0c5medece138.jpg
Scenography for 'Medée / Vivez comme vous voulez' (performance with Naomi Velissariou)

Karl Philips is a Belgian (h)activist, performance and conceptual artist. I discovered his work a couple of years ago when i visited the exhibition Mind the System, Find the Gap at Z33 in Hasselt (BE.) But i really took the time to click around his portfolio when my favourite blog selected him for its watchlist.

Philips casts a critical but always witty glance at society, paying particular attention to cracks in consumerism, town planning, advertising, and turning upside-down their logic. He is also one of those artists who understand that, to have any impact, activist art is best deployed in the street, not just inside the white walls of a museum or gallery.

Some of his projects involve hacking a street lantern to provide passersby and local inhabitants with free wifi and power, dressing like a train seat to cross Belgium by train, screening movies streamed from Youtube in a drive-in movie theater set up under a bridge, substituting ads on billboards with a map detailing how survive in the city of Hasselt without any financial expenses, etc. Pretty simple and pretty brilliant.

0i4jumper3b3af.jpg
Genk-Blankenberge-Genk, 2014

0i48handpimp705.jpg
Hand Pump Car

Hand Pump Car, 2014

0i6shedacb0.jpg
Shed, 2011

Philips has a couple of exhibitions up right now. He's part two group shows. One at the gallery Dauwens & Beernaert in Brussels. The other in Rotterdam. Hopefully, i'll get a chance to be in Antwerp (lots of exciting shows coming up at the Photo Museum!) to check out the sculpture he'll be premiering next week for the group exhibition A Belgian Politician
 at Marion de Cannière Art Space. In the meantime, i got on my laptop and asked him for an interview:

Hi Karl! Your About page talks about "a mild kind of activism" that is inextricably linked to your work. What is mild activism? How does it manifest itself? And can a mild form of activism have an impact too?

I 'm convinced that real change or influence only manifests itself indirectly. In the long run I think it's better to do so through art or culture than through direct radical activism. I think the term "mild activism" indicates a different tone.

0i6convcierge817e.jpg
Concierge, 2010

0Concierge_2.jpg
Concierge, 2010

I'd be interested to know more about Mia, the homeless woman who came to live inside one of your structures. Did she spontaneously come to live in the structure? How did you get to know each other? Did she give you any kind of 'feedback' about Concierge or your work in general?

I got to know her when I was thirteen years old. Once every year she passed by at a artist's place where I went after school since I was eleven. A couple of years ago, when she was visiting, I showed her the first designs I made. She proposed herself to represent and become a part the work. This was the first time, in my practice, that such a healthy distance was maintained between the artist and the artwork. From a neutral point of view, she talked to the people who were visiting the artwork. So while rolling a cigarette and making coffee she could easily welcome visitors, artists, curators... Due to the media attention we generated she was offered social housing. She accepted this when we were finishing "Concierge" but a month later she hit the road again.

0i7ugly4bf.jpg

0i4ugly4e9.jpg
Good/Bad/Ugly, 2012. Photography: Stef Langmans

Another work involving temporary homes is Good/Bad/Ugly. Could you explain us the whole process? The financial transactions?

Good/Bad/Ugly consisted of three mobile living units. On the outside of the units were several advertisements. For every advertisement we received 500 € per month. That's 1000 € per month, per unit. This money (3000 €/month in total) was used for the performance: providing a living for the inhabitants. We travelled around to different locations. In theory it is illegal in Belgium to put this kind of advertising i, but it is allowed for local businesses. We created some sort of alternative community with it.

0i6driveinf74566.jpg

0briveinnyou836.jpg
Drive-inn You Tube

I really liked the idea of a Youtube drive-in movie theater. Could you explain us how it worked exactly? Did you select yourself the videos that were screened?

It was a video projection under a bridge. It was a costless drive in movie theater where movies were streamed from youtube. I selected the videos but the last day we screened movies suggested by the public. The project was improvised on the spot so birds were flying around during the screening and car sounds or other sounds of the environment interfered with the audio of the movies.

0bdcaravanes8f6d77f.jpg
24 hours / 1 meter, 2009

0d0wedge3b4.jpg
Wedge, 2014

Do you ask for permit for the various interventions in public space?
And whether you've asked for permission or not, what does working in public space have taught you about the way our space is used, managed and controlled?

Sometimes we do, sometimes we don't. We try to stretch the gap between the real world and our artistic interventions as far as we can. I think I have learned that public space has lost it's political function. Public space used to be where people got together and where politics originated but nowadays everything is controlled. That makes it harder or even impossible to rethink the function of public space and of politics.

0i0atelier2.jpg

0i0i0atelier1.jpg
Atelier (interior). Photography: Pauline Niks

I'm also very interested to know more about the story of your studio. It is an antique fairground attraction called Jacky. What did it look like before? Where do you buy fairground attractions? and where did you install it? In a garden? inside a bigger building?

It was a mobile game hall, like an arcade for fairs. It was based on a circus wagon that travelled around for thirty years. Without the games it is now a space of 85 square meters, it is my laboratory. It is a mobile artists studio, it has no foundations or a postal address.

Who are the emerging (or not so emerging) artists whose work you find inspiring right now?

Gordon Matta-Clark, Gilbert & George, Claude Lelouche.

Thanks Karl!

0ca2notitlec05.jpg
No Title, 2014

0e7colryut286.jpg
Colruyt, 2014

Retrospective / Introspective. Group show, Dauwens & Beernaert, Brussels, 15.01 - 13.03.2015.

no walls. Group show, Fenixloods, Rotterdam (NL), 17.01 - 17.02.2015

A Belgian Politician
. Group show, Marion de Cannière Art Space, Antwerp, 20.02 - 21.03.2015

Karl Philips - Daan Gielis - Tasya Krougovykh & Vassiliy Bo. Group show, W139, Amsterdam, June 2015

Phlogiston. Group show, (location to be determined), Split (Croatia) in July 2015.
Karl Philips, Solo show, Braennen, Berlin in September 2015.

3a203a200_.jpgA Theory of the Drone, by philosopher Grégoire Chamayou

Publisher The New Press writes: In a unique take on a subject that has grabbed headlines and is consuming billions of taxpayer dollars each year, philosopher Grégoire Chamayou applies the lens of philosophy to our understanding of how drones are changing our world. For the first time in history, a state has claimed the right to wage war across a mobile battlefield that potentially spans the globe. Remote-control flying weapons, he argues, take us well beyond even George W. Bush's justification for the war on terror.

What we are seeing is a fundamental transformation of the laws of war that have defined military conflict as between combatants. As more and more drones are launched into battle, war now has the potential to transform into a realm of secretive, targeted assassinations--beyond the view and control not only of potential enemies but also of citizens of the democracies themselves. Far more than a simple technology, Chamayou shows, drones are profoundly influencing what it means for a democracy to wage war. A Theory of the Drone will be essential reading for all who care about this important question.

0ermaydieusaf_mq_9_reaper_1024x1024.jpg
Military patch of the USAF MQ-9 Reaper "THAT OTHERS MAY DIE" VELCRO MILITARY PATCH

When a journalist of Libération asked Chamayou about the motivations behind the book, he replied that "some philosophers in the United States and in Israel work hand in hand with the military to elaborate what I call a 'necro-ethics' that tries to justify targeted assassinations. So it is urgent to respond. When ethics is brought into a war, philosophy becomes a battlefield." (via)

Chamayou is a researcher in philosophy. A title that might sound a bit daunting for some readers. But fear not, A Theory of the Drone is as entertaining as it is thought-provoking. The rhythm of the author's reflections are fluid and easy to follow, the chapters are concise and highlight with precision a particular aspect of the weapon under study and Chmayou's references might sometimes be heavy (yet never obscure) on Kant but he also quotes Albert Camus, Harun Farocki, Eyal Weizman and even mentions Adam Harvey's anti-drone clothing.

0DRONE-superJumbo.jpg
Capt. Richard Koll, left, and Airman First Class Mike Eulo monitored a drone aircraft after launching it in Iraq. Photo U.S. Air Force/Master Sgt. Steve Horton

I haven't read many books about drones. In fact, i think this is the first one i read about the topic but i doubt i could find another publication that explains with so much ease and intelligence the dilemmas posed by unmanned aerial vehicles to the traditional codes of war.

Of course i've always had a visceral feeling that the use of drones by the U.S. and Israeli military is debatable, not to say coward and unethical. Chamayou's book articulates with precision and rigorous references to the history of war philosophy what is wrong with this form of unilateral warfare. Chapter after chapter, his books explores questions such as: What happen to the traditional principles of a military ethos of bravery and sacrifice when only one side of the conflict shoots and deprive the other of the possibility of fighting back? And more generally, how can one justify homicide in a noncombat situation? How does one-way-only armed violence distinguishes between fighting and killing? Within what legal framework do drone strikes take place? What does it mean for a zone of armed conflict to be fragmented into kill boxes the size of a human body? How does post traumatic stress disorder in this context differs from the one experienced by soldiers who fought on the battlefield? How do local populations hack and defy drones? How do you recognize a combatant dressed as a civilian, outside the zone of combat? etc.

The final pages of the book look at how the use of drones, a technology developed in a military context, is already seeping into civil society -mostly for police purposes- and what this will mean in the future for the subjects of a drone-state.

Perhaps part of the answer can be found in this image and these words i found in one of the last chapters of A Theory of the Drone:

0robocop1924_02.jpg
A radio-controlled police automaton. From Hugo Gernsback, Radio Police Automaton, Science and Invention 12, no.1, May 1924 (photo)

In 1924, a popularizing scientific magazine announced a new invention: a radio-commanded policing automaton. The robocop of the twenties was to be equipped with projective eyes, caterpillar tracks, and, to serve as fists, rotating blow-dealing truncheons inspired by the weapons of the Middle Ages.

On its lower belly, a small metal penis allowed it to spray tear gas at unruly parades of human protesters. It had an exhaust outlet for an anus. This ridiculous robot that pissed tear gas and farted black smoke provides a perfect illustration of an ideal of a drone state.

Image on the homepage: Omer Fast, 5000 Feet Is the Best.

0aleneonneon2.jpg
Queen's Coat of Arms, in Neon, 2014. Photo by Luke Hayes

0a9pantalon1.jpg
Photo by Luke Hayes

In the playhouse, as in the courtroom, an event already completed is re-enacted in a sequence which allows its meaning to be searched out. [...] The courtroom is, or should be, a theatrical space, one which evokes expectations of the uncommon. [...] Theatrical effects are such dominant factors in the physical identification of a courtroom that their absence may raise doubts about whether a court which lacks a properly theatrical aspect is really a court at all.

Milner S. Ball, Caldwell Professor of Constitutional Law, University of Georgia

Lawyers learn their lines before their performance, witnesses are given advice about how to play their roles, the judge intervenes when the rules (or should we say the script) are not respected. Meanwhile, the audience sits on the side to enjoy the show.

The architecture of modern courtrooms brings justice and fiction drama even closer to each other. The International Crime Court in The Hague, for example, is equipped with cameras, microphones and sound proof sheets of glass that separates the audience from the main protagonists of the trial. In doing so, the choreographic structures of the court are becoming separated and externalised through the medium of video feeds shot from multiple sight lines, artificial viewpoints and mechanical movements.

Objection!!!, the latest work of artist, writer and film-maker Ilona Gaynor, pushes the court strategies and dramatizations to their most cinematographic limits. Using a series of models, objects, images and a fictionalized case in which a tv National Lottery draw is fixed, Gaynor exposes how the language of film-making manipulates the way a case is presented to the court and how it is understood by it. According to the whim of the team that scripts, shoots then edit the trial, the unfolding of a court case could thus be made to look comical, suspenseful, romantic, tragic or even satirical.

0adeecameramovet2.jpg
Camera Move Sequence, 2014

Among the pieces on show is a courtroom diorama the director would use to plan the filmic direction of the trial, a green Chroma Key Set designed to be positioned as needed and edited out in post-production, a show reel that illustrates cinematographic courtroom drama, an elaborate drawing that maps out the location of the cameras, dolly tracks and people required for the shooting length of a real time testimonial deposition, etc.

I particularly liked the photographic 'documentation' of a lawyer practicing persuasive gestures in preparation for a trial. The images are inspired by 1925 photos showing Adolf Hitler rehearsing his oratory.

0a1acteurprie3.jpg
The Lawyer, 2014

0acheveu2.jpg
The Lawyer, 2014

0o-HITLER-570.jpg
Hitler rehearsing his speech in 1925. Photo by Heinrich Hoffmann

Objection!!! is part of Designers in Residence 2014: Disruption, an exhibition that showcases the work developed by young designers during their residency at the Design Museum in London. I interviewed Ilona a few weeks after the opening of the show:

Hi Ilona! The starting point of the project is the new courtrooms built by architects where the jury is seated in a separate room. Is that already happening? And what motivates the change in architecture?

It is to an extent, with jurors becoming separated by glass and mirrors with live camera feeds and sound to accompany them. There was a surge in European courts that were being retrofitted into pre-existing office buildings, to save resources (and sometimes for safety of civil unrest) during late 90's and, the use of camera's, audio/video feeds is now becoming common practice and is considered state of the art.

The international Criminal Court, in the Hague operates as a very bizarre enclosure, scattered with cameras, positioned at varying heights around the room, their lenses sight and proximity fixed upon on the faces and edges of tables, glasses, mirrors and reflections all screening on live fed monitors to the both the prosecution and defence. These cameras intercut each other at moments pivotal of play, documenting the dialogue and sequence of events from much higher heights then those of eye level.

0-courtroom-courtesy-of-ICCFlickr-600x400.jpg
A view of the courtroom at the International Criminal Court in The Hague. Photo ICC/Flickr

0aplushautmodel4.jpg
Court Diorama, 2014. Photo by Luke Hayes

0a0modelito7.jpg
Court Diorama (Detail), 2014. Photo by Luke Hayes


The piece that attracts the most attention in the museum show is probably the elaborate diorama. Could you describe it, what happens there?

The diorama depicts the redesign of a courtroom, the UK crown court to be exact. The geometry of the courtroom was redesigned with the audience in mind; the imagined viewing sightlines to be much more acute then they would normally be; the seats would be positioned as ascending podium steps (the kinds that you see at sports stadiums) to enhance the viewing experience.

The diorama itself is designed to act as a vehicle with which the 'event' or 'show' aka 'the trial' inside courtroom can be plotted and pre-enacted cinematically by the director and producers before it starts, much like theatre rehearsals or pre-recorded live audience TV shows.

The model was designed to be self-assembled, by easy slotting conjoining walls and furniture.

It also comes with a kit of parts that consist of prefabbed folding camera equipment such as: camera's, dolly rigs, tripods, microphone stands, audience participation signs such as "boo" and "applause" and a set of dramatically posed lawyers and corresponding court room furniture.

To put the diorama in context, dioramas are frequently used between stage / film directors to communicate to actors and production staff. It is used as a plan section for the action that will occur, the sequence in which it happens and what in spatial floor capacity. This work is very much about the positions, sightlines and choreography of people in space and time... in this regard the performance of the court has a lot in common with cinema. The curatorial voice of this work is for the audience to engage in the exhibition from a directorial perspective. What is exhibited, is the anticipatory tools (plans, drawings, scripts, imagery) with which a director would use to shape the production and this case the unfolding of a trial or 'courtroom drama'.

0h0nooo055.jpg
The Lawyer, 2014

0a1praisethelord2.jpg
The Lawyer, 2014


I'm quite curious about the fact that you chose to explain the work using objects. That's not unusual in a design museum of course but you are openly influenced by cinema, your work often refers to it, you hired an actor and there are indeed films in the show but they are not yours. So why didn't you just make a video to explain Objection?

I've got a strong aversion to films that's sole purpose is to explain a work. For some reason it's becoming common practice in design (especially when referring to objects) that the designer needs to reveal the 'imagined' interactivity of the 'objects', in some candidly scarce scenario.

For me, I actually tend to get accidentally commissioned to make objects; I don't even really value objects and often find objects hard to engage with, because somehow they tend to lack rhythm or sequential value. I see my work as studies, or compositions that try and allude to a balancing act of arguments or sequential chapters as you may have noticed I often index the 'objects' or give them a sort of taxonomy or textual story with which to engage with.

Cinema for me is a common ground with which the fantasies of popular culture are often revealed in much more interesting ways then most other mediums, films allow us freely to wonder around the unimaginable in ways that are contextually and textually rich. My work is often tiptoeing along the edge of this medium because I believe the interrelations between cinema and topics I often pivot around are inextricably linked: aesthetically, contextually and culturally. I am actually this year moving my practice much more into the film going forward, both professionally and personally.

The films that you are referring to in 'Objection!!!' are a series of edited clips taken from TV dramas and films that depict the courtroom on screen as a scene or sequence, spanning across the last century of TV and cinema. The purpose of this film is to put my argument into a broadly understood context... the collectively memorised experience of the courtroom, which for most of us, has been experienced through a series of lenses rather then first hand. The film of edited sequences also reveals to the audience the stylistic differentiations between filmic genres, revealing how hard it becomes to remain objective as a pervasive viewer (in this projects case, the jury) when a sequence of camera cuts, pans, soundtracks intertwine. It would be very disturbing to witness (or watch) a case dealing with violence or rape depicted accidentally or not as a comedy for instance; the viewer's perception and adjudication could sit solely on the head of a deft handed technician. Of course this is an extreme example, but we are much more conditioned to filmic languages, no matter how subtle they are, than we think. A fast zoom to face shot for example is a classic attribute to comedy filmmaking.

0i0000basicplot.jpg
Basic Plot, Case 2194, 2014. Photo by Luke Hayes

0crdrawings2.jpg
Courtroom Drawings, 2014. Photo by Luke Hayes

I was reading the interview you did with Shona Kitchen for the Designers in Residence catalogue. I really liked the way you define your work as designing 'ruses'. Could you explain what you meant by that (since not everyone has the catalogue in their hands)?

I suppose what I meant by that (although actually not so much in this project) is that I'm interested in taking pre-existing functioning models or systems that often serve to exploit the misfortune of others (legally or sometimes illegally), in some form of monetary or political bargaining and use them in ways to turn it inwards on itself. For example the only way to counteract a trap; is to use another trap, which triggers the setting of a 3rd trap, then a 4th and so on.

It is within these terms that I define my practice of design. I would say that I design 'ruses' as a stratagem to plot, to plan, to scheme, as ways to imagine the conceivably unachievable but very logistically possible.

My work often uses design as a vehicle to manoeuvre the arrangement of material in space and over time to pursue an examination of the mechanisms of risk assessment, financial calculation, and rather more literal, legal forms of judgement, in order to generate new situations events or moments to invoke an aesthetic of precision, by really obsessing over narrowing margins of space and time, where exactness matters and becomes a force (I define as design) in its own right.

Also my work often takes form as an anticipation of another form, as a pretext often constructed to allow something else to happen or to be imagined.

My commercial work under my company name The Department of No, uses this practice in much more commercial spheres such as law enforcement, legal planning, crime prevention and script plausibility studies. The ruses directly relate when cross contaminating commercial work with exhibitions and consultancy, they all amalgamate, the fiction feeds the real world and vice versa.

For example I'm currently setting up a practice of licenced Private Investigators to operate in an office located in West Hollywood in Los Angeles, to investigate civil disputes across the city that repeatedly plays itself. The pretext being to write and direct a play of experiences and cases (individuals case plaintiffs unrevealed of course), but we will be operating as a real firm with real clients, attesting to real legal cases.

0ajeeeeeciton6.jpg
Photo by Luke Hayes

0aexposiiiiiiion3.jpg
Photo by Luke Hayes

We live in a time of state control, secrecy and surveillance. But by turning a trial into entertainment, you remove some of the gravitas of the justice system and leave the procedures and interpretation of a trial into the subjective hands of a film director. I've just been reading articles from last year about the introduction of television cameras into UK courts to film the sentencing of serious criminals. There was a lot of debate around losing some of the 'mystique' of the courtroom vs helping "the public re-engage with the criminal justice system". Is that something you'd like to comment on?


I'm not sure the 'mystique' of the courtroom has ever really entered the minds of most, I say this though however because we have been conditioned to the action of the court, its demeanour, atmosphere and so on through television, film etc. Of course these are highly dramatized, with little or no legal references alluding to the true nature of the law but oddly, legal dramas are some of the highest rated shows on television... the sexed up Ally McBeal was supposedly responsible for a boost of people studying law during the early 00's.

I think there's a really odd disconnect between the perceivable "public re-engaging with the criminal justice system" and actual engagement with the issues that ensue due to pervasive camera's in the courts. The Oscar Pistorius trial was undoubtedly entertaining, however the engagement was only of merely entertainment mixed with a public lust for blood of a 'murderer' to be brought to 'justice' at the viewing onslaught of a booing crowd. It seems to be taking form as a contemporary Roman games, I'm not sure how to feel about that, it requires both a smirk and a exhale of disgust. But I think the 'vs' in the articles you were reading were perhaps in the wrong place. The more concerning question is how the cameras will inevitably affect the trial and veracity of testimony itself rather then jog the public's perception.

Thanks Ilona!

Ilona Gaynor is an artist, writer and film-maker. She is also the founder of research studio The Department of No and teaches digital + media students "how to tell better stories" at Rhode Island School of Design.

Designers in Residence 2014: Disruption is at the Design Museum in London until 8 March 2015.

Conflict, Time, Photography, an exhibition which opened in November at Tate Modern, looks at over 150 years of conflict around the world, since the invention of photography. It could have been one of those shows that organizes the photos according to themes, geographical area or chronology. The curator, however, orchestrated the exhibition according to the length of time that elapsed between the conflict and the moment the photographs were taken.

0Toshio-Fukada.jpg
Toshio Fukada, The Mushroom Cloud - Less than twenty minutes after the explosion (1), 1945

The first room in the show, "Moments Later", contains thus images taken almost straight after a disaster occurred. The most compelling example of it is the mushroom cloud photographed 20 minutes after the atomic bomb was dropped on Hiroshima. Toshio Fukada was then a 17-year-old student. He always carried a camera with him and took the images from his window, 2.7 km from the hypocenter.

As you walk through the exhibition rooms, the duration between image and event grows into days, weeks, months, years and decades.

0CDM_Shot_at_Dawn_002.jpg
Chloe Dewe Mathews, Former abattoir, Mazingarbe, Nord-Pas-de-Calais, 2013
Private James Graham. 07:22 / 21.12.1915
Private John Docherty. 07:12 / 15.02.1916
Private John Jones. Time unknown / 24.2.1916
Private Arthur Dale. Time unknown / 3.3.1916
Private C. Lewis. Time unknown / 11.3.1916
Private Anthony O'Neill. Time unknown / 30.4.1916
Private John William Hasemore. 04:25 / 12.5.1916
Private J. Thomas. Time unknown / 20.5.1916
Private William Henry Burrell. Time unknown / 22.5.1916
Private Edward A. Card. Time unknown / 22.9.1916
Private C. Welsh. Time unknown / 6.3.1918


0i6westvlaande1815.jpg
Chloe Dewe Mathews, Vebranden-Molen, West-Vlaanderen, 2013.
Private Ahmed ben Mohammed el Yadjizy, Private Ali ben Ahmed ben Frej ben Khelil, Private Hassen ben Ali ben Guerra el Amolani and Private Mohammed Ould Mohammed ben Ahmed. 17:00/15.12.1914

0sixfarmx525109.jpg
Chloe Dewe Mathews, Six Farm, Loker, West-Vlaanderen
Private Joseph Byers, Private Andrew Evans. Time unknown / 6.2.1915
Private George E. Collins, 07:30 / 15.2.1915

The last gallery shows the series i found most moving. Almost 100 years after the start of WWI, Chloe Dewe Mathews photographed some of the exact spots where British, French and Belgian soldiers were executed for cowardice and desertion between 1914 and 1918. The photos of Shot at Dawn were also taken at approximately the same time of year the men were killed.

The quiet landscapes evoke incidents which memory has been suppressed for decades. Although there is no visible trace of what happened in these locations, the photographer managed to convey the sadness and anxiety these young men must have experienced in those early mornings.

I've seen countless books and exhibitions of images taken by photojournalists reporting from the battle fields. Some of the images were truly frightful and depressing. Yet, frequent exposure to war photography have almost numbed my feelings. I go from one image to the next one and, at best, only a fleeting memory of what i've just seen remains. Conflict, Time, Photography revitalized a sense of horror and dismay that war images (should) provoke. By forcing me to reflect on the impact that conflicts have on people, culture and places over time, this show will haunt me for years to come.

Conflict, Time, Photography is an intense and powerful show. I wish i could mention every single work i saw there but i'll just stop at this brief selection:

0_m66kytJDxV1r20y3p.jpg

0tpushedr20y3p.jpg
Adam Broomberg & Oliver Chanarin, People in Trouble Laughing Pushed to the Ground

Adam Broomberg and Oliver Chanarin have a couple of works in the exhibition. One of them is People In Trouble Laughing Pushed To The Ground which uses fragments of images of Belfast Exposed, a collection of images taken by professional photo-journalists and 'civilian' photographers who documented life under the Troubles in Northern Ireland. Whenever someone selected an image in the archive for use, it was market by a red, yellow or blue sticker. Broomberg and Chanarin enlarged and reprinted the area beneath the dots, revealing puzzling, romantic, amusing or brutal fragments of life under the Troubles.

0i8patiocivil804c42020.jpg
Luc Delahaye, Patio civil, cementero San Rafael, Malaga, 2009

70 years after the end of the Spanish Civil War, Luc Delahaye photographed the forensic exhumation of a mass grave containing the bodies of Republican fighters executed during the Spanish civil war.

0nuclIMG_0770.jpg
Ursula Schulz-Dornburg, Kurchatov - Architecture of a Nucleur Test Site. Kazakhstan. Opytnoe Pole, 2012. © Ursula Schultz-Dornburg

In October 2012, Ursula Schulz-Dornburg had the opportunity to photograph the former USSR nuclear weapons test site near the city of Kurchatov in Kazakhstan. The photographs depict the pitiful remnants of a megalomaniacal arms race.

0eiichshadowi.jpg
Matsumoto Eiichi, Shadow of a soldier remaining on the wooden wall of the Nagasaki military headquarters (Minami-Yamate machi, 4.5km from Ground Zero), 1945

0markkMA_02.jpg

0markkkMA_01.jpg
Nick Waplington, We live as we dream, alone, 1993. © Nick Waplington

Nick Waplington captured drawings and words left on the walls by the prisoners of a war camp in South Wales where the low and mid level SS where kept before being sent to Nuremburg for trail.

0Faiti20 S.jpg
Sophie Ristelhueber, Fait # 20, 1992

0Faito43 S.jpg
Sophie Ristelhueber, Fait # 43, 1992

0Faiti59 S.jpg
Sophie Ristelhueber, Fait # 59, 1992

Sophie Ristelhueber traveled to Kuwait months after the end of the First Gulf War to record the physical traces of the conflict. The aerial and ground-level photos depict bombed out terrains, mangled machinery, still-burning oil fields, tank tracks and other "scars" left on the landscape.

0_DSC0385.jpg

0_DSC2523.jpg

0_DSC0574.jpg

0_DSC0541.jpg

0_DSC2418.jpg
Stephen Shore, Ukraine 2013. © Stephen Shore

Stephen Shore met Ukrainian holocaust survivors in their houses. There are a few portraits but most of the images detail their belongings. From baby pink plastic radio to ordinary kitchen corners.

0afg_sheep_sn08.jpg
Simon Norfolk, Bullet-scarred apartment building and shops in the Karte Char district of Kabul. This area saw fighting between Hikmetyar and Rabbani and then between Rabbani and the Hazaras, 2003. From the series Afghanistan Chronotopia

0conflict-039.jpg
Pierre Anthony-Thouret, Reims after the War, Plate XXXVIII, 1927

In the months after the end of the first world war, architect Pierre Anthony-Thouret documented the destruction of the city of Reims.

0TSimon_website-19.jpg
Excerpt from Chapter VII, A Living Man Declared Dead and Other Chapters I-XVIII
1. Nukic, Nezir, 1928 (exact birth date unknown). Forester and road builder. Zivinice, Bosnia and Herzegovina.
2. Mehic, Zumra, 09 Dec. 1950. Homemaker. Kladanj, Bosnia and Herzegovina.
3. Mehic, Bajazit, 16 Sept. 1972 - 11 July 1995. Mortal remains, International Commission on Missing Persons, Podrinje Identification Project. Tuzla, Bosnia and Herzegovina.
4. Mehic, Ahmedin, 16 Feb. 1974 - 12 July 1995. Tooth sample used for DNA matching, International Commission on Missing Persons. Srebrenica-Potocari Memorial and Cemetery, Srebrenica, Bosnia and Herzegovina

In one of the pieces of the series A Living Man Declared Dead and Other Chapters I - XVIII , Taryn Simon looked for the survivors of the Srebrenica massacre and built up their family trees. Most of the photos show women and children. Missing members are represented by blanks or by dental fragments found in mass graves.

0i6388140585_3a8fe5cbd3_b.jpg
Don McCullin, Shell-shocked US marine, Hue, Vietnam, February 1968

I'll end with a photo that hangs in one of the rooms titled Moments After. Don McCullin's portrait of a shell shocked marine was taken just minutes after he had been engaged in a bloody battle in Vietnam.

"McCullin's picture is very important for us because it's the kind of picture we very rarely see in the era of embedded photographers, it is very hard to take and show this kind of image," curator Simon Baker told The Guardian. "It's taken moments after this marine has been engaged in an extremely serious engagement and you see him completely traumatised, completely frozen by what's happened to him."

Conflict, Time, Photography is at Tate Modern until 15 March 2015.

Experimental Eating, edited by Thomas Howells. With introductory essay by Zach Denfeld, Cathrine Kramer and Emma Conley from The Center for Genomic Gastronomy.

Available on amazon UK and US.

0wjXCcAE2E9L.jpg
(Image via @allieartbooks)

Black Dog Publishing writes: Experimental Eating is the first international survey of contemporary experimental and experiential food-based creative practices across art, design, catering, science and theatre. Deliciously detailed and good enough to eat, this book combines luscious images with text that questions the assumptions behind how we make, eat and perceive food.

Experimental Eating demonstrates how current creative collaborations are pushing the boundaries of how we understand, experience and relate to food and the rituals of dining. The book encompasses unusual and cutting-edge foods, radical dining events, "kitchen laboratory" experiments, food sculptures and other documentation of the transient moments that make up this field of experimentation.

0McCarthy-Santa-1.jpg
Paul McCarthy, Chocolate version of Santa with Tree. Photo: Svetlana Bachevanova via Paris Photo

0CGG-smogTasting1.jpg
Center for Genomic Gastronomy, Smog Tasting

0-ortolanAbove-620x618.jpg
Center for Genomic Gastronomy, Vegan Ortolan

0i3cucumb7_slider.jpg
Erwin Wurm, Self-Portrait of Cucumbers, 2008

Experimental Eating is a merry and fascinating survey of artworks that bring the political, the unusual or the technological into the ritual of food consumption. From the moment the ingredients are planted or bred to the moments they are combined into dishes, consumed or discarded.

The book comes at a good time. A time when cooking shows pullulate on tv screens while concerns are raised about the ethics (or rather lack thereof) of our food production.

The artists whose work is featured in the book remind us that a meal is far more than the insertion of edible material into our mouth. It is the result of farming practices, cultural standards, biological manipulations, technological innovations, international trade law and often also ethical choices. Some of the artists and designers working with food speculate on the impact that tissue engineering will have on our plates, others create a permanent fast food joint that offers cuisine from countries the United States is currently in conflict with, others uncover and denounce aspects of our food systems we might not be aware of, etc. What these practitioners have in common is that they use food as a vehicle to get our full attention and spark conversations over broader themes. Preferably outside of the contrived environment of museums and galleries.

Experimental Eating closes on a series of art&food related reprint. They are masterfully chosen. There's Romy Golan's Anti-Pasta which informed me someone once had the idea of founding PIPA, the International Association Against Pasta; there's an introduction to The Starving Artists' Cookbook; and there's The Culinary Triangle, Claude Lévi-Strauss essay on the semantic field of cooking meat.

There might be other publications on the topic but Experimental Eating is the first one that falls into my hands and it is an entertaining, thought-provoking and thrilling one.

Some of the many artworks i discovered in the book:

0aassugggarm.jpg
Van Brummelen & De Haan, Monument of Sugar, Argos Brussels, 2007

Following the discovery that European sugar costs far less when sold outside of Europe, Van Brummelen & De Haan embarked on an investigation of the European subsidised sugar trade. They bought European surplus sugar in Nigeria and then shipped it back home. To elude the European trade barrier for sugar imports they transformed the sugar into a monument. The import application was thus filled under the Uniform Commercial Code Law 9703, which applies to all monuments and original artworks regardless of the material in which they are produced. In the end, however, they had to contend with more tariff barriers then they succeeded in avoiding and the sugar proved more expensive than at home.

The sugar sculpture is accompanied by a film essay which charts the artists' research into the sugar trade.

0cinder_toffee_synphoni_0.jpg
Condiment Junkie, Bittersweet Symphony, 2014

Condiment Junkie experimented with modifying the perception of taste, making it bitter or sweeter, using sound only.

0iii0i0pigshead.jpg
Waag Society, The Other Dinner. Photo Chloé Rutzerveld, 2013

The Other Dinner investigated the meat culture of the past, present and future. One of the chapters of the event looked at the parts of the pig, cow, chicken or sheep that are usually disdained and used only for export or animal feed.

0Rakowitz_FoodTruck.jpg
Michael Rakowitz, Enemy Kitchen. Photo: Smart Museum of Art

Collaborating with his Iraqi-Jewish mother, Michael Rakowitz compiles Baghdadi recipes and teaches them to different audiences. He also serves the food in a ice cream truck with the help American veterans of the Iraq War. Preparing and consuming the food gives the artist and the public a chance to approach the topic of Iraq in a more open, less CNN-report way.


Bompas & Parr, Cooking with Lava, 2014. Video by Robert Wysocki

0imcooklava1be130a55.jpg
Harry Parr of Bompas and Parr gets volcanic on 10-ounce rib-eye steaks and ears of corn. Photo Bompas and Parr

Bompas & Parr collaborated with Professor Robert Wysocki , an artist who works with artificial volcanoes and streams of man-made lava, for artistic and scientific purposes. The artistic duo harnessed his expertise and bronze furnace to cook meat and fish.

0deepfriedgadgets04.jpg
Henry Hargreaves, Deep Fried Gadgets

The title says it all. This is also one of the most stomach-churning works i've ever read about.

0a01strawberries_fin.jpg
Klaus Pichler, Strawberries, One Third - a project on food waste
Place of production: San Giovanni Lupatoto, Verona, Italy
Cultivation method: Foil green house * Time of harvest: June - October
Transporting distance: 741 km * Means of transportation: Truck
Carbon footprint (total) per kg: 0,35 kg * Water requirement (total) per kg: 348 l
Price: 7,96 € / kg

0a1tomatoes6-pic-01.jpg
Klaus Pichler, Tomatoes, One Third - a project on food waste
Place of production: Albenga, Italy
Cultivation method: Foil green house * Time of harvest: All- season
Transporting distance: 1.035 km * Means of transportation: Truck
Carbon footprint (total) per kg: 0,31 kg * Water requirement (total) per kg: 215 l
Price: 0,89 € / kg

According to a UN study one third of the world's food goes to waste (mostly in the industrialized nations of the global north) while 925 million people around the world are threatened by starvation. Klaus Pichler's series 'One Third' explores the connection between individual wastage of food and globalized food production. Over a period of nine months, the photographer used his apartment bathroom as a storage space for rotting food items. He then arranged the abominable result of the fermentation into elaborate still lifes and accompanied the images with texts that take an in depth look at the food production and distribution.

Related stories: Prison Gourmet, Data Cuisine, food as data expression, The Meat Licence Proposal, interview with John O'Shea, Super Meal, Cobalt 60 Sauce, a barbecue sauce made from 'supermarket mutants', Cook Me - Black Bile, Conflict Kitchen, Herbologies/Foraging Networks at Pixelache Helsinki, Interview with Kultivator, an experimental cooperation of organic farming and visual art practice, Temporary photoElectric Digestopians (Fusing Cooking and Solar Tech with Design), The Spice Trade Expedition - In pursuit of artificial flavoring, Book Review - Cooking Science: Condensed Matter, etc.

sponsored by:
Categories: