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Re-post from This Is Tomorrow.

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The Hidden Passengers

‘From the press release’

Productivity and growth are the philosophical premises of the present day. Working processes are being optimized to increase efficiency, working hours are being deregulated until the distinction between work and leisure time disappears. Artistic work seems to follow other criteria, but in this field too professionalisation and self-optimisation are on the rise. But what would happen if ‘doing nothing’ or ‘inaction’ were to become a source of inspiration for a refusal to produce.

New Ways of Doing Nothing devotes itself to a form of artistic production that opposes activity, doing and manufacturing, and instead gives an affirmative slant to forms of doing nothing, of refraining or asceticism. Here, refraining from something not only leads to a critical moment but also a creative one. New Ways of Doing Nothing – the title derives from Swedish artist Karl Holmqvist – focuses on positions in contemporary art in which ‘doing nothing’ generates its own potential with respect to the requirements (and impositions) of a society that concentrates on activity and productivity: for example in Natalie Czech’s variation on a diary entry by the Russian avant-garde poet Daniil Charms, who in 1937 noted: “Today I Wrote Nothing. Doesn’t Matter.”

Artists: Robert Breer, Alejandro Cesarco, Etienne Chambaud, Natalie Czech, Oskar Dawicki, Edith Dekyndt, Mathias Delplanque, Heinrich Dunst, Gardar Eide Einarsson, Marina Faust, Claire Fontaine, Ryan Gander, Lasse Schmidt, Hansen, Julia Hohenwarter, Karl Holmqvist, Sofia Hultén, Jiri Kovanda, Rivane Neuenschwander, George Perec/Bernard Queysanne, Superflex, Mario Garcia, Torres a. o.

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An Excursion Into LA’s Mojave Hinterland at the CLUI Desert Research Station

Kim Stringfellow
Re-blogged from KCET
Acoustic Binoculars.jpg

The Center for Land Use Interpretation (CLUI) has always occupied a somewhat paradoxical space–one that is informatively neutral but at the same time also subtly provocative. This aspect allows its organizers to penetrate often, impenetrable places such as the Nevada Test Site. Indeed, the CLUI is as well known inside the art world as it is outside of it. It is in fact one of the more internationally well-known and respected interdisciplinary entities in contemporary art that often does not appear as an arts organization at all but instead as a highly creative interpretive center for some institutional-like agency.

Founded in 1994 by the Center’s director, Matthew Coolidge along with various CLUI associates as a research and educational organization whose mission is “dedicated to the increase and diffusion of information about how the nation’s lands are apportioned, utilized, and perceived.” The CLUI stipulate that “the manmade landscape is a cultural inscription, that can be read to better understand who we are, and what we are doing.” The Center is interested in multiple interpretations of landscape from a variety of perspectives and points of view.

The Center supports and presents a variety of exhibition programs at its main exhibition and office location in Culver City, CA adjacent to another SoCal gem of hard-to-classify arts practice–The Museum of Jurassic Technology. The Culver City location also features a bookstore where one may sign up for the Center’s newsletter, The Lay of the Land and purchase various Center produced publications. The CLUI also organizes highly popular bus tour trips. Its years of research have been organized into a publicly accessible online Land Use Database. On occasion, the Center hosts outside researchers though its Independent Interpreter Series.

The Center for Land Use Interpretation Desert Research Station. | Photo: Kim Stringfellow.

The Center for Land Use Interpretation Desert Research Station. | Photo: Kim Stringfellow.

The Center’s American Land Museum is a group of associated satellite locations including the Wendover facility located deep within the Great Basin at the Nevada/Utah border adjacent to Utah’s Great Salt Lake–home of land speed records and Robert Smithson’sSpiral Jetty. Here resides the Center’s Wendover artist residency program at a former WWII training airbase whose claim to fame is its role supporting the first atomic bombing missions dropped on Hiroshima and Nagasaki. Wendover visitors may casually visit the Enola Gay hanger that housed the B-29 bomber that forever sealed Hiroshima’s nuclear fate, later immortalized in early Richard Misrach photographs.

Other field office locations and facilities include the Gulf States Field Office in Houston, TX; the Northeast Field Office in Troy, NY; the New Mexico Field Site outside of Albuquerque, NM; the Central States Exhibit Unit in Lebanon, KS and the Desert Research Station located in Hinkley, CA.

Opened in 2000 as part of the Museum of Contemporary Art’s exhibition Flight Patterns, the Desert Research Station (DRS) focuses on the California Desert region, specifically the Mojave Desert extending from Los Angeles outward fringes within the Antelope Valley eastward into Las Vegas, Death Valley, and the Mojave National Preserve–essentially “the desert beltway around the hinterlands of Los Angeles.” Exhibits are open year-round to the public and are accessible as self-guided gallery walk-throughs (visitors must access the facility through the combination keypad after phoning the CLUI during regular business hours for the access code; call-in information is located at the door). The DRS grounds include interpretive walking trails with signage exhibits. Additional facilities on site are available for researchers conducting operations with the CLUI.

Walking Trail. | Photo: Courtesy of CLUI.

Walking Trail. | Photo: Courtesy of CLUI.

Recent projects include several sound installations “related to spatial dynamics of the ground.” Steve Badgett and artist and interdisciplinary artist, Deborah Stratman produced the Desert Resonator, a 75-foot long aeolian harp which reacts and interprets the wind movement’s over the ground into sound, using a spherical acoustic resonator. This permanently installed sonic sculpture’s “six 75′ long strings pass over dual bridges and produce multi-harmonic drones contingent upon the force and consistency of the air currents”–effectively translating the wind.

Desert Resonator (Steve Badgett, Deborah Stratman). | Photo: Deborah Stratman.

Desert Resonator (Steve Badgett, Deborah Stratman). | Photo: Deborah Stratman.

CLUI associate, Steve Rowell explores the phenomenology of sonic booms linking sky, sound, and ground in unexpected ways. Due to the DRS’s proximity to Edwards Air Force Base and Naval Air Weapons China Lake Facility makes it a perfect location to research and collection of such sonic phenomena.

Wendover artist residency program participant William Lamson ended up staging his Line Describing the Sun project in the winter months of 2011 on nearby Harper Dry Lake when the originally intended site conditions at the Bonneville Salt Flats near Wendover proved inadequate. Using a Fresnel lens apparatus mounted onto a mobile unit Lamson inscribed a 366-foot burn arc other the course of one day onto the lakebed. The concentrated intensity of the 1,600-degree point of light melted the lakebed’s dry surface, “transforming it into a black glassy substance.” When the project was later exhibited in NYC the project prompted the NY Times to comment, “Mr. Lamson can’t go back in time, but he can still go to the desert.”

 

William Lawson executing 'Line Describing the Sun.' | Photo: Courtesy of CLUI.

William Lawson executing ‘Line Describing the Sun.’ | Photo: Courtesy of CLUI.

Other current projects include a collaboration with University of Southern California art curatorial graduate students that is studying and documenting experimental aircraft crash sites found throughout the region.

Future research projects include those supported by independent/autonomous solar power systems, an underground bunker space, additional sound/space projects, and one concerning DIY low altitude aerial photography. The walking trail is scheduled for completion by January 2013 with a combination gate to allow public access.

For more information visit the Center’s website.

The street address for the DRS is 40083 Hinkley Road, Hinkley, CA 92347.
Directions to CLUI’s Desert Research Station: From downtown Los Angeles, take I-10 east, to I-15 north towards Las Vegas/Barstow. Just before Barstow, take Highway 58 west. Proceed approximately 9 miles to Hinkley Road, which is sometimes indicated with a “Hinkley 1 Mile” sign. Turn right on Hinkley Road and drive north 4 miles to the DRS, located on the east side of the road. Phone the CLUI at (310) 839-5722 for combination access code during normal business hours.

Top Image: Using the horns at the DRS, acoustic “binoculars” on the walking trail. | Photo: Courtesy of CLUI

Tauba Auerbach: The New Ambidextrous Universe

ICA London

16 Apr 2014 – 15 Jun 2014

Review by Catrin Davies

There seems to be an obvious juxtaposition between the mathematical logic of symmetry and the mind-expanding potential of a parallel world. Yet the two are mutually inclusive in Tauba Auerbach’s first UK solo exhibition at the ICA where a series of immaculately conceived and crafted sculptures (and one photograph) represent theories on an alternate universe, existing parallel to our own.

‘The New Ambidextrous Universe’ is not just a dumping ground for all those left-handed people you never meet, it’s the space where Tauba Auerbach pairs physics and art, where sculptures almost intertwine but never quite (Square Helix II) and reflections are captured, distorted and reflected back to the viewer (Prism Scan II). It’s a collection of considered, visual palindromes.

It’s testament to Auerbach’s art that she is able to distil such complex theories into the sparsely arranged gallery; there are just seven works of art in total and the colour, texture and form of each are as controlled as her ideas. As ever in her work, the intellectual concept is deeply imbedded in the process, placement and materiality of her sculptures. The title of the exhibition is taken from Martin Gardner’s ‘The New Ambidextrous Universe’, a tome which explores the duality of a mirror universe and the idea of ‘chirality’ (when an opposite is not exact). Inspired by this concept, Auerbach has created powder-coated steel sculptures reminiscent of knit stitches and hook-and-eye closures, which mirror each other in form, interlocking, but never touching. On the floor two almost identical installations – ‘The New Ambidextrous Universe III’ and ‘The New Ambidextrous Universe IV’ – are constructed from raw plywood, but have been manipulated by hand to create parallel, but unidentical versions of one another.

Auerbach’s precise aesthetic and colour palette fits neatly into the ICA’s Lower Gallery. There’s an inherent tactility to her work and it’s no surprise that in the past she has dabbled in the design world too. She has a natural instinct for colour and space. And if this is what the other world looks like, I want in.

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Re-Blogged from Motherboard

Floating Utopias for the Age of Rising Seas

Written by
BRIAN MERCHANT
@bcmerchant
brian.merchant@vice.com

May 14, 2014 // 07:00 AM EST

 

A two mile-thick ice sheet in Antarctica is collapsing, which all but guarantees at least 10 feet of global sea level rise. That’s grim news for the 44 percent of the world’s population living in coastal areas, who now face the dire prospect of preparing for the coming tides. Developing the necessary engineering solutions, as well as plans to anticipate some inevitable social and economic destabilization, will prove a daunting challenge for millions of communities worldwide. Which is why, along with the engineers, we’re going to need utopianists.

In 1962, haunted by the specter of nuclear annihilation, the sociologist Lewis Mumford penned a new preface to his book, The Story of UtopiasHe noted that utopianism tends to thrive when civilization is in turmoil, and that far from being useless pie-in-the-sky dreaming, our utopian myths, schemes, and fictions hint at what he terms society’s “potentialities.”  

“[E]very community possesses, in addition to its going institutions, a reservoir of potentialities, partly rooted in the past, still alive though hidden, and partly budding forth from new mutations, which open the way to further development,” Mumford wrote. In the face of utter destruction by the bomb, he said, there was nonetheless an opportunity to “renew in man himself the sense of his more-than-human potentialities.” 

Now, we’re faced with an existential crises of another stripe. Scientists have for the last few years considered a significant amount of global warming, and the sea level rise it brings with it, an inevitability. Now that we have a forebodingly certain baseline in place, it’s an apt time to look at some of the many utopian ideas that have quite literally—yeah, sorry—been floated to cope with the rising tides.

Image courtesy of Remizov

Floating Cities

I’ve been keeping a close eye on modern utopianism for the last couple years, and one of the most common themes is, unsurprisingly, floating cities.

Whether grandiose, or of the humbler variety, both sci-fi designers and urban planners are imagining how to raise our metropolises up to ride atop the rising tides. First, let’s look at what is maybe the most prevalent medium for modern utopianism on the internet—design fiction. You’ve maybe already seen some examples of the genre running through your feed; the self-sustaining, ark-like city designed to float in a globally-warmed world. 

This one, designed by Russian architect Alexander Remizov, is a “bioclimatic” ark—a self-sustaining, floating system designed to harbor insular communities of people in a disaster-ridden, high-tide world. It’s both apocalyptic and hopeful; we can keep our sleek modernist design and opulent lives, we modern-day Noahs decked out with smart tech, as the world ravages everything unfortunate enough to lie outside the walls we’ve built. 

According to Arch Daily, “Remizov envisioned this project as the house for the future which can be constructed quickly and withstand environmental disasters through its structural integrity.” Resilient, perfectly-organized floating domiciles aren’t just the focus of science fiction, though.

Image: NLE

In a poor neighborhood of Lagos, Nigeria—now Africa’s largest economy—local architects are trying to engineer an entire city to float. The first phase has been completed; the school is now essentially a moored boat. But the next phase of the African Water Cities Project is where the utopian planning begins in earnest.

According to Design Boom, “phase two includes the construction of floating housing units that can be interlocked or float independently… the houses will also contain a state-of-the-art device designed by Japanese company AIR Danshin Systems Inc that detects certain movements (such as earthquake tremors) and activated a compressor that pumps air into a chamber below the structure so that the dwellings may navigate safely over a flood plain.” It’s supposed to be completed by the end of this year, but as with most utopian schemes, it appears to be a bit behind schedule.

Floating Power

Nuclear energy was the original utopian energy source: boundless, clean, a triumph of science. To its advocates, it still reflects near-unlimited potential. So, to better suit our drowning world, MIT has made them float. These buoyed, modular reactors rise and fall with the seas; tsunamis ostensibly glance off them harmlessly, and they use the vast reservoir of ocean below them as a well for cooling water as they produce a font of clean energy.  Problems persist, of course; meltdowns or radioactive discharge are even more a terrifying specter at sea. 

Less controversial, but no less optimistic are other floating power sources; Singapore is getting ready to try out a pilot program for floating solar panels.

New Venices

If we cannot build utopian floating city-capsules, then perhaps we at least will be able to adapt our current infrastructure to the flood. Science fiction might offer some clues as to how.

The sci-fi historian Adam Roberts argues that “utopian writing becomes a sort of para-SF, entwining itself round the genre in the nineteenth and twentieth centuries.” Yet in traditional science fiction, it’s rare that irreversible climate change produces hopeful communities; Kim Stanley Robinson’s 2312 is the exceptional vision that does. 

“It was almost an ice-free planet now, with only Antarctica and Greenland holding on to much, and Greenland going fast. Sea level was therefore eleven meters higher than it had been before the changes,” Robinson writes. “This inundation of the coastline was one of the main drivers of the human disaster on Earth.” Pertinent words, those.

After a couple generations of terrible chaos, some degree of stability reemerged—as well as a New York City replete with Venetian canals laced between permanently submerged skyscrapers. Life, and its messy bustle, goes on: “A few parts of Manhattan’s ground still stood above the water, but most of it was drowned, the old streets now canals, the city an elongated Venice, a skyscraper Venice, a super Venice—which was a very beautiful thing to be. Indeed it was an oft-expressed cliche that the city had been improved by the flood.”

Floating Free Market Utopias

Image: Seasteading Institute 

It’s doubtful that libertarians like Peter Thiel are all that interested in fighting climate change; statistically speaking, most don’t consider it a pressing issue. But their long-gestating Seasteading communities, those floating free market utopias where the tech elite can innovate away without the burdensome shackles of government, incidentally appear primed to adapt to a high-tide planet.

Rising Prospects for Radical Change

From the beginning, Occupy Wall Street was a utopian project in the strictest sense—a leaderless, ultra-egalitarian activist community founded at the foot of its participants’ oppressor. Utopian projects are often most notable for how they illuminate the gulf between imperfect reality and their lofty aims, and the gulf OWS, was attempting to bridge was glaringly self-evident: Students, laborers, and average citizens couldn’t find work, while profits for the 1 percent soared. A radical adjustment to income equality was therefore in order.

When Hurricane Sandy, pulling from sea levels raised by climate change, washed over New York City, the movement’s ideals were again translated into action—and we saw a glimmer of how besieged coastal communities might organize to respond to crises. Decentralized, democratic, networked, and better organized than legacy aid efforts, Occupy Sandy empowered communities while delivering disaster relief. It proved Occupy could organize to provide shelter, health, food delivery, and other crucial services.

But, effective as it was, it also made the chasm to utopia again starkly evident, this time in the face of a harsh scientific reality—thousands of people are still without homes, and storms like this are going to keep coming. Occupy Sandy shows how far we need to travel before we’re ready for the disasters of the future—our institutions aren’t yet equipped to cope. 

That’s why we need to consider each of these utopian ideas (okay, maybe not the Steasteads). As Mumford says, even if the total vision they convey are ultimately impossible, they reveal the potentialities in our communities to first adequately imagine, then adapt, life beset by rising seas.

 

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Thanks to OZON online and magazine for featuring my work Concept Of Since : 24 Options, 2014 in their review of Art Athina 2014.

My work was part of the annual residents show for SNEHTA artist residency.  The group show titled: Things Are Different Now”  Included past residents who have participated in the SNEHTA artist residency.

Click here for the whole article. 

10296174_476816305783975_1896722786469790853_o 10309337_1506298946265136_7694545771599548638_n 10339549_10154066985225316_1956882948861110285_nThis year has been going well for me in Athens with events unfolding from my time spent on the SNEHTA Artist Residency last Autumn.  This week saw the opening of Art Athina 2014.  SNEHTA used this art fair to showcase the second set of residents from their residency.

SNEHTA Press Release:

“Things are Different Now”
Snehta Resident Artists Annual Show (2013-2014)

15-18 MAY
Booth P13, Art Athina Platforms Projects, Faliro Pavilion (TaeKwon Do), 2 Moraitini Str., Faliron Delta

Participating artists:
Elliott Burns, Jack Burton, Catriona Gallagher, Boris Lafargue, Andrew Peter Mason, Dickie Webb

Organized by:
Irini Bachlitzanaki, Becky Campbell & Augustus Veinoglou for Snehta Residency, Athens

Things are Different Now brings together work by six artists who completed an artists’ residency at Snehta in
the past year and is the second annual show of residents. The works on show were either created in Athens
or shortly after the resident artists’ stay at Snehta. While they are the result of distinct artistic practices,
seen together they bring to the fore issues of location and dislocation, change and movement as well as the
experience of time and space and the way this is worked through and inscribed on an individual piece of art.

I made a new version of a work that I have continued to use as the basis of my thoughts since Athens, the work titled;

Concept of Since: 24 Options,

4 words

24 orders

Multiple meanings.

Merleau-Ponty described space, as having many meanings and it is only how it is phrased/spoken that gives it meaning.

The current Athenian landscape can be read in different ways by those who live/visit here. It has multiple meanings and like most cities and countries are hard to interpret. This work asks people to consider these short statements in relation to their current landscape, asking them to question their own experience of the here and now. Whilst some viewers will be hung up on the negative others will see opportunity in with each rendition.

Thanks for the SNEHTA team for organising this and making this a success.

Art Athina runs from 15th – 18th of May click here for the website.

Click here for SNEHTA website

 

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These works by David Hanes seem like they are out of focus and make your eyes constantly re-focus.  They are in focus however they possess a blurred aura, a sense that something is not quite right or there.  I enjoy what these images do for my brain, it has to re-interpret what it is seeing relying on fragments of understanding that allow it to calm down.  I also like the fact that the images are of art that were taken from the internet however the way I have seen and experienced these is also through the same medium to which they were first found.  Please read this article from Tourist Magazine which outlines Hanes process and perspective on these works.

WHAT IS THE PROCESS INVOLVED LEADING TO THE FINISHED EFFECT OF THESE IMAGES?
Process is quite simple but is fairly time consuming as an aggregate. Basically I see myself functioning as a kind of human-algorithm, surfing the net for images of art that I think are either interesting or will work best with the project. Once images are compiled I systematically go through them and reshape the images using the content aware function in Photoshop. Some of the images I pass through quite quickly, while others (if they seem to be going somewhere) I spend time with, re-configuring them and sculpting them in a way. If I find myself stuck with an image, I am using other touch-up functions in Photoshop and not just the Content Aware function.

WHAT IS THE PURPOSE OF SAID EFFECT?
I find it hard to talk about what I am doing with the AWARE project, sometimes it feels like pro-surfing user thing and other times it feels like a representation of process and a way of seeing. I believe the work is ambiguous enough to not hold one specific meaning and that the work is diverse enough for everyone to approach it and take from it what they will. For me it really began as this way of working out a frustration with art, arts distribution on the internet, access to art and its elite aesthetics, and arts place in the dialoge of images. But now it seems to be more of this place to work out new ways of looking at art and creating something post-physical and untouchable.

ARE THE ORIGINAL PHOTOGRAPHS YOUR OWN OR IS IT A DE-CONSTRUCTION / REMOVAL OF OTHERS WORKS IN GALLERY SPACES?
None of the above images are original. I am still on the fence about whether or not the images should be made from originals or not… maybe making them originals seems a bit futile and irrelevant. I think it’s the dialoge and narrative of art and interpretation that feels the most interesting to me.

DO YOU FIND THE ART IN THESE IMAGES SUPERFLUOUS AND LOOK SIMPLY TO THE SETTING THAT THEY SIT WITHIN? OR DOES THE ORIGINAL ART WORK MATTER TO THE PROCESS EVEN THOUGH YOU ESSENTIALLY ERASE IT FROM IT’S CURATED SETTING?
No, i don’t think that the art in each image is suggestively unnecessary… in fact I feel the oposite. Maybe I’m a bit superficial about my selections, as I think most people associate their relationship to art on the Internet. The original artwork is the original artwork, my process reshapes the image of that artwork to create a new way of looking at that image of that artwork. The art is a way of looking… the digital recontextualisation of images of art.

HTTP://WWW.DAVIDFMHANES.CO.NR

 

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