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Posts from the ‘Artists’ Category

Jun 4

Revisiting Fukushima: responses to an ongoing disaster

Fukushima exclusion zone, film still from Project Fukushima by Hikaru Fujii (2011)

Fukushima exclusion zone, film still from Project Fukushima by Hikaru Fujii 

I visited Fukushima in 2014. Fukushima. The word – like Chernobyl or Three Mile Island – is synonymous with nuclear disaster, with the release of radionuclides into the atmosphere. It is an ongoing disaster that began in March 2011, when the reactor cores at the Fukushima Daiichi nuclear power plant over-heated and exploded, releasing a catastrophic amount of radiation over a vast area of Fukushima precinct, formerly one of the largest farming regions in Japan and a travel destination with many beautiful landscapes. More than 100,000 people were displaced from their homes by the disaster. Today, those people are faced with tough choices: whether to return home (those who lived in areas that are now deemed “safe” by the government) and live with radiological risk, or to try to integrate in – sometimes hostile – host communities without government assistance, or to attempt to resettle elsewhere in Japan, far from friends and family.

Fukushima was – is – vital to Tokyo’s prosperity, as Arts Catalyst’s recent visitor, social critic and activist Sabu Khoso explained. Fukushima supplied Tokyo with food, electricity and cheap day labourers. The pressure to revive, repopulate and restore Fukushima, despite this ongoing disaster, is immense. Thus, there is no assistance offered to those who don’t want to return to their homes because of the risk.

View of the Fukushima exclusion zone Courtesy of Don’t Follow the Wind

View of the Fukushima exclusion zone. Courtesy of Don’t Follow the Wind

Fukushima was a manmade disaster, caused by the negligence of Tepco (the private company running the Daiichi power plant) and poor regulation on the part of the industry watchdog and the government. Tepco failed to develop the most basic safety requirements in the case of a tsunami, despite warnings going as far back as 2006 that a such an event could cause a blackout at the plant or worse. Now it is everyone’s problem, for radiation is uncontainable and uncontrollable once released into the environment. Tepco, who profited from the production of radiation (an expensive and – clearly – risky way to heat water to create electricity), disowned the radiation after its release. It was, it claimed, no longer its responsibility. The radiation became, to use Sabu Kohso’s phrase, a “masterless object”, one that has no owner, that became part of the commons, or, rather, a negative commons: the responsibility of us all. Spread over the hills, fields, villages and cities of Fukishima, trodden and distributed regionally by departing feet and cars, inhaled, eaten and drunk, then urinated, defecated and breathed out across Japan, spread around the country in a deliberate policy of using low-level contaminated material in road works, blown into the high atmosphere, and deliberately released in vast quantities into the Pacific Ocean, to be distributed by currents and through the food chain around the Pacific basin.

Curatorial team on a site visit in the Fukushima exclusion zone. Courtesy of Don’t Follow the Wind

Arts Catalyst’s current programme, Real Lives Half Lives: Fukushima, is a season exploring artistic, cultural and societal responses to disaster, displacement and poisoned lands through the example of Fukushima. It asks what can art do in such an ongoing catastrophe and how citizens respond to a situation that forces tens of thousands of people out of their homes, land, and communities.

Map of Fukushima exclusion zones, as at September 2015

The two solo exhibitions we are showing, by the curatorial collective Don’t Follow the Wind and the artist Hikaru Fujii, have involved collaboration with displaced people in Fukushima.

One of the most unsettling aspects of radiation contamination is its invisibility and undetectability (without specialist equipment), along with the uncertainty around its distribution and effects. Don’t Follow the Wind (Chim↑Pom, Kenji Kubota, Eva and Franco Mattes, Jason Waite) highlighted this invisibility and uncertainty by setting up an exhibition inside the evacuated area surrounding the power plant, in sites lent by former residents, including a warehouse, a farm and a recreation centre. The exhibition opened in 2015, but remains unseen. It will continue to unvisitable for years, even decades. In their exhibition, A Walk in Fukushima, visitors don special headsets made by the former residents to watch an immersive 360-degree video which takes them on a walk through the inaccessible radioactive area.

A Walk in Fukushima, Don’t Follow the Wind, Installation shot, 2017. Headsets made by three generations of the Fukushima family of artist Bontaro Dokuyama, who live just outside of the zone in a contaminated area deemed “safe to live” by the government. 

Another response to the ongoing disaster was the setting up of the Fukushima! Festival by a group of artists and musicians. The first festival took place in Fukushima City, which is situated outside the designated exclusion zone but was still radiologically contaminated and subject to a major clean up, just five months after the disaster started. Artist Hikaru Fujii’s documentary film Project Fukushima! follows the preparations for a festival, as the organisers tussle with questions around the ethics of bringing people to Fukushima, and whether the festival should be an attempt to “rebrand” Fukushima in a more positive light or take a more critical stance. In the end, the film is both hopeful and profoundly unsettling.

Project Fukushima!, Hikaru Fujii, installation, the flooring was stitched for the Fukushima festival by Fukushima City residents and has been loaned for the Arts Catalyst exhibition.

Alongside these two exhibitions, a series of talks, events and activities are exploring the social, cultural and political impact of Fukushima in Japan and the lessons we may learn. These include the acts of mass protest that were held countrywide in the years following the disaster, the citizen science movement that sprang up in response to the slow release (some claimed withholding) of radiation data by the authorities, and the legal challenges and petitions against nuclear power in Japan. Despite these actions, our visitor Sabu Khoso was pessimistic that any real change in power relations or attitudes had been effected in Japanese society.

Real Lives Half Lives: Fukushima continues until July 2017. Upcoming events include a series of screenings of artists’ films about Fukushima, programmed and introduced by Kodwo Eshun of the Otolith Group; a film-making workshop using the surrealist game of Consequences to make a collaborative film; talks by curators and artists; and a workshop exploring ways of working with displaced and peripheral communities.

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May 6

New edited book: ARIEL GUZIK – HOLOTURIAN

Holoturian, Ariel Guzik. Underwater test, 2017.

Arts Catalyst recently published this small publication to mark the planned launch of Ariel Guzik’s Holoturian in the Gulf of California in 2017 , following extensive underwater tests in a water tank.

For the last 10 years, artist Ariel Guzik has searched for a way to communicate with whales and dolphins. Guzik’s project has encompassed the creation of underwater instruments, expeditions to contact whales and dolphins off the coasts of Baja California, Costa Rica and Scotland, and sound recordings of these remarkable encounters.

In 2015, Arts Catalyst commissioned Guzik to create his Holoturian, an underwater resonance instrument designed to communicate with whales and dolphins in the deep seas. Holoturian was shown as an installation at Edinburgh Art Festival, commissioned by the festival and Arts Catalyst. It incorporated the instrument, which filled the evocative venue with resonant sound, together with objects, drawings and films from the artist’s decade-long research project, which included a field trip by the artist and his team with Arts Catalyst to the Moray Firth in the North of Scotland to encounter the population of bottlenose dolphins that live there.

The book comprises images of the research and installation with texts by me, in which I discuss Guzik’s research to date and examine what recent research has to say about whether cetaceans  can be said to use language or have culture, and by marine scientist and conservationist Mark Simmonds OBE on the challenges facing these intelligent creatures in our threatened sound-filled oceans today.

The book is available as an eBook ( downloadable on .pdf or on Issuu) and as a print book by print-on-demand (£6).

PUBLICATION DETAILS

Ariel Guzik – Holoturian
ISBN 978-0-9927776-8-5
Edited by Nicola Triscott
Published by Arts Catalyst, March 2017 in UK
Designed by Margherita Huntley
Pages 44

PRINT VERSION
Binding Perfect-bound Paperback
Weight 0.11 kg
Dimensions (centimetres) 14.81 wide x 20.98 tall
Black & white inside
Full colour cover

Nov 17

black balloon, person suspended, white desert, blue sky
2 Comments

Aerocene – flight without borders

black balloon, person suspended, white desert, blue sky

Tomás Saraceno. Aerocene, pilot launch at White Sands Desert, 2015. Courtesy: the artist. Photo: Rubin Center for the Visual Arts

 

In the dunes of White Sands desert, on Sunday 8th November 2015, for the first time in the world, a registered solar heat powered balloon carrying a human person floated for more than 2 hours without touching ground and without burning any gas.

Tomás Saraceno’s work is as conceptually rich as it is aesthetically captivating. His pursuit of a borderless existence in the sky unfolds in a bewitching succession of floating structures, transparent aerial habitations, and human-scale suspended webs. Saraceno’s artistic visions seek to defy the constraints – social, technological, political and cultural – that bind us to a ground-based, bordered, fossil-fuelled, restricted existence. And he underpins these visions with relentless research, technical experimentation and scientific collaborations.

Saraceno’s sculpture Aerocene last week had its pilot flight in the dramatic landscape White Sands desert, New Mexico, in an event organised by the Rubin Center for the Visual Arts in El Paso, curated by my former colleague Rob La Frenais with Tomas Saraceno Studio. This extraordinary flight marked the first milestone in a Saraceno’s new project the Aerocene, which takes forward his vision in the flights of aerosolar sculptures that are inflated by air, lifted by the heat of the sun alone, and transported by the wind.

Black balloon lying in desert

Tomás Saraceno. Aerocene, air heating as the sun rises, White Sands Desert, 2015. Courtesy: the artist. Photo: Ewen Chardronnet

The artist has been experimenting with solar balloons for some years, driven by his dream of habitations in space without polluting the atmosphere with black carbon. Black carbon particles (soot) are emitted by hydrocarbon-fueled rockets and a recent scientific study has indicated that, if the space transport industry grows significantly in coming years, this black carbon could contribute to global climate change. Emissions from 1,000 private rocket launches a year would persist high in the stratosphere, potentially greatly altering global atmospheric circulation and distributions of ozone and contributing to polar temperature rises and sea ice melt.

Saraceno’s siting his new launch in the New Mexico White Sands desert area – where the first rocket launches in the United States were made and where the first tourist spaceport in the world is located – is therefore particularly significant.

Black balloon, white desert, blue sky, person suspended

Tomás Saraceno. Aerocene, White Sands Desert, 2015. Courtesy: the artist. Photo: Ewen Chardronnet

Prior to the launch, Saraceno put out a call for people to be part of a collaborative action to help the launch of his new solar balloon. The experimental flight was preceded by a conference ‘Space Without Rockets’ at the Rubin Center, organized to explore the vision, potential and contexts for the project.

On the morning of Sunday 8 November, around 25 people, including Saraceno’s team of engineers and balloonists, arrived well before dawn at the White Sands Missile Range entry point for security clearance by the US Army (having previously submitted our passport information), which controls a large part of the White Sands area.

We drove out in a convoy of cars across the desert, as twilight spread across the flat landscape. After an hour’s driving, with the sun coming up over the distant mountains, we arrived in the launch site in the heart of the white sand dunes.

black balloon, person suspended, white desert, blue sky

Tomás Saraceno. Aerocene, White Sands Desert, 2015. Courtesy: the artist. Photo: Studio Tomás Saraceno

Saraceno’s black solar balloon was stretched out across the white sand, partially inflated with air. It lay rather limply and lop-sided in the cool dawn air, awaiting the full power of the sun’s heat to emerge. Miraculously, despite an ominous weather forecast that had made some of us a little reluctant to get out of our warm El Paso hotel beds at 3am in the morning, the sky was clear and nor was there a breath of wind.

The Aerocene sculpture materializes more than ten years of research by Saraceno and his team on material properties, thermodynamics and atmospheric science. In principle, as the sun warms the air within the balloon, the air molecules becomes less dense than the outside air, causing the balloon to rise without the burning of propane or the use of lighter-than-air gases (helium or hydrogen).

The flight of this prototype balloon was planned as a tethered flight, always connected to the ground by ropes, as its venting and control had not been tested. The radical action was to lift a person off the ground by the power of the sun itself. In the early morning, the balloon looked as though it could barely lift itself, let alone a person. But, as the desert heat gathered force and the sun’s energy bounced back off the dazzling white sand into the balloon, adding to the heating effect, the balloon gathered strength. With Marija, an experienced balloonist from Croatia, suspended by a skydiver harness below the balloon, it lifted off the ground, controlled by the volunteers holding its ropes. A gentle breeze moved the balloon along the dunes and between them.

As the sun rose further, the balloon’s strength increased, lifting Marija higher. Danja from the Studio took Marija’s place and was allowed to rise to a height of perhaps 100 feet. The balloon strained against its tethers. Six people hung onto each rope to prevent the balloon taking off. Tomas was finally persuaded to take his place below the balloon, and a few others followed him, careful checks on the harness and attachments taking places each time. The balloon became a formidable beast striving to rush upwards to its home in the blue sky. More people joined the ropes to control it. After a few hours, the expert balloonists decided it had become too powerful to control and, after some less than successful testing of the venting, the balloon was gradually brought to the ground and emptied of its blisteringly hot air.

black balloon, person suspended, blue sky

Tomás Saraceno flies his Aerocene, White Sands Desert, 2015.

Saraceno’s fascination for structures in the sky stems from his family’s exile from Argentina (when the artist was a baby) because of the Perón dictatorship. When he returned there ten years later, he felt it was no longer his home, a place where he didn’t belong. Since then, he has travelled a lot and has become interested in challenging how the nations, divisions and borders we inhabit are created on Planet Earth.

His conceptual challenge of the territorialisation of the earth by a move into the sky seems particularly relevant at this time, Europe’s new border crisis, and appropriate for exploration in El Paso, situated on the tense border between Mexico and the USA. Saraceno’s is a utopian project, both in terms of finding a new way of existing borderless, and of reaching the skies and space without polluting them.

But another factor seems apparent in the Aerocene’s connection to a more elemental and human-centered mode of existence. Our severe control over our environment and the elements (as I realised shivering in the glacial air conditioned terminal of Houston airport looking out over a shimmering landscape on my connection to El Paso) has physical and environmental impacts, as detrimental to us, I suggest, as they are beneficial.

Suspended above the desert under a vast black solar balloon, I could feel the sun burning my face, the slight breeze moving me gently, the force of the balloon tugging upwards. I looked out over a white desert dazzling under a violently blue sky, and at the scraps of vegetation struggling in this landscape, and felt the immediacy of the possibility of flying up and off in whatever direction – and across whatever border – the elements might choose, should my colleagues on the ground let go of those two slight ropes. It was an intensely sensorial experience that left me feeling profoundly alive.

Tomás Saraceno’s artistic project Aerocene is a series of sculptures that will float in the longest 0-fossil fuel journey around the world, becoming buoyant only by the heat of the Sun and infrared radiation from the surface of Earth. For COP21 Paris, December 2015, Saraceno presents Aerocene in a sculptural installation at Grand Palais. 

http://www.aerocene.com/

black balloon, person suspended, white desert, blue sky

Nicola Triscott flies Tomás Saraceno’s Aerocene, pilot launch at White Sands Desert, 2015. Courtesy: the artist. Photo: Studio Tomás Saraceno

Nov 12

Woman flies an ancient contraption in a zero gravity flight

Exploring the border of art and space: the “territory of the imagination”

A projection in a cave

Astrovandalistas, Imaginario Inverso (installation – cave)

I have spent the last few days with a very special group of people in El Paso, Texas, on the US-Mexico border in El Paso, Texas and Juarez, Mexico, and in White Sands, New Mexico, a region where the space program had its beginnings and that is now home to a high number of emerging commercial space programs.

The occasion was the opening of ‘Territory of the Imagination: At the Border of Art and Space’ at the Rubin Center of the Visual Arts at the University of Texas at El Paso, curated by Kerry Doyle, a program of exhibitions, workshops and events highlighting the work of artists engaged in disruptive, alternative, and collective interactions with space and space technology, particularly artists from Latin America and the US-Mexico border region.

The program has been such a rich and thought-provoking experience that I want to blog about it in two parts, the first addressing the exhibition and the issues raised in it, the second focusing on Tomas Saraceno’s project Aerocene and the ‘Space Without Rockets’ conference, programmed by Rob La Frenais.

The four elements of the exhibition are the Astrovandalistas’ Imaginario Inverso, Matters of Gravity, Arte en Orbita and Tomas Saraceno’s Aerosolar.

Astrovandalistas is an artist collective interested in the effects of the industrialisation of our social imaginary in contexts where corporate and government interests supersede the individual and collective concerns of citizens. For Territory of the Imagination, they are running a series of workshops with communities in El Paso and Juarez and preparing a laser communication system to enable the creation of futuristic narratives about the border region. They are using lasers, in a reinterpretation of NASA’s laser communication technology for terrestrial purposes, both to transmit and engrave these narratives into stones. At the opening event, their preliminary research could be viewed both in the gallery and in a cave on the hillside.

Man shows device in cave

Astrovandalistas, Imaginario Inverso, laser device in cave installation

Engraved rocks in front of projected film with mountain

Astrovandalistas, Imaginario Inverso (installation)

Matters of Gravity (La Gravedad de los Asuntos) presents the artistic outputs of a two-year programme of research (advised by The Arts Catalyst) by a group of Mexican artists, organised by Nahum Mantra and Ale de la Puente, into the nature of gravity and zero gravity, including a zero gravity flight at the Gagarin Cosmonaut Training Centre in Star City, Russia.

Woman flies an ancient contraption in a zero gravity flight

Tania Candiani, Machine for flying, Besnier 1673, Matters of Gravity

Picture of a giant hourglass with sand floating inside

Ale de la Puente, An Infinity Without Destiny, Matters of Gravity

Arte En Orbita was a selection of films from an Ecuadorian exhibition of the same name, curated by Pedro Soler and Fabiane Borges, featuring a number of contemporary postcolonial space agencies – from Latin America, Africa and Palestine – that have appropriated technologies and imaginaries of space for their own use.

Person in crude silver spacesuit

Kongo Astronauts, Arte En Orbita

Tomas Saraceno’s Aerocene (which will be the subject of a separate blog post) shows his work developing an alternative system for transport in the sky and potentially in space through solar balloons. The exhibition of photographs and videos ‘Becoming Aerosolar’ sets the context for furthering his research and discourse in the conference ‘Space Without Rockets’, curated by Rob La Frenais, and the attempted launch of his prototype solar balloon Aerocene in the White Sands desert (see my next blog post!).

A giant balloon made of old carrier bags floats in the air

Tomas Saraceno, Museo Aero Solar, 2009

The projects in Territory of the Imagination connect the sociopolitics of space technology with issues of the territorialisation of space. Whilst the drive to explore space and visit other celestial bodies is visionary and open-minded, the space industry tends to replicate and propagate existing habits of thinking and ideologies from earth, such as American concepts of ‘progress’ and ‘frontier’, transferred from American historical narratives into the discourse of the space industry.

Since the 1960s, social imaginaries of space became largely synonymous with the national and international projects of Apollo, the ISS, space probes, Mars landers and Hubble. With the emergence of commercial space programmes – and New Mexico is where much of this is taking place – this imaginary is changing. A new ideological framework for space endeavours is emerging in which private enterprise is seen as the determining factor: space has become a place to be exploited for commercial ends. Is this the outer space of our own imaginings, those of us affected by space activities and, argues the United Nations’ space treaties, collective custodians of space as a ‘global commons’ but uninvolved in its industries?

It seems important that we question the ideologies shaping the new space age. Developing alternative social imaginaries of space is a critical part of this questioning. The space programme was historically shaped by the visions of artists and writers, and the same process could apply today. Artists, such as those in Territory of the Imagination, who engage in tactical, interrogatory or playful interactions with space themes, or who appropriate the images and technologies of space in ways that connect people to new bodies of knowledge, are developing alternative poetic and progressive imaginaries of space, and contributing to a vital societal and cultural dialogue, in which people from many cultures and across disciplines can take part.

Feb 24

Beatriz da Costa 1974-2012

Beatriz da Costa, 1974 - 2012

Beatriz da Costa, 1974 – 2012

The artist Beatriz da Costa lost her long, fierce battle with cancer on the evening of 27 December 2012, at the age of 38.

This is not an obituary, but simply a personal reflection on the Arts Catalyst’s work with this courageous woman and inspired artist, who at her death had not yet achieved her full potential, but had still produced a remarkable and influential body of work. (There is a full biography on Wikipedia.)

I first met Beatriz in 2003, at our second presentation of GenTerra at the Natural History Museum in London, as part of our CleanRooms exhibition, a work on which she had collaborated with Critical Art Ensemble (CAE). Beatriz had been unable to attend the first presentation in 2002 at Gallery Oldham, due to ill health. GenTerra was one of CAE’s “participatory theatre” works, which enabled its audiences to consider the consequences of creating transgenic life forms. GenTerra was a fictitious biotechnology corporation “balancing profits with social responsibility”. Lab-coated assistants (members of CAE) introduced GenTerra’s bioproducts to the audience, and would explain the practical applications of such research, such as disease treatment and xenotransplantation. Audience members were taught how to grow and store their own transgenic bacteria. They could then choose to spin a bacteria release machine with only one of its ten chambers holding active transgenic bacteria. They were told that the bacteria they might release into the environment was a benign strain and had to decide whether to play this game of ‘genetic Russian roulette’. The bacteria release machine was designed and made by Beatriz.

Beatriz with her bacteria release mechanism. GenTerra, Critical Art Ensemble and Beatriz da Costa

Beatriz da Costa with her bacteria release mechanism. GenTerra, Critical Art Ensemble and Beatriz da Costa

It is interesting to realise now how widely and deeply Beatriz’s interests as an artist paralleled and intersected with those of the Arts Catalyst, yet we did not work with her as a solo artist until 2009. Beatriz specialised in the intersections of art, science, engineering, and politics. She and her collaborators – including as a founder member of Preemptive Media, and a collaborator with Critical Art Ensemble – frequently engaged the public by running workshops that translated challenging new technical and scientific developments into accessible activities. She was an innovator in the use of technology and biotechnology in her art, with a remarkable drive to intellectually grasp and gain the technical skills to engage with emerging areas of science and technology. In 2008, she co-edited the MIT Press anthology Tactical Biopolitics: Art, Activism, and Technoscience.

PigeonBlog, Beatriz da Costa, 2008. Photo: Kristian Buus

Pigeonblog, Beatriz da Costa. Interspecies, A Foundation London, 2010. Photo: Kristian Buus

In 2009, we presented Beatriz’s project Pigeonblog as part of Interspecies, an exhibition and programme which explored artists’ attempts to collaborate with animals. Pigeonblog was a collaboration between homing pigeons, artists, engineers and pigeon fanciers, a citizen scientific data-gathering initiative designed to college and distribute information about air quality conditions. Pigeons carried custom-built miniature air pollution sensing devices enabled to send the collected localized information to an online server. Pollution levels were visualised and plotted in real-time on an Internet map. Interspecies was shown at Cornerhouse, Manchester, and at the A Foundation in London.

That year, we also invited Beatriz to create a new project for the exhibition Dark Places, a series of commissioned artists’ projects exploring spaces and institutions below the radar of common knowledge, and examining how artists are evolving strategies for art as a form of knowledge production.

Beatriz’s project for Dark Places, A Memorial for the Still Living explored the ‘dark places’ of zoological science and presented a sombre reflection on endangered species of the British Isles. Produced remotely, with Beatriz sending detailed lists of species and specifications, the artwork manifested as a striking art installation which confronted visitors with the reality of British species threatened with extinction. Continuing the artist’s investigation into interspecies, her interest was to confront visitors with the only mode of encounter left once a species has become extinct: the description, image, sound or taxidermed shell of a once thriving organism. However, rather than focusing on already extinct species, her focus was on the ‘still living’; species classified as being under threat, but which still stand a chance for survival if immediate action is taken. Beatriz posited that, after they have been eradicated from our planet as a result of hunting, loss of habitat or climate change, our only opportunities for interaction with these species will be with bottled and mounted specimens. The possibility of an encounter ‘in the flesh’ will have disappeared, with humans reduced to studying preserved examples of each species.

Installation

A Memorial for the Still Living, Beatriz da Costa. Dark Places, John Hansard Gallery, 2009-10. Photo: Steve Shrimpton.

A Memorial to the Still Living (detail), Beatriz da Costa, 2009. Photo: Steve Shrimpton

A Memorial for the Still Living, Beatriz da Costa, 2009. Photo: Steve Shrimpton

A Memorial for the Still Living, Beatriz da Costa, 2009. Photo: Steve Shrimpton

A Memorial for the Still Living, Beatriz da Costa, 2009. Photo: Steve Shrimpton

To realise this exhibit, Beatriz worked collaboratively with the Arts Catalyst team and the collection curators at the Horniman Museum and the Natural History Museum in London. Central to the installation were taxidermed specimens of endangered animals alongside preserved botanical samples of plants under threat. Each specimen was given a ‘birth date’ (the date of classification and inclusion into the corpus of western science) as well as a ‘death date’ (the date of projected extinction).

A Memorial for the Still Living was shown as part of the Dark Places exhibition at the John Hansard Gallery in Southampton (1), and then as a solo exhibition at the Horniman Museum in London. To coincide with the exhibition, the artist released the Endangered Species Finder, a mobile application that facilitates encounters with other species within their ‘natural’ environments. Beatriz believed that experience and encounter, not just policy and regulations, are what ultimately change our behavior towards our environment. Through her encouragement of a ‘go out and meet the species before it’s too late’ attitude, she hoped to make a small contribution to the collective effort of examining our current relationships to non-human species.

Endangered Species Finder, Beatriz da Costa, 2010

Endangered Species Finder, Beatriz da Costa, 2010

Of course, the project and its title, A Memorial for the Still Living, acquired a powerful poignancy after Beatriz’ diagnosis with breast cancer and as the disease progressed. Constructing the installation exactly to her specifications became invested with great importance for us, and I will mention here our producer Gillean Dickie, who worked creatively and collaboratively with Beatriz to fix every small detail as the artist wanted it.

Whilst more than 13,000 people saw the installation in Southampton and London, Beatriz herself never saw it in its physical form because she was too ill to travel. We documented it on video and photographs for her, and when she felt well enough, she came to London in early 2011 to talk about the work in a public event at the Arts Catalyst. Our curator Rob La Frenais took the opportunity to record an interview with Beatriz about her work, an interview which we will make available soon.

There is no doubt that we would have commissioned Beatriz again. We were in early discussion with Botanic Gardens Conservation International about a potential project with Beatriz, and we also – as she became more ill – discussed showing her powerful video installation, Dying for the Other, in the UK, a work which documented the lives of mice used in breast cancer research and humans suffering from the same disease. In order to produce Dying for the Other, Beatriz documented scenes of her own life during the summer of 2011 and combined them with footage taken at a breast cancer research facility in New York City over the same time frame.

Despite her worsening condition and the many surgeries that she endured, Beatriz – Shani to her friends, as we were by now – was often in contact with us, discussing projects, being interviewed by Skype for a research project by an embedded researcher with Arts Catalyst, discussing future plans until she could no longer think clearly or type and it had become clear to us all that her time was running out. It is of some consolation that she died at home, with people she loved, yet still unbearable and unfair that we have lost this vibrant, clever, committed woman and artist.

1. A Memorial for the Still Living was commissioned by The Arts Catalyst and co-curated with the Office of Experiments, John Hansard Gallery and SCAN, for Dark Places.

May 13

How life transforms: reflections on a conversation with Rob Kesseler and Enrico Coen

Micrograph of seed

Rob Kesseler, from Seeds, time capsules of life, Rob Kesseler, Wolfgang Stuppy,
Papadakis Publisher..

Why do I like Rob Kesseler’s work? At first glance, his highly detailed, colour-enhanced micrographs of pollen, seeds, fruit and leaves might pass for the sort of “science photography” that has become familiar in the media, particularly in publications such as New Scientist. Is there a difference when an artist produces these images? Kesseler’s work focuses almost entirely on the microscopic aspects of plants: their functional, structural, decorative qualities. He translates that material into imagery, which he incorporates in a whole series of works in different media – glass etchings, ceramics, sculptural objects, and large format images. Visually, his works combine astonishing detail with meticulous colouration, giving a luscious, seductive quality to subject matter that seems at the same time alien and familiar.

At the Arts Catalyst, we generally say we’re not really interested in art that ‘illustrates’ science. But Kesseler clearly isn’t illustrating science. He’s sharing his fascination in the intricate structure of these forms and in the process of making images. If this jogs us into thinking about biodiversity or how natural patterns and forms come about, that doesn’t appear to be his primary intent, although he collaborates extensively with scientists.

Micrograph of pollen printed on silk, hanging from tree

In an era of quick fixes, instant gratification and time-saving tools, I’m fascinated by obsessives – which many artists and scientists are. Kesseler has been collecting, preparing and studying plants and their pollen for many years. His images give me aesthetic pleasure, yet this aesthetic pleasure derives from a combination of eye appeal and intellectual-emotional appeal. I’m not just looking at his work out of context. From my background, I know what the object in the image might be, the process by which the image has been made, and the technical and artistic skill that has gone into its making. I’m aware of the artist’s intent in how it is presented. I am also mesmerized by the intricacy and breadth of nature’s design. Yet even my ‘pure’ visual aesthetic appreciation is culturally shaped: by fashion and by years working within the contemporary visual arts.

Micrograph of plant fragment

Artwork by Rob Kesseler, from Seeds, time capsules of life, Rob Kesseler, Wolfgang Stuppy,
Papadakis Publisher.

The other evening, I chaired a discussion between Rob Kesseler and biologist Enrico Coen, organised by the Art, Science and Technology research group at Central Saint Martins College of Arts and Design. In his new book Cells to Civilizations, Coen attempts a unified account of how life transforms itself – from the evolution of complex animals, to how a newborn learns to behave in society, to the development of human culture. He identifies some shared core principles underlying evolution, development, learning and culture, and suggests that there is always a ‘twin feedback loop’ of reinforcement and competition – an accelerating and a limiting force – and, in each case, drivers of population variance and persistence. That’s an incredibly brief précis of Coen’s investigation into the relationships between our biological past and the evolution of human culture, in which he also introduces the concepts of cooperation, “combinatorial richness” and recurrence and discusses their roles in the process. Once you grasp his basic idea, it becomes an entertaining game to identify ‘twin feedback loops’ at work in all sorts of cultural changes around us (including these periodic upsurges of interest in ‘art and science’).

In our brief conversation, we talked about how images are made and used in science and in art, and about the role of aesthetics. Coen felt that imagery in science is primarily used to communicate findings, and therefore it is intended to be ‘provocative’ in some sense. Kesseler said that in his artwork he tries to bring out the 3-dimensionality of forms, their structure and characteristics. Both mentioned that aesthetics change as a consequence of our experiences. But our conversation was constrained by time, and I hadn’t then delved into Coen’s book, so I want here to think a little more about some of his ideas.

At the conclusion of our meeting, I was left wondering how valid it was to extend an approach of identifying common mechanisms in evolution, development and learning (that we can comfortably understand as subjects for scientific investigation) to encompass human cultural change. Surely this is too complex a subject for scientific study. Culture has been said to be “what makes us human”, encompassing all that we inherit by learning from others, including language, customs, technology, and material artifacts. But culture, it seems, is not limited to human beings. Researchers are discovering and studying the foundations of such social learning and traditions in a wide variety of species including primates and birds.

Book cover for 'Cells to Civilisations'

In Cells to Civilisations, Coen argues that the ingredients for human cultural change are grounded in evolution, development and learning over many generations. He also points out that our scientific understanding of these processes is in itself a cultural product. Theories of evolution, development and learning, such as those developed by Darwin or Turing, are themselves outcomes of our cultural heritage. And so indeed is all science, and all art. Culture creates the conditions in which science and art – and aesthetic appreciation – develop, and science and art feedback into the evolution of culture. As artists and scientists, we are products of the frameworks within which we operate. Thus Coen’s book presents a counter-perspective to some popular misconceptions of both science and art, firstly that science can be culturally neutral, and secondly the notion of the artist as solitary genius. Rather, Coen says, science is completely embedded in and framed by culture, and the development of an artistic work is the outcome of a culture formed by multiple individuals in a particular society at a particular time.

Coen also suggests that humans readily acquire concepts that allow us to deal with objects that we can see or touch (apples or mountains, for example), in which we have many generations of experience in understanding, but that we struggle with concepts that require us to think in other dimensions or on other scales outside our immediate experience. Thus Einstein’s theories of relativity are harder concepts for us than Newton’s laws of motion. Which perhaps suggests that the work of artists like Kesseler can help us to “conceptualise” ideas and forms that exist in a liminal space beyond our normal senses and experiences, by finding morphological parallels in the visible world.

The conversations was recorded and is intended to be broadcast on Mark Aitken’s gardening programme ‘I can hear the grass grow’ on Resonance FM

Nov 25

Biopoetic investigations – Agnes Meyer Brandis

Moon Goose Colony, Agnes Meyer Brandis, 2011

The work of artist Agnes Meyer-Brandis creates new stories, at the same time fantastical and believable, through the fusion of detailed factual research and enchanting fiction. Her new work The Moon Goose Analogue: Lunar Migration Bird Facility has been commissioned by The Arts Catalyst for our Republic of the Moon exhibition, which opens at FACT, Liverpool, in December.

Meyer-Brandis studied mineralogy at the University of Aachen, before transferring to the Art Academy in Maastricht, Netherlands, to study sculpture and to the Art Academy in Düsseldorf. For many years, her work explored deep in the dark zone below the earth and ice, fascinated by what lay beneath her feet. In her SGM-Iceberg-Probe, she developed an elegant probe that could be lowered into a bore hole from an exploration tent into the deep layers of the Earth, revealing on a monitor and through headphones the moving images and sounds of subterranean life forms and rocks.

SGM Iceberg Probe - field test

SGM Iceberg Probe - screenshot

In 2007, she shifted her poetic-scientific investigations to include the skies, exploring birds, clouds, planets and heavenly bodies. In her project Cloud Core Scanner, she explored the phenomena of cloud cores in weightlessness with the German Space Agency.

The artist in weightlessness

One of my favourite projects was the Public Meteor Watching event that the artist organized outside the National Center For Contemporary Art (NCCA) in Ekaterinburg, Russia, at which hundreds of local people gathered to witness the occurrence and impact of a meteor, predicted from the artist’s calculations, an astonishing demonstration of imagination, organisation and sheer chutzpah.

Public Meteor Watching, Agnes Meyer Brandis

In The Moon Goose Analogue: Lunar Migration Bird Facility, Meyer Brandis develops an ongoing narrative based on the book The Man in the Moone, written by the English bishop Francis Godwin in 1603, in which the protagonist flies to the Moon in a chariot towed by ‘moon geese’. Meyer-Brandis has actualised this concept by raising eleven moon geese from birth within her project Moon Goose Colony at Pollinaria in Italy; giving them astronauts’ names, imprinting them on herself as goose-mother, training them to fly and taking them on expeditions and housing them in a remote Moon analogue habitat.

Below stills from the project and an extract from an interview with the artist.

Moon Goose Colony

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