This podcast is far from perfect. It’s raw. And, in its first episode, we are talking about wildlife, surveillance and the modern way of hunting. The American artist Gabriel Edward Adams was for few days my guest and I’d like to start with presenting his work “Hunter, I’ve taken your memory”, featured in Biel – Bienne in Switzerland July 6, 2018, at Juraplatz after dark.
“Hunter, I’ve taken your memory” presents a selection of motion sensor captured infrared night view images from the original contents of an unknown bowhunter’s portable wildlife camera. The collection was clandestinely downloaded after an unexpected encounter while walking in the forest. This presentation delivers a series of black and white images of forest life by night. The mix of deer, raccoon, rabbit, bobcat, fox, and coyote images evoke the presence of omens and animal mythologies, while also existing as practical studies for hunting.The images progress in sequence through the winter months, accompanied by accurate time signatures and phases of the moon.
Categories on Nature (more to follow) reflects on different philosophical and anthropological approaches in conceptualizing nature and human in nature. In Western traditional concepts, the thinker and her position in nature have to be defined, making out perceptions and imaginations.
Thinking is a process of categorization and judgments tracked mainly in written language. Archives are hereby architectures of collection and control. The text combination is playing with referring and differing issues which never reach original meaning; reflecting on dependencies between perception and structuring thinking.
To see and understand easier the structure of this work, I made a video.
Categories on Nature (more to follow) is based on the idea of a book as an important tool in western thinking and archiving. Therefore, the book model is composed of combinations of diverse philosophical texts and a black line code which I generated. Furthermore, this volume contains illustrations of nature and has a classical page structure with headers and chapters.
The text combinations are built structures whereby the readability gets lost, the header text, taken from one of the first botany books we know, The Book of Plants by the Arab Al Dirawani, is well readable and in alphabetical order. The images, which are not shown in this video, are accompanying a text by Jaques Derrida: Archive Fever, A Freudian Impression
The other texts are by Giordano Bruno: Cause, Principle and Unity and Essays on Magic; Claude Levi Strauss: Savage Mind; Giorgio Agamben: The Open: Man and Animal; Immanuel Kant: Critique of Pure Reason; Jaques Derrida: The Animal That Therefore I am.
On Saturday 21 April, I participated in the biannual event NoPlace, which in this year took place in Santo Stefano di Magra, a little village close to La Spezia on the Italian Riviera. NoPlace is an experimental exhibition venue and that it arrives at its 4th edition confirms that rhizome-organized, i.e. horizontal and not hierarchical exhibitions and art events are possible. 525 artists showed their works, from the art student to the established artist, curating each other and taking responsibility for their own works as well as for their fellows. Basing on the rhizome concept by Guattari and Deleuze in A Thousand Plateaus: Capitalism and Schizophrenia, the organization is structured on four levels: “the author of the origin of the rhizome invites max. four other authors. These constitute the second level of the rhizome and can invite up to three authors each, the third level. Those authors of the third level involve up to two each (the fourth level) closing the “generative” line.The activation of the rhizome is following a rigid rule which allows keeping the participation’s dynamic transparent and readable. Every author who causes attendances takes responsibility for the following level and doesn’t influence in no ways the choices of those authors invited by her/him.” view noplace.space This year’s edition took place in a former ceramic factory and in the shopping mall of Santo Stefano di Magra.
I installed my work Blood Sugar in the ceramic factory in the entrance of one of the former workshop building: Two varieties of little paper packs were arranged in two round accumulation. On both paper wraps of drawing paper, are printed texts about the social organization. The one text, Leviathan by Thomas Hobbes in English language is printed on white paper and the other text, Errico Malatesta’s L’anarchia and other political writings, in Italian on pink paper. The Leviathan-wraps contain sugar cubes, the Malatesta text wraps are empty. The caption card placed between the two accumulations with the title: Blood Sugar, subtitle: Freedom or Security, the texts’ titles and authors, and the invitation for the visitor to take one of the paper packs choosing between the red and the white ones.
The work is related to the Imperatives – an artistic Encyclopédie Raisonné project reminding that we have still possibilities to choose for a social change. The idea of a social contract that offers us safety and protection from nature, especially human nature which conceptualized as dangerous, through a sovereignty for which everybody should give up her/his freedom, mandating to an authority power and political decisions.
The concept of Hobbes is fundamental for democracies. The imaginary of the permanent thread and danger lead people to give up not only political power. The question of safety is still not resolved, it seems more often the government is jeopardizing democratic values and endanger the health of integrity and of the physical body as well. Sugar has this ambiguous value, too. This industrial product is sweet and comforting in the first taste and yet is diabetes one of the prevalent diseases of modern societies and not only: it seems the blood sugar values are changed to its worse all over the world.
On the other side are the empty packs with Malatesta’s writings about the social evolution and the autonomy process. What freedom promises: at first nothing comfortable or even nothing at all, except for the responsibility for the first steps in the unknown process with its ups and downs. A process of democracy which seems to us uncertain and threatening.
An example how tools i.e. technologies are extensions of our body and body functions is the nerve-net. The nerve-net is a communication complex, in an ongoing process of connecting, informing and building cells as a response to the inner and outer world. Imaging this nerve-net without the limits of our body, which in orthodox thinking would be the skin, we could see a constantly growing and everything connecting web. And the imaginary and the real result from each other.
My work project The Truth of Virtuality which I will continue and is showcased right now in the group exhibition Labirintica in Gorizia in Italy (in the Galleria Belo 189). The group exhibition (with Maria Rebecca Ballestra, Julien Friedler, Mauro Panichella, Berty Skuber, Robert Smithson, Aldo Spinelli) is part of the project Labrys is by Maria Rebecca Ballestra and curated by Giorgia Gastaldon.
Here the first complex of the first part which is showcased. The Truth of Virtualityis composed of single photographs of moments describing definitions and categories of thinking. If put together, these images create like a mosaic an expandable net. Rhizome-like, single images can be the starting point of another net or agglomeration.The model for this work is the communication of the brains and the nerve-net which have similarities with digital nets. This work will be continued whereby colors, definitions, and drawings are change
The here presented network consists of photographs of crayon drawings on transparent paper, added writings, and printed on rickbond.