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Monthly Archives: July 2013

 

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Heterotopia
Organized by crystal am nelson

October 5 – November 2, 2013
in Marfa, Texas

Opening Reception:
October 5: 2-4 pm
Adobe House Gallery
corner of S. Dean and E. Dallas Streets (enter on E. Dallas)

Featuring work by:
Big Bend Saddlery, C3, Allan deSouza, Justin Hoover, Anna Jaquez, Jason Kolker, Enrique Madrid, Mattie Matthaei, C.M. Mayo, Feather Radha, Andrei Renteria

A Franchise Program winning exhibition.

Marfa, a city whose allure in the art world extends far beyond those who have actually visited, stands alone, geographically and culturally. Located in the Chihuahuan Desert/Big Bend region of Texas, it is a six-hour drive from Austin and three hours from the nearest international airport, in El Paso. The town’s biggest employers are national law enforcement agencies, including the Drug Enforcement Agency and the U.S. Border Patrol, and more than twenty of the best paying jobs in Marfa are with the U.S. Air Force’s aerostat surveillance program. Marfa’s next biggest revenue stream is art tourism, which is serious business despite its remote location and scarce amenities. However, in the public imagination, Marfa is the city Donald Judd built with the backing of the Dia Foundation and a vision of anarchist minimalist utopia.

Certainly this image of the lone artist as pioneer, taming the Wild West with aesthetics is a striking and romantic one, aligned with the aura and history of Far West Texas. But, long before Donald Judd arrived in Marfa, long before the town was named Marfa, people from diverse backgrounds—Apache, Comanche, Spaniards, Mexicans, Tejanos, and Anglo-American pioneering cowboys—built communities on the surrounding arid landscape and laid the foundation for Marfa’s unique cultural enchantments. Unfortunately, in spite of his importance in bringing attention to the remote city, Judd’s legacy has obscured much of this history and what contributes to making Marfa such a compelling cultural capital. How does one begin to reconcile these seemingly disparate and diametrically opposed community elements that are simultaneously autonomous from and interdependent on each other? What happens when contact turns to conflict? Or when divergence transforms into convergence?

Heterotopia attempts to respond to these concerns by redrawing Marfa’s cultural map to illuminate its pre-Judd history and post-Judd impact, highlighting under-recognized subjectivities, and bringing to the fore contemporary cultural production happening on the periphery of the city’s blue-chip art scene. The strategy is to exhibit local traditional, vernacular, and contemporary artists alongside international artists in order to underscore their proximities. At Heterotopia’s core is art representing the Jumano-Apache Indian heritage, Chicano art, and cowboy art, a genre that celebrates the traditional arts and lifestyle in cowboy culture of the American West. The work of international artists will address issues related to the exhibition’s meta-concepts of contact zones and their ever-accumulating pasts, transcultural exchange, and hybridity. Through its installation, the exhibition hopes to decentralize the art-viewing experience by using multiple sites, primarily non-art specific venues throughout the city to introduce visitors to its less-trafficked locations. A commissioned audio file will be provided to assist them in physically and conceptually navigating the sites. Additionally we will program screenings and lectures about Marfa’s unseen scenes and the myths circulating its mainstream identity.

Image credit: crystal am nelson, Welcome to Marfa, 2013

reposted from http://apexart.org/exhibitions/nelson.php

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The Possibility of an Island

16 MAY – 26 JULY 2013

Import Projects
Keithstrasse 10
10787 Berlin
www.import-projects.org

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The Possibility of an Island surveys the strange connectivity between islands and mainlands, green-zones and battlefields, tax-havens and street corners, private fantasy and collective unconscious. Since Plato, through Defoe and Swift, via Gauguin, and in the work of numerous contemporary artists the island figure has been employed to negotiate relationships between the real and the imaginary, utopia and dystopia, selfhood and otherness, centre and periphery. The Possibility of an Island charts the topography of this intellectual archipelago – interrogating the possibility of isolation in the 21st Century.

This exhibition is accompanied by a screening program at the 55th Biennale di Venezia. The screening takes place at the Maldives Exodus Caravan Pavilion – hosted by the Museum of Everything, Serra del Giardini – An Official Collateral Project of the Biennale. Contributions by Bik Van der Pol, Klea Charitou, Joe Hamilton, Daniel Keller and Emily Segal, Mariyam Omar, Alexander Ponomarev, Jon Rafman, Hayley Silverman, and SUPERFLEX.

ARTISTS
Julieta Aranda
Mohamed Azzam Axza
Goldin+Senneby
Daniel Keller
Antti Laitinen
Mariyam Omar
Bik Van der Pol
Alexander Ponomarev
Andrew Ranville
Antoine Renard
Nicholas Roberts

CURATORS
Elena Gilbert
Nadim Samman

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I am currently getting settled back into New Zealand where I live in Queenstown for the months of June – September.  The winter has been in full force bringing weather systems through and leaving snow across this mountainous region.  My time here always means different levels of compromise balancing an art practice and working on the mountains as a snowboard trainer.  Whilst my time here allows for moments of reflection and consideration about my practice it also inspires, being immersed in an environment that literally responds to mother nature.

I am starting to work on projects that were put on hold whilst in my final semester at Edinburgh College of Art.  I am exploring the potential within RAW data image files and the ability to edit and play these files using audio software.  I plan to create works that will be 2D yet expand through mixing the samples of sound and presenting the glitched images with the original image.  The soundscapes will reflect the space that is seen whilst also what is not.  Whilst at times being rhythmical areas of sound will emerge that will transport the listener/viewer elsewhere past the familiar.

 

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Recently I read this interview about Owen Wells and his project Who Owns The Artic on We Make Money Not Art

The project that Owen Wells developed and exhibited at the Design Interactions graduation show this year looks at the Arctic, a region that global changes has transformed into the new El Dorado.

It is feared that Arctic summer sea ice is melting at a rate faster than predicted, and could be ice free as early as 2015. The loss of sea ice and innovations in exploitation technologies are making the Arctic region more easily accessible. And more easily exploitable. The Arctic is indeed home to the world’s largest untapped gas reserves and an estimated 13% of the world’s remaining oil as well as vast mineral deposits are thought to lie beneath the ocean floor. The resources expose the Arctic to corporate greed and to potential geopolitical tension caused by unresolved sovereignty claims.

Well’s research project, Who Owns The Arctic, identifies the weakest territorial points and the legal loops in the status of the Arctic sea region to devise four subversive ways to overcome the legislation and shake the system that protects the Arctic.

Through an examination of the weaknesses of systems subversion can be seen as a form of critique – a deceitful narration of legitimate practices. With the help of several members of my own family who offered specific expertise, I have planned 4 subversive financial enterprises for the arctic. Each seeks to exploit the unique infrastructure, ecology, and legal ambiguity of the region to provide devious financial rewards. The project takes the form of scenes, maps and equipment. Through their planning, these schemes identify and expose the legitimate systems set to exploit the Arctic.
The first scheme is called The Mineral Rush. Under the guise of a normal fishing routine on the west coast of Svalbard, Russian men feed Beluga whales with by-catch stuffed with lithium. Whales soon start to show the early signs of lithium toxicity and after 5 days, suffer seizures, organ failure, and eventually die. When the mammals are washed onto the west coast of Svalbard, experts conclude that the metal in their bodies indicates the presence of vast deposits of lithium off the Svalbard coast. These rumors ultimately trickling through to the 39 signatory states of the Svalbard treaty, countries who retain the right to undertake commercial activities on the island without discrimination.

In the second scheme, The Fishing Dispute, Russian crab boats travel to the northern tip of the Bering sea. Once the ships have entered the Alaskan king crab fisheries, 20 icosahedron crab pots are deployed and the vessels return to waters within the Russian exclusive economic zone. 2 days later, they come back to tow the catch north, 1,600 km underwater. The pots are released in the Beaufort sea where fishing rights are still claimed by both America and Canada. After 5 days the cotton netting surrounding the pots dissolves, freeing the crabs. An anonymous press leak reporting catches of King crab far beyond their normal range is later sent to newspapers in both Barrow, Alaska, and Toktoyaktuk Harbor, Canada. The resulting scramble for the prized crab meat will greatly increase the opportunity for confrontation between Canadian and American fishermen, driven by confusion over fishing rights.

A third scheme involves an oil spill caused by devices placed on top of icebergs that travel from the northern tip of Greenland into to North Atlantic. On this journey they float past Hans Island and onto the oil fields of Baffin bay and the Labrador sea where, if spotted, they are usually towed a safe distance from the pipelines and oil rigs. But in this scenario the remotely activated devices would shake the iceberg apart. Still large enough to sink a ship or damage a rig, the smaller chunks of ice would not be detected by radar nor by the naked eye. The icebergs would thus float quietly onwards to the oil fields.

The last scenario involves a man working for the Keystone Pipeline, a pipeline system that transports oil sands bitumen from Canada and the northern United States “primarily to refineries in the Gulf Coast” of Texas. The man’s job is to operate a pig launching station. He makes extra money by smuggling goods across borders on board of a “pig“, a devices used to clean and survey the pipeline.

More details about each scheme can be found in this PDF.

Hi Owen! You asked members of your family to help you create 4 subversive financial enterprises for the Arctic. What are their areas of expertise? And why did you decide to work with members of your family? To show that anyone can do it? 

Finding the true direction of the project was quite a painful process. After lots of research and deliberation looking for what I was interested in it dawned on me that specific friends and members of my immediate family had a really unique but highly specialised set of skills that I could hypothetically corrupt. I don’t want to give too much away about them because I respect their anonymity, but the main area of expertise I was able to draw upon centered around aspects of the shipping industry. It was through this advice that I was made aware of the Arctic as an environment where climate change is in the process of rendering the region potentially prone to corporate profiteering and political tension. In the latter stages of the project I also had advice on finance, and icebergs.

The dialogue around the amount of sensitive information readily available on the internet is pretty visible, particularly at the moment. While there is undoubtedly a huge amount of inspiration for potential deviants on the internet (The UN website offers information on how to set up shipping front companies if you’re willing to sit through some very dry videos) the opportunity to “physically” construct this kind of network, around the dinner table so to speak, was far too enticing. The implication that anyone can do it is defiantly a big part of the spirit of the project.

The texts describing the four enterprises in the show looked as if they were merely the start of a thriller. Why did you give just set the scene and didn’t go further in the description of the scenario? 

I planned each of the four parts of the project pretty meticulously. I scouted locations, used google maps to plan how far and for long different actions would take. I produced inventories for different sections of the trips, found out how and where I get important pieces of equipment, and how many people were involved at any one time. Rather than display these as maps I decided to condense them into introductory texts. The scale of the schemes was far larger than anything I had dealt with before and so the texts gave me a way of contextualising them within the voice of individual characters. While specific locations might not be instantly recognisable I trust that the region is visible enough to begin to imagine what each of the schemes is suggesting.

In a way the schemes themselves serve as introductions – a way of describing the complexity of problems that climate change provokes beyond the environmental effects that everyone is aware of by now. There is room for them to be presented in more detail and I hope to develop the project beyond its current incarnation. Perhaps I might hold one of the arctic states to ransom in order to fund it.

Several objects were exhibited in the show. Can you explain the one linked to the oil spill? How would it work exactly? Which technology does it use? And could you confirm how it would eventually trigger an oil spill? Would it be through an encounter similar to the one that sank the Titanic?

Of the four objects in the show that one is by far the most speculative in terms of how well it would work in the field. Icebergs are such an ominous symbols of danger that I had to include them, but they are notoriously difficult to destroy. The mechanisms through which they are created make them incredibly tough – there are reports of dropping bombs on them and only making a dent.

The device that I exhibited was an amalgamation of a helmholtz resonator and anautodialing device. The autodialing device would cycle through frequencies until it found the resonance frequency of the ice, similar to the way autodialling machines could theoretically crack a safe. The frequency would then resonate though the Helmhotlz resonator into fracture lines that are formed when icebergs calve from the face of a glacier and fall into the sea. The resonance effect would eventually cause the iceberg to break itself apart through vibration, forming smaller but potentially far more dangerous chunks of ice. In practice it is difficult to predict the effect this would have on an iceberg because it is dependent on structure not dampening the effects of resonance. I couldn’t confidently tell you if it would work in the field, but the object serves a narrative purpose so plausibility won out.

The weakness lies not in the icebergs themselves but in the system through which they are found and tracked. There are daily iceberg reports available through theInternational Ice Patrol (an entity whose existence was brought about by the sinking of the Titanic). Their main tool for finding Icebergs is Side looking Airborne Radar(SLAR), so if an object can evade radar (which smaller chunks of ice smoothed by the erosion of ocean are good at) then effectively it remains invisible to the system. Part of the current research on icebergs is about developing a way of towing them from collision courses with oil rigs. The actions of the individuals in the oil spill scenario are intended to make the icebergs invisible to radar by turning larger ones into fragments, flooding an oil rich area with ice that cannot be detected and hopefully (in this instance) won’t be spotted in time to be towed from a collision course.

I’m afraid i didn’t understand very well the Mineral Rush scenario, the one with the Beluga whales poisoned by lithium. The start is crystal clear but it’s the consequences of the perceived presence of lithium off the Svalbard coast that isn’t so easy to understand. How are the 39 signatory states of the Svalbard treaty supposed to react to the lithium deposit? 

The Archipelago officially became part of Norway under the terms of the Svalbard treaty. This treaty also states that the signatory countries (whose exact numbers fluctuate depending on what you’re reading) have equal rights to exploit mineral deposits in Svalbard. This scheme relies on the stock market to spread a rumor that there is a potentially valuable mineral wealth that has been made visible through its effects on the local food chain. Money could be made through buying land and the selling it once its value has risen due to the potential for prospecting. Alternatively the rumor could be used to engineer demand for legitimate infrastructure.

This one is by far the most complex of all the schemes and admittedly would benefit from a far more in depth demonstration of how it could function.

Finally, i was interested in knowing about antecedents for this exploitation of the weaknesses behind the laws and rules that protect the Arctic region. Did you come across similarly devious tricks from fishermen, speculators, businessmen or others? 

Around Australia there are lots of reports of people smuggling operations exploiting a part of maritime law that states that you must always help a boat in distress. If the authorities intercept them on route then they will feign distress and by maritime law have to be towed to the nearest port rather than turned around. This only seems to delay the inevitable rather than allowing them to achieve their goal.

As I previously mentioned you can find out from the UN website a process that allows you to set up what amounts to a collection of front companies through a relatively cheap corporate web. This is a practice that is legitimate, pretty common in shipping, and is openly advertised. You have nominee directors and have physical shares that can be handed to people rather than existing digitally, so the real owner can remain anonymous. To see how this system worked at a very basic level, I got a quote to incorporate a company in the Marshall Islands on behalf of 5 Norwegian businessmen I pretended to represent; it was a very convenient service.

In the open ocean laws and rules become a little abstract because the high seas are still the high seas – Jurisdiction becomes incredibly complex and in some places redundant. There are international waters where ships come under the jurisdiction of the state under whose flag they sail, but if that state has no interest in bringing them to justice then law becomes unenforceable. Piracy proliferates in these areas. It’s completely anarchic in places, and forms a big part of international shipping discourse. Once the Arctic sea ice melts more thoroughly then ships will be able to pass through sea routes in the Arctic and avoid piracy areas, as well as save huge sums of money on fuel. This is why the Arctic is about to become so important to shipping.

If you want a good example of corruption at sea then have a look at the Salem casefrom 1980. It is too long to explain here but it involves government officials, a criminal sea captain and scuttling a supertanker during the South African oil embargo.

As for the Arctic I haven’t heard anything specifically about exploiting the law in the region. That doesn’t mean that there isn’t anything, but it still won’t be really accessible on a large scale for a number of years, so for now any underhand behavior is still hidden. At a governmental level the consensus appears to be to promote good relations between the Arctic states and protect the environment. This is fantastic, but the Arctic is a long way from prying eyes, so as a theatre of deviance (both “legitimate” and “illegitimate”) it will surely become a very attractive prospect, if not already.

If I may I would like to say thank you to Alexa Pollmann, Hyung-ok Park, Lana Z Porter, Mohammed Ali, Shing Tat Chung and the family and friends without whom this project would not have been possible.

For more projects and work by Owen Wells click here for his website

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