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Trujillo/Paumier, Untitled (Muxes 10), 2009

I'm one day late (how lame!) for my wrap-up of the exhibitions i enjoyed in London in July.

Starting obviously with the favourite one. Men y Men by TrujilloPaumier at New Art Projects. Joaquin Trujillo and Brian Paumier went to Oxaca to portray two communities who communicate radically different ideas of masculinity. Paumier's Moros are cowboys standing next to their horses, while Trujillo's Muxes shows a community of mixed gender people living in the indigenous Zapotec culture of Oaxaca.

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Trujillo/Paumier, Untitled (Muxes 4), 2009

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Trujillo/Paumier, Untitled (Muxes 11), 2009

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Trujillo/Paumier, Untitled (Moro 2), 2012

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Trujillo/Paumier, Untitled (Moro 27), 2012

Trujillo Paumier: Men y Men closed on 20 July.

British Folk Art at Tate Britain is bizarre, quirky but thankfully never condescending. Instead of wasting time speculating on is it art/is it not art?, the exhibition celebrates people's creativity and resourcefulness. Expect gigantic boots that served as tradesmen's signs, a cockerel made by prisoners from the Napoleonic Wars out of mutton bones, imposing ship figureheads, embroidered remakes of classic paintings, etc. I'd be more enthusiastic if folks didn't have to pay £13.10 to enter.

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As assortment of oversized objects, including a boot used to advertise a cobbler's. Photograph: Anna Partington/Rex Features

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British Folk Art © Ana Escobar for Tate

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Image by HFA

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Jesse Maycock, King Alfred 1961, Museum of English Rural Life. Photo: Tate

The show is up until 31 August 2014. Happy Famous Artists has a great flickr set.

Still at Tate Britain, there's a couple of rooms hosting Chris Killip's photos. Love the work, not so much the sponsor of the exhibition.

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Chris Killip, Whippet Fancier. Serie Huddersfield, 1973. © Chris Killip

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Chris Killip, Crabs and People, Skinningrove, North Yorkshire © Chris Killip, 1981

One of the most interesting galleries in London, Calvert22, is showing the work of photographers and video artists who explore identity and place in early 21st century Russia alongside the pre-revolutionary works of Sergei Prokudin-Gorsky.

I liked the work of Alexander Gronsky a lot. Especially the series Pastoral, which looks at the desolate spaces where the urban and the rural meet.

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Alexander Gronsky, Yuzhnoe Tushino II, 2010. From the series "Pastoral: Moscow Suburbs"

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Alexander Gronsky, Dzerzhinskiy VI, 2011. From the series "Pastoral: Moscow Suburbs"

Close and Far: Russian Photography Now is at Calvert22 until 17 August.

I also went to the Horniman Museum in Forest Hill, London. The building and botanical gardens opened in 1901 to host the collection of a business man who traveled the world to gather objects related to world culture, natural history and music. Among the 350,000 objects, there are lots of stuffed animals, a Spanish Inquisition torture chair and a charming little Merman (the husband of the mermaid?)

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Specimen of Ningyo mermaid, Feejee mermaid or merman, Japan, with paper-mache body, and fish-tail originally from the Wellcome Collection

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Flying Fox (Pteropus sp.) Skeletal - taxidermy double preparation of Flying Fox

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European Hedgehog specimen from the Natural History Gallery

I never found the merman, alas! But i discovered doublepreps: half the animal is shown as taxidermy, the other half is stripped to its skeleton.

One of the Horniman galleries has a fascinating photo exhibition that documents the lives of indigenous peoples in the Russian Arctic. The photos were taken by British photographer Bryan Alexander who has been travelling to the Arctic since 1971.

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Grisha Rahtyn, a Chukchi reindeer herder, iced up at -30 C after working with his reindeer during the winter

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Khanty women in traditional dress at a spring festival in the village of Pitlyar

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When thrown into air at -51C, boiling water transforms into vapour and ice. This is because boiling water is close to a gas and breaks into tiny droplets that can freeze at once

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Reindeer graze in the Yamal peninsula

Whisper of the Stars: Traditional Life in Arctic Siberia is at the Horniman Museum until 07 September 2014. Interview with the photographer. More photos in The Guardian.

I'll end with An Idiosyncratic A to Z of the Human Condition at the Wellcome Collection. The exhibition offers a selection of some of Henry Wellcome's objects, medical artefacts, paintings, photographs and sculptures, along with a couple of contemporary artworks.

I wasn't as impressed as every single journalist who published glowing reviews of the show in their newspapers but i did enjoy some of the artefacts. Such as this photo of rubber beauty masks that removed wrinkles and blemishes.

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Rubber beauty masks, 1921. Image Wellcome Library

Or this fetching corrective ear-cap, patented by Adelaide Claxton in 1945 to wear at night in order to 'correct and prevent the disfigurement of outstanding ears'.

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The Claxton improved patent ear-cap, 1925-1945.

The exhibition is up until 12 October 2014.

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Facade of the Open Eye Gallery. Paul Morrison, Urformen © Photo Paul Karalius

Last month, i visited the Liverpool Biennial. It was boring (BO-RING) but it was still worth the trip. One: because I love Liverpool and i'm happy as long as people around me have that cute accent. Two: because of the show at the Open Eye Gallery. It is part of the official programme of the biennial but it was one of the few shows in town that made me think and reflect upon the art world and the way it is represented/represent itself.

Not All Documents Are Records: Photographing Exhibitions as an Art Form looks at photographic works that bring a critical and artistic gaze on some of the most important art events in the world and asks the question: "Can photography be the site where the history of an exhibition is produced and still retain its independent artistic autonomy, thus overcoming pure documentation?"

Four bodies of works are brought together to make us reflect on this question. Two are contemporary, they are by Cristina De Middel of the Afronauts fame and by Ira Lombardia. The other two, by Ugo Mulas and Hans Haacke respectively, are historical.

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Venice, 1968. Workers protests, XXXIV Esposizione Biennale Internazionale d'Arte Photo Ugo Mulas © Ugo Mulas Heirs

Venezia, 1968. Proteste studentesche, XXXIV Esposizione Biennale Internazionale d'Arte
Venice, 1968. Student protests, XXXIV Esposizione Biennale Internazionale d'Arte Photo Ugo Mulas © Ugo Mulas Heirs

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Photo © Paul Karalius

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Photo © Paul Karalius

Venezia, 1968. Sala di Rodolfo Aricò, XXXIV Esposizione Biennale Internazionale d'Arte
Venice, 1968. Room of Rodolfo Aricò, XXXIV Esposizione Biennale Internazionale d'Arte. Photo Ugo Mulas © Ugo Mulas Heirs

I'm going to start with Ugo Mulas' take on the Venice biennale of 1968. I knew the photographer's work for his portraits of the superstars of the art world in the 1960s. But the photos exhibited at the Open Eye Gallery are miles away from the glamour you might expect from the Venice event.

Mulas had been covering each edition of the Venice biennial since 1954. The images in the gallery date from 1968, a year marked by social uprisings around the world (Mai 68 in France, anti-Vietnam war demos, etc.) The art biennial, which naturally echoes changes in society, experienced similar turmoils. Students and intellectuals took to the street to protest against the establishment represented by the Venice Biennale, brandishing banners that denounced the "policed biennial of the bourgeoisie" (policemen were indeed guarding the entrance of the Giardini) and claiming that 'La Biennale è fascista.'

They also questioned the institution itself on matters such as freedom of speech and vilified it for its sales department, accusing the biennial of being a capitalist playground for the rich. The biennale's board subsequently dismantled the sales office.

In solidarity, some of the participating artists covered up their works, withdrew their work, turned them over or wrote over "in these conditions i'm not working."

Mulas photographed the most salient moments of the opening: the protests, the curators carelessly drinking spritz on Piazza San Marco, the police crackdown against demonstrators, etc.

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Photographic Notes, documenta 2, Gonzales Nun, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Kandinsky, Micky Mouse, 1959 © Hans

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Photographic Notes, documenta 2, Léger Family, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Cleaning Women, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Magritte 2 Profiles, 1959 © Hans Haacke © DACS, London

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Photographic Notes, documenta 2, Pollocks, Large Group, 1959 © Hans Haacke © DACS, London

The context of Hans Haacke's photos of the second edition of Documenta in Kassel is very different from the one of the 1968 biennial. Founded in 1895, the Venice biennial is the oldest exhibition of its kind. Documenta was created 60 years later as a means for bringing Germany up to speed with the most modern and contemporary art forms that had been banned under Nazi's politics of artistic obscurantism and censorship.

Haacke, still a student at the Art Academy in Kassel in 1959, worked as an exhibition guard for the second edition of Documenta. In his free time, he independently took on the task of visually 'documenting Documenta'. The 26 black and white images hanging on the walls of the Open Eye Gallery are witty and full of humour. Instead of being strictly about the art exhibited, the images display Haacke's interest into the rituals and peculiarities of an art event. They show how absurd the dialogue between artworks and viewers can be. A family attempts to find some relationship between a description in the catalogue and the work hanging on the wall. A young boy is far more interested in mickey magazine than in the Kandinski hanging behind his back. Other photos gives us a glimpse of what happens behind the curtains of the art world: cleaning ladies doing their job, a Moore sculpture waiting next to a pile of bricks to be carried to the exhibition room.

Nowadays, most of us have seen images of the kind. The museum photos of Thomas Struth or Martin Parr's sneaky portraits of collectors at Dubai Art Fair, for example. In 1959, photographers' sociological explorations of the art world were pretty unusual.

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Cristina De Middel. Photo © Paul Karalius

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Cristina De Middel

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Cristina De Middel

Cristina De Middel was invited by the gallery to imagine what the future edition of the Liverpool Biennial would be like. The commission came as the preparations for the event were underway.

Instead of going into wild speculations, the photographers looked for evidence in the archives of photography and press cuttings that documented past editions of the event. She then used and remixed the images and headlines in prints that cover the walls of the first room of the gallery.

To create her collage, she contacted both the photographers who had made the original images and the artists whose work appear in the photo. The photographers gave her the permission to use and rework their images. Many of the artists, to my great surprise, refused. So while artists have been constantly borrowing and re-appropriating other artists works to create new ones, they negate photographers the possibility to do so. Does that mean that a photographer is not an artist? That they can only produce images that document? To meet their censorship, De Middel painted over the artworks appearing in the photos, blurring and often even distorting their contour. Her new body of work interrogates thus the authenticity of photography (something she had done previously with the Afronauts, a series that charted the 1964 Zambian space programme which never actually came to its full realization) and highlights the tension between creativity and documentation that the photographic medium encompasses.

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Ira Lombardia, And I Think to my selffffffffff what a wonderful worlllllllllld, 2012. Photo by Paul Karalius

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And I Think to my selffffffffff what a wonderful worlllllllllld © Ira Lombardia, 2012

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And I Think to my selffffffffff what a wonderful worlllllllllld © Ira Lombardia, 2012

Upstairs, i almost missed the work of Ira Lombardía. During her visit of the last edition of Documenta, the artist saw a light phenomenon on the floor of one of the exhibition gallery. She mistook it for an authentic work of art (such confusions happen to the best of us when dealing with contemporary art.) Lombardía took a photo of it and went on to create a whole narrative around it. She invented an artist and a description for the artwork that never was. She then copied faithfully the catalogue of the Documenta exhibition and substituted one of the artworks by her photo of the light phenomenon and added the bio of her fictitious artist. She later wrote a letter of apology to the artist whose name and work she had removed from the catalogue.

Not All Documents Are Records: Photographing Exhibitions as an Art Form, curated by Lorenzo Fusi, remains open until 19 October 2014 at the Open Eye Gallery in Liverpool.

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The weather, that once innocent topic of conversation, now comes the bearer of fears and dark scenarios. Hurricanes, typhoons, flooding and heatwaves are more violent and frequent than ever and climate change has transformed our good old weather into 'extreme' weather.

An exhibition that just opened at the Science Gallery in Dublin brings together artists who investigate how this Strange Weather is intersecting with our daily life and culture.

One of the rooms in the gallery hosts a Tornado Diverter, a device built by artists Bigert & Bergström to intercept and stop a tornado. The sculptural machine radiates 100,000 negative volts and has the power to repel the positive charge of the tornado that causes twisters to touch down.

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Installation at the Science Gallery

The artists first read about such machine in a Wired magazine interview with Russian weather-modification scientist Vladimir Pudov. Bigert & Bergström met Pudov in 2007. He had then retired from his position at the the Institute for Experimental Meteorology and no longer had the means to develop his invention. The artists decided to step in, improve the scientist's drawings of the machine and "build it for him.'

In May 2011, the artists mounted the Tornado Diverter machine on a custom built trailer and, accompanied by Canadian meteorologist and storm chaser Mark Robinson, they traveled to the Midwest in the US to hunt down a tornado and place The Tornado Stopper in front of the approaching twister.


The Weather War, 2012, official trailer

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The Science Gallery is also screening The Weather War, a film in which the duo documents the increasingly hostile weather patterns and man's attempts to control them. I couldn't watch it until the end alas (i needed to take the bus to the airport) but 20 minutes of it were enough to convince me that the film is simply brilliant.

The documentary takes us on a historical and geographical journey into climate-management. The artists look at how the science of meteorology has advanced in line with military goals throughout history. They also interview people who build concrete shelters that can protect up to 50 (squeezed) people from violent tornadoes, Chinese scientists from the Beijing Weather Modification Office who fired rockets into the sky to seed clouds and make sure that it wouldn't rain over the 2008 Olympic opening ceremony, etc.

What makes the work so fascinating is that it gives a vision of how scientists are now attempting to control the weather. Should we put our trust into their hands? Or should such experiments be undertaken by governments? Are we sure they can also control the socio-political consequences of their experiments in climate control? Are we even entitled to modify the weather? And in the background of these questions lies the issue of global climate change:

How do we behave to meet those challenges? Do we adapt? Or do we wage war against increasingly aggressive weather phenomena? Bangladesh is building protective walls against coming floods. China shoots rockets into threatening clouds. And in Italy, anti-hail cannons are fired to protect the year's wine harvest.

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Tornado Protection Bunker. Image Bigert & Bergström

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Tornado Protection Bunker. Image Bigert & Bergström

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Joplin, Missouri, USA. On May 22nd, 2011, a FE-5 tornado destroyed large areas of the city. Image Bigert & Bergström

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Still from Bigert & Bergström's The Weather War, 2012. Courtesy of the artists

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Still from Bigert & Bergström's The Weather War, 2012. Courtesy of the artists

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Still from Bigert & Bergström's The Weather War, 2012. Courtesy of the artists

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Bigert & Bergström's The Weather War, 2012. Courtesy of the artists

Check out The Weather War , part of the exhibition Strange Weather. The show remains open at the Science Gallery in Dublin until 5 October 2014.

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Sketches for an Earth Computer, installation view in Riga. Image courtesy of FIELDS

Yet another post about a work i discovered in RIga when i visited Fields - patterns of social, scientific, and technological transformations, a (fantastic and still open) exhibition featuring works by artists who have adopted an engaged, critical and active role in society.

Sketches for an Earth Computer is an ongoing series of living "laboratory" studies that explore the links between the earth, code and the human psyche of the viewer.

Over the past few years, Martin Howse has been investigating the possibility to build a computational device that would not only be constructed solely from the earth but would also be embedded within the earth as a critical monument to human technology.

The computer enters a feedback loop with the environment itself as geophysical, biological and electro-chemical elements can both encode and be modified by the computational structures.

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Sketches for an Earth Computer, installation view in Riga. Image courtesy of Martin Howse

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Sketches for an Earth Computer, installation view in Riga. Image courtesy of Martin Howse

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Sketches for an Earth Computer, installation view in Riga. Image courtesy of Martin Howse

Questions to Martin Howse:

Hi Martin! Could you explain the setting of the installation at the FIELDS exhibition?
What each elements stands for? Its role in the system?

As background it's important to understand that all of these elements are simply fragments of sketches towards the working out of what could be described an earth computer. The images in the background show elements of the installation operating within a forest environment in Germany. So the elements of the installation are designed as pointers towards these functional aspects of the earth computer, which may or may not operate correctly within an exhibition environment.

For example, the hanging sealed earth container references the potential recoding of electrochemical earth elements using a primitive solar cell constructed between copper, copper oxide plates and forest earth.

The large, floor-situated earth container (using forest earth dug one hour away from Riga in the "magic forest", and gypsum from a nearby quarry), refers to potential chemical changes in the earth induced by water passing through this stack of minerals above the earth. At the same time all of these containers draw attention to the drawing of a boundary for the earth, and the disconnection from the deep forest setting for which the earth computer is intended.

The last, most complex earth computer demonstrates several parts of the earth computing system; a display based on early telegraphy technology, the mirror galvanometer, transduces and makes visible signals from the earth using a moving mirror, fixed coil and small laser light beam. This is the interface to the earth computer. Forest earth in this container is also seeded with oyster mushroom mycelium and doped with silver nitrate, attempting to form over time a processor for the earth computer.

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Sketches for an Earth Computer, installation view in Riga. Photo by RIXC, The Centre for New Media Culture

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Sketches for an Earth Computer, installation view in Riga. Photo by RIXC, The Centre for New Media Culture

You developed an earthboot that 'enables almost any computer to boot straight from the earth'. How reliable is the system exactly?

The system is far from reliable, given that the earth has no interest or intention in correctly coding an operating system. Most of the time the computer crashes silently; a blank unresponsive interface. In perhaps one out of twenty sessions there are more colourful (see image on: http://www.1010.co.uk/org/earthcode.html)

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earthboot

Would any kind of earth do? or is it like a plant, responding better to certain types of earth (drier, more acidic, etc.) than to other?

Dry earth presents more problems for the flow of signals so is not so well suited for the earthboot device. I also prefer to use more active soils, with plenty of mycelial or insect/worm action. I modified the earthboot device towards the production of worm coded sound performance and worm poetry recitals. This came directly from work with Shu Lea Cheang focusing on links between code or data and the composting process.

The project puts the computer in direct contact with the Earth which at first doesn't sound very eco-friendly. What about all the mercury and other polluting chemical elements leaking into the soil?

Well the earthboot operates on a very small scale and there are no polluting chemicals directly in contact with the earth or soil, but other projects such as The Crystal World with Jonathan Kemp and Ryan Jordan have explored the techno-ecological cycle of extraction (of minerals) and return of polluting elements to the earth. I'm very interested in less direct parallels between such cycles and computation itself.

In an interview with Motherboard, you say: "One question I'm very interested in which you could say fuels my research is to ask where exactly software executes. In other words, where exactly do these seemingly abstract coded processes which seriously effects our lives, where do these take place?" Could you explain in more details what you mean by that and how the earth fits into this?

Software is viewed as a more or less invisible, obscured or blackboxed process which is situated, if at all, in computer hardware. Yet the exact place of the transition from physical, material flows or changes to symbolic structure is hard to pin down. So I was interested in speculating where that place of transition might be located, also in moving it away from this black-boxed laptop, phone or PC. These new locations I viewed as sites of execution, of where that thing called software enacts on the physical. One site could be the earth, as code runs predominantly on silicon substrates which have been synthesised from sand/earth.

And concerning the literal impacting of software on humans, I considered skin as another potential site of execution, relating this to computer virus and pornography. I also created a work called Pain Registers which explored very literally this connection; in this piece minute software changes operating under the interface surface of say an app like Firefox are literally painstakingly translated (by code) into the movement of a needle tattooing the hand of the user.

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Pain Registers (two days after two minutes firefox activity)

The work in the FIELDS exhibition is called Sketches for an earth computer', does it mean that this is just the beginning, that you are going to push the project further?

Sketches forms the background of a range of works and performances over the years and definitely the central idea of an earth computer or earth interpreter (in the software sense) will be pushed further. I'm interested now in looking at how software processes coded by the earth instead of being simply observed can equally re-code or impact on the earth. Parallels could be established with certain mining practices and I've recently explored these possibilities with Jonathan Kemp during our Stack, Frame, Heap residency in Lueneburg which also aimed to see how this exploration can mesh with historical land art, or large-scale alterations to the landscape.

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Stack, Frame, Heap (in collaboration with Jonathan Kemp.) Image courtesy of Martin Howse

Thanks Martin!

Check out Sketches for an Earth Computer at the Fields exhibition, produced by RIXC and curated by Raitis Smits, Rasa Smite and Armin Medosch. The show remains open at Arsenals Exhibition Hall of the Latvian National Arts Museum (LNAM) in Riga until August 3, 2014.

Other posts about the Fields exhibition: Ghostradio, the device that produces real random numbers, On the interplay between a snail and an algorithm and FIELDS, positive visions for the future.

0-t02807.jpgA few months ago, Ben White gave a wonderfully eloquent lecture at Amnesty International in London. The event celebrated the new edition of the journalist's book, Israeli Apartheid: A Beginner's Guide (published by Pluto and available on amazon USA and UK.)

The Israeli embassy had done its best to convince Amnesty International to cancel the talk. They also tried to dissuade David Hearst from chairing the evening. To no avail, thankfully.

The lecture was in March and the reason why i blog about it today is that while children (125 so far) and other innocent civilians are being terrorized and murdered right now in Gaza, people are still accused of anti-semitism simply because they believe that the basic human rights of the Palestinians should be respected. I fear there is still a lot of disinformation and misunderstanding about what is happening in Israel/Palestine. I would certainly never claim that i understand precisely the situation but i do think that Ben White's book and his talks are well documented, engaging and worth a few minutes of your time.

Sadly, there is no video of the evening but some of Ben White's videos are on youtube. Here's one of them:


Ben White at Ryerson University in Toronto: "Israel: Apartheid not Democracy"

White starts his lecture by explaining the relevance of the word 'apartheid' in the Israeli context. Apartheid does not apply solely to South Africa. Nowadays, apartheid is outlawed and defined in international law independently of the country where it takes place. In 2012, the UN Committee on the Elimination of Racial Discrimination itself has used the term to condemn Israeli policies. Numerous international, Israeli NGOs, Palestinian NOGs and human rights observers have done the same.

The author goes on by giving a series of examples of ethnocratic Israeli policies that have been affecting Palestinians for over 6 decades, both inside what people call "Israel proper" and in the West Bank and the Gaza Strip.

White also exposes clearly that the main problem for Palestinians is not just the occupation but the issue of their forced expulsion in 1948. One day after the date Israel has chosen to celebrate its independence is Nakba Day for Palestinians, the day they were expelled from their home, the day their land was confiscated, the day they were forbidden to come back home.

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800,000 Olive Trees Uprooted, 33 Central Parks. By Polypod and Philippe Ghabayen

Please do check also Ben White's twitter feed, Visualizing Palestine's striking infographics, and Léopold Lambert's recent essays on The Funambulist.

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Adam Broomberg and Oliver Chanarin, The Saints Forest, 2005 (via)

I'm going to close this post with a photo by Adam Broomberg & Oliver Chanarin. The image is part of a series that depicts forests planted by the Israeli to cover and erase the very existence of former Palestinian villages that were evacuated and destroyed at various times since 1948. Each razed village has since been planted with stands of pine trees that gradually colonize the reclaimed lands and obscure their histories of devastation.

Should you be interested, i took some photos of Ben White's slides.
Photo on the homepage: Palestinian workers at the Bethlehem checkpoint. By Daniel Bar-On.

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