Beijing is the hot city for media art this month. Tonight the Summer Digital Entertainment Jam was inaugurated in a gallery at 798 (the exhibition takes place at Beijing Institute of Fashion Technology), there is the amazing Greenpix media facade and a show which has been dubbed "the biggest exhibition of new media art in the world." This kind of heavy superlative rubs me the wrong way. The show nevertheless turned out to be an excellent panorama of contemporary media art practice (well, minus my very favourite: activism, China is not exactly big on critics) featuring works easy to understand and engage with even if you're not a regular of ars electronica festivals. With Synthetic Times - Media Art China 2008, Beijing managed to do what some previous Olympic cities have failed to do (i'm looking at you Torino 2006): taking the Olympics as an opportunity to propose a brave, meaningful, edgy and inspiring art event. I went to the museum twice and was amazed to see so many visitors, from very age range, in the rooms. They were clearly having a good time, asking their husbands or friends to take picture of themselves in front of installations as if these were the Eiffel Tower and laughing all the way while playing with the works.
Pneumatic Sound Field, by NOX/Lars Spuybroek and Edwin van der Heide, at the entrance of the museum
Synthetic Times - Media Art China 2008 distributes the work of both established and emerging artists around four main themes: Beyond Body, Emotive Digital, Recombinant Reality and Here, There and Everywhere. I had seen many of the projects before but that didn't prevent me from being delighted to re-discover them in a new context. However, this post will mostly focus on the works i had never
As its title suggest the Beyond Body section explores how artists are adopting electrical, poetical, olfactory or digital paths to extend the physical body. raising questions of subjectivity and the norms of ethical codes.
Back in 2000, Sissel Tolaas embarked on a projects related to fear. She tracked down 20 men from 20 corners of the word, with different background share one characteristic: they are afraid of other bodies for various reasons. These men were asked to carry a tiny electronic device everywhere with them. Whenever they found themselves in a situation where they were likely to be afraid, the men had to place the device under their armpits. The equipment registered the molecules of the respective sweat. This information was then used to simulate the respective sweat in research laboratories, then microcapsulated.
The microcapsulated sweat smells were then integrated into white sheets of papers placed on the surface of a white wall, without any clear borders. The smell could be released only by a gentle scratch 'n' sniff.
Each bed is equipped with an electric scissor jack, which permits a vertical movement of the bed from 38 to 81 centimetres up from the ground. It also disposes of motorized control of positioning of the upper body, which permits a roundabout movement of part of the mattress in the angle values from 0 to 70 degrees. These movements can be executed either simultaneously or independently. The 21 beds are linked together via a MIDI system to a PC which commands and synchronizes its programmed movements*. The beds are also animated individually and together they make a vast choreographical ballet. The numerous variations of creaks produced by the lattice structure under the beds in the effort to lift them compose the very music of the piece and its ballet. The beds are neatly aligned in a circular corridor. Once you enter the corridor and walk, beds keep appearing step after step, it almost seems like it will never end again.
The Emotive Digital chapter engages with ideas of the emotions and the often surprising personality that digital life, machines and interactive devices might be imbued with.
Exonemo (whom Vicente interviewed a while ago) had installed a very successful artwork. Object B VS is a modified first-person shooting game. You are very welcome to play with it and control the action. However, you'll have to count with a kinetic machine situated on the other side of the screen and assembled from a bunch of household objects, power tools and computer input devices. As wild and chaotic that the machine might seem it does click on the mouse, activate the keyboard and use a pen tablet. Its action hysterically controls an avatar in the game. Try as much as you can, managing to take control over the crazy ugly machine is just a Sysiphean task. The objects' whimsical actions trigger automatic commands, according to which the game develops.
With Hand Gesture, Wu Juehei explores the way tools shape the way people work and function. Because we spend a lot of time typing on a computer, we got used to a series of "short-cuts" and they came to control our habits of using computers. It is often advised to periodically press (Ctrl + S) in order to save the materials we are working on. Thus, many people would unconsciously press Ctrl + S more than needed without even thinking, as if such action calms their conscious. A simple keyboard had its users forming various and numerous habitual hand gestures.
A keyboard is only a small piece to the puzzle, which kind of new behaviours have came to form part of our unconscious gesture through regular use of the handle of a joy pad, the opening of a cell phone, steering wheel, etc?
My photo set.
The exhibition runs at the National Art Museum of China until July 3.
Back in November i was at Medialab Prado in Madrid to visit the Visualizar workshop and i had the pleasure to hear the talk that Juan Freire gave there. I was really looking forward to know better about the thoughts of someone whose keen observation on open knowledge, digital culture and everyware'd city i was following with interest for some time. Juan Freire is one of the very very few people who keep track of what is written in the field of ubiquitous computing, free software and technology but who would also hang around with media art curators and mingle with the hackers and the urbanists. And his everyday job doesn't have much to do with all of the above. He has a PhD in Biology, he is Associate Professor and Coordinator research group at University of Corunna. As a leader of the research group in Marine Resources and Fisheries, he was involved in several R+D projects. He collaborates with businesses, public organizations and NGOs in topics related to sustainability and environmental management. He is CEO of Fismare, an environmental consulting firm. There's more but i'm starting to be convinced that there are hyper-active clones of Freire all over Spain.
His blogs are in spanish: there's Piel digital (Digital skin), nomada and Ciudades enredadas (Networked cities). And obviously his talk was in spanish as well but i found it so inspiring that i've dutifully spent a few hours translating it. I hope you will enjoy reading it as much as we all enjoyed listening to it in Madrid.
That November evening in Madrid, Juan Freire shared with us his thoughts about public space, whether it is obsolescent or necessary, what is the meaning of the expression in the 21st century, and what could happen should public space as we know it disappear.
The issues he made us reflect upon that evening were:
1. What are the commons?, What is the pro-common?
2. Do public spaces suffer from a Tragedy of the Commons or from a Tragedy of the Anti-Commons?
3. Post-modern public space
4. Do public spaces still exist?
5. The hybrid public spaces of the net society
6. The future of hyperlocal networks
7. The hidden face of the hybrid public spaces.
Freire started with a tour of what the term Commons means today. The term sounds rather old-fashioned and probably most people wouldn't feel comfortable defining it today. It's something that comes right from Medieval Times but do the Commons still play a role in our life today? Is it limited to natural resources? Couldn't internet be also part of the Commons? And digital knowledge? Public Spaces? What happens when we put side by side a series of elements which seem to be distinct but are getting increasingly connected such as internet, knowledge and public spaces? Juan Freire's talk tried to explore some of those issues and bring a few answers.
What will the future bring? There are two scenarios, two alternatives of a possible future. Each of these scenarios will be more or less viable depending on many circumstances, one of them being the way we regard our role as citizens:
- we behave passively and accept the future as it comes.
Besides the Commons, exists another key concept: the Tragedy of the commons. The concept was born in the context of natural resources. Years ago, you could fish many big species in the sea. Today, we have to face an over-exploitation of the resources of sea. Many people have explained that the problem lays in the fact that these resources are for everyone to use. That's the Tragedy of the Commons. The expression was coined by a biologist whose work had a big impact on sociologists and economists (while biologists have just started now to discover his thoughts).
Some 40 years ago, Professor Garrett Hardin described the Tragedy of the commons using the hypothetical example of sheep in Scotland in the 19th century. Local herders share a pasture. The wool and meat from their sheep is selling well, they wish to increase their herd size and maximize their yield. More animals means more profit but each additional animal further degrades the pasture which is bad for all herders using the same pasture. However, the rational choice of an individual is selfish and stimulated by short-term gains, they won't let themselves be worried by what is best for the whole herder community and their behaviour will eventually lead to the destruction of the resources on which they all depend.
The solution Hardin proposes to the drama of open access is to impose an external governing structure to manage the fields. What started with a few sheep in Scotland had a big impact on our vision of the world and on the way to manage the commons.
The story doesn't stop there, the government having shown his lack of competence to manage the commons, the ideal solution would involve privatization of the Commons.
Fortunately, some people saw the glitches in Hardin's stark statements and they started to analyze other systems. The case study of a farmer-managed irrigation system in Nepal proves the unreliability of Hardin's view. Farmer-constructed canal which seem rather simple and primitive were actually much more efficient that the ones built for efficiency with a greater expense of money by the Nepal government. The traditional ones irrigated more crops than the newly constructed, government-owned ones. The infrastructure was old-fashioned but they were better managed. The problem didn't lay in the engineering but in the way the canals were managed. The new infrastructure that came with government ownership had the effect of destroying the traditional rules established over generations to manage common resources.
The Nepal example and many other have shown that the Commons can also be managed efficiently using methods which do not have to involve privatization or government-ownership of the resources.
An excess of regulations actually leads to another tragedy, the Tragedy of the Anticommons. The term was coined in 1998 by Michael Heller, a professor at Columbia Law School. In his papers Can Patents Deter Innovation? The Anticommons in Biomedical Research and Do Formal Intellectual Property Rights Hinder the Free Flow of Scientific Knowledge? An Empirical Test of the Anti-Commons Hypothesis, Heller argued that patents are an obstacle to innovation and sharing of knowledge in science. Biomedical research is one of the key areas where competing patent rights could prevent useful and affordable products from reaching the marketplace.
Heller also observed public spaces as his paper The Tragedy of the Anticommons: Property in the Transition from Marx to Markets demonstrates. His essay wonders why many storefronts in Moscow are empty, while street kiosks are full of goods? Heller observed that in post-Communism Moscow there were a lot of open air kiosks, but also a lot of empty stores. He concluded that in the transition from Marxism to capitalism, those commercial spaces had been over-regulated making it difficult for a startup retailer to successfully negotiate for the use of that space.
Lawrence Lessig mentioned and commented on Heller's paper and even transfered the discussion about the commons from biomedicine and public space to internet and knowledge. The concepts of Commons and Anticommons are thus far from obsolete and internet has revived their relevance.
What happens to today's public space? Do they suffer from a tragedy of the Commons or of the anticommons? Are we over-exploiting them or are they paralyzed by an excess of regulations? Have good old public spaces stopped to be useful and functional, do they still bring an added value to the life of citizens?
We often wonder why people attend a particular space rather than another one and how they use that space. Public spaces are often designed from top down with little attention on how citizens will eventually use them which will obviously lead to yet another example of the tragedy of the anticommons.
The first image Juan Freire used to illustrate his point was made by Nicolas Nova in Amsterdam. It shows a street that "defends itself" with elements that prevent people from using the street. This is a case of anticommons.
On the picture below, congested traffic in the streets of Bangkok. This looks like an example of the Tragedy of the Commons. The excessive use of a road that everyone is free to ride makes the road useless, annihilates the public space.
The problem is that we haven't progressed much since the 19th century, which is when an article published in the magazine of the Franklin Institute showed up. Titled On the Best Arrangement of City Streets, the publication(image) gave an example of excessive planning which forgets the role and needs of the citizen. A drawing and two pages of text describe a mathematical formula, an urban science, that ensures the "right" agency of the streets. Such magical formula can lead to an under-used public space. Unfortunately, on a certain number of aspects, we haven't found a method that improves the 1877 drawing.
There's another problem:
Can the ineffectiveness of the "analogical" public space, which we can also call the analogical procommon, be explained by privatization? Many people complain that public space is useful and well designed but because there is a Wal-mart or a Carrefour in the neighbourhoud, we desert public spaces and go to Carrefour (or Wall-mart). Freire believes that that vision needs to be nuanced. Such vision is the one of someone who looks for someone else to blame, does not assume any responsibility and does not even try to solve the problem.
Why is that so? Despite the fact that we live in a capitalist system, there are antagonistic concepts of capitalism but there are also models of capitalism which, although they are very antagonistic, coexist in the same space: the oligarchic model, the State model, the bureaucratic model. They don't really follow the rules of the market. There's a whole structure that prevents the market economy to function properly or that allows it to function only for a few entities.
But there is now another form of understanding the market and it's brought to us by internet. "Markets are conversations." The market here is seen as a deliberate form of aggregation of information, debate, decision making, deliberation between individuals. This is of course an ideal vision of how the market should function and it takes life when a series of barriers of access disappear or when a system enables information to flow freely and be accessed by everyone.
See Good Capitalism, Bad Capitalism, and the Economics of Growth and Prosperity, by William J. Baumol, Robert E. Litan, and Carl J. Schramm.
The solution is not only to eliminate "bad" capitalism but the alternative is "good" capitalism, the one that envisions market as a conversation. That's where internet plays a key role, it eliminates those barriers and when it functions properly, it enables this idea of perfect markets with information that goes both way. This model is hypothetical but we are getting closer to it.
The public spaces we inherited from the 19th century can be called modernist. They were designed from top down, by an elite that cared for the wellbeing of the citizens yet, they have failed under several points of view. Those public space have given way in the 20th century to what we can call the Post-Modernist Public Spaces (even if the expression is questionable). They emerge as an answer to the obsolescence of the previous ones. If people are not going to the public spaces anymore, new -and this time private- opportunities are created for them: the shopping malls, the perfect example of post-modernist public space.
Many people believe that cathedrals have been substituted by shopping malls. For many they are only simulacra of the city. The acme of this idea is Las Vegas. A project of creating a new Las Vegas in Los Monegros (Aragón, SP) could turn out to be an interesting experiment. The shopping mall is the mirror of the society of spectacle. Shopping malls are the new public spaces but not all evil comes from them: in many cases we use them because we don't have alternative or because they represent the best alternative at our disposal. Private initiative, in some cases, has managed to provide us with what public spaces designed by the State have not offered us.
The next question is therefore: How can we take back those old public space and update them? What is left of them?
Berkley University urbanist Christopher Alexander has written: For centuries, the street provided city dwellers with usable public space right outside their houses. Now, in a number of subtle ways, the modern city has made streets which are for "going through," not for "staying in.
The traditional public space, made of squares and streets, have become what anthropologist Marc Augé calls the "Non-Places". Rem Koolhaas goes further by christening them as Junkspace. In the post-modern vision, we move from private space we have to pay for and, as they are often located outside city centers, we have to drive through junkspace, non-places, spaces which have no immediate utility. The problem in the scenario is that interaction seem to have vanished. Social networks have shrunk to our own family circle or to shopping malls. A huge part of social interaction is missing. Are we ready to loose it? If we translate the scenario to the internet we have to imagine an internet where we can only find a commercial space and all the rest will just be junkspace.
To put the finishing touch to the panorama we cannot leave aside the issue of publicity. The spaces between the private spaces we shop to, those junkspaces, are getting filled with advertisement. The vision about publicity is usually very critical and negative. When the Mayor of Sao Paulo in Brazil decided to eradicate any kind of advertisement in the city, his move has been welcome with not only wonder but also praise. Sao Paulo is the third city in the world. It counts almost 11 million inhabitants. Citizens, foreign observers, the press applauded the measure. Those who live from the revenues of publicity were less enthusiastic about it. But to which extent isn't publicity part of our genome, of our ADN today? If you look at photos and videos of Sao Paulo without its billboards and advertising posters you get a slightly deshumanized vision. The structures that supported advertising are still there but they are empty, switched off. The buildings do not seem to be complete anymore. It seems that a crucial part of the city has been lost in the process. Maybe this effect is only transitory.
The following question is:
To what extent can we say that publicity is not part of our public space? And of ourselves?
The answer is not clear of course.
Do public spaces still exist? Or are we left with only post-modernist spaces, connected between themselves by non-spaces or junkspaces?
Freire illustrated the point by making an exercise of inverse engineering. The case study is the APEC (Asia-Pacific Economic Cooperation) Summit which took place last year in Sydney. It shows clearly what remains of a city when access to all public spaces is prohibited. All the security measures were taken to ensure that the event, the most impressive gathering of Heads of State the city had ever witnessed, would unfold without any glitch. Two blogs such as Subtopia (Fenceland and Subverting "Military IKEA") and City of Sound (The Anti-Fun Palace: APEC Fence, Sydney lockdown) documented and analyzed quite shrewdly what happened in a city where access to public space was negated to its inhabitants, where extreme measures of security bring a whole city to a standstill with, for example, a 5km fence surrounding the Opera House area and Google Earth/Maps images of the area (and others) being blanked out or blurred. Important zones of public use where most of the city life was usually concentrated were militarized, closed down or saw their access strictly restricted.
Streets, bike lanes, jogging tracks were closed, spaces where people would go to meet and chat were unaccessible. Fences had taken over the city. What is interesting is what you cannot see in the pictures collected by the bloggers: a way of living in the city being destroyed. When the public space and even the junkspace are eliminated from urban life, the city changes radically. Although we tend to be very critical of the way public space is deteriorating, is becoming useless, etc. reality is that public space is still a fundamental part of the city and not only as place of transit from one shopping mall to our house. By making this forced exercise of inverse engineering, we discover the value of places and things we have stopped to pay attention to.
What is a public space? It depends on the capacity of auto-organization but also on market and community management
A fascinating exploration of public space is Burning Man. An outsider who attended the Fallas in Spain compared them with the Nevada-based festival. The former is organized by the State. Just after the party, the streets are filthy, there are traces of chaos all over the city. Burning Man instead is built and de-constructed by the community of participants without any top down supervision. After the party, the desert is left to its pristine state. No trash is left, the space is clean. The process is totally self-organized. The Burning Man community is able to create a public space which is not only dynamic but also ordered.
Burning Man is a public space that lives at the margins of Hardin's theories.
Another example is Quartzsite (Arizona) which functioning and dynamics have been described in Kazys Varnelis and Robert Sumrell's book Blue Monday: Stories of Absurd Realities and Natural Philosophies (i'll join Juan Freire in his enthusiasm about the book, it's a gem.)
Quartzsite is a desert town of some 3,000 people that every Winter swells to over a million residents (making it the 15th-largest city in the USA) as a horde of modern nomads descends upon it in their motorhome. With very little planning, they create a city which works perfectly, it has its own dynamics, its own market (unlike Burning Man, there is a money-based economy), exchanges of goods and services, etc. It is spontaneous, yet very efficient.
As Freire added, this is not the future of our cities but, making once again some exercises in reverse engineering, there are a few lessons that can be learnt from the Quartzsite experience. People as a group have far more intelligence than most would suspect. Sumrell and Varnelis call it 'swarm intelligence' - a human version of the behaviour often seen in ant colonies and the like.
Juan Freire then illustrated how hybrid a public space can be by showing us the main square of his city, A Coruña (Spain)
Public space functions quite well, it's a very active area of the city. The secret to its success is the mix of private, community and public initiatives which take place on the Square. To be lively a square needs bars and there are plenty of bars here. There is also some space for people to self-organize and develop freely their own activities in a way that neither a bar nor a shopping mall can provide. The other requirement is some entity to think and design the whole experience and to create some urban furniture and other elements susceptible to foster all those activities.
Internet is the element missing from today's equation. We cannot leave the internet aside anymore when we discuss public space. We live in a networked society. Many people say that we live both a physical life and a virtual life but Freire thinks that these two realities are getting more intertwined every day.
We should see beyond the modernist vision of a traditional, well-planned public space. Today we are living a reality which is quite complex, hybrid and multi-faceted. Freire calls it an hyper-reality (in the "hyper-link" sense). Our public space today is hybrid in two ways:
Freire believes that we can achieve this hyper-reality through a re-appropriation of public space. 4 key elements will help us get there:
1. free knowledge,
2. free electro-magnetic space,
3. a post-spectacular architecture,
4. a digital skin layered over tarmac and concrete.
A few words about Free Knowledge, starting with a quote from Stephen Downes: The greatest non-technical issue is the mindset. We have to view information as a flow rather than as a thing. Online learning is a flow. It's like electricity or water. It's there, it's available and it flows. It's not stuff you collect....
Many people are horrified by the fact that knowledge flows continuously. They wouldn't have any qualms about electricity flowing around us freely but they find the idea of a never stopping flow of information highly disturbing. They would like to be able to control it, to store it on the shelves of a library. But that's a lost battle because information is going to increase more and more every day. An you know what? That's a good thing. Especially if we manage to become curators of information. "We", the users, not the so-called experts. We must become "digital chefs" and cook delicious dishes of information. The ingredients are out there on the web, the kitchen is packed with instruments which are free, or very cheap even when they come from some private or commercial initiative like Yahoo! or Google.
The second element we need is what Jose Luis de Vicente calls the "free spectrum", we need to reclaim the use of the electromagnetic space. We need these electromagnetic infrastructures, no matter how intangible they are. As JL de Vicente wrote: "The radio spectrum - the electromagnetic space through which radio and TV broadcasts, mobile phone and GPS signals and WiFi networks circulate - is the real estate of the information society." We can't guarantee the freedom of information if we can't control the structure that gives us access to it.
Thirdly, we need those architects whom Freire calls the "post-spectacular architects". Sure, we like the architects of the "spectacular", we like Frank Gehry's Guggenheim, Moneo's addition to the Prado, Jean Nouvel's extension of the Reina Sofia, etc. But these spaces have not been designed for physical nor digital interaction. We need architects who think from the perspective of the people who will "use" the spaces, not just the tourists. But how should we design with a perspective of participation? The focus should be less on the aesthetics and more on the efficiency and on the functionality (what are we building for?) These ideas won't lead to an anti-aesthetics but to a new form of aesthetics. This aesthetics will not only be better suited to our requirements but it will also start adopting something of the open source philosophy, by sharing designs, methods, etc.
Besides, this architecture will be cheaper and faster. The main problem is that cities change very slowly. We live in the same Madrid as centuries ago, even if society is not the same as centuries ago. Physical changes are way slower than intangible changes. We'll never manage to keep pace with society's changes but we can do something about it.
Freire gave a few examples of the kind of projects that he would like to see bloom over the cities, adding that some of them start to get out of the "workshops ghetto" and appear in glossy magazines:
- Santiago Cirugeda's Recetas Urbanas (Urban Prescriptions). Cirugeda hacks the legal code. Because his home town would not authorize him to build a playground, Santiago Cirugeda obtained a dumpster permit and installed a playground that looked like a dumpster. He also built and occupied a rooftop crane that passersby believed was there only to move building materials. There used to be a video on you tube where the architect used Playmobil toys to demonstrate how to build a temporary flat in your rooftop. The solutions Cirugeda proposes are cheap, fast, accessible to everyone and the key ingredient is to find out the gaps in administrative structure and official procedures, to intervene where the law falls short.
Is Cirugeda doing art, architecture or activism? Probably the three of them but does it really matter?
- Vicente Guallart whose work is more often found in museums than in the streets, probably because his vision is still too futuristic. His Sociopolis project is a neighbourhood designed with a mind set on efficiency, functionality, digital networks,
- Jose Perez de Lama, a member of the Sevilla-based collective hackitectura, believes that we need to build layers of digital information over physical spaces. Architecture, in its traditional definition, is relevant but not central. The space is built using mostly intangible elements: electronic flux, interfaces, audio, projections, words, bodies, landscapes, etc. We need to combine the tectonic with the electronic.
Hackitectura has illustrated their concepts with a series of interventions in public space. The most famous of which being the wikiplaza project in Sevilla which regards public space as multi-layered: there are bars, grass, cements and tarmac but there's also the digital space.
Finally a bit of futuristic speculation. Future is in the hyperlocal networks. Paradoxically, internet has allowed us to be globally connected but it doesn't help us enough when we want to be connected with what is in our own neighbourhood. That's mobile telephony that we use (intensely) for local connections. The development of hyperlocal networks is a big opportunity, a double opportunity: both from the commercial and the citizen point of view.
In the 20th century appeared the Situationists. Among their ideas was the Dérive, an invitation to use the city in a new way. The Situationists failed in their attempt to radically change the world but they manage to predict what the future would bring. We use more and more the city like they said we ought to. This concept of the city as a space for exploration is getting more and more appealing.
The hyperlocal networks are made of elements which are already existing around us but they still have to be connected one to another. However, every day new initiatives appear that tell us that the situation is about to change. Here's a rapid list of projects which Freire find as thought-provoking as inspiring. They might seem to be disconnected but if you put them together in a broader picture, you'll see glimpses of a new reality emerge.
- hyperlinks with physical space, like google maps.
- mobile internet, ubiquitous connectivity (ex. urban tapestries).
- new initiatives like Semapedia to hyperlink the whole world.
- new possibilities to visualize people and the flux of information in urban space. One of the most famous example is Real Time Rome, the MIT SENSEable City Lab's contribution to the 2006 Venice Architecture Biennale.
- collaborative cartography. Geographical information is still private and is often submitted to copyrights. People can view the database but they are not allowed to take the data and use them as they wish. Fortunately some initiative are attempting to put an end to the geo-monopoly. E.g. the open and collaborative OpenStreetMap.
- the mash-ups which use google tools to propose more personal visions of space. Besides, these mashups enable users to monitor what is happening in physical space right here and right now (to track fires in California for example).
All these initiatives demonstrates that we have the opportunity to layer a digital skin over the city. The skin is not just a fad, it will make the urban experience more meaningful and useful. E.g. Urban Tapestries, a research project born in 2003, Dodgeball, Outside.in which aggregates, tags and structures local information available online, using thus individual activities to build instruments useful for everyone.
G. Orwell place, Barcelona
Freire, being the astute and realistic observer he is, also pointed out the darker face of public spaces by quoting Stephen Graham who wrote in Subtopia:
The real architectures of control already are algorithms, software, databases and microelectronic tracking systems, satellites and sensors, linked intimately to physical spaces, infrastructures and bodies, rather than the obvious architectonic brute force of walls and ramparts.
The future might be of the Orwellian type or it can be the one that Freire described in his presentation. It's in the hands of citizens and whether they will adopt an active or passive role. Today we have the opportunity not only to protest but also to take things in our hands and push changes.
However, there's another danger: the one created by people who do not understand internet. German philosopher and sociologist Juergen Habermas wrote that ... in the context of liberal regimes, the rise of millions of fragmented chat room across the world tend instead to lead to the fragmentation of large but politically focused mass audiences into a huge number of isolated issue publics.
Freire believes that instead of just creating fragmentation, internet enable us to go beyond fragmentations.
Facebook, for example, counts many advantages but also many downsides. It's a network you can close and keep for your friends exclusively
LifeAt creates private online communities for residential properties. It's closed and "secure" with control over who has the right to use it and what can be published or not. There's an absolute control over people and content. The model can be interesting for commercial companies or for facebook but in the context of public space, it would do more harm than good, it would mean applying post-modern concepts to new hybrid space.
As a conclusion, Freire quoted an article that urbanist José María Ezquiaga wrote for national newspaper El Pais. He adopted the Mai 68 moto "Sous les pavés la plage" (Under the cobblestones lies the beach) to tell us that we have to see beyond the ugliness of cobblestones and uncover the beaches that exist beneath them. Freire added, this time quoting Jose Pérez de Lama, that above the tarmac there is a digital layer. Although that layer is neither tangible nor visible, it set to fulfill a crucial role. If we use this additional layer intelligently and openly, then the future might indeed be appealing.
The Q&A which followed was almost as fascinating as the presentation itself but i'm done with the translation.
Some choose to embrace art from China, others believe that we should boycott their art as much as the political context. If you follow this blog you'll know on which side i stand, i can't get enough of the China art scene. All my China art-mania didn't save me from being castigated: my blog has been banned in China (euh? what happened here? too much pornography?)
Unrepentant and un-vindicated, i paid a second visit to Florence this year, to check out China China China !!! at the recently opened Centro di Cultura Contemporanea Strozzina (CCCS). The title of the exhibition reflects quite well the plethora of contemporary Chinese art exhibitions which have been sweeping Europe over the past few years.
I recently complained that i keep seeing works by the same elite of artists again and again at every exhibition about Chinese art i happen to visit. Maybe that's one of the many reasons that explain why i like it so much. It's a kind of McDonald's effect, i know before i enter what i'm going to find inside: laughing men, a spat of blood here and there and oh! look! Mao has grown tits!
However, the Florence exhibition is different on several levels. The first reason jumps at you as you enter one of the first rooms of the exhibitions and discover a series of videos and texts. Each of them document how several exhibitions have recently felt the wrath of the very elastic rules that guide censorship in China. They had to close because some works contained nudity or were judged too "unstable".
Not only does China China China!!! offer a clear vision of the difficult situation that curators, gallerists and artists alike have to deal with, it also takes up the challenge to give visitors a glimpse of the way Chinese artists echo the complex reality of a country facing an historical change and cultural transformation. To ensure a balanced and somewhat independent view on the "China phenomenon", the CCCS invited three "insiders", all of whom live and work in China, are not associated with government institutions, and have worked independently for years. Each of them has a very different but complementary and always critical perception of China's art scene and its mechanism. The result is nothing like the Chinese art you've been seeing around Europe and the USA over the past few years.
Beijing-based artist, curator and founder of the independent Art Lab Li Zhenhua curated the section that i found the closest to my own interests. His approach focuses on common cultural roots between different populations, both between China and its neighbours and, at the more macroscopic level, between East and West.
His contribution in the exhibition revolved around the figure of Genghis Khan, founder of the Mongol Empire, the largest contiguous empire in history. He came to power by uniting many of the nomadic tribes of northeast Asia. After founding the Mongol Empire, he set himself the goal to invade and conquer East and Central Asia. During his life (c. 1162-1227), the Mongol Empire eventually occupied most of Asia.
Li Zhenhua chose to invoke his figure as a symbol of the pioneering spirit and communication between civilizations. However, the focus goes beyond the historical past and leads to an analysis of the roots of possible visions of the future of humanity. His section, entitled "Multi-Archaeology", explores cultural identity, the way individuals are shaped by constant change and reciprocal cultural influences, and thereby the relative value of concepts such as "nation" or "race".
His selection includes Nomadic Plan in Outer Space is a body of work by Mongolian artist Wu Ershan that comprise, sculptures, installations and photographs along with the costume and photos from the film which represent Mongolians' nomadic life in the universe. They allude to a non-linear story where the past, the present and the future merge.
The art video by Zhao Liang and Shen Shaomin documents the situation on the Chinese border with North Korea and Russia. An analysis of the consequences of the Mongolian invasion by Genghis Khan on Asiatic culture is compared to the impact of modern globalization, in the constant cultural interchange between East and West. In the same time, the works highlight that the Chinese are not the homogeneous, mono-faceted people we often refer to.
Shen Shaomin's subject is particularly melancholic and poignant. His video, called I am Chinese, takes place in Hongjiang, a village on the border with Russia. During the First World War, when Germany invaded Russia, some Russians on the Chinese border were forced across the Heilongjiang River to Hongjiang Village. Other immigrants joined during WW2 and the October Revolution but the whole Russian community was still struggling to integrate with Chinese society. Things turned really sour during the Chinese Cultural Revolution (1966-1976) as some of the Russians in the village were suspected of being spies and the village got nicknamed "the village of spies". In order to be finally accepted by the Chinese, the elders in the Russian community suggested that marriage should be allowed only to pure Chinese in order to mask the Russian origin of their offspring. This of course resulted in genetic modifications and the birth of a mixed culture.
Equally moving is Return To The Border, a documentary in which Zhao Liang narrates the return to his hometown, Dandong, near the border with North Korea. Until the 1990s, these two socialist states were allies. However, the minute China concluded a trade treaty with South Korea, trade and cooperation was terminated and the people were forcibly plunged into opposite camps. Traveling along the river that separates the two countries, the filmmaker examines what is left of the socialist dreams on both sides of the water.
In his section, Davide Quadrio, director of BizArt Art Centre in Shanghai, developed a very engrossing multi-screen installation entitled 40 + 4 Art is not enough, not enough! Working together with documentary filmmaker Lothar Spree and filmmaker Zhu Xiawen, he interviewed forty different artists in Shanghai and asked them a series of questions about the role of the artist, their relationship with the external world, the social consequences of their work and the international market effects on traditional artistic production modes. The video, edited from 90 hours of film, offers a portrait as much as a dynamic investigation into the fast changing landscape of Shanghai's art scene. On another level, the film stretches beyond the limits of Shanghai and offers a study of the contemporary art scene in China that reveals what lays beneath the glossy, enchanting and almost uniform surface Westerners are used to see in exhibitions.
The third curator, Zhang Wei, is the director of Vitamin Creative Space Contemporary Art in Ghuangzhou. With Throwing Dice, she composed a mosaique of individual visions of human existence in a constantly changing world. The videos of Kan Xuan, Pak Sheung Chuen and Yang Fudong, Cao Fei's explorations into Second Life, technological installations by Chu Yun, and paintings by Duan Jianyu offer individual stories that engage the spectator in the discovery of the artistic sensibility in China today.
China China China!!!, Chinese contemporary art beyond the global market is on view at the Centre for Contemporary Culture Strozzina (CCCS), part of the Fondazione Palazzo Strozzi in Florence, until May 4, 2008.
Just back from Frankfurt where i participated to the marvelously organized and well-attended Node08 Forum for Digital Art conference. As i was in town for two days, i visited All-Inclusive. A Tourist World at the Schirn Kunsthalle.
All-Inclusive. A Tourist World presents works from 30 artists depicting and commenting on various phenomena influenced by the continually growing tourist industry.
Vladimir Raitz pioneered modern package tourism when in 1950 his company, Horizon, provided arrangements for a two-week holiday in Corsica. For an all inclusive price of £32.10s.-, holiday makers could sleep under canvas, sample local wines and eat a meal containing meat twice a day. Within ten years, his company had started mass tourism to Palma, Lourdes, Costa Brava, Sardinia, Minorca, Porto, Costa Blanca and Costa del Sol.
An increase in the standard of living, affordable air travel and the development of the package tour enabled international mass tourism to thrive. For someone living in greater London, Venice today is almost as accessible as Brighton was 100 years ago.
The World Tourism Organization (UNWTO) forecasts that international tourism will continue growing at the average annual rate of 4 % (at least in places where global warming won't totally destroy the sector.) As a result international arrivals are expected to reach over 1.56 billion by the year 2020.
The All-Inclusive exhibition opens with 2 artworks which both evokes two of the most unpleasant moments that pave the tourist's journey: the passage through security with Ayşe Erkmen's Safety Doors which will inevitably ring as you go through, and the wait for your suitcase with a baggage conveyor belt turning around its own axis by the Scandinavian artist duo Michael Elmgreen and Ingar Dragset .
Further away, you're met with another tourist staple: Tensa-barriers that control more than they guide your way along the long long queues. Eva Grubinger's Crowd, 2007 is separating one room of the exhibition to another one. There's no alternative: you have to go through it and feel as foolish as ever.
The mood is set, you're not here to dream and get an overview of the most charming aspects of tourism. And you might exit the show feeling guilty to contribute to the phenomenon. Not that this will stop you from booking a Summer holiday next week.
One of the most symbolic artworks show in Frankfurt is Santiago Sierra's 2001 action on a Spanish beach. In August, the peak of touristic period, he had a huge banner hung from a rock wall overseeing a beach in Mallorca that read "Inländer Raus" ("Natives, go away"), targeting the tension on the resort island between the Spanish residents and the German tourists. out). The work not only inverts the classic xenophobic motto "Auslander Raus" (Foreigners get the hell out), but it also overtly refers to German retirees and celebrities who have virtually displaced the Spanish natives in Majorca.
Responding to complains, the town council immediately ordered the banner torn down, then had it re-installed, and finally it mysteriously disappeared. Soon after the announcement that Sierra had been selected for the Venice Biennale, a series of articles in Spain's mainstream press attacked the decision, probably because people were afraid the artist might destroy the Biennale pavilion.
The work evokes also the tremendous impact that tourism can have on an entire area. Think of Benidorm, that village turned "the Manhattan of the Costa Blanca", or of that forgotten city in the Basque city which has become a tourists magnet since its Guggenheim Museum opened in 1997.
The number one favourite activity of the tourist is taking picture. There are plenty of those in the show. Not by tourists but by renown photographers. Martin Parr's (more in Martin Parr retrospective: from fish & chips to mass tourism) depict tourist patterns of behavior frozen to clichés in a Swiss mountain resort.
Reiner Riedler's lens focuses on artificial tourist landscapes. His photo series Artificial Holidays show people sunbathing on an indoor tropical island in Berlin, skying in Dubai, having dinner at the bottom of Florida's very own Mexican pyramid are based on similar stereotypes. They confirm the theory that tourist photography mainly serves the purpose of confirmation and not of discovery.
Thomas Struth's Museum Photographs show tourists in shorts, jeans and t-shirts with their cameras and guidebooks as they wander around museums with a look on their face that says that no matter how interested they might or might not be in the paintings hung on the walls, they just "have to" be there and be seen contemplating the works. You look at them and find it a bit repulsive then you realize you're just one of them, no matter how educated and refined you might be. Last year, for example, art travel packets -including flights, car rental, entry tickets and hotel- enabled the enlightened to tour the most distinguished event of the European art Summer: the Venice Biennale, Art Basel, documenta in Kassel, and Skulptur. Projekte in Münster.
NL Architects's futuristic scenarios do not forecast a brighter future. In their manipulated images, tourism is used as a weapon by invaders coming to your shores with amusement parks erected on the decks of aircraft carriers.
Tourism and travels are not just about cultural city trips and long afternoons at the beach, it can also be grounded in political and economic circumstances. The Moroccan artist Yto Barrada has captured this fact in A Life Full of Holes: The Straits Project, her photo series about Tangier and the Straits of Gibraltar. The narrow channel that divides Europe and Africa is a sea basin just 14 km across in some places. It is one of the most traveled waterways in the world, but few Africans are able to cross it. The photos examine the hope of migration, its influence on the Tangier cityscape and the temptations of leaving to begin a new life in the other side of the sea.
All-Inclusive reminds us that tourism is one of the most powerful economic forces in the world and as such it is one of the hottest topics in the debate over globalization. Tourism doesn't just bring mouthwatering economic perspectives, it comes with ecological and political aspects: migration, terrorism, pollution of the environment, prostitution, etc.
Dr. Lakra, Untitled (Muscidae and Tea), 2007. Courtesy of the Artist and Kurimanzutto, Mexico City
Unmistakably, Goth-culture has emerged from centuries ago back into the fore of 21st century life. While the noir-drenched subculture's origins are rooted in the aesthetics of the "gothic" art movement which permeated Europe from the 12th to 16th centuries, Goth imagery and iconography and fashion we see today is more connected to the 19th century British revival movement which entertained a longing for medieval times.
The Goth culture of today, found in movies, music, fashion and literature, is influenced more by the revival movement and hinges on darker, yet familiar, concepts of death, darkness or night, abnormality, insanity and just about anything that is opposed to a healthy and conservatively-perceived status quo. And so, the youth, pop-culture as well as contemporary art have been infected with notions of Goth. Whether it be Marylyn Manson's baroque stadium tours, a noir-revival in film or artists who explore death, deformation of the body or self-identity, these attempts break through the norm of the status quo.
The exhibit at the Yokohama Museum of Art featured approximately 250 works of contemporary sculpture, painting, video and photography by six internationally active artists to cite a new working definition of 'Goth' in a contemporary setting.
Shown in Japan for the first time, the detailed, wooden sculptures of Ricky Swallow [Australia] juxtapose vanity and death with the use of skull iconography in this work. Even though skull iconography seems to be everywhere as of late, Swallow also displayed a delicately wood carved skeleton with so much invested work that it seemed human. Each bone, while carved and pieced together delicately to replicate the raw, natural human form, echoed of [human] flaws. The composed, docile macabre posed in the center of the room, with an enigmatic chagrin. In addition to his woodcarvings, Swallow's sculpture of a bronzed vintage boom box further expressed the artist's concern with the flow of time, whether in cyclical or standstill. To preserve what we love despite beauty's transience, knowing it will ultimately die, reminds us of the brevity of life and the tragically comforting adage, that nothing lasts forever.
Spanning the wall of the exhibit space were Pyuupiru's collection of self-portraits which featured the artist with a variety of dramatic, mutilated poses. Appearing androgynous at times, self mutilation and modification were the tools the artist has taken to find her true self in hopes of actualizing her value as a person- psychologically and physically. With the progression of photographs, perhaps Pyuupiru is awaiting a final metamorphoses. How long? Remains a question for the viewer and artist alike. Here, the photos are said to present the process of transformation from man to woman and from a monster to a total self. The incision, modification and mutilation of her physical self seem not to deflect her bold and persistent gaze at the camera- what appears fragile on the surface is not. Rather, in exploring her self identity, her search for true-self is nihilist although a longing for a perfect love of self is detectable.
Comfortable in his technique, tattoo artist Dr. Lakra [Mexico] used vintage Mexican magazine covers (featuring pin up girls and wrestlers) as canvas for his permanent ink. While some of his exhibited works were completed during his residency at the Yokohama Museum of Art Common, Lakra's concerns with death led him to rely on dark iconography such as demons, bats, insects, spiders and gothic patterns which are intertwined with the beautification of the very figures he draws upon. The darker image of Lakra maintains as beautiful literally overwrites original perceptions of these vintage cover models; shunning the original conventions. Lakra's subversive obsession with kitsch beauty and death is perhaps strongly correlated to his up brining in Catholic-heavy Mexico, where such conservative ideas pervade. Continuing to mix the sacred and the secular, Lakra's resistance to an overarching conservatism is clear.
Masayuki Yoshinaga's [Japan] massive archive of street photos of modern day Goth youth, reveal the culture's current vitality. In this collection of photos, Goth iconography is seen translated in a variety of ways- the lolita dresses pervade, as does heavy, aesthetically-driven make up in addition to teeth actually sharpened into a set of fangs. Another stronger body modification, for the truly committed goth, were triangle slits into tongues for a vampire or serpent effect. Yoshinaga's lens focuses on the more colorful and vibrant tangent off the Goth tradition- youth who's obsessive concentration on their subculture suggests a darker, clouded periphery. That is, all else, i.e. values of the status quo, are meaningless. In order to capture such vanity, Yoshinaga elects subjects who wear their heart on their sleeve, no matter how dark it may be.
For this exhibition, a new video installation was created around the theme of human life, which the artists symbolized through birth, maturity and aging. One video, focused on multiple angles of an infant, simply laying on a cold, tiled floor unable to move or walk. In its peril, the infant managed roll over, all the while crying, for some kind of salavation. Is there something beautiful in this or do we file it under morbid? Concerned with conditions of human existence, IngridMwangiRobertHutter's videos provide introspection into moments we opt, and opt not, to remember or avoid confronting but nevertheless expected in our life span. Moreover, how do we deal with the violence, injustice and consequent endemic suffering in our world? Other projected clips focused on an older individual going through suffering, as if surviving a failed suicide attempt from a buildling as well as an elder patient anxiously awaiting in a clinical room.
In a darker room, Tabaimo's large format 360 degree video installation, raised to the ceiling, presented an inner imaginative world where severed hands and feet floated in an interstitial space within the circular canvas. The looped animated sequence revealed a fluid morphing and mutilation of body parts into and out of each other. More fascinating than disturbing, closer attention to the enigmatic evolution of the floating limbs, garnered Tabaimo's individual aesthetic as an animator.
From this collection of contemporary works, Goth is clearly moving onto a wider platform. It is not only the style or the fashion, but rather a means to communicate profound ideas of life, whether those be painful or sorrowful or morbid, they are messages with the same importance and relevance of those found in pop art, or other avenues of pop culture. And on such a platform, these contemporary artists will continue their reflections on birth, death and the transformations that come in between.
Today people will look down on you if your art space doesn't have an exhibition dedicated to ecological issues on its agenda. Unsurprisingly, Milan still hasn't organized anything worth mentioning but her little neighbour, the enlightened and chilly Turin, did. The show is called Greenwashing. Environment, Perils, Promises and Perplexities and is on view at the Fondazione Rebaudengo until May 11, 2008.
Here's the premise: The diverse practices represented in the exhibition do not just point the finger at the degradation of our planet, they also make more tangible the contradictions and responsibilities that we encounter personally and as a society. Art here does not necessarily proclaim a 'correct' ethical or green choice, but allows the possibility for broadening and analysing our perceptions and actions.
The 25 artists and groups selected not only engage with emissions' offsetting, food miles, environmental marketing, ecological footprints, and other eco-conscious issues but they also bring attention to their political and social consequences. Many of the works selected are extremely good at making environmental issues less abstract and remote from our daily reach. I'm glad i had the opportunity to see all these pieces in one go. That's what thematic exhibitions are for, right? However, i couldn't see much past the simple gathering of works, they have this environmental streak to keep them together but there is something missing in the curatorial vision. I don't know the secret to curating an exhibition with a scope and breath which will go beyond the sum of all the works it gangs around but it sure is puzzling when the multiplier symbol is missing.
Still, this exhibition provides enough food for thought for people who are naive enough to believe that they can sleep soundly in their organic cotton bed linen just because they recycle glass, never print any paper unless they have no other choice and always bring their own bags to the supermarket.
I, for one, can say proudly that i only drive bikes (i don't have a driving license anyway) but when i saw the posters of RAF / Reduce Art Flights i could only laugh out loud at my own candor. I might not own a Hummer but i take an awful lot of planes for my work.
Initiated by Gustav Metzger, the RAF campaign upholds that the art world - artists, curators, critics, gallerists, collectors, museum directors, and art bloggers too i guess - could or should swap planes for less carbon dioxide-emitting transports.
The RAF acronym deliberately echoes the Royal Air Force - the aerial warfare branch of the British military - as well as the militant left-wing group known as the Red Army Faction. The message is communicated by mass-produced leaflets first distributed during Sculpture Projects Münster last Summer. The Turin version of the leaflet is available in art galleries and inserted into international mailings in connection with the exhibition.
BP's environmental record is pretty appalling. In 2000, British Petroleum changed its name to BP (Beyond Petroleum) and chose a yellow and green sunflower-like as its logo in a bid to highlight its interest in alternative and environmentally friendly fuels. Nevertheless BP was named one of the "ten worst corporations" in both 2001 and 2005 based on its environmental and human rights records.
The Bruce High Quality Foundation's installation Beyond Pastoral (Shroud of Turin) grows out of a project that the BHQF initiated for an exhibition in New York in 2007, which consisted of a 1/5 scale model of the BP petrol station located opposite the gallery, underneath which thousands of lemons and limes were arranged in the form of the BP logo.
Each fruit was wired with electrodes and together they generated enough electrical current to illuminate the model. The irony of this seemingly earnest demonstration of an alternative energy source lies in the fact that the citruses quickly started to rot, posing a health hazard. Besides, transporting the fruit had required hundreds of liters of fuel. The Turin version of the work presented only the beautifully parched carpet of lemons and videos documenting the New York installation.
Beyond Pastoral exploit the power of faith, images and advertising in the new found religion of 'green' to further test the sustainability, credibility and authenticity of both corporate critique and supposedly miraculous technological promises.
A few weeks ago, i was in a museum bar in New York and almost fell of my chair when i was served a bottle of San Pellegrino, a water that (i think) comes from Lombardy in Italy. Minerva Cuevas's installation in Turin echoes our absurd and eco-damaging fetishism for "exotic" waters.
Égalité (2003) also involves the sabotaging of a corporate graphic identity. Owned by the Danone group, Evian is probably the world's best-known bottled water. Considering that the global market for bottled water multiplied more than 1000 times in the last decade - its average price is more than that of petrol - Cuevas has kept the shape and design of the bottle intact. Bar one detail: she replaced the familiar brand's lettering by Égalité, as in France's motto, 'Liberté, égalité, fraternité' (Liberty, equality, fraternity), subtly pointing out political issues linked to water throughout the world nowadays.
There is little equality as far as access to water is concerned, and those who have a seemingly unlimited access to it would rather pay ridiculous prices for something that comes almost freely from a tap.
Wilfredo Prieto's Estanque installation is a congregation of crude oil barrels choreographed to look like an idyllic lily pond habitat complete with water puddles and a live frog (which had left the building when i visited the show).
Petroleum oil, which is itself an organic substance, is converted by the sheer iconic power of its container into a symbol of all of the ills of our fossil-fuel dependency. Yet the sculpture inevitably suggests the prospect of eco-advertising, as if its graphic visual summary of apparent amphibian-petroleum harmony could perfectly lend itself to an audacious company marketing department in a bid to demonstrate their 'green' industrial principles.
Simon Starling's ironic C.A.M. Crassulacean Acid Metabolism belongs to the artist's fascinating series of "cactus works." This installation is made of functioning cast iron radiators shaped like cacti and connected to a boiler with copper piping. The title of the work comes from a biochemical pathway that is a complex variation of photosynthesis, whereby some plants acquire carbon dioxide during the hours of darkness, minimizing thus eco-physiological stress and water loss from their leaves by avoiding gas exchange during the hot part of the day. C.A.M. opposes the supremely efficient and economical cactus strategy with the slightly ludicrous man-made radiators that expel heat into the exhibition space.
Jennifer Allora and Guillermo Calzadilla, whose life-sized clay hippopotamus had charmed me so much at the Venice Biennale in 2005, presented photos that document a participatory performance event they staged on the island of Vieques in March 2003 together with local residents and activist groups protesting against the U.S Military occupation of the island. The U.S had bought the land from the Puerto Rican government and had been using it for military exercises, and as a firing range and testing ground for bombs, missiles, and other weapons. The military experiments brought together with them severe ecological damage.
Allora & Calzadilla designed rubber shoe soles to be worn during actions of protest. When activists illegally entered the bombing range, they left behind indented messages for the US military staff. The imprints were a way of reclaiming the disputed territory, giving new power to the term "landmark."
Today the contested territory, though still contaminated and debated, is a wildlife reserve under the protection of the US Fish and Wildlife Service.
Verdict: Greenwashing is a moving exhibition worth taking the train for if you ever come to Milan this month for the Salone del Mobile. I'm sure there will be some inspiring projects and gadgets presented this year at the international furniture fair. I wonder if any of them will have the strength of most of the artworks i discovered at the Fondazione Rebaudengo the other day.
I went camera-crazy again.
Related: Book review: Worldchanging: A Users Guide for the 21st Century; Ecological Strategies in Today's Art (part 1 and 2).
Previously at the Fondazione Re Rebaudengo: Murakami exhibition in Turin.
Image on the homepage: Amy Balkin, Public Smog, 2004.