The filtering capacity of flowers is a neglected area of research. However, the 3D structures of flowers make them valuable allies when it comes to regulating air quality by removing pollutants from the atmosphere. Dust Blooms juxtaposes the beauty and function of urban flora using a synthesis of artistic and scientific methods to create awareness about the every-day importance of ecosystem services in cities

Creditworthy highlights the leading role that commercial surveillance has played—ahead of state surveillance systems—in monitoring the economic lives of Americans. Lauer charts how credit reporting grew from an industry that relied on personal knowledge of consumers to one that employs sophisticated algorithms to determine a person’s trustworthiness

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In January 2017, artist Louise Ashcroft invited herself to be an artist in residency at Westfield Shopping Centre. That’s the mega mall in Stratford, East London. Because there’s nothing remotely boring, mass manufactured nor glittery about her work (and also because she is quietly plotting the demise of capitalism), Ashcroft spent her time there undercover, pretending she was only looking for a bit of shopping fun

Sholette lays out clear examples of art’s deep involvement in capitalism: the dizzying prices achieved by artists who pander to the financial elite, the proliferation of museums that contribute to global competition between cities in order to attract capital, and the strange relationship between art and rampant gentrification that restructures the urban landscape

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Because it’s almost 40 degrees this week in Turin and i’m in a murderous mood, i’m going to split my review of the show into two parts. Today, you get the depressing bits and as soon as temperatures have cooled off a little, i’ll be back with the works that speak of solidarity, hope and compassion. It’s not all bad though because 1. i loved that show so much i visited it twice and 2. i’m going to open the quick gallery tour with one of my favourite artists

Work it, feel it! is dedicated to the work of the future and the future of work. The exhibition focuses on the demands placed on the human body and its possibilities to act, as seen against the backdrop of an increasingly automated workplace. What are the mechanisms of discipline and control that have been applied to the mind, and above all to the body, to make it an efficient production tool and a pillar of consumerism?

In this age of Brexit and shortsighted nationalism, of austerity and politicians pinning for the crucifixion of abortion, same-sex marriage and freedom of movement, an exhibition that breathes hedonism and transgression is not just amusing, it is also necessary because it compels us to reflect on the fights we fought, won and lost again. On the values and rights we should never take for granted

Over the past couple of years, Maria Roszkowska, Clément Renaud and Nicolas Maigret from DISNOVATION.ORG have been quietly smuggling odd-looking phones from China to Europe. They’ve got a phone that doubles up as a stun gun, one that’s shaped like a big strawberry, one you can use to light up your cigarette, one that will assist you in your religious rituals, etc.

Socle du Monde, the oldest Danish biennale is one of the most aesthetically pleasing art events i’ve attended over the past few years. But because the event is inspired by the masterpiece of a renowned exponent of conceptual art, it is also a biennale that conveys ideas, provocations and moments for reflection. I’ll get back next week with a post discussing these ideas and provocations but right now, here are some visual impressions of the biennale

The festival’s rallying cry was that time had come to discuss the economy without inviting the economists to the table. The videos of the keynotes are online and i’d like to highlight 2 of them: Frank Trentmann‘s chronicle of the consumerist society and Geerat Vermeij‘s theory about how a closer study of biological ecosystems can teach us more about the economy than we might suspect

Karolina Sobecka’s video game reverses the logic of First Person Shooter games. In her work, the gun is AI-assisted. It fires automatically when a ‘target’ enters its field of view and guides the player’s hand to aim more effectively. The player cannot drop the weapon or stop it from firing, but he/she can obstruct it (and the gun’s) vision. The object of the game is to shoot as few people as possible

The case studies in this volume include the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere

Presented as a traditional four-act play, ‘The Ascent’ attempts to examine the discrete nature of class politics; paralleling contemporary workplace geometries from multiple vantage points. The production centre’s around the story of law firm attending a mandatory training day that takes place on board a one to one scale replica of an American Airlines Boeing 747. Although fruitful in its intentions, the experiment unfolds into chaos and bloodshed