, were beyond all my expectations.
How about the Food Liberation Army? Are you planning to do more actions or did the whole army retire?
I created the Food Liberation Army to allow myself to make art both anonymously and without tagging it art immediately. FLA gave people an impression of activism, which I think my art is really close to. My cover was blown when the cops threw me to jail and the press found about it. But before that it was amazing to follow the confusion of people when they had no idea if the kidnapping was the real thing, or a marketing stunt, or art, or what. The most interesting discussions sparkled out of genuine interest in the issues the FLA brought up in the letter of demands. I think FLA will continue its work but I will deny having any part in it.
You seem to be fascinated with branding. Is it a coincidence that many of the brands you target are associated with family and children? Have any of the cereals makers ever reacted to the way you subvert their packaging?
I read a study that the most unhealthy food products are the most dazzling by the appearance, and those are of course kid´s products. The first time I used packages in my art I received a threatening letter from a Finnish company called Raisio. I had painted on their age-old Elovena oat meal packages. There´s a girl in a traditional Finnish national costume in the cover and I had painted her in Niqab, or as a call girl, or a suicide terrorist. Their lawyer wrote in the letter they have a right to claim financial compensations because I have damaged their trademark. They dropped the case after getting a lot of bad publicity which was in those days my only weapon against these giant corporations. That was the first time I realized that these colorful and seemingly innocent images are dangerous.
I remember seeing the Beggar Signs at the 2009 Venice Biennale. The website of the project says "The incomes from selling the installation and all the donations will be spend on raising the awareness of globally rising class-differences and poverty through thought-provoking actions." What happened after Venice? Did you sell some of those signs and used the money to set up actions? Was Hunger King one of those actions?
I sold the whole thing and the money has been waiting for a good use in a high interest bank account. If I recall correctly, the selling price was around 14 000 euros, and the buyer was one of the richest men in Switzerland. I started buying the signs from beggars already in 2006 without knowing what to do with them. The first two I bought with something like 5 dollars in San Antonio, Texas. The more I bought the worse my conscience got, and I started increasing the purchase price. The last ones I bought with about 40 euros. it was not until 2009 I realized the money I payed and got from the process was so integral that I had to use it to help these people who created the work.
I read on your blog that the Left Alliance party office had asked you if you'd design a poster for the presidential campaign of their candidate. Is that something you could do? Would you be interested in becoming the Shepard Fairey of Finland? Why or why not?
I did do the poster, and he did not make it to the second round. Perhaps it was my fault. We had 8 presidential candidates this year, from 8 different parties. The only regret I have is that I got the most brilliant idea too late. I will save it for the next elections in six years.
I admire your attempts at making and showing art outside of the usual art context: Hunger King, Food Liberation Army and Art Super Market for example. How did the Art's Supermarket work go? Where did you get the idea for it? Which kind of customers did it attract? Why didn't you open it for longer than 3 weeks?
I show art outside its usual context because art has a reputation problem. When people realize a certain object or event is art, their attitude changes. To most people art is this weird, all-allowing, bourgeoise peculiarity. That´s why I spend a lot of time hiding the art from my projects. Hunger King, FLA, Art Supermarket, they were all made they way it took people long to realize they were art. Or perhaps they never did. People react so much stronger when they perceive things as real, as something they cannot put in a box right away.
I also think the job of an artist is to make prototypes, create ideas that change the rules of how people think things are. It´s not our job to take these prototypes to mass production. Art Supermarket was a test of an idea. We opened it just to make a point, not to start a profitable business. I don't have the patience to start doing the real work of running the daily tasks of running a supermarket. I was fun to see it work for 3 weeks, that people did come into a supermarket that sold art like sausages and actually bought works. The place looked so real some people actually came shopping food.
Finally, could you tell us about other Finnish artists whose work you admire?
My all time favorite artist happens to be Finnish: Riiko Sakkinen.
A wire brush spins around randomly, threatening your open-toe sandals. A motion-activated vacuum pump sucks out the air from a gallery space: the longer viewers remain inside, the less air for them to breathe. A cobble stone is rotating on a rope. The sole purpose of that kettle is to spread red acrylic paint on your shoes. An electric fence criss-crosses the path that leads to an art gallery or the bar. Elsewhere a randomly activated tripwire awaits visitors...
There is nothing even remotely safe in Ben Woodeson's works. In fact, they purposely run on hazard and liability waiver forms. Sometimes they even require safety helmets. Woodeson is from the United Kingdom, a state notorious for its stringent regulation and enforcement of workplace health, safety and welfare. Almost every artists you'll meet in the UK have their own share of H&S-related misadventures to tell.
Woodeson's work uses everyday objects and materials to deride and confronts head-on these often absurd rules. The pieces in his Health & Safety Violation series entice visitors to be brave and come nearer as much as they repel and unnerve them. In the coming weeks, Woodeson will present new works at transmediale in Berlin and at The Florence Trust in London. The installation he will show at the TM festival is A seemingly innocent sculptural curtain bisects the foyer space obstructing the visitor's default routes. Avoiding the work requires a conscious detour while also engaging with it requires a willingness to take risk - an "interactive" piece that does not pretend to be harmless.
I've decided not to go to Transmediale this year (first time in 8 years) but i'll be in London to tell you about what he'll be showing at The Florence Trust. In the meantime, a short interview will have to do....
You've exhibited works that involve a very high degree of risk of injury or death to visitors in several art galleries in the UK. How did you avoid the Health and Safety hassle?
Ha! I don't really try to avoid it, it is part of my practice, I think the dialogue between the exhibiting institutions and myself forms a layer of implied meaning within the work. Most of what I do does entail some form of risk, but the Health & Safety Violation's are a specific group of works, where that risk is overtly presented. This is through a clear and obvious physical danger or sometimes via titles that the gallery is forced to acknowledge and negotiate how the works will be presented. Let's face it with titles like Spinning cobblestone (high speed crack your skull open bleed through your ears version) I'm not really hiding the risk, it's right there shouting; they're not coming to me thinking I'm going to show a nice, safe, comforting watercolour...
Masses! Seriously though, I'm expecting in fact I'd say I was requiring the galleries to compromise so, I'd be a real hypocrite if I wasn't prepared to be flexible. Besides as I mentioned, the dialogue forms a layer of implied meaning within the work. As with any negotiation, there are things that you can or can't compromise on. I'm not prepared to lessen the work by corrupting it or compromising it is such a way that alters the meaning and basic experience that the viewer has. However, within most works there is usually some room for give and take.
As artists I think we become adept at the dialogues with institutions, curators and other artists; the pragmatics about what goes where and all that sort of thing. I'm definitely not a foot stomper or a diva. Things usually come to some form of organic conclusion that fits all concerned. I'd rather pull a work from a show than compromise too far, but, the reality is that the artists, the curator and the gallery all want a show to be as good as possible, the rest is mostly details.
Do you observe visitors? Does it take long before they leave their role as a viewer and become an 'adventurer' of Health and Safety Violation?
Nice question! I certainly do observe, in fact I often film the openings of the shows. I need to answer in a sideways manner: Quite a lot of the recent works are different from the early Health & Safety Violations in that they have become eventful, previously the works such as Spiral Twist Hazard (featured recently on WMMNA) would randomly activate / deactivate / wait and repeat.
A lot of the newer works including ones from the new Causality series are still randomly activated but they only trigger once, their activation has become catastrophic. Examples include One Shot Pretty Sculpture where 2000 matches burn and spell out a text or Ball Droppingly Awesome Glass Sculpture where with no fanfare or warning a small mechanism drops a large steel ball into the middle of a sheet of glass. Both works are irrevocably altered by their activation; the resulting debris then forms a kind of sculptural performative afterlife. I used to hold a position that if my works were switched off they were as invalid as for example a switched off video monitor. However, these recent works are made to be experienced in several states and the exhibition(s) therefore evolves depending on the state of the works.
So, coming back to the question, the viewer is sometimes held in a kind of prolonged anticipation: What is it they are actually seeing? Quite often they've signed a liability waiver at the entrance, so they already have this sense of potential danger and heightened awareness, what they don't have is knowledge of what is or is not safe... The random timing on even the repetitive works means it's hard for them to pigeon hole works as safe, not safe etc. The works often function quite abruptly so rather than there being a sense of things about to happen, there is more a sense of things maybe about to happen but no one is quite sure. The abruptness with it's consequent shock is definitely a fundamental factor in many of the works.
I think there is also a big difference in the adventuresome experience of those present at the opening night and those who visit in quieter circumstances. I do tweak the timings a bit so that some stuff does happen at the openings, and a lot of those people present usually know some of what I do, so in a way as a group they've already crossed over into the adventurer role. By contrast a visitor to a comparatively empty gallery might have little or no prior knowledge of my practice, and there might not be other viewers whose behavior could give clues.
The works are visceral and demanding, their in-your-faceness forces both experienced and inexperienced viewers to physically engage and take the adventure.
Can you tell us about your new Causality series? What is it about?
The Causality series are a new group of works started when I was preparing for my recent show at Elevator Gallery; so far they tend to be less direct. Something happens which then has a result, whereas the Violations switch on and off, there is no direct sense of cause and effect. The Causality works are no less challenging and dangerous, but somehow as I mentioned earlier, becoming more of a specific event rather than a repeating one.
In A Perilous Environment Positively Oozing With Pain and Suffering twelve panes of glass are held angled by fishing twine, a computer randomly selects one of the twelve and ignites a wire wool fuse. The fuse burns the twine causing the glass to crash to the floor. I think the difference between the two groups of works is quite organic; they're all confrontational, challenging and possibly a wee bit dangerous, some just seem to intuitively belong to one or the other series.
I'm definitely still working on the Health & Safety Violations for example I'm just finishing a big new piece called Health & Safety Violation #36 - Bite you on your ass and kiss your socks goodbye for Transmediale in Berlin at the end of January. I'm also concurrently working on the Causality series some of which I hope will be ready to show at the Florence Trust open weekend.
You are a Florence Trust resident this year, what are you planning to work on during this residency?
The Florence Trust residencies are really pretty special, time is whizzing by, we're about half way through, in fact the Winter Open is the weekend of 3rd February (PV on the Friday night). For me it has been an interesting time in that I had planned to develop new works that while still clearly fitting within my interests would maybe be more versatile and flexible. However ironically 90% of the new works I've made have been just as difficult and confrontational as ever and so far I don't see any signs of that shifting. I work quite intuitively; balancing concept, material and activity, and maybe it's the church or whatever, but versatile and flexible suddenly seems far less interesting and engaging when compared to fear, fire, gravity, electricity, breaking glass and general sculptural carnage; in other words all the usual stuff that floats my boat.
Previously: Experimental Station - Part 1, In the Laboratory.