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Diffstat (limited to 'frontend/site/projects/museum/constants.js')
| -rw-r--r-- | frontend/site/projects/museum/constants.js | 63 |
1 files changed, 36 insertions, 27 deletions
diff --git a/frontend/site/projects/museum/constants.js b/frontend/site/projects/museum/constants.js index bec8e4d..4913717 100644 --- a/frontend/site/projects/museum/constants.js +++ b/frontend/site/projects/museum/constants.js @@ -13,7 +13,7 @@ export const ARTISTS = { `, statement: ` <p> - AFU. This is not a hackerspace. + <b>AFU. This is not a hackerspace.</b> <p> </p> Welcome to some savage archaeology in outta space! Occupy Archaeology! Occupy hackerspaces! @@ -115,30 +115,30 @@ export const ARTISTS = { <p> Charles Stankievech (b.1978, Canada) is an artist whose research has explored issues such as the notion of “fieldwork” in the embedded landscape, the military industrial complex, and the history of technology. His diverse body of work has been shown internationally at the Louisiana Museum, Copenhagen; Palais de Tokyo, Paris; Haus der Kulturen der Welt, Berlin; MassMoca, Massachussetts; Musée d’art contemporain de Montréal; Canadian Centre for Architecture; and the Venice Architecture and SITE Santa Fe Biennales. His lectures for Documenta 13 and the 8th Berlin Biennale were as much performance as pedagogy while his writing has been published in academic journals by MIT and Princeton Architectural Press. His idiosyncratic and obsessively researched curatorial projects include Magnetic Norths at the Leonard & Bina Ellen Gallery, Concordia University and CounterIntelligence at the Justina M. Barnicke Gallery, University of Toronto. From 2010-2011 (and again currently from 2014-15) he was hired as a private contractor for the Department of National Defense where he conducted independent research in intelligence operations under the rubric of the CFAP. He was a founding faculty member of the Yukon School of Visual Arts in Dawson City, Canada and is currently an Assistant Professor in the Daniels Faculty of Architecture, Landscape and Design at the University of Toronto. Since 2011, he has been co-director of the art and theory press <a href="https://k-verlag.org/" target="_blank">K. Verlag</a> in Berlin. </p> - `, + `, statement: ` -<p> -Shot primarily at the historic Cosmic Ray Research Station in the Canadian Rockies, on Winter Solstice, <i>The Glass Key</i> travels across the time and space of humans attempting to understand and communicate a sense of place in the cosmos: from ancient sun worship through to contemporary neutrino and dark matter research. In narrative terms, the work starts with a paradoxical climbing of the mystical “mountain of the sun” while the subject dives into a deeper interior, psychological, “cosmic cave.” -</p> -<p> -The soundtrack, which guides the project and is composed as a binaural work for headphone listening, has three components: A reverbing drone is generated out of field recordings of MIT radomes and WWI sound mirrors; sparkling field recording of ionospheric collisions crackle around the cranium, occasionally catching the signalling of satellites. Finally, literary text fragments are translated into morse code expressed in the pulse of a heartbeat. These three layers are spatially mixed, from spacious soundscape through the threshold of the head into the interior of the body. -</p> -<p> -As a counterpoint to modern scientific investigations into cosmic rays, LIDAR (laser 3D measurement) recordings were done on Spring Equinox at a Mayan temple in the Yucatan. Retracing not only the architectural history of Mesoamerican culture, The Glass Key follows Robert Smithson’s 1969 journey through the landscape as he attempted to define site-specific art in particular contrast to the archival format of photography and mapmaking. -</p> -<p> -As we move close to the summit of the Cosmic Research Station, we are reminded of the materiality of light via the historical use of Icelandic Spar in ancient navigation and scientific processes. Thomas Pynchon speculates that such polarizing of light also creates a hidden world for the non-human and the doubling of existence between the visible and non-visible, a sort of superpositionality between site and non-site. A pop up video of 1980s HyperCard coding language (a precursor to the user interface of the internet today) visualizes the ancient antithetical iconography of the cave in the mountain (a triangle within a triangle). -</p> -<p> -If there is an antithesis to the pure light of the sun or almost massless aspect of neutrinos, then it is the history of meteorites. Nothing more solid falls from the cosmos into the earth’s atmosphere. And yet, it enters as a luminous ball of fire from the heavens. Placed at 2km above sea level at the Cosmic Ray Research Station, a cross section of the oldest known meteorite to have impacted the earth becomes a portal into the Canadian Neutrino observatory (SNO) buried 2kms below the earth's surface. Eliade, one of the founders of the field of comparative religion, reminds us that the oldest word for <i>iron</i> is <i>an•bar</i>— or the pictogram of <i>fire•sky</i>—the source of the most mystical material before classical antiquity. -</p> -<p> -Catapulted from the interior back to the exterior, we encounter the same meteorite, but this time as a 3 dimensional meteorite crystal, balanced on the peak of the mountain (reminiscent of Rene Magritte’s surrealist masterpiece <i>La clef de verre</i>, 1959). A title originally stolen from the English detective novel, <i>The Glass Key</i> reveals the dream when one attempts to force a locked space with a fragile decoder and the key shatters in the lock. An excerpt from Clarice Lispector’s most enigmatic short story discusses the birth of the metaphysical round object that denies all understanding. -</p> -<p> -<i>The Glass Key</i> ends not by focusing on a natural history object (spar or meteorite) but perhaps the most uniquely anthropogenic crystal: Trinitite. Laying on a bed of snow crystals, a dark green fragment remains—an object composed of fused sand, created when the desert was super-heated by the first nuclear explosion: Trinity. A video of the explosion closes the cycle, where <i>The Desert Turned to Glass</i>. A nuclear winter descends, and we retreat from the pinnacles of mountains and temples into our isolated underground caves, connected through a communication system designed to survive a nuclear apocalypse. Lispector’s lament closes our eclipsed world.” -</p> - ` + <p> + Shot primarily at the historic Cosmic Ray Research Station in the Canadian Rockies, on Winter Solstice, <i>The Glass Key</i> travels across the time and space of humans attempting to understand and communicate a sense of place in the cosmos: from ancient sun worship through to contemporary neutrino and dark matter research. In narrative terms, the work starts with a paradoxical climbing of the mystical “mountain of the sun” while the subject dives into a deeper interior, psychological, “cosmic cave.” + </p> + <p> + The soundtrack, which guides the project and is composed as a binaural work for headphone listening, has three components: A reverbing drone is generated out of field recordings of MIT radomes and WWI sound mirrors; sparkling field recording of ionospheric collisions crackle around the cranium, occasionally catching the signalling of satellites. Finally, literary text fragments are translated into morse code expressed in the pulse of a heartbeat. These three layers are spatially mixed, from spacious soundscape through the threshold of the head into the interior of the body. + </p> + <p> + As a counterpoint to modern scientific investigations into cosmic rays, LIDAR (laser 3D measurement) recordings were done on Spring Equinox at a Mayan temple in the Yucatan. Retracing not only the architectural history of Mesoamerican culture, The Glass Key follows Robert Smithson’s 1969 journey through the landscape as he attempted to define site-specific art in particular contrast to the archival format of photography and mapmaking. + </p> + <p> + As we move close to the summit of the Cosmic Research Station, we are reminded of the materiality of light via the historical use of Icelandic Spar in ancient navigation and scientific processes. Thomas Pynchon speculates that such polarizing of light also creates a hidden world for the non-human and the doubling of existence between the visible and non-visible, a sort of superpositionality between site and non-site. A pop up video of 1980s HyperCard coding language (a precursor to the user interface of the internet today) visualizes the ancient antithetical iconography of the cave in the mountain (a triangle within a triangle). + </p> + <p> + If there is an antithesis to the pure light of the sun or almost massless aspect of neutrinos, then it is the history of meteorites. Nothing more solid falls from the cosmos into the earth’s atmosphere. And yet, it enters as a luminous ball of fire from the heavens. Placed at 2km above sea level at the Cosmic Ray Research Station, a cross section of the oldest known meteorite to have impacted the earth becomes a portal into the Canadian Neutrino observatory (SNO) buried 2kms below the earth's surface. Eliade, one of the founders of the field of comparative religion, reminds us that the oldest word for <i>iron</i> is <i>an•bar</i>— or the pictogram of <i>fire•sky</i>—the source of the most mystical material before classical antiquity. + </p> + <p> + Catapulted from the interior back to the exterior, we encounter the same meteorite, but this time as a 3 dimensional meteorite crystal, balanced on the peak of the mountain (reminiscent of Rene Magritte’s surrealist masterpiece <i>La clef de verre</i>, 1959). A title originally stolen from the English detective novel, <i>The Glass Key</i> reveals the dream when one attempts to force a locked space with a fragile decoder and the key shatters in the lock. An excerpt from Clarice Lispector’s most enigmatic short story discusses the birth of the metaphysical round object that denies all understanding. + </p> + <p> + <i>The Glass Key</i> ends not by focusing on a natural history object (spar or meteorite) but perhaps the most uniquely anthropogenic crystal: Trinitite. Laying on a bed of snow crystals, a dark green fragment remains—an object composed of fused sand, created when the desert was super-heated by the first nuclear explosion: Trinity. A video of the explosion closes the cycle, where <i>The Desert Turned to Glass</i>. A nuclear winter descends, and we retreat from the pinnacles of mountains and temples into our isolated underground caves, connected through a communication system designed to survive a nuclear apocalypse. Lispector’s lament closes our eclipsed world.” + </p> + `, image: "", globePosition: { top: "15%", @@ -153,8 +153,8 @@ Catapulted from the interior back to the exterior, we encounter the same meteori Jakrawal Nilthamrong (b.1977) is Thai artist and filmmaker based in Bangkok. He holds a MFA in Art and Technology Studies. In 2007, he was an artist-in-residence at the Rijksakademie in Amsterdam. Jakrawal Nilthamrong’s work spans from short films, documentary films to video installations and feature films. The themes of his work often relate to Eastern philosophy in contemporary context and local history of specific environments to establish dialogue among multiple perspectives. His has been shown in international film festivals including Rotterdam, Berlinale, Toronto and Yamagata, as well as exhibitions at 2012 Taipei Biennial and 2014 SeMA Biennale Mediacity Seoul, it is collected by institutions including Kadaist. </p>`, statement: `<p> - <p>Wildfires</p> occur frequently during the dry season in northern Thailand’s high mountains. The source of fire is not natural but arson. In the past it was hypothesized that local people set the fires to clear land for agricultural use, or for hunting. There were efforts to solve the problem at the community level, but the fires only became more severe. Strangely, the blazes often occurred in the national park—an area difficult for villagers to access. During the wildfire suppression efforts of May 2020, a group of scholars and volunteers discovered important evidence that would change the original hypothesis: They found several instances of improvised devices made of clothes pegs connected to a small battery by a power cable. Combustion was triggered by a small clod of clay positioned in the middle between the pegs, acting as a timer—after melting in the heat the wires attached to the batteries would ignite. Villagers who were interviewed said that this was not a technique that they were familiar with. Although we cannot know the intention of the burners, it is likely that the park’s natural resources are being used to benefit some group of people. And the poor have always been condemned. - </p>` + <i>Wildfires</i> occur frequently during the dry season in northern Thailand’s high mountains. The source of fire is not natural but arson. In the past it was hypothesized that local people set the fires to clear land for agricultural use, or for hunting. There were efforts to solve the problem at the community level, but the fires only became more severe. Strangely, the blazes often occurred in the national park—an area difficult for villagers to access. During the wildfire suppression efforts of May 2020, a group of scholars and volunteers discovered important evidence that would change the original hypothesis: They found several instances of improvised devices made of clothes pegs connected to a small battery by a power cable. Combustion was triggered by a small clod of clay positioned in the middle between the pegs, acting as a timer—after melting in the heat the wires attached to the batteries would ignite. Villagers who were interviewed said that this was not a technique that they were familiar with. Although we cannot know the intention of the burners, it is likely that the park’s natural resources are being used to benefit some group of people. And the poor have always been condemned. + </p>`, image: "", globePosition: { top: "39%", @@ -175,7 +175,7 @@ Catapulted from the interior back to the exterior, we encounter the same meteori I chose the location because of its originally intended function: A crematorium. This was one of the ambitious but unfortunately unfinished projects initiated by Ghana’s Kwame Nkrumah government in the 1970s. The building has been abandoned until today. <p> </p> - I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian <i>Book of the Dead</i>. + I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian <i>Book of the Dead</i>. <p> </p> The structure is present in central Accra, giving a mysterious backdrop for the prints and works that I share in the videos. It connects in sync with my narrative; to understand ways and visual forms which can take on the journey to an afterlife. @@ -194,3 +194,12 @@ export const ARTIST_ORDER = [ ] export const PROJECT_PAGE_SET = new Set(["essay", "artists", "credits"]) + +export const ESSAYS = { + nadim: { title: "The Last Museum", author: "Nadim Samman", }, +} + +export const ESSAY_ORDER = [ + "nadim", +] + |