The book Anthropology and Art Practice, edited by Arnd Schneider and Chris Wright has just ben published. I have contributed with a chapter called “Out of Hand – Reflections on Elsewhereness”. Among the other authors are Kate Hennessy and Craig Campbell, both part of the Ethnographic Terminalia collective. This is how the book is described:
“Anthropology and Art Practice takes an innovative look at new experimental work informed by the newly-reconfigured relationship between the arts and anthropology. This practice-based and visual work can be characterised as ‘art-ethnography’. In engaging with the concerns of both fields, this cutting-edge study tackles current issues such as the role of the artist in collaborative work, and the political uses of documentary. The book focuses on key works from artists and anthropologists that engage with ‘art-ethnography’ and investigates the processes and strategies behind their creation and exhibition.
The book highlights the work of a new generation of practitioners in this hybrid field, such as Anthony Luvera, Kathryn Ramey, Brad Butler and Karen Mirza, Kate Hennessy and Jennifer Deger, who work in a diverse range of media – including film, photography, sound and performance. Anthropology and Art Practice suggests a series of radical challenges to assumptions made on both sides of the art/anthropology divide and is intended to inspire further dialogue and provide essential reading for a wide range of students and practitioners.”
A couple of short reviews:
“Those familiar with the two previous outstanding collections edited by Schneider and Wright, examining the relationships between art and anthropology, will find this addition, making a trilogy, equally indispensable. The distinctive value of this collection is indeed its close examination of ‘practice’ amid the growing importance of thinking and experiment that blurs the boundaries between anthropological research and artistic intervention. No other work better shows, rather than tells, what ‘keywords’ like performance, collaboration, participation, installation, and curatorial/ ethnographic method mean in this lively realm of the senses, imagination, and contemporary curating.” – George E. Marcus, Director, Center for Ethnography, University of California, Irvine
“One of the most promising directions for new research into contemporary art practice can be found in the rapprochement between art history and anthropology, as artists increasingly find themselves working in complex social contexts beyond the confines of galleries and museums. Schneider and Wright’s collection provides an invaluable compendium of current research at this important disciplinary intersection.” – Grant Kester is Professor of Art History at UCSD, USA and author of ‘The One and the Many: Contemporary Collaborative Art in a Global Context’
At the end of May and the beginning of June I was in Melbourne together with Swedish colleagues Martin Berg, Åsa Bäckström, Vaike Fors and Tom O’Dell to initiate collaborations with digital ethnography researchers at RMIT. It felt like the start of something good, with a lot of thought provoking discussions as well as fruitful strategical roadmapping. We also had a workshop aimed at producing a book. As part of the workshop I screened two parts of my new video series Fieldnotes. Some of the RMIT-people participating were Heather Horst, Tania Lewis, Cecily Maller, Sarah Pink, John Postill, Yolande Strengers and Jo Tacchi.
From September I will participate in the research project/theme DigiTrust at the Pufendorf institute, Lund university. The group of researchers include experts in cryptography, intellectual property rights, media history, innovation management, information science, media and communication, sociology of law, software engineering as well as hands on experience from the industry. Yesterday we had a meeting to plan the coming research. Here’s a short description of the theme:
The purpose of DigiTrust is to better understand the importance of trust in a digital society, how issues of privacy and identity are handled, and how legitimacy is reached or breached. This is a multi- and cross-disciplinary research theme centered on the complexities of trust in a digital context that will study privacy, identity and legitimacy in relation to 1) Security and privacy awareness in a digital context; 2) What knowledge (institutions) are trusted and how is this constructed; and 3) Surveillance and data retention as a legal trend.
My experimental essay “The Imaginary Scream” has been published in HZ, the journal run by Fylkingen. Based in Stockholm, “Fylkingen is a venue and artists’ society for new and experimental work in music, performance, video, film, dance, sound-text composition and intermedia. Since its establishment in the 1930s, Fylkingen has been committed to experimental work in the contemporary performing arts. The organisation is made up of over 250 member artists from many disciplines who use the venue to develop and present new work.”.
I have just finished a sound composition for the videowork /installation Edifice by French artist Véronique Mouysset. Edifice is a work in several iterations, where composers are invited to contribute electroacoustic music and sound compositions in order to evoke acoustic dimensions of architectonic structures. Previous contributors are: Michèle Bokanowski, Jean-Philippe Renoult, Laurence Bouckaert, Pierre Couprie and Francis Larvor. According to Véronique Christine Groult has also just finished a piece.
On Saturday April 19 the book “Sarai Reader 09: Projections” was launched at Devi Art Foundation in New Delhi. I participate in the book with a chapter called Enhancement or Distortion? From The Claude Glass to Instagram. The chapter deals with the ways that imaging technologies and various kinds of creative tools can be related to landscape representation. I juxtapose recent discussions on Instagram aesthetics to similar issues that appeared in relation to uses of earlier visual tools like The Claude Glass and The Lorrain Mirror. In the text I introduce the concept “borrowed features” to tweak the understandings of creativity, digital tools and “cheap gains” . The book is available as PDF via the link above.
When I wrote my PhD about the Swedish internet consultancy Framfab (during the dot com boom), the business rhetoric of these young companies were characterized by a disassociation from earlier heavy manufacturing industries. The new economy based on buzzwords like networks and knowledge were to be very different from the businesses and structures of old paper and steel industries.
This was past of an aestheticization of the (past) industrial society). Heavy industry were supposed to be history. During the last decades we have seen a widespread movement, through which earlier dirty heavy industry has been approached as aesthetic objects. Refurbished old factories were turned into lofts, new offices, art museums, restaurants etc. This is a process that is still ongoing. Rusty steel, dirty bricks and concrete structures has become backdrop for a number of new “softer” endeavors.
But of course we still live in a very industrial society. The difference is that today heavy industrial production has become more or less invisible in large parts of the Western world (and also in parts of countries like China, where the dirty industry has left the centers of cities like Shanghai to reappear in other places). This process is what I call the rise of Industrial Cool. Heavy industry is aestheticized and associated with the past. I have dealt with this in a book, some articles and an art project.
During the last years the notion of Industrial Cool has transformed in a fascinating way. I’m tempted to call this a move to Industrial Cool 2.0. When large corporations like Google started to buy paper mills in Finland, when they (together with a number of other new Internet giants) started to build huge data centers, a new kind of very obvious industrial structures appeared. And here is the really nice twist to it all… In year 2000, when companies like Framfab spoke about their businesses, the ephemerality and almost non-physical character of new electronic networks and speedy slows were stressed. The new economy was supposed to happen on the other side of the glass of monitors and screens. But of course, there were always a very physical structure of Internet, that made it all happen.However, that structure was seldom made visible. Today, a new kind of visualization of heavy large scale hardware is happening. The industrial structures of the Internet are today aestheticized, and we can start talking about Industrial Cool 2.0. Google has started to present evocative images from their huge data centers. They want to show “where the internet lives”. Using suggestive lighting and bright colors the industrial structures of Internet are made visible.
Jussi Parikka has written a great post about this phenomenon, and about the visualization of data centers. He stresses how much of the imagery that is based on pipes and systems of cooling. It is all about the cooling of systems, about keeping circuitry at a cool temperature in which data can flow. The now made visible structures of Internet are based on huge industrial structures of cooling, now presented in a very aestheticized way… Industrial Cool 2.0.
These processes are happening at the same time that ideas and concepts of Steampunk, with its “back to the future aesthetics” which once appeared during the 199ies is now spreading in a viral way. The physicality, the combinations of old patinized structures with new glowing hi-tech is appearing in everything from museum exhibitions to children programs on TV.
On the evening March 22 me and Anders Weberg will perform Sweden for Beginners at the Video Formes festival in Clermont-Ferrand, France. The performance will also be live-streamed on the web.
The same day as the performance we will also do our visual ethnography workshop Everyday Explorations together with students from the Blaise Pascal University.
About Video Formes (from the festival website):
28th Video Art & Digital Culture International Festival Of Clermont-Ferrand
Full program: http://fr.calameo.com/read/0000112770bc24eece7d5
Maison du Peuple
Place de la liberté
28e MANIFESTATION INTERNATIONALE D’ART VIDÉO & CULTURES NUMÉRIQUES DE CLERMONT-FERRAND
28th Video Art & Digital Culture International Festival Of Clermont-Ferrand
FESTIVAL : 20.03 > 23.03
EXPOSITION / EXHIBITIONS : 21.03 > 07.04
NUIT DES ARTS ÉLECTRONIQUES : 23.03
• PROJECTIONS / SCREENINGS : PRIX VIDEOFORMES 2013, FOCUS PROGRAM (AFRICA, CAGE SUITE, MADATAC,…)
• TABLES RONDES / ROUND TABLES
• PERFORMANCES : Jacques Perconte & Edie Ladoire, Anders Weberg & Robert Willim
• NUIT DES ARTS ELECTRONIQUES : Franck Vigroux & Philippe Fontes, Mat3R Dolorosa, Kangding Ray, Reworks (LIVE) + Wood
• EXPOSITIONS / EXHIBITIONS : Nicolas Clauss, Pierre Coulibeuf, Giuliana Cuneaz, Gabriel Mascaro, Philippe Fontès et Bruno Capelle, Triny Prada, David Blasco, Sébastien Camboulive, Véronique Mouysset, Nelly Girardeau, Pierrick Sorin, Bertrand Gadenne, Enrique Ramirez…
Since 1984, Videoformes is a permanent observatory of the evolutions of video & digital arts : a place for presentation and meetings for artists, professionals and audience.
Since 1986, Videoformes annually has been organizing an international video and digital art festival. This event highlights the quality of the works and artists presented in the festival through exhibitions, lectures, screenings, performances, debates and meetings. Famous and/or young artists get to meet around multimedia installations, cinema and video films, performances, Web Art, live video and music performances (V-Jaying, D-Jaying), etc.
I’m about to finish a number of publications which are to be launched during 2013 or a bit later depending on the publication processes. A piece called Transmutations of Noise will be a chapter in the book Coping With Excess, edited by Barbara Czarniawska and Orvar Löfgren. The chapter Out of Hand – Reflections on Elsewhereness will be part of Anthropology and Art Practice, edited by Arnd Schneider an Christopher Wright. A piece called Enhancement or Distortion? – From The Claude Glass to Instagram will be part of The Sarai Reader 09.
Me and Tom O’Dell are also about to finish a number of texts. One piece for an international journal is almost ready. This one is going through an anonymized peer review process and therefore I can’t mention the titles of the text or the journal 🙂 Another text called Applied Cultural Analysis & the Compositional Practices of Rendering Culture is in the pipeline for a coming Source book edited by Patricia Sunderland and Rita Denny. We are working on the last year of our project The Transformations of Ethnography, which means that more texts are upcoming.
The site describing the work by me and Anders Weberg has got a facelift. Here it is, with links to our works as well as information about possible proposals and offerings.At the moment we offer the practical visual ethnographic workshop Everyday Explorations, and the live performance Sweden for Beginners. We are also interested in suggestion for new cities to incorporate in the Elsewhereness-series, as well as proposals for other commissioned works.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]