Book description: The Art of Walking: a field guide is the first extensive survey of walking in contemporary art. Combining short texts on the subject with a variety of artists work, The Art of Walking provides a new way of looking at this everyday subject.
The introduction relates peripatetic art now to a wide range of historic precedents, and is followed by a series of visually led 'Walks' dealing with seven overlapping themes: footprints and lines; writers and philosophers; marches and processions; aliens, dandies and drifters; slapstick; studios, museums and biennales; and dog walkers.
The guide includes newly commissioned art and writing, and many artists have been actively involved in the design of their respective pages.
This overview of artworks dealing with walking completely took me by surprise. I was expecting psychogeography, peripatetics, geolocation and theory. But The Art of Walking: A Field Guide is not only light on words, it also follows themes that range from aliens to slapstick to dog walking.
The way the content is illustrated is worth a mention too. There are the usual photos that document performances of course but also letters, preparatory drawings, souvenir programme, etc. The succession of images for each artwork allows the reader to fill in the dots, complete the short presentation text and create their own narrative. The author even asked some of the artists to participate in the editorial process. For example, The Art of Walking opens on a series of proposals that artist Peter Liversidge wrote down on his old typewriter for the author of the book, for himself or for the reader. He invites you to put down the book and go outside, for example. And following his suggestion, the book closes on 5 empty pages for you to write down notes.
The book was thus nothing i expected. And that's never a bad thing.
Special mention for the format and design of the book. Soft cover. Thick, glossy pages but not too glossy (if you know what i mean.) Round corners.
And now for the traditional tour of some of the works presented in the book:
In 2003, Regina José Galindo walked from the Congress of Guatemala building to the National Palace, dipping her bare feet in a basin filled with human blood, leaving red footprints behind as a protest against the presidential candidacy of Guatemala's former dictator José Efraín Ríos Montt whose military regime committed widespread human rights abuses.
In 1991, Francis Alÿs dragged a magnetic toy dog on wheels through Mexico City until it became covered entirely in coins, bits of old tin cans and other street debris.
In the 1999 video performance 'Stoat', Marcus Coates is staggering on wooden platforms, in a pitiful attempt to recreate the animal's gait.
GPS device in hand, Simon Faithfull walked along the Greenwich Meridian from Peace Haven in Hampshire to Cleethorpes in Lincolnshire. Following the exact line of longitude involved climbing through windows and up fences, crossing private properties, swimming through streams and crawling through hedges.
Marches by Lawrence Abu Hamdan is an audio recording, booklet and map documenting two performances on 23 May 2008.
Lawrence Abu Hamdan choreographed two marches in the Queen's Walk and Tower Hill areas of London. The marchers stomped wearing footwear created by local cobblers for greater sonic effect.
And While London Burns is the soundtrack for the era of climate change, set amongst the skyscrapers of the most powerful financial district on Earth, London's Square Mile. An opera for one, it takes the listener, equipped with an mp3 player on a walking audio adventure through the streets and alleyways of our city.
Between 1976 and 1979, Keith Arnatt photographed dogs and their owners out for walks near his home in South Wales. The artist went to great lengths to ensure that the owner and his pet are looking at the camera at the same time.
"Where the photographic act is concerned, a dog's attention span is extremely short. When, for example, calling a dog's name fails to attract its attention, I am forced to resort to more extreme measures."
"My barking and growling are quite effective, though such antics tend also to affect the owner's own response. And though a fair number of pictures do show the dog making the required response, they are marred by showing the owner peering down to see whether they are doing so."
In 2007 high wire artist Didier Pasquette attempted to walk between three of Glasgow's Red Road high rise tower blocks. Unfortunately, high winds forced Pasquette to retrace his path. The performance was used by artist Catherine Yass as the basis of a reflection on the urban environment.
Also by David Evans: Critical Dictionary.
The Work in Progress show of the Design School at the Royal College of Art opened a couple of days ago. I went twice and haven't moved beyond the Design Interactions department yet but i'm hopeful i'll get to see the works of the other departments over the weekend as well.
The department is showing some 40 projects this year. The variety of interests, means to explore them and degrees of speculation is remarkable.
Philipp Ronnenberg's ongoing OpenPositioningSystem / openps.info is a very hands-on, concrete project that aims to offer an alternative to the dominant global positioning systems or other navigation systems which are controlled by governments, network companies or in the case of GPS by the U.S. military. These technologies are closed at the moment and can be shut down at any time.
OpenPositioningSystem, however, was developed in the same spirit as OpenStreetMap. It would be open, accessible to anyone and collaboratively run by citizens.
Here's how the system works:
At the current stage of this project the sensor can detect and collect different frequencies.
In this early stage, the project will still rely on GPS and maps. With the process of expanding the new network of seismic sources, it can be possible to build a stand alone positioning system.
The designer is hoping to gather interested people on the web platform openps.info and build a community which will help him develop the software, hardware and testing processes.
All images courtesy Philipp Ronnenberg.
The School of Design Work-in-Progress Show remains open until 3 February 2013 at RCA Kensington.
My sincere apologies for this belated (but enthusiastic) report from the AND Festival, a festival of new cinema, digital culture and art that takes place annually in Liverpool or Manchester with an extended regional programme.
Finally! An art & tech festival that makes sense. A festival that resonates with the media art expert and the casual passerby alike. An event that values art above in-your-face tech prowess. It was my first visit to an AND festival. I found it witty, surprising, often thought-provoking and enlightening.
Exhibitions, performances, open air cinema and workshops were free and distributed all over the city. My first stop was for the CUBE which was showing two works dealing with biotechnology. Pigs Bladder Football by John O'Shea and Reproductive Futures by Zoe Papadopoulou.
Pigs Bladder Football looks back at the time when football balls were made from pig bladders but instead of using an existing organ, the project tissue engineered small balls from animal cells harvested from abattoir waste. The artist was showing a video, a DIY incubator case as well as prototype of bladder muscle cell growing on 3D-printed polymer scaffold.
Zoe's exhibition was charting the history of assisted reproductive technology, putting the spotlight on landmarks such as the first premature baby wards in the US which used to be part of freak shows, the first test-tube baby, the first orphan who had more than 2 genetic parents, artificial wombs and the possibility to be the 'ultimate solo parent' one day. Reproductive Futures particularly explores one of the many cultural implications of these breakthrough: how are we going to explain children how babies are made? And will the techniques themselves have the potential to fundamentally change the way we perceive parenthood and reproduction?
I'll talk about these two works in more details in the future. Zoe is going to have a show of the final project this Fall in London and an interview with John O'Shea and Professor John Hunt is coming up next month on my art&science radio series for Resonance FM.
The AND festival had also given caravans to artists (London Fieldworks, Hellicar & Lewis, The Center for Genomic Gastronomy, Bureau A, Julian Oliver and Designers Republic) for them to customize, turn into micro art spaces and form a Mobile Republic.
Julian Oliver is perhaps the artist that made the most congruous use of the caravan with a work of "dislocative media." Boarder Bumping highlights the fact that as we traverse borders our cellular devices hop from network to network across neighbouring territories, often before or after we ourselves have arrived. These moments, of our device operating in one territory whilst our body continues in another, can be seen to produce a new and contradictory terrain for action. A free custom-made app on your phone checks for discrepancies between location data and mobile phone towers, thus between where you actually are and where your network says you are. The Border Bumping server then redraws accordingly the map of the national borders you are crossing.
One of the most stunning works i saw at the festival was a duo of videos by Jan Peter Hammer: The Anarchist Banker and Monarchs and Men. They were part of What have I done to (de)serve this? at Blankspace. The show presented works that reflect on the current global financial crisis and explore alternative economic systems.
The protagonist of Pessoa's story was inspired by Artur Alves dos Reis, a fraudster who mounted a scam so big, it shook the credibility of the Portuguese currency, the Escudo. The repercussions on the economy and politics of the country were considerable: the escudo lost much of its credibility and so did the Portuguese government. The crisis enabled the military coup d'état of the 28th of May 1926 and eventually brought the dictatorship of Salazar who stayed in power until 1968.
In Hammer's film, the dialogue between Pessoa's protagonists has been adapted to reflect upon the financial practices of neo-liberalism and the current credit crunch. It is set as a tv talk show in which a banker with a ruthless logic is interviewed in the aftermath of the 2008 financial crisis.
The other film, Monarchs and Men, is a sequel of The Anarchist Banker. The same banker is back on screen with a similar panegyric of 'rational egoism' and individualism. This time the scenario is based on an imaginary conversation between Leon Tolstoy and John Davidson Rockefeller, published in 1913 by Maximilian Harden. Hammer sets the scene at the opening of an art exhibition at a gallery supported by the banker.
The films are brilliantly frustrating. The banker is the star of both. Anyone watching it will detest his brutal point of view and be irritated by the way he invariably defeats any argument opposed to his dogma. But it is also impossible not to admire his eloquence, firm beliefs and unflappable logic. Besides, the media usually show us capitalists attempting to defend their practice. There's no apology nor hypocrisy here, just merciless, unadulterated mindset.
The theme of the Blue Crystal Ball exhibition at the Holden Gallery should have repelled me. Well actually it did repel me but i tried not to let my prejudices stop me. The show presented film and video works that explore the ideals and values of the Olympic movement.
The videos were very different from each other and very good. Without any exception. But i've already exhausted my quota of video reviews that aren't accompanied by any extract online for the day so you'll just have to take my word for it alas!
And i'll close with men briefs. Because i couldn't find any reason not to end on this happy note.
Yesterday, i went to the Saatchi Gallery to see Korean Eye and the most charitable comment i'm willing to make about the show is that it has a few good moments. However, the exhibition on the top floor, The Nine Eyes of Google Street View, is worth the trip to King's Road.
The nine eyes are the cameras mounted on the pole on top of each vehicle that Google sent around the world 5 years ago. The technology of Google Street View has sparkled moments of deep humiliation, interest from the press photography community, privacy concerns and brilliant artistic reactions.
Jon Rafman was one of the first artists who spent hours looking at the images collected by the cars and searching not just for the amusing, the ridiculous and the fortuitous but also for postcard perfect moments. And does he have an eye for stunning images...
As the artist writes: With its supposedly neutral gaze, the Street View photography had a spontaneous quality unspoiled by the sensitivities or agendas of a human photographer... capturing fragments of reality stripped of all cultural intentions.
Without indication of their location:
Looks like Trellick Tower in North Kensington, London.
Probably my favourite:
Previously: Community Performance in Google Street View, Aaron Hobson's Cinemascapes: Google Street View Edition which i discovered at the London Festival of Photography, and Michael Wolf, We are watching you...
As i mentioned this morning, The Center for PostNatural History in Pittsburgh has recently opened The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault, an exhibition that takes the famous "Doomsday Vault" as its starting point.
Opened in 2008, the Svalbard Global Seed Vault (SGSV) preserves seeds from nearly every nation on Earth in an underground cavern engineered to withstand catastrophe. It is located on the outskirts of Longyearbyen, on the arctic island of Spitsbergen, Svalbard Archipelago, halfway between the North Pole and Norway.
The seeds stored in this biological safety deposit box are duplicate samples held in seed banks worldwide. The facility is about 130 meters above sea level to protect it against any rise in sea level as a result of global warming, nuclear attack, and earth quakes. The vault itself has been tunnelled 120 meters into the mountain, in order to guarantee stable permafrost.
The exhibition currently on view at the Center for Postnatural History is a joint research and extrapolative project by artists Signe Lidén, Annesofie Norn, and Steve Rowell. Together, they examine the meaning and function of the world's largest and most well-protected collection of agricultural diversity.
The artists traveled to Longyearbyen in February, August, and September 2011 and came back with hundreds of photographs, videos, and audio recordings. The collaborative work also includes an experimental garden, field guide, and map from a survival kit designed to help future generations successfully locate this critical cache of seeds.
Steve Rowell: "The map above reveals the speculative geopolitics of the territory surrounding the vault, in a possible future-scenario in which China, Russia, and NATO have established military bases and industrial sites there. The document includes locations of navigation hazards, beacons, and other points of interest: emergency food/fuel caches, communication towers, weapons dump sites (radiological, chemical, even biological), wind turbine farms, ship wrecks, ruined oil platforms, undersea communication cables, etc. Since a treaty was signed in 1925, Svalbard has been officially demilitarized. But, WWII saw the sacking and burning of Longyearbyen by German troops and covert intelligence activities by both the US and USSR. Evidence of this can be found in historic photos and declassified documents and maps in the Cold Coast Archive exhibition."
The Cold Coast Archive project investigates and explores human beings' efforts to preserve civilization and defy the inevitability of its demise. We look at the vault as a whole: its practical, political, historical and symbolic structure, its arctic location, as well as its infrastructure and cultural nuances, with all the research concentrated at this site, as a backdrop to explore the human relationship to time between now and eternity.
I spent several hours yesterday clicking through the website of the project. It contains sound files that gives us a feeling of the atmosphere in the area as well as video interviews with the people who live there: from the world´s northernmost surfer to the miners working in the coal mine, from volunteers attempting to protect the coast from oil spills to experts in plant breeding and genetics. And of course there are dozens of stunning images. I've asked Steve Rowell to comment a couple of them for us:
Steve Rowell: "This is an artist's billboard mural (not sure who) on the road between the airport and the Sval Sat earthstation on the plataeu above the Seed Vault. The whole region is historic and active coal mine country. There's an active mine a few hundred meters down the road from this sign and the seed vault is situated between two closed mine shafts."
Steve Rowell: "We did drive these snowmobiles on a tour of the Advent valley and Temple Fjord / glacier. Typically we drove a 4x4 van (white one in one of the pics) or walked. There are no roads between the 3 active towns on Spitsbergen. Besides Longyearbyen, there are two mining towns: Barentsburg (Russian and Ukranian almost exclusively) and Svea Gruva (Norwegian). Remote Pyramiden was a Russian town, but now completely abandoned. The northernmost Lenin head is there as well as baby grand piano in an empty Russian hotel building. In the winter, when I went, travel outside of Longyearbyen was a pretty serious task and involved a mandatory guide who was licensed to carry a rifle, and trained to shoot and kill a polar bear if need-be. Anyone who leaves town MUST carry a rifle for self defense, along with a trailer (dog-sled or snowmobile) with enough supplies, food for 3 days."
Steve Rowell: "These are the doors to the inner vault where the seeds are being stored. There are three inner vaults. Only 1 of the 3 is being used now."
Steve Rowell: "Yeah, pretty amazing how wrong that one is. This is one of many that I found at the Library of Congress in Washington, DC in their maps collection. Did you notice the CIA map? There was no note of this being declassified, but I'm sure it is. The yellowish coloration in my photo isn't from a hi-lighter marker, but residual adhesive from tape that I removed. I noticed two white pieces of tape in both corners and peeled them back to reveal that the CIA had designed and printed this. All that Arctic strategizing is now coming to fruition. Russia was in the news this week about a deal that they just signed with Exxon-Mobil to explore the Russian Arctic for oil, incl the area to the East of Svalbard. "
Steve Rowell: "A peninsula on Spitsbergen between Longyearbyen (the vault) and Barentsburg. Incredible how many shades of blue exist up there in the winter, long blue spectrum wavelengths reflecting infinitely between atmosphere and snow. "
Steve Rowell: This one is an "Aerial view of the SvalSat facility."
Svalbard Satellite Station, aka SvalSat, is a large satellite earth station located on the island of Spitsbergen, above the Seed Vault. In a mountain nearby, the only remaining coal mine in operation provides power to the Seed Vault. On the mountain top above it, a research station monitors aurora borealis. As the website Cold Coast states, So here we have dramatically contrasting manifestations of space and time at an immense scale: on the mountain tops, instruments that reach deep into space and measure the present and predict relatively close future; deep underneath in the ground, two cavities - one harvesting the energy of fossilized rainforest created millions of years ago and the other protecting life into eternity.
And finally, Steve Rowell was kind enough to send me some views from the exhibition The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault at the Center for Postnatural History:
The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault is on display at the Center for Postnatural History until August 15th, 2012.
The Transparency Grenade! A name like that was bound to get my attention.
It might look like a Soviet F1 Hand Grenade, but what the Transparency Grenade contains is 'just' a tiny computer, a microphone and a powerful wireless antenna. No explosive then! Except maybe the information that the device is capable of blasting to the world. The Transparency Grenade fights against the lack of corporate and governmental transparency. It captures network traffic and audio at the site of closed meetings and anonymously streams the data to a dedicated server where email fragments, HTML pages, images and voice are extracted and displayed on an online map.
The device was created by Critical Engineer and artist Julian Oliver, author of works such as a modified analog colour television able to capture and screen images downloaded by people on local wireless hotspots, a wall plug that messes with the news read by other people on wireless hotspots and a software platform for replacing billboard advertisements with art in real-time. Now i'm left wondering why i didn't try and interview him for the blog before...
Hi Julian! What strikes me with your latest project is the way it looks. It is miles away from the 'bastard in beige' newstweek. Why did you decide to give the work such a threatening design?
I gave the Transparency Grenade this design to signify some of the conversation around cyber warfare, 'information weapons' and the Cyber Soldier divisions marching out from national defense budgets worldwide. It can be considered a functional weapon in a symbolically representative container.
We've seen the transformative power of network-leveraged leaking in the last decade, first with the incumbent Cryptome and then much more recently with Wikileaks. The very idea of an immaterial explosion with the power to shake the walls of institutions, businesses and political cultures - moving matter and people in its wake - is naturally attractive, not only in the conceptual sense.
The volatility of information in networked, digital contexts itself frames a precedent for clamouring (and often unrealistic) attempts to contain it. One could even say it's this desperate fear of the leak that produces images like my grenade, images that will continue to take violent forms in popular culture, journalism and Presidential speeches in time. In fact the metaphor of a Transparency Grenade is itself not new, first used publicly by Mike Taylor in the Observer, a few months after I drew up this project. A timely coincidence.
Most importantly however it is the hyperbole and fear around containing these volatile records, of the cyber burglary, that increasingly yields assumptive logics that ultimately shape how we use networks and think about the right to information. Just as record companies claim billions in losses due to file sharing, the fear of the leak is being actively exploited by law makers to afford organisations greater opacity and thus control.
This anxiety, this 'network insecurity', impacts not just upon the freedom of speech but the felt instinct to speak at all. All of a sudden letting public know what's going on inside a publicly funded organisation is somehow 'wrong' -Bradley Manning a sacrificial lamb to that effect. Meanwhile civil servants and publicly-owned companies continue to make decisions behind guarded doors that impact the lives of many, whether human or other animal.
All we have left from the Bin Laden assassination, for instance, is that photo from The Situation Room, a bunch of contradictory reports of what actually happened and a body being eaten by sea lice somewhere in the Indian Ocean - or was it the Indian Ocean? How much did that assassination cost American tax payers? Of course we wonder what was said in that room! Somehow such a significant event has now been reduced to a little black box and scrapbook..
I believe quality journalism has never been so important as it is today yet at the same it's never been so threatened, both in and out of a democratic context. Given great reductions to the freedom of the press recently it's only natural that we see them adopt guerilla tactics - especially given new discovery vectors opened up by digital communications. It should come as no surprise many of their tactics will be technically illegal or even ethically corrupt!
As we saw with the News of the World scandal, they are competing within an economy where news has capital value, itself a deep and driving flaw. Under such conditions, and baited with possibility, news corporations will increasingly look for points of exploit with exit strategies (and/or apologies) prepared.
With the Transparency Grenade I wanted to capture these important tensions in an iconic, hand-held package.
Has anyone tested it in some corporate or governmental place? Is this something you plan to do one day?
Even if I planned to I certainly wouldn't mention it here!
It is perhaps worth mentioning however that from the software side I haven't implemented anything new. Network packet capture has been around for decades, digital audio streaming for quite some time and TCP stream reconstruction also. Rather, I've wrapped up a variety of command line utilities in scripts that allow for the whole thing to work, both on the device and the server. An upcoming project 'Covert Peripherals' will explore this, as a canvas for productive paranoia. You'll never trust your mouse again..
Because of the simplicity of the design it is relatively trivial for me to port the Transparency Grenade back-end to the Android platform, something I'm working on currently thanks to a generous hardware donation from Australian based developer Scott Robinson. This will allow activists (or those simply sick of the relative opacity of their organisation) to deploy Transparency Grenade like functionality on their rooted Android phone and send the data over an encrypted channel via their GSM provider to a publicly available map, displaying the detonation as data from that site.
I will not offer the public map interface and data mining parts as a service (that'd be illegal, wouldn't it!). I will however provide code for people to install on their servers and or study.
Who'd be your dream 'target'? Who do you think has secrets worth unveiling?
Governments aside I certainly think we need a great deal more transparency in the Agricultural sector. A lot of effort is being exerted, including laws written, to ensure we don't know where our food comes from, alongside the impact of that food on the environment and our bodies. A year ago Senator Jim Norman of Florida proposed a blanket ban on video or photography of farms, even from the road! We have to wonder why. The meat industry is especially aggressive in this regard, their lobbies very powerful.
The arms industry, the rampant privatisation of publicly owned infrastructure, pharmaceutical industries, are also increasingly opaque in their business dealings. Why are cures, for instance, such highly guarded secrets? Symptom relief is often vastly more profitable.
What has been the reaction to the Transparency Grenade so far? Newstweek garnered much media attention and i suspect the TG, because of its functions but again also because of the way it looks, might distress and worry some people.
I've heard words like 'gorgeous' often enough for fearful responses to not dominate, thankfully! We had around 2000 people to the exhibition opening of our show
I wanted it to look elegant, a bottle of high-class perfume, as much as a weapon. Thanks to Berlin-based Susanne Stauch, who modeled the metal components in high-grade sterling silver, that aesthetic carries across I think, at least when you see it in the flesh.
I'd like to add that my conversations with writer and journalist Marta Peirano greatly nourished my thinking around this project, this interview alongside.
Thank you Julian!
The Transparency Grenade was created for the Weise7 Studio exhibition, curated by Transmediale 2012 Director, Kristoffer Gansing.. You can visit it at Labor Berlin, Haus Der Kulturen der Welt, until Feb 20, 2012.