There's only one week left to head to Newcastle, Sunderland, Gateshead and Middlesbrough and visit AV Festival, a biennial of contemporary art, music and film which main theme this year is As Slow As Possible.
One of the works on show is the extremely long-term project that sees Agnes Meyer-Brandis training a flock of young geese to fly to the moon. The whole training started last Spring and according to her schedule, the birds will go on their first unmanned flight to the satellite in 2024. However, the artist plans to accompany them on a later flight, most probably in 2027.
Meyer-Brandis' scientific experiment is inspired by The Man in the Moone, a story written in the early 17th century by English bishop Francis Godwin, a believer in the Copernican heliocentric system and of the latest theories in magnetism and astronomy. The book tells how Domingo Gonsales flies to the moon and gets to meet an advanced lunar civilization. The adventurer managed to escape the 'magnetic attraction of the earth' by harnessing a flock of birds called gansas, specifically trained for the purpose. Some critics regard the story as the first work of science fiction in English.
Since it has become so difficult to locate moon geese, Meyer-Brandis breeds her own moon geese. She acquired the eggs last April, named each of them after an astronaut, placed them in an incubator, watched over them, witnessed the hatching and imprinted herself on to them as their stand-in mother, just like Konrad Lorenz did with greylag geese.
The surrogate mother had to spend the weeks following the hatching in close contact with the eleven geese. The astronaut training started almost immediately, the young birds were encouraged to walk in a V-shape --the formation used to tow Godwin's chariot-- taken on expeditions into the mountains for high altitude training, taught how to use morse code devices for improved interspecies communication, and given lectures about astronomy and navigation.
The birds are currently continuing their training at Pollinaria (Italy), in an analogue that simulates the conditions of the Moon. Visitors of the show The Moon Goose Analogue: Lunar Migration Bird Facility in Newcastle can see a scaled model of the remote analogue site, admire the portraits of the astronauts, watch a documentary of the experiment and follow the birds daily life through the screens in the control room at the back of the gallery.
Documentation of the project and installation The Moon Goose Analogue:
Agnes Meyer-Brandis: The Moon Goose Analogue: Lunar Migration Bird Facility is part of the AV Festival and you can see the film and installation at the Great North Museum: Hancock in Newcastle through 31 March, 2012.
Also on view at the AV Festival: Slow Motion Car Crash.
You know how survivors of a car crash sometimes say that they experienced the few seconds before and during the collision as a stretched period of time and how cinema often depicts road accidents in slow motion? You might experience a similar feeling in Newcastle right now. The main difference is that the car crash is taking place over the course of a whole month.
A white VW Golf is currently hitting the wall of a shop painted entirely in white at the pace of seven millimetres per hour. So slowly you don't really notice that anything is taking place. You can enter and see the collision from up close during the opening times of the shop/gallery or watch the crash 24/7 from the street.
The car was emptied of any fuel that might spark an explosion and installed on hydraulic tracks that push and crush its front end against the wall.
The piece is a perfect match for the ongoing AV Festival which theme this year is As Slow As Possible. I'll blog a full report of the festival as soon as i've received more images from the press office. The ones i took are unfortunately as lame as usual. Besides i've deleted half of them by mistake. Hurray!
Time lapse footage of the first week of the collision:
Slow Motion Car Crash was commissioned by Locus+, a Newcastle-based art production agency for the AV Festival that takes place in Middlesbrough, Newcastle, Gateshead and Sunderland throughout the month.
Tim Miller has devised 101 ways to use a trailer. Yes, a trailer, that mundane, strictly utilitarian object no one would ever waste a glance on. The designer, however, sees the trailer as a blank canvas that has the potential to become a tool for the realization of collective as well as individual dreams. You can use trailers for anything, you can reinterpret them, you can use them to manipulate the world around you or better said you can 'pervert' trailers according to your desires and needs.
Miller has already put some of its 101 ways to use a trailer to the test:
- Trailers are routinely used as a rapid deployment devices that generate a zone of exclusion or control. The police turn trailers into mobile surveillance tools by mounting them with CCTV cameras. The military uses them as walls. Inspired by these practices, Tim Miller designed a trailer that emits a pink light that would deter teenagers from any area where the object is left. The choice of colour is not arbitrary. Pink lights have already been used in a Nottinghamshire housing estate because the colour is seen as 'uncool', emphasizes acne and as such rely on any personal insecurities young people might have.
- A film screened at RCA's work in progress exhibition showed another function for the trailer: the vehicle was used to simulate and film car driving in a similar way to the studios of Hollywood.
Pervert Trailer was exhibited at the Work in Progress show a few weeks ago at the Royal College of Art in London. Only 99 more ways to use a trailer to go!
Pervert Trailers was developed at Platform 13, in the Design Product department. The platform, which is by far my favourite in the whole department, is headed by Onkar Kular and Sebastien Noel. Together they look at how design can contribute to alternative models of living and production by engaging with, commenting on, and addressing issues currently beyond the usual scope of design - political, social, technological or ecological.
Utopia Forever - Visions of Architecture and Urbanism. An inspirational exploration of utopias and radical approaches to city planning. Edited by Robert Klanten and Lukas Feireiss (available on amazon USAand UK.)
Everything in this book is orderly and rational. Clean and clear design. Project neatly presented: title, name of the architects, envisioned location and envisioned completion date. Followed by a brief summary of the context for the project and a few paragraphs that describe its principles and the way it works.
Five themes govern the selection of projects. Great Scapes examines proposals of living in inhospitable spaces: deserts, caves, online, up in the sky, etc. As its name suggests the chapter Rising Tides is all about projects that responds to rising sea levels. Ecotopia Emerging presents projects that have distinctly (and at times, extreme) eco-conscious ideals. Technology Matters highlights the impact of innovation on the way architects envision utopia. The last section, Sky's the Limit engages with vertical architecture.
The dozens of projects presented in the volume are accompanied by six essays that vary from the pragmatic to the humorous: Dan Wood and Amale Andraos walk us briskly through architectural utopia of the 1960s and 70s while Geoff Manaugh offers a tongue-in-cheek but also remarkably spot-on game that would help you build every possible scenario of utopian architecture.
Everything in this book is orderly and rational. Everything but the subject of the monograph of course. But no matter how 'conceptual' and outlandish the works presented in the book might appear, they come with irony, lucidity and a desire to focus on society/the planet's most pressing needs and as such, they provide valuable food for thought.
Some are mere exercises in speculations while others almost have their feet on the ground. Some are strangely seducing, others will give you nightmares.
Of course you will find in this book what any respectable book about utopian architecture should offer: pods of all sorts, vertical farms a gogo, mobile living spaces, cities built in the air, on the water, in the water and of course flooded cities. But there were also a few scenarios i had never heard about:
David A. Garcia has a couple of exciting projects in the book. My favourite is the Quarantined Library located on a cargo ship. Its mission is to collect infected and radioactive books, a robotic arms that engraves secrets on wooden panels infected by termites, and historically censored books. I couldn't find illustrations online but i did find some for the South Pole living station for 100 visitors with minimum environmental impact. The space would be holed out in a super large iceberg which would eventually melt in 7 to 10 years time.
Mila Studio proposes to build a 1,000m tall faux mountain at the site of the masterpieces that is the former Tempelhof airport in Berlin instead of hotels and sky-high offices. The Berg would be the world's largest man-made mountain, covered with snow from September to March and would serve as a tourist attraction for skiers in the otherwise slope-less city.
London-based NaJa and deOstos office develops speculative, alternative urban concepts. One of the most attention-grabbing is the Hanging Cemetery of Baghdad which explore a possible response to extreme cultural and political challenges such as the crisis in the Middle East. Initiated in 2004, the project envisions "a gigantic presence of a hanging funereal structure [that] extends over the volatile city of Baghdad."
Nicolas Mouret's Phyte is a 380m high tower that would move in natural flow and offer a stark contrast to the city's static skyline. The mechanical energy of the rocking tower would generate enough electricity to supply the building's lighting.
Stéphane Malka's Self Defense hijacks The Grande Arche De La Défense in Paris and turn it into the 'Great arch of fraternity' at the service of the forsaken, the marginalized, refugees, demonstrators, dissenters, hippies, utopians, and the stateless of all kinds.
Where the Grass is Greener by Tomorrow's Thoughts Today envisions a group of Londoners who have chosen to segregate themselves from the rest of society, and has taken up the mantle of sustainability in an extraordinary way. Driven by a set of ethics that places them in sometimes radical opposition to the rest of London, they have adopted a lifestyle that effectively makes them a carbon sink for the remainder of the city.
Saturation City explores the future of Australian urban space in 40 years time. The proposal manufactured a crisis - a rise in sea level of 20m, tested around Melbourne and Port Philip Bay - that would require dramatic urban upheaval. The park/garden, the business district, the suburb and the coastline, are subjected to dramatic densifications in response to the 'flood'.
Views inside the book:
Image on the homepage: NL Architects, Cruise City, City Cruise, 2003.
Wodiczko is best known for his large-scale and video projections on buildings and monuments. Since the 1980s, he has been transforming the facades of official buildings and historical monuments into temporary spaces for critical reflection and public protest.
Krzysztof Wodiczko covers 40 years of the artist's extensive, and often controversial, body of work using contemporary technologies to form a commentary on politics, ethics, social responsibility and the urban experience. Comprising a collection of writing by some of the most critically acclaimed art historians, cultural theorists and commentators working today, along with both previously published and unpublished texts by Wodiczko himself, this book is the definitive study of the artist's work. Richly illustrated, the book includes a diverse selection of images, ranging from digital montages and preliminary visualisations to sketches and photographs.
If there's one artist whose innovative and socially-engaged work never ceases to impress me it's Krzysztof Wodiczko. Not even his 'oldest' pieces have suffered from the passage of time. They are still as relevant as ever, even if the context has changed. His 1969 Personal Instrument, for example, consisted of a microphone, worn on the forehead, which retrieved sound from the environment while photo-receivers in gloves filtered the sound through the movement of the hand: closing the hands suppresses the sound, turning the hands to face the light opens up the sound channel, the photoreceivers on the right hand control the low-pitch filter and the ones on the left hand control the high-pitch. The resulting sound was perceived by the artist only through his headphones. By emphasizing selective listening, vital to a Polish citizen's survival at the time, Wodiczko intimated the prevalence of censored speech, registering "dissent of a system that fostered only one-directional critical thinking - listening over speech." (Source: wikipedia.)
Wodiczko's projections and instruments reinstate the city as a space for discussion, relentless questioning and debate. Therefore Krzysztof Wodiczko is not only a monograph on the artist's work, it is also a book that offers readers the opportunity to reflect upon the unresolved and under-discussed issues that the artist's projects engages with: post-war trauma, plight of illegal immigrants, exclusion of homeless people from society, industrial pollution, profit-making real-estate redevelopment that forces poor residents to move away, gun violence, etc. It is also one of the rare books i feel like recommending to artists, activists and designers alike.
Presentations of the artist's individual artworks alternate with essays by Professors of Art History, Contemporary Art, of Architectural Theory as well as art critiques and curators that focus on particular aspects of Wodiczko's work and life: the political and artistic context of Poland from the 1950s till the 1980s, New York's urban redevelopment programme which involved raise in property value and displacement of the lower income population, urban guerrilla warfare, issues of identity, etc. Along with the texts by the various contributors, the study contains also excerpts from conversation the artist had with art critiques or homeless people, a selection of his own essays, chapters from exhibition catalogues and other original documents.
I'm sure many of you are familiar with his work but for my own pleasure, here's a couple of works i discovered or re-discovered in the book:
Homeless Vehicle Project provides homeless people with a mobile tool that responds to their basic needs (living, sleeping and washing) but also assists them in their 'daily job' as collectors and resellers of discarded cans and bottles. The vehicle was not designed as a solution to their housing problem, but it rendered visible to passersby the invisible: the hundred of people compelled to 'sleep rough' on the streets of New York City.
While he was in London for a commissioned projection in Trafalgar Square, Wodiczko decided to react to what he was reading in the newspapers: racial violence in South Africa and Thatcher government's refusal to apply economic sanctions against apartheid. Since the South Africa House, was mere steps away from the Nelson Column, the artist projected a Nazi swastika on the facade of the building, establishing an uncomfortable parallel between the racist policies of South Africa and that of Hitler's Germany.
South African officials contacted the police who put a stop to the projection after only two hours.
The projection of a cruise missile on the cliffs above Bow Falls, in Banff National Park in Alberta echoed protests that rose across Canada when it emerged that Alberta had been selected as a location for testing U.S. cruise missiles in the country.
Black Dog Publishing also has an art gallery by King's Cross St Pancras' station. They have recently opened the exhibition Krzysztof Wodiczko: The Abolition of War. It will remain on view at the WORK Gallery in London though 14 January 2012.
I was planning to post this interview next week but because Ivan Henriques's action plant is yet another brilliant work on show at ArtBots Gent this weekend, i thought it would be silly to wait and not promote the event with a timely post.
Ivan Henriques worked with professor Bert van Duijn (Biology University and Hortus Botanicus in Leiden) on a research into the "action potential" of the Mimosa Pudica. The result of their collaboration is Jurema Action Plant, a machine which interfaces a sensitive plant (Mimosa Pudica), enabling it to enjoy technologies similar to the ones humans use. The project also explores new ways of communication and co-relation between machines, humans, and other living organism.
Plants don't have nerves, wires nor cables but much like humans, animals and machines, they have an electrical signal traveling inside their cells. The plant is fitted with electrodes and placed on a robotic structure. A signal amplifier reads the differences in the electromagnetic field around the plant to determine when it is being touched. Any variation triggers movement of the robotic structure by means of a custom-made circuit board. Touching any part of the plant is enough to make it move away from the person touching it. One of the most common names given to that plant after all is 'touch-me-not.'
If the plants can fell the touch and this signal travels inside the plant and be can be measured in any part, does it means that plants have memory, consciousness?
Imagine if we could communicate with plants and work together. Is it possible to reshape and redefine our tools to be coherent with the environment? Would we keep on destroying the few existent plants/animals and forests?
Hi Ivan! How did you get the idea and why did you want to build this plant-machine and give some power to the plants?
The main idea of empowering the plant comes from a range of work that I am developing called Oritur (Oritur is also the title of the book which is a compilation of texts from myself and invited artists and researchers from different countries - it will be published soon by Verbeke Foundation).
Jurema Action Plant (JAP) is a hacked wheelchair and an electronic board of communication with the Mimosa -- acting as an interface of communication between the bio-machine and us. In order to realize this work I thought about three aspects: biodiversity, plant intelligence and machine intelligence. 1) Creating a new kind of specimen, an assemblage of a plant and a machine -- a hybrid; 2) A simple movement of a finger towards the plant leaves makes it move away after the touch; 3) The plant triggers the hacked machine via the electronic board of communication into movement. While developing this work at the Summer Residency at V2_ Institute for the Unstable Media in Rotterdam/NL, it raised some questions:
Are the mechanics found in some plants species an intelligence? Do plants feel? How do they respond to the environment? Are plants considered in a lower level than us because they don't move and communicate in the same timescale as ours? My position in Jurema Action Plant is to explore plant behavior, research this intelligence to find possibilities for direct interaction and create a work which makes people think about our future.
You're going to spend several months at the Verbeke Foundation for a residency. What are you going to work on there?
At the moment I am rebuilding a piece called Three Seconds which will be part of Verbeke's collection. It is composed of a closed circuit where a video camera, which faces and captures images from a rectangular aquarium containing a live Goldfish, the image is transmitted to a monitor, which has the same proportions of the aquarium and also faces it. Between the camera and the monitor there is an apparatus, which gives a three second delay to the live image. In this way the fish, which as we know has a three second memory-span, can see its recent past, which it would otherwise not be able to reach.
I am very exited to start the residency at Verbeke foundation (which will complete two weeks October 11th) and I have several ideas which are in a cloud of concepts such as architecture, recycle, interaction, biology, evolution, utopia, movement, kinetics and living organisms.
You worked with professor Bert van Duijn from the Biology University and the Hortus Botanicus, in Leiden, to develop the action plant. How was the collaboration going? Do you find it easy as an artist to communicate with a scientist? Do you use the same language, for example? Do you have to adjust to each other's way of working and thinking about nature?
While researching about plants mechanics, physiology and biodynamics, I had the opportunity to meet professor Bert van Duijn who uses a technique called action potential to measure electrical signals that travels inside the plant for agricultural purposes. Through professor van Duijn I met the organization from Hortus Botanicus Leiden which opened their doors to my research about this specific plant and helped me seed the Mimosas. We had to adjust our vocabulary and tools all the time and the whole team had different perspectives and goals when working with nature.
Can you also tell us something about the rhythm of the plant? Sometimes it rests, it doesn't react as fast as the machines we are used to (from toaster to robot)... Do you think humans are ready to accept and respect this 'slowness' of the machine?
Much like humans, animals and machines, plants have an electrical signal traveling inside them, but they do not have nerves like humans and animals; nor wires and cables like machines. Plants are completely independent and can exist without humans, but humans and animals need plants to survive. They are also moving, to extend their territory, but on a very different timescale to ours. Jurema Action Plant has its own time, it is an equalization of ourselves, machines and plants. In my opinion we have to re-think about the machines we develop and the concept of bio-sensors. There are plenty of machines in the world and we keep on making them. Do you know where these electronic components comes from, how they are made and in which conditions? Why not re-use? The machines we create are coherent within themselves but I think that our machines could be much more coherent to the environment. JAP is a prototype of machines for our future, where we can communicate with all the specimens at the same level to achieve a common evolution. Even if we have signs of a catastrophe in the next future due to global warming, war, deforestation, population growth and a very strong economical difference from place to place, I believe in a good future. The problem is not the technological development, but who is in charge of researches, innovations and changes.
What are you doing when you're not working on Jurema Action Plant?
I have some projects going on and I'm preparing new ones, making drawings, graphics, researching about kinetic architectures and motors that run with very low voltage and current. I am also preparing the third edition of EME - Estúdio Móvel Experimental (first edition 2009 and second in 2010), a mobile residency in Rio de Janeiro that works as a platform for artists and researchers to explore and create public artworks/workshops in the natural and urban environment in Rio.
This year's ArtBots is organised by timelab Gent, in cooperation with ArtBots US, Ugent and Foam. It's open only over the upcoming weekend in Ghent, Belgium.
If you miss ArtBots, Jurema Action Plant is also exhibited at the Verbeke Foundation and it will travel to Leiden in October for the Scheltema festival.