Come Together. The Rise of Cooperative Art and Design, by writer, artist and cultural historian Francesco Spampinato
Publisher Princeton Architectural Press writes: The past twenty years have seen a new generation of artists working together in small groups and large collectives to explore new avenues of art, design, performance, and commerce. In Come Together, author and visual artist Francesco Spampinato assembles an international roster of forty of today's most exciting and influential collectives, from design studios like Project Projects and political performance artists The Yes Men to flash mob provocateurs Improv Everywhere and the multimedia artists Assume Vivid Astro Focus. Alongside visual portfolios of their best work are in-depth interviews addressing each group's unique motivations, processes, and objectives. What emerges is a shared desire to turn viewers into producers and to use commercial mass-media strategies to challenge prevailing social, political, and cultural power structures. Come Together is an essential resource and inspiration for students, art lovers, and anyone interested in the cutting edge of visual culture.
Come Together offers a collection of interviews with dozens of art collectives that work with society, rather than as mere observers of society. The groups selected use graphic design, fashion, performances or publications to question economic structures, brands, mass media, the police and other state institutions. Their strategies and objectives might differ but what brings many of them together is the way they leave a space for the public to take an active role in their actions.
Each collective is given its own chapter in the book. They are introduced by a brief data sheet that includes key words summing up their activities, a list of the members (when known) and a reference to a publication that focuses on their work. But the main content is an interview with the collective. Each of these groups are asked the same questions. They range from "why work collaboratively?" to "Does your engagement with one another translates into an engagement with the public? How so?"
Since i love discovering artists with a political agenda, i'm pretty happy with my copy of Come Together and i can only applaud the fact that the author has looked beyond the usual U.S. and the European Union and included groups from Jakarta, Tokyo, Buenos Aires in his selection. I did however wonder whether an artistic duo that works mostly in a gallery context has indeed its place in the book (i won't give names, unless you ask politely.)
The brilliant Space Hijackers define themselves as "an international band of anarchitects who battle to save our streets, towns and cities from the evils of urban planners, architects, multinationals and other hoodlums".
The group's many activities aims to underline and fight peacefully the destructive influence that corporations have in society. Some of their interventions have included being anointed the "Official Protesters Of The London 2012 Olympic Games", rolling out a guerrilla benching operation (restoring public benches that had been removed and bolting them to the ground), and inviting coffee drinkers and others to use games in order to protest against Starbucks, this "neo liberal global capitalist thug".
SH made billboard-sized versions of the bustcard flyers they were already handing out at demonstrations, to inform protestors of their legal rights, in the event that should they be arrested or stopped and searched.
Superflex makes 'Tools', proposals that invite people to participate in and communicate the development of experimental models that alter the economic production conditions. These tools are developed for people to use, replicate and modify.
Their Copyshop worked as both a shop that sold products challenging intellectual property and as an information forum that investigate the phenomena of copying. The goods on sale were modified originals, improved copies, political anti-brands - or a Supercopy as the new original.
The Center for Tactical Magic is another favourite of mine. The group aims to engage communities into political thinking and acts of positive social transformation.
Their Tactical Ice Cream Unit is designed to operate and look like a police force's mobile command center. On board are high-tech devices (including a video surveillance system, acoustic amplifiers, GPS, satellite internet, emergency gas masks, and a media transmission studio capable of disseminating live audio/video) and ice cream. It not only monitors police action at a demonstration but can also offer protection to protesters.The TICU operators also hand out free cones along with receive printed information developed by local progressive groups.
And now for something completely different...
FriendsWithYou make plush and wood toys, immersive (and often inflatable) art installations, sculpture and painting, playgrounds, and performance pieces that entertain the public.
FriendsWithYou opened the 2006 edition of Art Basel Miami with a Skywalkers parade staring balloons, ranging from 5 to 60 feet, to celebrate the solar system's "formal acceptance into the universe."
Improv Everywhere is at the origin of numerous pranks. The most famous of them is probably the No Pants Subway Ride. The first one took place on the NYc subway in 2002 with seven participants. The movement has since spread to countries around the world and is now a cultural phenomenon.
Paper Rad makes comics, zines, video art, net art, MIDI files, paintings, installations, and music. Its style is called "Dogman 99", a direct reference to Danish filmmaking movement Dogme 95. Paper Rad's rules are: "No Wacom tablet, no scanning, pure RGB colors only, only fake tweening, and as many alpha tricks as possible".
Paper Rad often recycles or appropriates sounds and images from all kinds of sources: old cartoons, commercials, late-night television, video games, etc.
Founded by Karla Diaz and Mario Ybarra, Jr. in 2002, Slanguage uses art education and exhibition to discuss meaning and value of contemporary art in the community of in Wilmington, a harbor area of Los Angeles where they both grew up. Before it closed, Slanguage Studio had grown into a gallery, a site for workshops and events open to the local community, as well as an artist residency.
Slavs and Tatars has the best name ever and explores a shared sphere of influence between Slavs, Caucasians and Central Asians.
This week (or rather semester since i so seldom do proper interview nowadays), I'm talking with Svenja Kratz , an interdisciplinary artist who combines art practice with cell and tissue cultures to investigate the creative and critical dimensions of biotechnologies as well as their impacts on concepts of identity, life, and death.
Svenja has a background in art but she also holds a PhD in Contemporary Art and Biotechnology from Queensland University of Technology and worked at the Institute of Health and Biomedical Innovationin Brisbane, where she completed a PhD in bio-media art.
So far, the artist has worked with media as diverse as fetal calf cells, human blood, maggots, multi-component 3D Human Skin Equivalent (HSE) models or taxidermied insects. She is currently participating to Experimenta Recharge biennial of media art with an ever-changing face mask that uses DNA from Saos-2, a cell line that originally came from the bone cancer lesion of an 11 year old girl who most likely died in 1973 due to the aggressive nature of the cancer. The cells of the little Alice can now be found in science laboratories around the world. Their presence in an art installation highlights the transformative capabilities of Alice's cells but also the oddity of using living fragments of a human body that died 40 years ago.
The work is called The Contamination of Alice: Instance #8 and since i can't travel to Melbourne to see it, I thought the next best thing would be to write Svenja and interview her via email:
Hi Svenja! Your work Afterlife "looks at the ethical ambiguities and challenges that accompany the use and manipulation of organisms, in particular the use of Fetal Bovine Serum (FBS) in cell and tissue culture." What are those ethical ambiguities and challenges? And how does the work addresses them?
The work Afterlife was a starting point for the development of The Immortalisation of Kira and Rama, a project researched and developed during a three month residency at SymbioticA in 2010. The work developed from my engagement with cells and tissues and particularly the materials that are used in biotechnology such as FBS - a protein rich nutrient supplement used in the media to sustain cells in culture. The serum is derived from the blood of fetal cows. While the idea of draining unborn calves of their blood may sound horrifying, the calves are essentially a bi-product of meat production and while their blood is harvested to produce serum, their bodies are discarded, deemed unfit for consumption.
This work does not aim to demonise the meat industry or the use of FBS, but rather comments that there are victims at every level of consumption, and that the boundaries between good and bad are always blurred. For example, the common practice of slaughtering pregnant cows, and subsequent availability of fetal calf blood, has enabled great advancements in cell and tissue culture and contributed to the development of new medical technologies and treatments for humans and other organisms. This is the same for many cell lines, such the HeLa cell line, isolated from Henrietta Lacks in 1951. Establishment of this, the first human cell line, was a medical breakthrough, contributing significantly to the development of vaccines and scientific research. However, the HeLa line also caused significant distress to the donor family, as the cells were used without the knowledge or consent of Mrs Lacks.
My work aims to draw attention to the often unseen donors or victims of processes of consumption and advancement, but also the shifting boundaries between how we understand life and death. I feel we need to understand that that there are always positives and negatives, and that our technologies and attitudes often reflect current cultural values.
You work with living matter. What are challenges of exhibiting your works? How do you keep them alive for the whole duration of a show for example?
One of the most demanding aspects of working across art and science, and particularly preparing living work for exhibition, are the ethics, biosafety and risk assessments that must be completed to ensure that the work follows ethical guidelines, all risks are minimised and the work is non-hazardous for viewers and installation staff.
You also work with fairly sophisticated technologies. How do you manage to communicate both artistic ideas and scientific innovations that are not that well-known to the public without overwhelming them with complex explanations?
In trying to communicate my ideas, I often focus on storytelling, interweaving scientific concepts with personal experiences and observation, cultural narratives and philosophical ideas. However, this is something I need to continuously work on. When I first started working across art and science, I think I was actually much better at communicating underlying scientific ideas, as my understanding was limited and I was only familiar with lay language. As my knowledge has developed, I sometimes include scientific terms without thinking. Consequently, I often ask my arts colleagues to read my work to ensure the key ideas are clear and understandable, and that I have not included too much superfluous jargon.
You are showing Contamination of Alice #8 at the Experimenta Recharge biennial of media art. For this piece you used human DNA to explore the transformative capabilities of cancer cells. Could you explain us what this involves exactly?
The Contamination of Alice, refers collectively to a series of individual works originally inspired by the experience of my Saos-2 cell (bone cancer cell line originally isolated from an 11 year old. girl, Alice) cultures becoming contaminated by a fungus when I was working in the laboratory at IHBI in 2009. While this resulted in the required disposal of the cultures, to minimise the risk of further infection - something that was initially devastating - it really got me thinking about how different organisms take advantage of environmental opportunities, as well as the difficulty of maintaining ongoing containment and control over nature. The loss of the cell cultures also encouraged me to consider the creative potential of the experience and how contamination could be perceived positively as unexpected growth and discovery, rather than something unclean or unwanted. The contamination of the cells was actually a trigger to start exploring microbiology.
The latest instance within the series which was commissioned for Experimenta forms part of this ongoing exploration and connects to Alice's cells, my lab experiences and notions of becoming, transformation and the interconnections between organism and environment. Through the inclusion of Alice's DNA (isolated from her cultured cells), the work also starts to engage with genetics and the fact that DNA is not a fixed code, but subject to environmental influence through gene switching. While all Agar faces are made of the same material, the display of the work at a new location will result in different bacterial and fungal colonies, based on the microbes in the new environment.
How did you get to work with the Tissue Repair and Regeneration Group at Institute of Health and Biomedical Innovation at the Queensland University of Technology?
I started working with the TRR group as part of my PhD research which aimed to explore the creative and critical potentials of cross art-science practice. I was very fortunate in finding a scientific supervisor willing to take me on, train me and fully integrate me into her research group. The support from my supervisor and the entire TRR team enabled me to complete my own lab work and gain first-hand insight into biotechnologies, particularly cell culture and tissue engineering.
I read that in 2013 you undertook a 5-month residency at Leiden University and the Art and Genomics Centre in The Netherlands to explore mutagenesis and bioengineering for future energy production. Could you tell us about this research?
Thanks to the Premiere's 2012 New Media Scholarship from QAG/GOMA, I had the opportunity to complete a six-month residency at Gorlaeus Laboratories at Leiden University in The Netherlands from July to December 2013. The residency formed part of the large-scale Biosolar Cells research programme, which focuses on the potential of solar energy for long term sustainable energy production. While the programme encompasses a variety of research areas, I was integrated into the Solid State NMR group led by Professor Huub de Groot under the supervision of Professor Wim de Grip and PhD candidate Srividya Ganapathy. The project I worked on aims to increase the absorbance spectrum of light powered protein pumps, which are proteins used by Archaea (single-celled microorganisms) to convert sunlight into chemical energy. If successful, the increase in absorbance spectrum enable the proteins to use more of light spectrum to create energy with strong implications for biofuel production. During the residency, I was fortunate to take part in site-specific mutagenesis experiments in which we made highly specific changes to the DNA sequence of the protein in order to induce a shift in absorbance spectrum. I am one of the few artists that can legitimately claim: "I helped make a mutant".
Why do you think it is important for an artist to get in close contact with science like you do?
I personally have found that working closely with research scientists and engaging with new and emerging biotechnologies has enriched my practice and understanding of biology, new and emerging biotechnologies and the complex ethical issues involved in working with living organisms. Being able to work closely with research scientists has also challenged many of my own assumptions and revealed that artists and scientists, despite governed by different objectives and methodologies, rely on tacit knowledge and understand that discovery is emergent and requires an openness to the unexpected. The combination of art and science is also important as it enables the subjective to enter into scientific discourse and research arenas traditionally dominated by a search for 'objective truth'. By drawing on, and incorporating, personal experiences, speculative potentials and historical events, the work makes room for multiplicity and can help reveal the way in which knowledge is always situated, provisional, and intimately connected to personal, social, and cultural values.
What's next? What are you working on right now?
At the moment I am developing a series of holographic display chambers in collaboration with micro-electronics engineer Michael Maggs, based on my 2013 residency in The Netherlands, that engage with ideas surrounding real and imaginary biotech mutants. I am also working on a series of individual works that operate as thought experiments regarding the idea of genetic legacy, and how, as single woman in my 30s, I might use biotechnologies to ensure my genetic line continues without having children. I am also interested in exploring the emerging field bio-fabrication and am hoping to secure funds to create responsive 'bio-robots' using 3D bio-printing techniques. What can I say...the future is exciting!
Experimenta Recharge, the sixth international biennial of media art, remains open until Saturday 21 February 2015. In Melbourne.
For over 60 years, scientists have been deliberately exposing plants and seeds to radiation in order to mix up their genetic material and speed up mutations. The results are unpredictable and only the mutated plants that show useful or otherwise desirable attributes (stronger, tastier, bigger, more resistant to disease, etc.) are reproduced, creating a mutant variety from the original one.
The technology is called radiation breeding. It emerged in the early 1950s, as part of Atoms for Peace, a program to develop "peaceful" uses of fission energy after WWII. So-called Gamma gardens were planted in laboratories in the US, parts of the former USSR, India, Japan and even in GMO-phobic Europe. A number of plant varieties were commercialized and some of their offspring can now be found in your local supermarket.
The Center for Genomic Gastronomy, an art think tank that investigates food controversies and prototypes 'alternative culinary futures', was concerned by the lack of research on radiation-bred edible plants and their possible impact on our health and on the environment. CGG founders Zack Denfeld & Cat Kramer worked with Heather Julius to create a barbecue sauce that contains some of the most common radiation-bred ingredients: Rio Red Grapefruit, Milns Golden Promise Barley, Todd's Mitcham Peppermint, Calrose 76 Rice and Soy.
The peppermint is a mutation of Mentha piperita, it is able to resist a particularly nasty fungal disease and can be found in chewing-gum, candies and toothpaste. The modified barley is used to make beer and whiskey. As for the grapefruit, it was developed to produce the deepest red. Hundreds of mutation-bred varieties of soy and rice have been registered in the International Atomic Energy Agency database. Now the name of the sauce is a reference to Cobalt-60, the radioactive source gamma gardens are submitted to.
Cobalt 60 Sauce is part of the exhibition Matter Of Life: Growing new Bio Art and Design at MU in Eindhoven. A big sauce dispenser is at the disposal of visitor who'd like to taste the recipe. It's very dark, very yummy and a bit sweet.
Matter of Life | Growing Bio Art & Design exhibition at MU, Strijp S, in Eindhoven. The show remains open until 22nd February 2015.
Here's one last post about a work i discovered at BIO50, the 24th Biennial of Design that closed in Ljubljana a few days ago (at the bottom of this post, you'll find links to stories i wrote about some of the projects developed for the biennial.)
One of the eleven themes explored at BIO50 brought design into the realm of life sciences. I was thus expecting one of those futuristic, speculative and over-serious projects that explore scenarios of a life mediated by biotechnology. However, what designers Dimitris Stamatis, Pei-Ying Lin, Jasmina Weiss, and Špela Petrič came up with didn't meet my expectations at all. And that's always a good thing.
Their Plant Sex Consultancy is exactly what its title suggests: a series of design interventions aimed at 'augmenting' the sex life of plants, through long discussions with 'plant clients.'
Take the cyclamen, for example. The particular species of bees that pollinate the flower by shaking it with a specific frequency has gone extinct. PSX designed a vibrating pod with a sensor that gently grasps the flower. When triggered by an insect, the pod shakes with the exact frequency needed to release the pollen onto the insect. PSX has devised a total of six gadgets that meet the specific sexual needs of plants. Some flowers were outfitted with a vanity lace to prevent the spread of STDs, others were given an algae-containing dildo or a vibrator.
By applying human-centered design methodologies onto plant life, PSX ends up serving its own agenda, creating objects that are familiar to the human and that bear a meaning to the human only. Not the plant.
Besides, the legitimacy of intentional anthropomorphism depends on the viewer's cultural context. The method is effective if the designer employing it subscribes to the Eastern philosophy, which grants an equivalent status to all entities, living and inanimate, but irrationally unpalatable to designers stemming from the Western Cartesian tradition, which ascribes true individuality and sentience solely to human beings. The inherent antagonism, absurdity and humor apparent in the augmentations also manifest themselves in the design process, which stems from West, but is in this context more congruent with the Eastern world view.
What made you want to design artifact for the sexuality of plants?
Within the framework of this year's BIO50, intended to test the limits of incidental interdisciplinary collaboration while taking a critical stance towards contemporary design practices, we (Dimitris Stamatis, Pei-Ying Lin, Jasmina Weiss, and Špela Petrič) wanted to push the envelope by proposing a project that wilfully transgresses common sense, good taste, and the purpose of design as a branch of applied art with utility at its core.
For all empathic and philosophical purposes, plants are the incomprehensible aliens living amongst us, which we experience daily but perceive through their ubiquity, their slow pace, immobility, at best as a source of food and their potential applicability to reduce our detrimental environmental impact. We see, taste, smell and touch the otherness of plants, but spend very little time daydreaming to comprehend it. And even if we did, we'd hardly find a point of identification, of justifiable commonality between humans and plants that would spark a comparison, which would release plant agencies from the murky bottom of the anthropocentric valorization of living beings.
Then, there is sex. In the abstract realm of biological sciences, which seeks commonality in processes across the living world, sexual reproduction stands out as a staple principle of natural selection. Using a gastronomy facsimile, sex results in genetic cocktails of individuals. It is one of the crucial steps in the recipes of species under pressure to suit the changing taste of the environment. This applies to all organisms, from bacteria to humans and, of course, plants.
We recognized the uncanniness of likening plant and human sexual reproduction as an agora to juxtapose conceptions of "unique" human cultural practices to cross-species biological necessities, and the design process, promoted (by BIO50 amongst others) as a widely applicable approach, to the limits of its meaningfulness.
Prosthetics to enhance the 'natural reproductive strategies' of plants! Even the term 'consultancy' sounds ironic because it implies having an actual face to face conversation with a plant. The whole project actually doesn't sound very serious, more like a parody of design project. However, while i was listening to your presentation of the project in Ljubljana, i was surprised by how much 'sense' these little sex toys and gadgets might have. They are a bit ridiculous but they also respond to a perceived need or shortcoming of the plant reproduction system (for example: a bee going extinct.) So how do balance the credible and the fanciful? How seriously should we take the project and the various problems these plants have when it comes to reproduction?
The PSX Consultancy presents a hybrid manifestation of tongue-in-cheek discourse stemming from established concepts; it is conceived using artistic and design approaches in response to a body of knowledge provided by science. The identified reproductive problems of plants and the proposed solutions are as serious as they can be, but are coined using a methodological twist during the process.
The PSX's research of reproductive problems of the plants is based on scientific papers, meticulously interpreted by the team, two members of which have a scientific background, one of them a biologist with a PhD. We applied the scientific reference overview towards the construction of a "profile" for each plant, which included their adaptation to indigenous habitats and the issues they face during their ongoing evolution and introduction to non-native bioregions, all from the perspective of plant reproduction. We then synthesized the background knowledge gathered around each "client" in the design process and by doing so considered the factual biological elements in a cultural way. Solving the interactions of elements (criteria or issues) led the PSX Consultancy to an original but miniscule fraction of all possible answers to the reported problems of particular plants. Freed from design's usual imperative of utility, we found ourselves facing an abyss of options. To collect a wide spectrum from meaningful to meaningless augmentations, we purposefully decided on a very flexible criterion for acceptability - the proposals had to poses bio-logic and preferably allude to human sexual practices.
The results are feasible to varying degrees. For example, the Cyclamen vibrator is quite rooted in reality, as a similar device is agriculturally used in the pollination of tomato plants, which have a mechanism of pollination analogous to the Cyclamen. On the other hand, the carnation's vanity lace preventing the spread of STDs, or the helium balloon-assisted mutation of turmeric roots, primarily outline lesser-known facts about plant reproduction but are "a bit of a stretch" when it comes to their applicability.
In the context of BIO50's challenge to designers, artists, architects, and scientists to collaboratively undertake "Designing Life", the credible and the fanciful continue to wade in the "punny" cesspool delineated by the curators of the biennial. The plant sex toys' uncertain and obscured position in relation to fact and fiction hopefully stimulates the viewer's critical perspective on the design process at hand, which can be applied to many similar endeavors undertaken and advertised as truthfully applicable. It seems that the message was successfully transmitted, winning the project an honorary mention at the biennial.
Once you outfitted the plants with these little devices, did you observe how they reacted? What happened? Did the plant accept the devices, were they useful to the reproduction and well-being of the plants?
We found it oddly effortless to transfer the human experience and sexualize the prototypes we envisioned for the plants. Our first test was the insertion of the "algae-containing" dildo into the carnivorous leaf of the pitcher plant. It's difficult to describe the awkwardness of the anthropomorphic projection the moment the dildo slid into the pitcher. Mounting the other devices provoked a similar estrangement, even producing giggles of embarrassment. We succeeded in materializing a cross-species taboo that never existed; because of their assumed soullessness, sex with plants, unlike bestiality, was never in the milieu of cultural debauchery. Does the instigated proximity of human and plant reproduction facilitated by these devices fetishize plant reproduction, banalise human sexuality, or does it incite an association quickly disregarded as obscure?
Keeping in mind the project is currently in its conceptual phase and that the prototypes produced thus far were plastic, non-functioning proposals, the augmentations were innocuous to the plants. If we were to progress to technology-enabled functioning gadgets, we are confident the sex toys would have surprising (favorable or detrimental) effects, which are impossible to predict without actually trying them out.
How did you select the plants you worked for?
After the initial sweep of candidates based on personal preference, oddity/familiarity, scientific interest, and general popularity, we had to pragmatically narrow our selection based on plant availability in Slovenia and the timely expression of their reproductive organs during the biennial from September till December. Further, we focused on plants with unique reproduction issues, which resulted in most of the clients being species originating from the tropics and making do in temporal climates, often due to human intervention. Humans indirectly caused many of the problems the PSX consultancy is attempting to fix.
What is next? Are you planning to push the project any further?
Since in the context of an exhibition, the legibility of individual augmentations depends on the presence, traditional use and symbolism of a particular plant species in the specific cultural environment, we hope to expand the collection by conceiving augmentations for different locally important plants, reaching a wider audience. In the process we also realized the project somehow mirrors the differences between the Western (European) / Eastern (North East Asian) mentalities, making it an interesting point of conflict and resolution to culturally dependent artistic practices.
Thanks Spela and Pei-Ying!
I was supposed to publish this post yesterday. Only i started exploring Serial, one of the works selected for the 2014 IDFA DocLab Award for Best Digital Storytelling and i couldn't stop myself, i went from one episode to another, talked about each of them with The Boyfriend and the whole afternoon flew by.
So here i am 24 hours late with the follow-up of my notes from the DocLab: Interactive Conference 2014, a day of talks about the way artists, film makers, designers and entrepreneurs are exploring digital behaviour and redefining the documentary genre in the digital age.
The DocLab talks took place at The Flemish Arts Centre De Brakke Grond and so did the exhibition. The nominees for the Best Digital Storytelling award were lined up in one room and the curated exhibition DocLab Expo: Immersive Reality was spread into the rest of the building.
I was ready to shun the The Virtual Reality Screening Room because i really, really, don't like the idea that i can be seen looking like this. Also i never regarded myself as a germaphobe but having half my face eaten up by a device that dozens of people have worn before me makes my skin crawl. I did it though. I wore the unhygienic headset. Because i'm brave and i believe in taking risks in order to write my blog. I even liked some of the works....
In particular Strangers with Patrick Watson by Felix & Paul Studio. You put the unsanitary Oculus Rift goggles on (seriously, am i really the one who's got a problem with oculus hygiene???) and you find yourself transported into the studio loft of musician Patrick Watson in Montréal. He's attempting to compose some music and his dog is relaxing on the floor. And so was i. Relaxing, not on the floor. There is nothing to do for you, except look around and enjoy the scene. It's peaceful and pleasant, there is no need for awkward keyboard manipulation in the dark.
The retro-looking Trojan Offices installation brings us back to the early nineties when computer scientists at the University of Cambridge scientists rigged up a camera to monitor the coffee pot located in the main computer lab and casually invented the webcam.
Nowadays, countless numbers of webcams are streaming live to the internet, indexed by search engines without permission. With a simple hack, artist Dries Depoorter gained access to them, selected half a dozen of them in order to give us a live glimpse into unsuspecting coffeepots and offices from all over the world.
The most compelling part of the day for me was when i discovered the nominees of the Digital Storytelling competition. Because the focus of the selection is as much on new forms of interactivity as it is on strategies to weave a compelling story, all the projects were deep, multi-layered and compelling. Some took me ages to explore. Cue to...
Serial is a weekly podcast that investigates the true circumstances behind the murder of a Baltimore high school girl. Hae Min Lee was found strangled in a park in 1999. Her former boyfriend Adnan Syed was sent to prison with a life sentence on the basis of one testimony only. No physical evidence linked Syed to the crime and he has always claimed he is innocent. In the podcast producer Sarah Koenig takes listeners back to 1999 and shares interviews with people involved in the affair, audio archives from the trial and snippets of conversation between the prisoner and the journalist. The website that accompanies the quest also presents maps, photos, copies of handwritten letters, etc. The audience discovers along with the makers of the programme that the story has multiple layers and inconsistencies.
Serial is more gripping than many lavishly produced tv series or movies. One of the characteristics of the show is that it remains ambiguous, you have the feeling that the journalist doesn't have an agenda, she slowly uncovers evidences along the way. Like her, you might not be able to make up your mind and figure out whether Syed was guilty or innocent. I'm glad the podcast is the winner of the 2014 IDFA DocLab Award for Best Digital Storytelling.
Every day, hundreds of thousands of cat owners upload photos of their pet on photosharing websites. I Know Where Your Cat Lives collects the images, retrieves the latitude and longitude coordinates embedded by many cameras and visualizes the location of the cats. The databank is charming, cats are so irresistible that in some countries feline photos are more popular than selfies. But as the title of the work suggests, there is also a slightly creepy dimension to the project as it makes you realize that once a piece of personal data is online, you lose control over it.
The option "Cats by country" shows how many cat photos have been uploaded in a given nation. This is why the makers themselves say that "the maps are perhaps a better representation of globalism, access to smart phones, and relaxed consideration for individual privacy."
Indonesia, Brazil, South Africa, Ghana, etc. Dutch colonialism has left its marks across the world. With Empire Interactive, Eline Jongsma and Kel O'Neill investigate into the aftershocks of the first global capitalist endeavor, Dutch colonialism. The multi media works shows how little known enclaves of post-colonialism are geographically distant from each other, yet strangely united by their past exposure to colonial imperialism.
As the videos posted on vimeo demonstrate, the long-term impact of Dutch colonialism is truly astonishing: from the private town for white people in South Africa and other signs of a nostalgia for the Apartheid era, to the man seen as a god by the inhabitants a full-size replica Dutch village built in the middle of the Sri Lankan jungle, and the WWII enthusiasts who dress as members of the Waffen SS and proceed to military maneuvres on the island of Java.
Empire is an online, portable version of an exhibition. As the artists explained in an interview with Indiewood: Originally, in installation form, the project allows viewers to wander from installation to installation, and from story to story. As a viewer, you get to be a bit more autonomous than you are used to: we give you the parts, but you do the labor. We are trying to use the same principles in the interactive online version. In that sense, we think that transmedia art broadens the horizon of visual storytelling and gives both the creator and the audience more power to experiment than they may have with other art forms. It doesn't replace "traditional" film, it just offers a different way of going about things.
The Empire project also exists in the form of a limited edition book.
Pentecostalism claims that the Holy Spirit is here and now. I've no idea what that might mean but i must be in a minority because Pentecotalism is believed to be the fastest growing religion in the world.
Atlas of Pentecostalism, by documentary filmmaker Bregtje van der Haak and information designer Richard Vijgen, aims to develop a reusable model for reporting on dynamic global trends and crises, incorporating crowdsourcing, big data, interviews, academic research and visual information.
The work allows you to investigate the religion through photos of church buildings and logos, maps of belief in the devil, interview with experts in anthropology, etc. Anyone can contribute photos to the permanently expanding Atlas of Pentecostalism. You can also 'download the website' as an e-book or print-on-demand book, which freezes the dynamic data at the moment of ordering.
Refugee Republic challenges our view of refugee camps. They are places of displacement, misery and distress but that's only part of the story. Life rebuilds itself in a refugee camp: bakers prepare the bread, children go to school, people fall in love. Skipping from photo to video to drawings to text in a very fluid way, the interactive documentary allows you to step inside Camp Domiz, a refugee camp in northern Iraq where some 64,000 inhabitants, mostly Syrian Kurds, live.
More images from DocLab 2014:
DocLab expo took place at The Flemish Arts Centre De Brakke Grond in Amsterdam. The exhibition is over, alas! but the show Pieter Van den Bosch. Aanslagen zonder gevolgen opens tomorrow and it looks really good.
More images on Brakke Grond facebook page.