It flows throughout our bodies and yet some of us faint when they see a drop of it. It is a key features in stories of vampires and children fairytales. It is the fluid that is most closely associated to life but also to the Ebola virus, diseases transmitted by mosquitoes and other life-threatening conditions.
The 25 artworks that make the exhibition BLOOD (Not for the faint-hearted) aptly reflect the complex space that blood occupies in our cultures. From the vampire killing kit to the video of stem-cell extractions, from the luminol dripped down onto a sculpture made of blood and resin to Hermann Nitsch's cathartic Theatre of Orgies and Mysteries, all grounds seem to be covered: history, pure science, crime, medicine, literary fiction, ethics and taboo.
A couple of works in the show might be upsetting for some and indeed the gallery recommends it to the 15+. Strangely enough, i had no problem visiting the show but writing about it makes me far more uncomfortable. I could not even watch the video of Maria Phelan's work MYTYPE.
One of the works that opens the show is a documentation of Que le cheval vive en moi! (May the horse live in me!), a performance in which Marion Laval-Jeantet was injected with horse blood plasma. This bold self-experiment continues the artistic duo's exploration of trans-species relationships.
In the months preceding the performance, Marion Laval-Jeantet built up her tolerance to the foreign animal bodies by being injected with horse anibodies. The artists called the process "mithridatization", after Mithridates VI of Pontus who cultivated an immunity to poisons by regularly ingesting sub-lethal doses of the same. Once her body was ready, she was injected with horse blood plasma containing the entire spectrum of foreign antibodies, without falling into anaphylactic shock, an acute multi-system allergic reaction.
In this Science Gallery interview below, Benoit Mangin explains how Marion was able to hide the eyes of the horse. A horse would normally react very violently to having his eyes covered but somehow, the animal didn't perceive her as being an entirely different organism.
Nearby, lies the apparatus used by surgeon Robert McDonnell on a fourteen year old girl whose arm was torn and lacerated while she was working in a paper mill. Robert drew 350 millilitres of blood from his own arm and syringed it back into Mary Anne. The girl's condition improved for a short time, but she died the day after. It was the first human-to-human blood transfusion performed in Ireland.
John O'Shea is showing a video recipe of his renowned delicacy, the Black Market Pudding. Just like we get milk from cows and eggs from chicken without the need to kill them, we could also get fresh blood from pigs and make black pudding, a type of blood sausage commonly eaten in Britain and Ireland.
The blood is extracted from living pigs via a routine veterinary procedure and the whole business model ensures that the pig grows old peacefully. Kind of. And because vegetarian suet is used to emulsify the ingredients, the black market pudding is branded as being an ethical animal product.
Quinn is participating to the show with a wax model of his baby son. The sculpture is made of wax mixed with animal blood and protein his son is intolerant to. The work is thus both tender and savage. It evokes the love for a child and the cruelty of appropriating the blood of a non-human animal.
Professor Peter Arnds is showing a fascinating collection of German children's books in which children come to harm and blood is shed, posters that detail the Nazis' obsession with blood and its purity, and a short video on the Nazis' ideology of blood.
It turns out that children's literature and folktales are quite at ease with the depiction of murder, cannibalism and other violent scenes. In Germany and elsewhere. One example of this is Charles Perrault's version of Little Red Riding Hood from 1697or the Grimm Brothers' original fairytales.
There is a lot of humour in the gallery as well. STAINS™ is a fake company that challenges the hypocrisy of marketers trying to sell female menstrual products while showing blue liquids and pretty girls laughing in the sunshine.
Visitors to the exhibition are invited to take a selfie with one of the blood stain broaches made by STAINS™ and share the photo via the Twitter with the hashtag #periodpositive. You can also buy the blood stains as earrings or pendant.
More images from the show:
The exhibition was curated by curator and media studies scholar Jens Hauser, haematologist Prof Shaun McCann, Immunologist Prof Luke O'Neill, literary and cultural scholar Prof Clemens Ruthner and Science Gallery Dublin director Lynn Scarff. It remains open at the Science Gallery Dublin until tomorrow, Friday 23rd of January.
Photographer Nick Hannes spent four years traveling around the Mediterranean looking for the traces left by mass tourism, migration, financial crisis, political upheavals and other burning issues. "[The Mediterranean] remains unique on the map of the world: a sea at the intersection of three continents, a relatively short distance from each other," Hannes told Flanders Today. "There's a reason why this region is considered the cradle of our civilisation."
History meets very contemporary troubles in his photos. While touring some 20 countries, the photographer saw tourists dancing on beaches while poverty-stricken people at the other hand of the sea were hoping to board a boat and migrate to richer shores, protests by family members of people who disappeared during the Algerian civil war, Gazans smuggling goods through underground tunnels in an attempt to overcome the severe food shortage imposed by the Israeli blockade, etc.
Hannes' series Mediterranean. The Continuity of Man is currently on view at the Photo Museum in Antwerp. I visited the show a few days ago and here are some of the images i found most striking:
Doing prospection for my Mediterranean Project in the port city of Patras, Greece, I bumped into this weird wedding party. Christos Karalis (44), who married Anna (26), decided to have the party in his petrol station, to save on expenses. "This is how we respond to the crisis", a family member said to me. "Please show these pictures to Merkel. A Greek keeps on laughing and celebrating, even when his money is being taken away."
Mediterranean. The Continuity of Man is at FotoMuseum Antwerp until February 1, 2015.
Check also my post on another FoMu exhibition that features Hannes' work: Red Journey, a photo trip across the former Soviet Union.
Karla Diaz is an activist, artist, writer and one of the founders of the artist group Slanguage Studio. A couple of years ago, she got interested in the prison food system in California and in particular in the prisoners' ingenious strategies to overcome the culinary flaws of the CDCR cafeterias.
It turns out that prisoners create their own recipes using the limited list of ingredients they can buy either from the jail commissary or the vending machines. The men also design kitchen tools using whatever is available to them and make some unconventional mixtures of ingredients to create their own unique flavours.
Diaz asked friends serving time in prisons in California to send her their own food recipes and collected them for a print on demand book called Prison Gourmet.
On a documentary and curiosity level, Prison Gourmet is a kind of culinary version of Prisoners Inventions. But Prison Gourmet is also a performance in which the artist addresses the politics of food and incarceration by reproducing prison recipes devised by inmates.
I contacted Karla Diaz and she kindly accepted to answer my questions about Prison Gourmet:
Hi Karla! How did you get the idea to make prison recipes?
This idea first came in a meeting I had with my mentor, Manuel "Manazar" Gamboa who was an L.A. poet and playwright. He died in 2001. Manazar spent 17 years of his life in a California prison and after being released from prison, he dedicated the rest of his life writing and teaching writing to others. One day, he shared with me one of his favorite prison recipes-- a tuna casserole with potato chips and dipped pickles. I was so intrigued by the taste of this recipe, the combination of flavors, the process, and Manazar's story. I wanted to recreate this recipe and share it with others. It was not until 2010, that I had the opportunity to do so. My brother had gone to prison and I became more actively involved in the prison food system. I was amazed on the limited choices of food-packages that prisoners could eat. They are saturated with salt, oil and high cholesterol. There had been a few food strikes by prisoners demanding better food conditions. At the same time, I became aware of alternative food recipes that prisoners were eating. These recipes are made from food items that prisoners get to choose from their commissary food items. It's not the cafeteria food. They choose these food items and combine them to make their own recipes. I also learned that some of these recipes are done collaboratively. In a prison system, that tends to isolate and segregate people by race. I was so intrigued by the idea that food recipes were a means of unity. I decided to make this performance called prison gourmet, emphasizing the term "gourmet" and giving value to the prisoners as self-taught chefs.
What does (or did) the Prison Gourmet performance look like exactly?
In 2010, I was asked to participate in "Let Them Eat LACMA" a one-day event of collective performances organized by the art collective Fallen Fruit, that happened at Los Angeles County Museum of Art (LACMA). Prison Gourmet was originally a three-hour, one-day performance recreating recipes from California prisoners. The performance not only gave audiences free-samples of the recipes but also guided audiences through the process of which the food was made. This process is very important because prisoners make these recipes with limited cooking tools for instance, some prisoners use plastic bags, towels and t-shirts instead of pots and pans. The original Prison Gourmet also included a notebook with some of the letters with the recipes and general information on the California prison food. In 2014, Prison Gourmet was part of the exhibition "Around the Table: Food, Creativity, Community " at the San Jose museum of Art. I was glad to expand on the performance and make a full-length video of the recipes, a book documenting some of the recipes, a performance recreating one of the recipes and answering audience questions, and an installation.
How did you get prisoners to share these recipes with you?
I asked prisoners that I had a relationship with or friends that had a loved one in prison. Looking back, I don't think I would have gotten much response if I approached the prison institution officials. I've tried that approach before and have gotten a lot of paperwork, delay, red tape, censorship and no response. Also, you have to understand that prisoners have a different relationship to the police authorities and the amount of information they share with police. From what prisoners have told me, sometimes information whether it be written or in images can be used against them. It could be a simple letter or phone number, or an image that can be used against them. Prisoners had to trust me. And that is a very big responsibility as an artist. To keep that trust. Working with many different communities in my work, I've learned that this is one of the first most important things to build.
I'm also curious to know more about prisoners' cooking experiences: what kind of ingredients and cooking tools do they have at their disposal? And do you know where they cook? In their cell or do they have access to a kitchen?
I think I answered this a little bit earlier. The prisoners use limited tools at their disposal--essentially what they have available to them in their cell or what they can trade or access without permission from the kitchen. Cooling pans and pots take the place of trash bags and bath towels or t-shirts.
Could you give us some examples of creative uses of prison ingredients?
Yes, of course. One example of an interesting creative use of an ingredient is strawberry jelly. For example, in a recipe for orange chicken, a prisoner uses strawberry jelly with sugar, water and the powder drink Kool-Aid to make the orange sauce. Prisoners use pork rinds as a substitute for chicken. It's incredible how visually the strawberry jelly looks the same as the orange chicken sauce.
I suspect that Prison Gourmet is about more than just food. So which kind of issues are you exploring during the performance, how do you manage to engage the public into the discussion?
Yes, Prison Gourmet is more than just about food politics. Its about human creativity, even in the most limited of conditions. It's also about freedom. What I mean by this is that for prisoners, food consumption is not about taste. One day, I wrote to a prisoner asking him why he had made this recipe for orange chicken. I thought he really liked the taste of it. He replied that it wasn't so much the taste of these ingredients put together but that it was the memory that this created for him. Every time he made it, he remembered being home with his daughter. It meant freedom. It meant being home with his family. I also think about the impact this has on food culture, health and its context. You look at the prisons in the united states and there is a high rate and disproportionate rate of people of color (young men in particular) that are currently incarcerated...they are making alternative food practices that they learned from their culture from their memories living in their neighborhoods.
What now seems like a hipster food to eat like Korean-tacos, prisoners have already invented long ago. Taste is about remixing and remembering who they are on the outside world. It means tasting that bit of freedom....
By no means is my intention to comment on prisoners' crime or punishment. I am no one to judge this or is interested in that. I say this because there have been many audiences that have made comments that prisoners deserve to eat bad food. I try to engage audiences throughout the performance by allowing them to ask questions. To facilitate dialogue and exchange, I also keep a journal for audiences who want to comment on the recipes directly to the prisoners.
Prison Gourmet is also a book. Do you sell it? Where?
Yes, Prison Gourmet is also a book. I have self-published a limited edition of these and they are published on demand by emailing my studio website at email@example.com. Please make sure you write Prison Gourmet on the subject line. The first edition was published with the help of the Mexican consulate via the facilitation of the San Jose Museum of Art.
Here's my -as usual- very belated and -as usual- very enthusiastic review of the GAMERZ festival which took place in Aix-en-Provence so many days ago i refuse to count.
«The liberation of the game, its creative autonomy, supersedes the ancient division between imposed work and passive leisure» May 17, 1960. Excerpt from the Situationist international manifesto.
The 10th edition of the festival celebrated thus the death of passive leisure in the hands of games and art as well as the transformation of the compliant consumer into a creative user and abuser of technology. The exhibitions across town also investigated how the digital environment impacts and disrupts people's development at conscious and unconscious levels (cognitive, social, psychological, among others) and looked at how these often invisible adjustments can be harnessed in alternative social, economic, political or ecological practices.
The result is a free exhibition that proved, once again, that a digital art event can be both highly entertaining and smart. But the one thing that strikes me the most about GAMERZ is that, year after year, the festival manages to uncover and select young artists whose work i would otherwise not know about. And they are pretty good at spotting talents. The portfolio of artists like Labomedia, Antonin Foruneau, Jackenpopp, Maxime Marion & Emilie Brout or Paul Destieu has gone from strength to strength ever since i discovered their work at GAMERZ.
Here's what the 2014 edition brought us (and there's more to come):
Spectra, by Lucien Gaudion, is a vinyl printed with a chromatic circle, like the picture discs that were so popular up until the 1970s. As the record needle travels around the vinyl, the sound spectrum of each colour is made audible, from its lowest to highest frequencies, by a reading cell scanning the surface.
Each of these artworks exploits the concept of LikeJacking Spam (a kind of spam targeted at social network) but by sharing their source code, the artists want to stimulate empowerment through poetic/activist/humorous perturbations.
If one subtracts what the eye can see from what the ear can perceive, what remains of our perception of a given place ? What does our body become when it's not anymore the actor of our perceptions?
These are the questions at the origin of Adelin Schweitzer's exploration of the notion of dichotomy. The artist was showing two pieces where natural and artificial perceptions play with and against one another.
Dichotomie #Eyeswalking is made of two videos that document Schweitzer's walk in the snowy Canadian landscape. One gives a traditional, horizontal view of someone walking and is shown on a (traditional again) video screen. The other is shot from above, from a bouquet of balloons he is carrying along. It is screened inside a pedestal and you have to bend your head and watch inside goggles to watch that perspective. Constantly looking up to the wall screen in order to compare the two perspective is irresistible but if you stick to watching the perspective from above, it almost feels as if your body is pulled up and the scene is unfolding below your body.
Flat earth society takes readings from the stylus of topographic radar, cuts them into vinyl and then plays them back with a stylus.
The Viridis game is set in a post-apocalyptic world, in which humans owe their survival to spirulina, the "green counterpoison". But what makes the game interesting is that it gives players the possibility to collaborate with the farmers on the daily management of the real spirulina farm. Players can convert their points into daily tasks or items, vote in referendums about the cultivation of spirulina, etc.
More images from the festival:
Loooots more photos over here.
I finally made it to the PAV - Parco Arte Vivente (park of living art) in Turin and visited Vegetation as a Political Agent. The exhibition charts a history of the plant world, by looking beyond the biological and exploring the political and social implications of vegetation. And it is pretty much as exciting as i had hoped.
Plants are not as neutral and powerless as we might think. For example, they played a particularly important role in the 17th and 18th centuries, when navigators and 'explorers' sent to discover the world ended up annexing the land, colonizing populations and looking for ways to exploit the financial potential of new plant species (culminating in the spice trade.)
At the other end of the spectrum are individuals and communities which, from the 1970s on, have been using plants to resist, revolt and defy. The exhibition tells their story through documents that date back to the first ecological revolutions, specially commissioned projects and contemporary artworks.
The show opens with the mural Zapantera Negra in which Emory Douglas (Minister of Culture for the Black Panther Party from 1967 until the 1980s when the group disbanded) brings together the Black Panther movement and the Escuelita Zapatista supporting the rural working-classes in Chiapas. Douglas modified one of his famous posters Afro-American solidarity with the oppressed people of the world (1969) by turning a rifle into a corn plant, symbol of Mexican populations.
By placing plants in the context of territorial control in colonial and postcolonial periods, RozO's When vegetation is not decoration is perhaps the work that best encapsulates the exhbition. On a larger-scale, vegetation can become a tool to manage a territory or, conversely to support resistance against foreign control. The installation, made of archive material housed inside a temporary architecture of bamboo and palm leaves, illustrates contrasting uses of vegetation in history:
First, black and white photos taken by the French army in the mid-1950s show the French army harvesting wheat in Algeria. They are protected by elite soldiers and armored units.
These images clearly depict the exploitation of land for the benefit of the coloniser. Aside from the word "Algeria" written on the grain sacks, it seems that we are witnessing a French cereal farming region. Here vegetation is clearly used to assimilate and acculturate. Vegetation is employed by the attacker and coloniser of a country or region, to deterritorialize its inhabitants. Rendering the natives foreigners in their own land was a technique that frequently used by colonisers. In the 20th Century, following the invasion of Poland, Nazi Germany implemented a wide-reaching process of "Germanisation" of the territory, to render it German.
On the other side are stills from Chien thang Tay Bac (North West Victory), a documentary filmed in 1952 by the Viet Minh military forces during the war against French occupation. The images demonstrate how Vietnam fighters used topography and vegetation as a weapon. Instead of traveling through the road infrastructure, the soldiers used pathways that allow them to avoid detection by the French occupiers and instead of using the traditional bamboo rafts to cross rivers, they built bamboo bridges that were almost impossible to detect as they were positioned 10 centimetres under the surface of the water.
Roundup Ready Crops are genetically engineered crops that have had their DNA altered to allow them to withstand the active ingredient of Monsanto's herbicide Roundup. Farmers who plant these seeds must use Roundup to keep other weeds from growing in their fields.
Members of Critical Art Ensemble prepared an artificial plot of land with RR herbicide, and challenged people to try and grow something in the enriched soil. The result of their efforts is depressing, it illustrates better than any essay the reason why the herbicide's nickname is 'killer exterminator'.
The most fascinating work in the show for me was Adelita Husni-Bey's timeline of English 'green' movements between 1987 and 2004 as seen through the radical and underground zines they published. Before the widespread use of the internet, zines and magazines were the only way to spread counter-information, controversial ideas and research.
Dan Halter planted a colony of Mesembryanthemum, a flower originally from southern Africa which is considered an alien species in many other parts of the world. Once in full bloom, the plant forms the famous icon of the Space Invaders video game, suggesting thus a very literal take on the idea of invasion. Excepts that this time, the colonization is upside down: it's African invaders that are about to colonize Europe.
Fernando Garcia-Dory brings to our attention George Chan's models of Integrated Farming and Waste Management System. The IFWMS involves a closed sustainable cycle in which matter and energy flow within the productive unit, increasing yields to meet the demands in food and energy of local populations while at the same time guaranteeing the sustainability of the ecosystem.
This revolutionary model, called Dream Farms, is as yet largely unknown.
Claire Pentecost's series of postcards document the artist's research in Mexico where she discovered that transgenic maize is illegally cultivated. Working with grassroots organizations in Sierra Juarez di Oaxaca, she catalogs the OGM plants and portrays them on postcards that are then distributed to Mexican farmers in the hope that they will help stop the contamination.
More images from the exhibition:
Vegetation as a Political Agent was curated by Marco Scotini. It is on view at the PAV - Parco Arte Vivente in Turin until 11 January 2014.