In 2018, a New York City poet Olena Jennings created poetry based on her family’s stories, attempting to visualise photography with words. The poems that resemble photography, carry them as frameworks of memory. In Olena Jenning’s THE MEMORY PROJECT:The memory comes before the poem. The poem comes before the art.
“I chose ink and paper for the poems. I chose fabric for the art. The poems are a small slice of time in which I experienced memories, many based on photographs in my grandparents’ photo album. I experienced the memories in 2018 and they were embellished by memories I was creating as I lived.”
Red and blue on the dresser,
dust in the folds,
stretching towards the dim lamp.
Click of lipstick cap,
spritz of perfume,
snap of purse,
and she will turn the light off.
The flowers will wither
into their dreams
and I will put my lips
into their centers,
ready to blow away pollen.
The yellow dust caught in my eyes,
when I see for a moment
from her perspective, I look out
onto the yard. I see myself
throwing a rubber ball into the flowers,
crushing their petals,
the place where I convinced
my little brother there was a snake,
there was something to fear.
To make up for my deception,
I gave him one of the plastic flowers,
deceiving him again, pretending
I bought it at the corner gas station
from which we had collected all
of our dishes with the points we got
from pumping gas. I want to make up
more than that now—absences
when I would become like that yellow dust,
a quiet star.
PAPER MAPS Olena Jennings
Even flat maps have texture.
They carry with them
someone’s memory of the streets.
I will walk near the water
to draw the places off the map
on the palm of my hand.
We used to make paper
out of recycled letters,
for a moment – wet,
on our knees
We mark our way to the castle
with the handle of a shovel.
We could live inside
our fairytale, find our way
despite the sand
in our eyes.
Poems and dresses by Olena Jennings. Photos of the dresses by Elvis Krajnak.
Stephanie A Lindquist is a New York based artist and photographer, whose photo collages gather ideas of plants with world-wide origins. Her works bring forth anscestral memories from diasporic places, and create meaning mapping our global existence as travelers and settlers. Food has always played enormous role in peoples adaptation to new places, creating and sustaining cultures. Art can have as much to say about this subject too.
Firstindigo&Lifestyle: I have understood your recent photography art is based on your research on plants that are native, local or indigenous to areas. How did you start this art project?
Stephanie A Lindquist: I started gardening and reading about plants and how to grow them. I was especially inspired by farmer, philosopher Masanobu Fukuoka. He is the father of natural farming and a proponent of natural dieting–both of which he believed to be beneficial for the environment and human health. According to Fukuoka, a natural diet consisted of local and preferably ancient plants–something nearly impossible for any urban dweller like me to accomplish.
This sparked my interest in identifying and promoting many little-known indigenous food plants from my ancestors in Africa and Europe, to where I currently live in the Americas.
Firstindigo&Lifestyle: Where did you grow up, and live prior to New York City?
Stephanie A Lindquist: I grew up in Los Angeles. I’ve also had opportunities to travel abroad to Europe and Central America.
Firstindigo&Lifestyle: As one major inspiration behind your art making are the plants, do you cultivate or grow plants yourself and have your own garden?
Stephanie A Lindquist: I garden regularly in East Harlem and the South Bronx. It is an essential part of my practice and life. Gardening allows me to cultivate, consume and appreciate some of the plants I study first-hand. It is a way to immediately begin creating a more reciprocal relationship with nature.
Firstindigo&Lifestyle: Do you think that flowers, fruits and vegetables, etc. as subjects of art carry ideas about sustainability and environmental philosophical concepts?
Stephanie A Lindquist: Definitely. Potawatomi scientist Robin Wall Kimmerer writes about our need to listen, observe and learn from plants as our teachers–rather than only learn about plants. I truly believe that plants can teach us how to lead sustainable lives if we listen.
Cultures close to nature have the benefit of accumulating indigenous knowledge of a diverse number of plants and their uses than city-dwelling folks. To see, recognize and know thousands of local, indigenous food plants is a powerful way to live in communion with the world. By taking care of widely diverse plants within our local ecosystem, we begin to take care of ourselves too–physically and spiritually.
It is my aim to heighten our awareness and appreciation of indigenous food plants and to collectively reimagine the local cuisine of specific regions.
Firstindigo&Lifestyle: Are there other concepts and philosophies attached to your art?
Stephanie A Lindquist: My work is inspired by the work of many scientists including Mary Abukutsu-Onyango. Since the 90s she has been promoting the cultivation and sustainable consumption of African indigenous vegetables and fruits. On a continent plentiful with plants, it is surprising that most do not eat a sufficient amount of vegetables.
The promotion of these plants have commercial and cultural implications as well as physical and spiritual effects on our health. Most of these plants have been purposefully displaced by genetically engineered cash crops and changing tastes. To rekindle our relationship with the oldest, local plants is also to remember the unique history of the land and how we arrived here.
Firstindigo&Lifestyle: Do people act amazed when seeing and hearing about your work?
Stephanie A Lindquist: It has been very satisfying to hear people’s reactions to my work. Even urbanites like me are full of surprising information about plants and their uses, which I happily add to my arsenal of knowledge.
As the daughter of a Liberian-American immigrant and descendant of Swedish and Irish immigrants, I have been invested in reclaiming ancestral knowledge for a long time. Conversing with others about indigenous plants has been a very satisfying way of piecing together our ancestral knowledge of the natural world around us.
Firstindigo&Lifestyle: Who inspires you to do your art?
Stephanie A Lindquist: I admire many artists including Julie Mehretu and Wangechi Mutu. I am also inspired by the authors I read and the emerging artists I meet everyday.
Firstindigo&Lifestyle: How do you design your collages and what is the process like in making photographic prints?
Stephanie A Lindquist: I begin by researching a number of indigenous plants to a specific region and learning about their history, uses, and the people who cultivate them. Next I collect images of them, and if accessible take original photographs of the plants.
I cut the prints by hand and arrange the composition on a smaller scale until satisfied. Next, I digitally produce and print the collage at a larger scale or sometimes hand-cut a larger collage on fine paper.
Firstindigo&Lifestyle: Tell a little more about yourself, where did you study art?
Stephanie A Lindquist: I have studied art since I was little. I received by BA in Urban Studies and Visual Arts from Columbia University. Since then, I’ve had the opportunity to participate in residencies in Rome, Berlin and Staten Island, and to exhibit my work in museums and alternative spaces in New York and California. I also work as an arts administrator.
Firstindigo&Lifestyle: Your objects and prints seem to carry domestic ideas in them, or it gets transmitted as a feeling with the coffee cup on a table, or with the flowers. Does this resonate with your intentions?
Stephanie A Lindquist: Yes, my previous body of work in photo collage was concerned with capturing colorful, jarring, domestic still lives. I often chose the materials used to create the stage in memory of family and friends in my life, like my mother, my partner, or a particular place like the Kitchen Floor. Through collage I bring new meanings to these objects, in this case now where an okra blossoms and fruits. Their patterns are playful, somewhat minimal, abstract, full of textile, and tactile.
Stephanie A Lindquist, Kitchen Floor 2017 Photo collage 14.5“ x 17.5”.
Firstindigo&Lifestyle: Some collages of yours are really colorful. Do you find that colors have significance and carry meaning?
Stephanie A Lindquist: The colors reflect my mother’s textiles, family photographs, and the landscape around me.
Firstindigo&Lifestyle: Do you consider yourself similar to feminist art practices in which domestic life and the everyday gives to details and form in the art?
Stephanie A Lindquist: Yes, in many ways I make my art to create space for feminism and equality among humans and all that lives in the world. I treasure these often feminized spaces of the home and garden. And I enjoy propagating this image into my viewer’s subconscious of a plentiful, sustainable earth.
Firstindigo&Lifestyle: Also your knitted objects would signify not only sculptural dimension as objects that hang on the wall, but also about art-historical connection to the women artists?
Stephanie A Lindquist: The knitted objects Needles and String and Rosary for me were living sculpture–something I could create and disassemble again and again as a public performance and private meditation.
Firstindigo&Lifestyle: How do you separate your own artistic practice from curating, and working with other artists in your work?
Stephanie A Lindquist: I make time for it. I also let it bleed into my research interests and writing. My practice gains a lot from being in such close contact with artists and curators on a daily basis. I am constantly listening to and collaborating with other visually creative minds.
Firstindigo&Lifestyle: Can you describe what art projects are you planning for the future?
Stephanie A Lindquist: I am thrilled to show recent work around indigenous food plants at Smack Mellon as a part of AFRICA’S OUT! inaugural benefit exhibition, Carry Over: New Voices from the Global African Diaspora curated by Kalia Brooks Nelson. To have my work in the context of Firelei Báez, Layo Bright, Melissa Calderón, Baseera Khan, Jasmine Murrell, Anna Parisi, Keisha Scarville, Pamela Phatsimo Sunstrum and Saya Woolfalk is a joy!
I am also looking forward to presenting work at CTRL+SHFT Collective in Oakland this summer. Other than that, I’m excited to spend part of the summer camping and learning more about plants indigenous to the eastern seaboard.
I treasure these often feminized spaces of the home and garden. And I enjoy propagating this image into my viewer’s subconscious of a plentiful, sustainable earth.
Anne Raudaskoski is a Finnish enterpreneur who wishes to create new connection to nature. Her approach can change the game of sustainability. With a background in dance, she has faith on the power of the arts:
“Arts provide a holistic approach to existence, and this is what we need to change the current linear system. Human beings are part of the nature; nature isn’t something that is “out there” to be exploited, but rather, we need to re-establish our connection with the nature to realise that we can create sustainable growth and well-being with far better rules than what we presently have”. (Anne Raudaskoski)
Firstindigo&Lifestyle: When and how did you start Ethica consulting company?
Anne Raudaskoski: I started Ethica in 2013 with my business partner Paula Fontell. We actually didn’t know each other at the time, but we both had been talking to our mutual friend of having a dream to set up a company focused on sustainability and the circular economy. This friend of ours suggested we should meet and share our ideas. We had our first meeting over lunch and we realised we shared the same vision. Three months later Ethica was formally established.
Firstindigo&Lifestyle: How did you get interested in the circular economy?
AR: My approach to CSR (corporate social responsibility) and sustainability has always been very business oriented. It means that there has to be a solid business case for sustainability and it should be embedded in strategy and R&D in such a way that sustainability works as a spring-board for the strategy instead of being an add-on or philanthropy. I wrote about the circular economy (CE) in early 2012 on my blog site after reading some articles on the Ellen McArthur Foundation (the global driver for the CE) site. I felt that some of the questions and pain points that CSR could not resolve – especially the intersection around environmental, strategic and economic issues – were inherently part of the circular economy. So when we started Ethica, it was very clear to us that the circular economy would be part of our service portfolio.
Firstindigo&Lifestyle: Is it possible to define, what circular economy actually changes?
AR: Circular economy is an economic model, so it affects all sectors and organisations in some way. I always say that the biggest hurdle in transition from a linear to a circular economy is our current mindset. All our processes, decision-making, governance and actions are based on linear thinking. In a nutshell, this means that we keep overusing natural resources, we accept the concept of waste as de facto, design processes are not based on biological and technical cycles and we haven’t figured out yet how to do business within the planetary boundaries. All this is changing as part of the transition towards the circular economy.
Firstindigo&Lifestyle: What are the basic principles that define the circular economy?
AR: The below list of six principles offers a good starting point to explore CE more in detail.
1 Circular economy is a resource wise economic model that is restorative and regenerative by nature. It operates within the planetary boundaries.
2. Materials cycle endlessly in technical and biological loops in society. Materials are safe & non-toxic.
3. The value of products, components and materials is maintained and increased through refinement.
4. All energy is renewable and is used efficiently.
5. Solutions are systemic and based on designing life cycles, ecosystems and multiple purposes.
6. Equal distribution of resources and well-being is in the heart of the circular economy.
Firstindigo&Lifestyle: How would you describe the ‘ethical’ core of Ethica?
AR: We want to create a circular future. To us this definition also entails equality, social well-being and in fact, a more just and transparent economic model than what we currently have as the result of the linear economy.
Firstindigo&Lifestyle: Finland seems to be a forerunner for ethical solutions when it comes to consumption, and the country is also involved in introducing new clean practices. What aspects in Finnish culture support these kind of thinking?
Indeed, there are quite a few aspects supporting this and I’d say it’s the unique combination of culture, history and welfare state: high number of clean tech innovations; excellent education system that educates children and young people about sustainability topics; frugal manners that our grandparents and parents had to adopt during the war, which then were passed on to younger generations; good recycling infrastructure with incentives…and of course ambitious policies and action plans in place. For example, circular and bio economy are one of the five flagship programmes of the current government. Finland was also the first country in the world to publish a national circular economy roadmap in 2016.
Firstindigo&Lifestyle: What in your mind defines good consumption?
AR: Understanding your own impact and power as a consumer. Exploring your own values; what kind of world I want to be building, do I want to be part of the solution or part of the problem? Questioning your own consumption habits: is there something that I could do and choose differently? Being your own leader when it comes to adopting new, sustainable solutions.
Firstindigo&Lifestyle: Tell more about your Relooping Fashion project?
AR:Relooping Fashion was about creating circular fashion. We piloted a circular ecosystem consisting of seven business partners ranging from waste management company to fashion retailer and packaging service. So the goal was to build, test and learn how a closed loop fashion ecosystem could work. Another important goal was to test VTT’s (Technical Research Centre of Finland) new technology for cotton dissolution that replaces the use of virgin cotton. Ethica’s role in the project was to model the business ecosystem as well as research the consumer interface. i.e. how to create demand for circular clothing.
Firstindigo&Lifestyle: Where do you find your daily inspiration from?
AR: No matter how cliché it may sound, I simply and truly enjoy my work, so the work itself coupled with the opportunity learn new things is my source of inspiration. Every project is different, we have great clients and collaboration partners to work with and of course our own team is brilliant.
Firstindigo&Lifestyle: What can the world learn from Finnish innovation in clean practices?
AR: Great education and innovation support system are essential enablers. I also think that the Finnish way of living and thinking inherently has a fairly good level of social and environmental responsibility, and when these aspects are combined with innovation, you get the solutions that the world needs.
Firstindigo&Lifestyle: How do you like to influence and motivate people in their everyday life to incorporate more sustainable solutions and choices?
AR: There are a number of different players who all have a role to play. Of course we need businesses to develop solutions that are not only sustainable, but they’re also the best solutions available. Legislation can speed up the development and help mainstreaming new solutions. Education and the media also play a hugely important role in making sustainable choices the “new normal”.
Firstindigo&Lifestyle: Do you think that your background as a dancer helped you in your career path?
AR: It did in many ways. Working as a freelance dancer requires endless curiosity, self-discipline, perseverance and ambitious attitude. You’re always seeking new opportunities and you need to welcome constant change. You need to be a good team player, but at the same time you’re 100% in charge of your own development. There are hardly any permanent vacancies available, so you have to build your own career and make sure you are sufficiently networked just to be even considered to be one of the many candidates. Basically, you work as an entrepreneur without the formal status of entrepreneur.
Also my dance teacher background has been an asset when running workshops and giving presentations.
Firstindigo&Lifestyle: In what ways can arts support circular economy?
Arts can create connections and mental horizons that escape the typical business environment. It can bridge rational and emotional in a way that enables eureka moment, which is a prerequisite for willingness to change the status quo.
Firstindigo&Lifestyle: How many countries have you visited to lecture and share about your business?
AR: A few so far: China, the Netherlands, Estonia and Reunion Island (France). We also exhibited in Austin (US) at the EcoExhibition a couple of years ago. Next month I’m going to Sweden.
Firstindigo&Lifestyle: Is it easy to name clients that are best for your brand?
AR: The ones who want to work ambitiously, are truly interested in raising the bar and finding new opportunities through the circular economy thinking, no matter the size or sector of the organisation. From the circular economy perspective, we are still at the dawn of the new era and endless opportunities that this new approach can provide us with.
Firstindigo&Lifestyle: Is the questions of climate change significant and embedded in your models?
AR: Absolutely. To start with, all energy should be renewable, this is one of the basic tenets of the circular economy. Decoupling growth from the use of virgin raw materials and resources is another key principle. In short, it means doing more with less and designing our products, systems and societies in a circular way so that emissions can be decreased significantly.
Featured image credit: textile hackathon, Sara Malve-Ahlroth.
Danish designer MargretheOdgaard’s exhibition was on view at the DesignMuseum in Helsinki during this summer. An introduction to her work put the creative aspect of design in focus. Odgaard’s study of color and the cultural signification of it is very relevant and timely for innovative design conversation, in which we are looking for perspectives that see beyond the pure form.
It feels timely to give design process a platform, which naturally builds discussion about contemporary creative culture. In the world of high tech platforms, we may say that the DNA of design can be found in those practices, which designers organically share with the world in which they live. Without the personal and playful approach, perhaps the future of design would find itself in trouble.
The Helsinki exhibition featured MargretheOdgaard’s collaborations and use of materials bringing forth an idea of process. What it highlights is that design should not abandon creativity and art. MargretheOdgaard was assisting late LouiseBourgeois in the artist’s large scale work, which she created for MoMA in 2005-2006. The young designer learned from this experience with the famous artist. Bourgeois shared an approach that artist has to believe 100 percent in the work, even if the outside world is not able to see the same thing. According to her, ideas and vision come with a careful attention to detail, and from a non-compromising attitude.
In the future, Odgaard hopes to work more from her own studio base, and focus on the quality of the materials and colors. There is still huge call for colors in our contemporary cultural environment. Tactility of design does not come to mind as a top priority, and the colors still belong to a neglected area in the design world and architecture. Odgaard’s dream is to bring colors back to the black and grey field of architecture, which she frequently collaborates with.
Odgaard’s design can appear as minimal, yet playful, featuring bold ideas and patterns. It is important for her that the work has emotive response from various audiences. She hopes that the designs bring comfort and energy to our everyday life. Colors have so much potential to give birth to moods and create different atmospheres. Odgaard has focused on the cultural context of colors. She traveled to Japan in 2015, and to Morocco in 2016 investigating culturally specific domains for colors. The designer aimed to find out if there are specific ways to code the local colors from architecture and objects that are attached to particular places.
Odgaard trusts that as a younger generation Scandinavian designer, she is aware of the craft that carries a long cultural history. This means that she is able to add on the existing knowledge, and offer solutions to design questions and problems, which can be both beautiful and functional. At the heart of her color thinking is ThePopsicleIndex, which she created as a tool. It comes out in rich color hues that appeal to the senses and relate to the body.
Copenhagen based Odgaard studied at the RoyalDanishAcademyofFine Arts and the RhodeIslandSchoolofDesign in the United States. After graduating in 2005, she worked as a textile designer in Philadelphia. Before opening her own studio in Copenhagen in 2013, she also designed in Paris. In 2016, the designer received a prestigious TorstenandWanjaSöderbergPrize, which is the largest design prize in the world.
The textile designer looks for the purpose behind the design, and confirms that it should be always clearly attached to the process. The product is the end result of what the process entails. MargretheOdgaard keeps diary of the colors which are inspirational for the designs. Details of colors have become a crucial part of her process. Nuances are extremely important, and the diary is a great tool as part of the investigation. Results are far away from being shy. It is truly a matter of sharing as well.
“Share your knowledge, ideas and skills without hesitation. Be specific to order to become general. Use good tools and create new if necessary. Think through your hands. Free yourself from the limits of coolness. Allow things to evolve in their own pace. Listen. Laugh. Dance.” – Margrethe Odgaard.
The designer investigates colors.
For Odgaard wood can offer pattern and color combination to textile ply.
MargretheOdgaard’s exhibition was on view until August 28, at the DesignMuseum in Helsinki, more info:
Re:visioning HANJI exhibition showcases artworks made from Korean traditional paper hanji. Two artists, Ran Hwang and Aimee Lee, have each developed their own contemporary aesthetics and styles based on the traditional modes of mastering the paper in artistic forms. The exhibition is on view until March 31 at the Korean Cultural Center in New York, and connects to the Asia Week New York.
In the old days, the masters of the Korean paper manufacturing were called jijang. This profession was proudly inherited and passed on to the next generation. The art of Korean paper making is a complex production process starting with a fiber of mulberry tree. It has developed into multiple use of materials and techniques that are still valid today. Historically, paper was not only applied into books, but its role was more daily as functional material in architecture and clothing. It was also part of making calligraphy, painting, money and armor. The remarkable part of early Korean paper manufacturing was connected to Buddhist scriptures.
The paper process starts with harvesting. A year old mulberry fiber is harvested during the time of November – February, when the plant has enough moisture and the fiber is soft. The skin gets steamed right after harvesting to make a peeling process easier. The entire making is ecological and does not harm nature in any way. After washing and drying, boiling, and peeling cycle, the fiber is used to make hanji. Then the project involves beating the fiber so paper will become thinner and tougher. Finally, the fiber needs to be dissolved and sieved into paper.
Jiseung is an indigenous art form that Koreans have practiced for hundreds of years. It evolved from hanji; when books were printed and bound, the trimmed edges were saved and used further in making baskets and decorative items. The paper rope became popular, because it was softer than straw, but as strong, and available for use. Many of the traditional pieces have gotten lost through wars and modernization. Yet woven hanji artifacts still include everyday items such as shoes, baskets, wallets, backpacks, and lanterns. For young Korean-American artist, Aimee Lee, the idea of 100 percent hanji includes making the paper herself. She then weaves and naturally dyes the materials used in the artworks. Eventually her objects take a form from the traditional dimensions, gestures and environments. Lee says that her pieces borrow from the historical artifacts. The wedding ducks, which were traditionally given to Korean bride and groom, are one example of this long history. The artist plays with the proportion and shapes creating unique contemporary versions of the objects. She states that none of the original materials went to waste, because paper was so durable and labor intensive to make. Repurposing the paper is a way to connect to the tradition and stories. Paper was carrying secret messages during war. People made sandals out of civil service examinations and other certificates.
My main material is paper and my central concern is how we use it. I make paper with abundant native and invasive species, which involves harvesting plants, stripping and cooking, processing into pulp, forming sheets, and drying. With this paper, I make thread, sculpture, books, drawings, prints, installations, and performance components. Aimee Lee
Korean-born, internationally acclaimed installation artist Ran Hwang creates poetic pieces out of materials that are deployed in fashion industry. She uses handmade hanji buttons to create monumental pieces in installations that display iconic images. Her 9 feet tall work that displays Eiffel Tower and Triumphal Arch, required hours of securing handmade materials on plexiglas panel. The Beginning of the Bright piece, includes also Hangeul, the Korean alphabet. The work was displayed in Paris at the UNESCO headquarters to celebrate Hangeul’s designation as world cultural heritage. For Hwang, the lengthy hours of making the works means hammering each button on pins for approximately 25 times. The work is like meditative ritual similar to those of the zen-masters who concentrate on their practice for hours at a time.
Hwang creates three types of series, including, the plum blossoms, the birds and spiders, and architecture. The blossoms refer to ephemerality, to the endless circulation of life, which flowers depict when growing and falling. Architecture, like palaces, are symbols of power, which in the art also imply tragic events like invasions and deaths. The small creatures, birds and spiders, represent states between restriction and freedom, implying a constant flux and wandering in life. The artist states that all her work is in a state of fluidity. Nothing is fixed or permanent. The art evokes a dialogue between fleeting and the eternal.
The combination of endurance and ephemerality is at the heart of my choice of using buttons as the primary medium. I hammer thousands of pins into wooden or acrylic panels with my bare hands. The process of creating these large installations is time-consuming, repetitive, and labor-intensive. Thus, the production process is a meditation for me to visualize a cosmological amount of time, and de-installation process is to end the cycle of life and start a new cycle. Ran Hwang
Ice Watch will open to the public on Thursday, 3 December 2015, in the Place du Panthéon in Paris. This artwork by Olafur Eliasson and geologist Minik Rosing is part of the occasion of COP 21 at the United Nations Conference on Climate Change.
Olafur Eliasson is a Danish-Icelandic artist known for his large-scale installation art, which often has a site-specific component. He has also worked with sculpture. The elements, such as light, water, and air temperature are essential parts in the works to draw the viewer into experiencing them as corporeal and sensory.
Olafur Eliasson is not a newborn to the climate change issue; neither is he using blocks of ice for the first time in his installations. He has created interconnected works that are close to environmental happenings, proposing an innate sense of activism. How to catch great attention and international visibility with earthy and conceptual works, is his niche. Perhaps Eliasson artistry sometimes implies great attention with metaphysical value, but this fact is by no means discarding the materiality and tactility of the things. Perception and comprehensibility of larger subjects, particularly that of a climate change are very much embodied in the projects.
Taking the icebergs, which predominantly float far away from our sight in the isolated North are now taken seriously. Eliasson brings a hint of their monumental presence along with him putting them down on the marketplace of a metropolis, across the street so to speak. Let the ice melt there in front of our eyes to remind how the world is running out of time with the climate change, and how things truly are physical. We live in a physical world. In 2014, Eliasson installed the show in Copenhagen. The ice was placed in the middle of the town square, lifting the local spirits to think about the fjord water in the north. In 2013, at PS1 of MoMA in New York City, another work of this kind “Your waste of Time”, had ice pieces that arrived from the Iceland’s largest glacier, Vatnajökull. Visitors had a chance to observe and discover the melting ice.
The project, which is installed in Paris recalls the title “Ice Watch“. The metaphorical piece has a power to speak of the ice that is speedily disappearing due to the global warming. Eliasson has stated that he is interested in giving knowledge a body, to encourage action on an everyday social level. What is sure is that everybody in the recognition of the global warming is going to be involved in the process. The artwork addresses it to the world, and thinks of it from the perspective of the future generations.
The physicality of the ice is remarkable because it stands for the longer life spans. Ice is older than us, who dwell here. For the installation, there are twelve large blocks of ice that come from free-floating icebergs in a fjord outside Nuuk, Greenland. They are arranged in a clock formation on the Place du Panthéon. Weighting around 80 tonnes, the ice will melt away during COP21.
… … …
Origin: Nuup Kangerlua fjord outside Nuuk, Greenland
Transport: Organised by Group Greenland / Greenland Glacier Ice, the ice was collected by divers and dockworkers from the Royal Arctic Line and then transported in six refrigerated containers from Nuuk to Aalborg, Denmark by container ship and to Paris by truck. Ice Watchis supported by Bloomberg Philanthropies and realised in collaboration with Julie’s Bicycle. Ice Watch is part of the initiative Artists 4 Paris Climate 2015.
Artist Clay Apenouvon has created a new installation Film Noir de Lampedusa for the Paris Climate Conference COP21, which begins the last week of November. The work is a memorial to the thousands of migrants from Africa and the Middle East who arrived across the Mediterranean to the safety of Europe in makeshift boats and rafts. Installation, which was commissioned by the Église Saint-Merri, (Church Saint Merri) in Paris, consists of extended plastic film with various objects that are assembled into a “Museum of Silence”.
Apenouvon was born in Togo, West Africa. His new art installation traces back the memories of those that are lost forever beneath the waves. Throughout his career, he has worked with painting, graphic design and screen-printing. He has explored different materials, for instance cardboard using it as a physical material and as an artistic medium. The cardboard has been used as a symbolic material to address issues of packaging. Then, Aponeuvon created a concept Plastic Attack, which raised awareness of the dangers that plastic poses to the environment on a global scale. This scalable work is in constant movement, and has so far been exhibited in residences in Iceland, in the US, and in France.
As the Paris Climate Conference draws near, the theme in the Film Noir de Lampedusa installation handles a difficult subject of climate refugees. They are crossing perilous seas and changing locations because of the wars and economic crisis, which ultimately derive and cause new struggles over natural resources. As we know, the climate change deepens all kinds of crises around human-caused conflicts.
The installation itself reminds of a black waterfall pouring out from the walls as a kind of a vast oil spill that cannot be stopped. Film Noir de Lampedusa takes place in a church space, so the sanctuary next to the altar echo historical presence, yet the context links the work strongly to the present moment in which we encounter the refugees, and mourn the missing lives. The objects themselves punctuate lost things, as a bottle containing message of love, a cell phone, pair of children’s shoes, and religious objects, such as crucifix, image of the virgin and a Qur’an are scattered around the work. The composition is inspired by an Lampedusa activist Giacomo Sferlazzo, who collected pieces that were thrown over from the refugee boats, or lost by the refugees on the sea.
Spatially in the church context of the Eglise Saint-Merri, Apenouvon’sinstallation emerges from beneath the grand painting by Charles Antoine Coypel, called Les Disciples d’Emmaüs, (The Disciples of Emmaus, 1749). Then, the installation’s title implies a “Film Noir” that certainly can have many references. First, it can be environmental, as it stands for the black film left on the ocean’s surface by each oil spill. Second, it is remembering those victims who of African descent so quickly fade away from the conscience of the world’s wealthy nations. The artist utters his concern:
“I read dozens of articles about the subject of newspapers, poignant testimonies of survivors and inhabitants of the island of Lampedusa. Among the items, a drawing marked me, that of Planzer, entitled “The oil spill of Lampedusa”.
Third, the installation title evokes the Film Noir genre of Hollywood melodrama, possibly referring to scenes and atmospheres of cinematic practices that raised subjects, which audiences did not wish to deal with in their daily lives. The mystery of worlds around us, which directly or indirectly touch us, but we think do not affect us? Could climate change with the planet calling for our action still be a subject of mystery, which needs more of our scrutiny, prayers, and art installations, such as Clay Apenouvon’sFilm Noir de Lampedusa?
Firstindigo&Lifestyle interviewed artist duo IC-98 from Finland, who are Patrik Söderlund and Visa Suonpää, respectively. Their recent site-specific installation ‘Hours, Years, Aeons’, was produced for the Pavilion of Finland at the 56th International Art Exhibition of the Venice Biennale. IC-98 projects scale with in-depth research; being abstract and taking form in installations and in publications. Their animation language draws from the collective history of nature and culture. As the duo says:
Our work is post-historical, it is set in a distant future after the age of man. It’s about nature, which still has to deal with the consequences of the human era. It’s not natural nature, but a twisted one.
Firstindigo&Lifestyle: How did IC-98 get started, what was your thesis during the first few years?
IC-98 (artist duo Patrik Söderlund and Visa Suonpää): We met at the University of Turku, majoring in Cultural History and Art History. We wanted to broaden the scope of academic writing by bringing our “writing” into public space. This idea became our program: to make site-specific interventions in public space, be they installations or anonymously distributed booklets.
How do your art works communicate with theoretical thinking, do you consider to be conceptual artists?
IC-98: The works start with conceptual and/or contextual analysis. This depends on the project at hand. Site-specific works start from research; animations are amalgamations of conceptual thinking, adjusted storytelling and handcraft. But if we should characterize ourselves shortly, we’d say we are conceptualists first.
Can you name some of the most important theoretical premises that could be your guidelines? How about your artistic influences?
IC-98: Our theory comes mostly from the left-leaning French poststructuralism: Michel Foucault, Gilles Deleuze & Felix Guattari, Michel Serres, with an important German addition: the work of Walter Benjamin. Artistically we do not have many modern or contemporary influences. Visually we lean towards 19th Century and the history of depicting landscape: Claude Lorrain, Gianbattista Piranesi, Caspar David Friedrich, and William Turner. The important thing about 19th Century is the fact that it is often at the same time the prehistory and a mirror image of our own time: in many respects, the world was the same but the underlying processes are still more visible (think Jacquard loom vs. laptop: they share the same binary logic but where laptop is a black box, in the loom we still see how the thing actually works).
Could you tell more about the process itself, in what ways do your concepts or visual process evolve, are there any common or repeating parameters in the making? For example, how do you choose your visual atmospheres, like create the sets, lighting, how does the process unravel itself?
IC-98: The style is based on the fact that the animations visually start with pencil drawing. From this stems the fact that the animations are black and white. So it is a material, not a stylistic element. The different atmospheres and recurring elements, our visual vocabulary (fog, mist, stars, water) is functions of the scripts, which often deal with multi-rhythmic time and transformations of energy and matter. The script always comes first; even lighting should carry parts of the story. If we cannot justify a visual element, we omit it from the final work. Technically the “scene” is fashioned after 18th century theatre: the image is composed of flat layers and digital effects between these layers. We try to keep it simple, not to be too much carried away by the limitless possibilities of cgi (Computer-generated imagery). When we compose a scene, the pencil drawings are first scanned, then composed into layered scenes and lastly animated.
What do you want to say about your idea of ‘Events’, and about the ‘possibilities’ that can be found in your artworks?
IC-98: The idea of a moment being pregnant with possibilities – or situationistically speaking “constructed situations” – comes from our earlier practice. We combined situationist thinking with Deleuze’s idea of the actual and the virtual and Benjamin’s Theses on History to conceive an idea of an intervention/work as an event making the user/viewer aware of the interconnectedness of past and future possibilities. As Deleuze beautifully writes, the present moment is surrounded by a cloud of virtualities, the unactualized past events, which maybe did not take place but can still happen. This we still consider the political element of our work even when the animations might at first sights appear visually anachronistic.
Is it relevant to always question time and space as elements in you work-in-process?
IC-98: Coming from the background of both visual arts and history, the complex nature of time is elemental in our work. Animation enables us to show multiple temporal rhythms in one image frame. Sometimes it is about the passage of time as such, then again it might be about a certain time in history.
What are the three things you would tell about yourself to North American audience today as an introduction?
IC-98: We have worked over multiple media for almost 20 years now. During this time, we have developed a visual language – be it artist publications, installations or animated films –, which combines the theoretical and the political with the visual and emotional. And important element here is the combination of old school (drawing) craft and the new digital media.
You have participated in Art Fairs in New York City, in fact at the VOLTA Art Fair couple of years ago, how was the reception from the audience and organization, how about other experiences from local scene?
IC-98: The reception has been good, though ours are relatively difficult works in the fast paced fair circuit. You need to be able to give time to the work. Then again, even a quick glance of the “surface” communicates the classical quality of crafting the artwork – though it’s in digital form.
Some time has passed since the opening of the 56th Venice Biennale, what are your most important remarks from the art biennale so far, did the location and site change the actual process? How do you feel, are you able to follow up what takes place during the art exhibition?
IC-98: Working on site-specific projects has taught us that it’s always about communication between the site and us, the hermeneutics of place. In Venice we realized, that we had mostly done the research over the years already (the questions of territory, public space, wood and woods, the history of the Finnish welfare state, the relations of humanity, architecture and nature as a whole). The challenge then was to find the best way to tell the story in a framework of very strict regulations. We were first working on a more ephemeral and performative format, but had to recur to our most well known medium in the end: the animated film.
During the biennale we have mostly received comments from visitors now and then. But, the perception of our own work hasn’t changed during the process. We have always done a lot of thinking and tried to take into account all the possible permutations of a given site or situation.
It seems that ‘Hours, Years, Aeons’ has duration and layers, what does the work narrate about? It starts forming in the cave, and goes through time in history? Does it deal with today’s hot topics, such as climate change?
IC-98: It’s very much about climate change, the much talked about questions of the Anthropocene (note: Wickipedia defines this as: proposed epoch that begins when human activities started to have a significant global impact on Earth’s ecosystems). But our work is post-historical, it is set in a distant future after the age of man. It’s about nature, which still has to deal with the consequences of the human era. It’s not natural nature, but a twisted one. The work exists both as a spatial multi-screen installation and the linear film shown in Venice. The Venice version let’s us experience long, geological stretches of time – the aeons.
Specifically, the work has a background in the nuclear waste repositories, how something is buried deep into the ground. But as we all know, what is buried, will once surface again.
IC-98 installation view at the 56th Venice Biennale.
IC-98 installation view at the Venice Biennale 2015.
IC-98 installation view of ‘Hours, Years, Aeons’, 2015.
Entrance to the IC-98 installation at the Venice Biennale. photos: courtesy of IC-98.
Outside the Pavilion of Finland at the 56th Venice Biennale.
Did you find time-based media works as your medium from the very beginning of your artistic career? How about your sculptural works, and the ways different media communicate with each other?
IC-98: We considered our free distribution books already time-based in a sense. The installations often include an interactive element, which means that they work in space but also as a part of lived time. We have liked the idea of the viewer as a user. But formally we entered the temporal realm when we wanted to make animations. The main idea was to be able to show the chains of cause and effect and use certain cinematic techniques to speak not only to the intellect but also the senses.
Time-based media has a different nature than other art works. What is your opinion about it, how do you see your art from the point of view of the future, what could be the time-span?
IC-98: In all probability our works will seem as anachronistic or as nostalgic as any other cultural product of our time. The paradoxical thing is, we always try to conceal the technological or digital basis of our works. We try to make our works look like they could have been made in any era. It would be nice, if in the future it would be impossible to say from the outset when watching our work: “That’s so 2010’s!” Then again, the animations are all about the resolution, the bit-depth, the ratio, and the available digital effects…
Finally, what are your ongoing and new propositions for the future?
IC-98: We are in the preproduction phase of our first feature film, ‘The Kingdom of Birds‘. It’s loosely based on the life’s work of Finnish deep ecologist, eco-fundamentalist, ornithologist and fisherman Pentti Linkola. The film imagines an old fisherman’s last day on earth in a future where all of mankind has perished. It is time for other species.
The 56th La Biennale di Venezia is open until November 2015, where IC-98 is represented.
Check out the artist websites following the links below:
ETH Zurich pavilion was constructed of waste materials and opened to visitors during the IDEAS CITY Festival in May 28-30, 2015. The 3-day biennial festival takes place in New York City in May mapping the future of cities with culture as a driving force. It is a collaborative event, including a conference and street festival, inviting to civic action, as well as giving a platform for creative ideas to be exchanged. This year’s theme was inspired by Italo Calvino’s literary work Invisible Cities (1972). Participants explored questions such as transparency and surveillance, citizenship and representation, expression and suppression, in their daily lives.
Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else. (Italo Calvino, Invisible Cities)
TheETH Zurichpavilion hosted events through the festival. What does a truly smart city mean to us was a highlighted theme around the site. The pavilion was entirely made of waste, so while our answers to what smart cities are can be many, an important question is the future scaling of consumption in the cities. ETH Zurich poses a sustainable approach where we need to reconsider what we can do with all the waste that now ends up in landfills. Some solutions include tackling the pre- and post-consumer waste, while transforming it into construction materials like bricks and panels, which then can be used in making future buildings, homes and new products.
The pavilion is designed with a vault-like roof, showcasing bricks made of waste. It displays engineering technique that minimizes the use of material through the structure of the design. It lets in a good amount of daylight and feels airy. The structure brings into mind Guastavino tile vaulting as source of inspiration. Some of the Guastavino vaulting can be seen for example in New York subway’s abandoned City Hall station. In that context, the vaulting benefits from a technique that uses self-supporting arches with standardized size tiles. What this Pavilion truly showcases is that in the future, cities will hopefully optimize the designs so the structures will occupy less space. Big cities like New York struggle with lack of space, so fitting the pavilion in-between the buildings in downtown 1st avenue looked and felt smart and savvy.
The expressive Pavilion was designed to ‘visually float in the narrow slot between the buildings of First Street Garden.’ It is designed by the ETH Assistant Professorship for Architecture and Construction, Dirk E. Hebel and the Block Research Group. What the structure also implies aesthetically and visually is the potential of design to utilize so unstandardized and ‘weak’ materials in construction. The Pavilion’s shape follows the flow of forces, resulting in a compression-only vaulted structure. It has a double curvature and triangular beam-section, giving the structure a higher depth for the same thickness and weight.
(Fashion Interactions-exhibition, Timo Wright-‘un fit’ video still)
FASHION CURATING NOW is a daylong symposium at ParsonsThe New School for Design on Saturday November 16 9:30 am-5 pm. The symposium reflects the subjects around the Fashion Interactions exhibition focusing on the possibilities and challenges of contemporary fashion curating on a global scale. Critical points of view are stressed, as is contemplation of fashion’s kinship with art, design, industry, performance, and self-presentation. I asked a few questions from Leena-Maija Rossi, who is the Executive Director of Finnish Cultural Institute in New York,about the seminar and other related topics.
Firstindigo&Lifestyle: Can you explain the background of the seminar?
L-M Rossi: The background of the Fashion Curating Now is in the exhibition project Fashion Interactions. It has its origins in the show Boutique, curated by Annamari Vänskä, which was part of Helsinki’s World Design Capital year in 2012. Finnish Cultural Institute wanted to bring a new edition of the show to New York and partnered with Parsons New School for Design in order to do that. The process of “re-curating” an already existing exhibition made us think of curating fashion at large: how to present fashion in an interesting way “outside the market”? How to make engaging exhibitions on fashion, how to show its entwinement with fine art, how to find new fora for curating, e. g., in the new media? How to make visible the political aspects of fashion?
Firstindigo&Lifestyle: Finnish fashion and design have gained more international visibility, creating their own trends as well, how do you see current research field is following trends from the industry?
L-M Rossi: I see fashion research as a developing and dynamic field, especially when it connects with studies on class and consumerism, and, of course, studies of gender and sexuality. I do not know if the task for the research is to follow the trends, I rather see research as a field for critical interventions.
Firstindigo&Lifestyle: In Finland, it seems that industries have also been able to point to cultural questions, what do you see as current research themes coming from the field/industries themselves?
L-M Rossi:Sustainability is of course a timely research theme, and the way it intersects with the issue of class. I am also really interested in the potentiality of queer fashion research, and I would really like to see more analysis on gender nonconformity, not so much of equaling queer with identity categories.
Firstindigo&Lifestyle: Yourself, you have written about advertising, media, gender representations/performance-related, in the contemporary visual culture. What do you see this global exchange is giving to these themes?
L-M Rossi: I think fashion is a crucial part of visual culture at large, especially because of its border-crossing nature. Gender is being profoundly done by people’s choices of dressing up and wearing their clothes, and these choices are, again, influenced by advertising. So one could say that the fields of fashion and advertising are constantly participating in the global processes of doing and undoing gender.
Firstindigo&Lifestyle: How well or how do Finnish fashion industries communicate globally? How do you see the branding, would it be more individual voices than a canon etc.?
L-M Rossi: It seems that many Finnish designers communicate quite naturally in the international field of fashion. Like visual artists, I think they first and foremost present their individual voices; it is very difficult to build a uniform “brand.” But then again, many seem to be thinking of such issues as high quality materials and sustainability.
Firstindigo&Lifestyle:Art, fashion, design: How would you speed-describe these together?
L-M Rossi:Fashion and design are artforms, fashion is an interesting field within design. All of them make difference in everyday life.