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Suzanne Treister HFT The Gardener 22 September - 29 October 2016

Annely Juda Fine Art

23 Dering Street (off New Bond Street) London W1S 1AW ajfa@annelyjudafineart.co.uk www.annelyjudafineart.co.uk Tel 020 7629 7578 Fax 020 7491 2139 Monday - Friday 10 - 6 Saturday 11 - 5 cover: details of “HFT The Gardener/Diagrams/20 Stock Exchanges” and “Psychoactive Plants/Geography, Traditional users and Effects”


Hillel Fischer Traumberg (b. 1982 London), a high frequency algorithmic trader in the city of London, experienced a semi-hallucinogenic state one day whilst staring fixedly at the High Frequency Trading graph patterns illuminating the bank’s trading room walls. After several such experiences Traumberg got the idea of experimenting with psychoactive drugs and eventually managed to procure some online from a supplier in Zurich. The influence of the drugs, which he took at first in small doses, began to alter Traumberg’s perceptions of the trading algorithms he was working with and he gradually began to feel more at one with them as if he actually inhabited the code. He felt himself becoming part of an infinite swirl of global data as the algorithms became transformed in his mind into technicolour fluxing entities, travelling through and beyond his body in holographic space and time. In his spare moments Traumberg started researching the ethnopharmacology of a hundred or so known and documented psychoactive plants across the world, exploring their historical ritual uses and functions in shamanic healing, in magic, religion, sex, divination, protection, modern medicine and in mental enhancement. He became curious about their chemical composition and studied the compounds in each plant which produce the psychoactive effects. He made lists of the active substances, the alkaloids, and wondered whether inserting their molecular formulae into the codes of his trading algorithms would have a similar effect as the drugs themselves have on the human brain, i.e. whether they would in any way enhance or alter the trading performance of the algorithms. Inevitably when the presence of these rogue algorithms came to light at the bank his bosses traced the problems back to Traumberg. Suspecting a nervous breakdown due to the stresses of the job they released him from his employment. With his substantial savings Traumberg moved to a penthouse apartment on the other side of town at Embassy Gardens, a New York Meatpacking District styled riverside complex recently constructed around the new U.S. Embassy in Nine Elms on the southside of the Thames. From his apartment Traumberg had a 360 degree view which took in the US Embassy, the New Covent Garden Flower Market, the green glass edifice of the MI6 building just beyond St George Wharf, the Houses of Parliament and the city of London further to the east. Most mornings Traumberg went for a stroll around his new neighbourhood.


From the local flower market he built up a collection of plants with supposed psychoactive properties which soon filled his living room shelves and penthouse roof garden. One day, staring at the list he had compiled of the botanical names of his plants he decided to conduct a gematria experiment. Using his rudimentary knowledge of the Hebrew language, gained during his school days, Traumberg made numerical experiments translating the botanical names of psychoactive plants into phonetic Hebrew and then deriving their numerical equivalents. He discovered that, for example, Mandrake, (Mandragora officinarum) had a gematria value of 970. Adding together the 9 the 7 and the 0 made 16 and then adding the 1 and the 6 made 7. A copy of the Financial Times on his desk prompted him one day to check the numerical equivalents of the plants against the top companies in the FT Global 500 index. Traumberg found that the two final numbers for Mandrake, 16 and 7, corresponded to Petro China and Wells Fargo which came 16th and 7th respectively in the FT index. Traumberg compiled a gematria chart of all the plants, listing their botanical names alongside their global companies equivalents. He then developed an algorithm that would trawl the internet collecting images of the groups of psychoactive plants which corresponded to each company. Inspired by the botanical illustrations of Ernst Haekel, which he had loved as a child, Traumberg reprogrammed the algorithm to collate and transform these images into works with a similar style and format. Stimulated by the artistic results he recalled a summer holiday he’d taken in 2013 to Venice with some banker friends. One of them, an avid art collector, had dragged them around an exhibition in a park on the lagoon and he had seen masses of weird coloured drawings in one of the many buildings, which were said to have been made by artists who had received no formal training. This brought to mind a work trip several years previously, to UBS in Bern, Switzerland. The Swiss bank had taken them on a free afternoon to a museum where he had seen works by a supposed madman. He looked it up online, the guy was called Adolf Wölfli. Traumberg, who by now had become obsessed with the forms and structures of the plants themselves, as well as all the data he was collating about them, began,

under the influence of the various psychoactive drugs in his possession, to spend his afternoons making a vast series of drawings. Under the hypnotic influence of Wölfli he transformed himself into an ‘outsider’ artist. He developed a fantasy of himself as a kind of techno-shaman, transmuting the spirituality of the universe and the hallucinogenic nature of capital into new artforms. One day a banker friend, the art collector from the Venice trip, paid him a social visit and was astonished to see Traumberg’s new apartment filled with strange plants and drawings. On a subsequent visit he took along a top art dealer who invited Traumberg to show the works at his London gallery. Traumberg, in the throes of a hallucinogenic trip, agreed to the offer. Later in the year the dealer put on an exhibition and all the works were sold out, primarily to bankers, oligarchs and to some of the corporations featured in the works. Traumberg was unaffected by this turn of events, his primary concern being to discover whether the realities opened up to him by psychoactive plants were arbitrary hallucinations or whether they indeed, as many had suggested, lifted the brain’s filter, opening the portal to what lay beyond our everyday perceptions of reality necessary for survival; the holographic universe perhaps? Traumberg spent his days wondering whether his experiences were real or imaginary, whether they originated in his unconscious or came from another dimension. He wondered about the nature of consciousness and whether it existed outside the brain/body. Was consciousness perhaps the ultimate organising principle of the universe, merely reflected by the brain in a limited and distorted way? Was consciousness maybe a giant algorithm? And where was the universe in this algorithm? Based on his experience with high frequency trading algorithms Traumberg decided to develop a new algorithm to test these ideas. A brain thinking about a brain. Consciousness thinking about consciousness. An algorithm trying to return information about another algorithm. A brain trying to develop an algorithm about an algorithm about a universe of which it is a part or perhaps a whole or perhaps neither? HFT The Gardener -----------------------------------------------------------------High Frequency Trading (HFT) Hillel Fischer Traumberg (HFT) (en. ToPraise Fisherman DreamMountain)


HFT The Gardener / CHARTS / Psychoactive Plants / Gematria / FT Global 500 Companies Equivalents Archival giclĂŠe prints 6 parts, 21 x 29.7 cm each

From Galbulimima belgraveana to phragmites australia

From Cannabis sativa to Carnegiea gigantea

From Panaeolus cyanescens to Hyoscyamus niger

From Tabernaemontana to coffeoides to Datura stramonium

From Salvia divinorum to Mandragora officinarum

From Datura innoxia to Calea zacatechichi


HFT The Gardener / Botanical Prints Archival giclĂŠe prints 20 parts, 29.7 x 42 cm each

Rank 1: Apple - US - Technology hardware and equipment Rank 2: Exxon Mobil - US - Oil and gas producers Rank 3: Microsoft - US - Software and computer services Rank 4: Google - US - Software and computer services Rank 5: Berkshire Hathaway - US - Nonlife insurance Rank 6: Johnson & Johnson - US - Pharmaceuticals and biotechnology Rank 7: Wells Fargo - US - Banks Rank 8: General Electric - US - General industrials

Rank 11: Nestle - Switzerland- Food producers Rank 12: Royal Dutch Shell - UK - Oil and gas producers Rank 13: J P Morgan Chase - US - Banks Rank 14: Novartis - Switzerland - Pharmaceuticals and biotechnology Rank 15: Chevron - US - Oil and gas producers Rank 16: Petro China - China - Oil and gas producers Rank 17: Procter & Gamble - US - Household goods and home construction Rank 18: Samsung Electronics - South Korea Leisure goods

Rank 9: Roche - Switzerland - Pharmaceuticals and biotechnology

Rank 19: Pfizer - US - Pharmaceuticals and biotechnology

Rank 10: Wal-Mart Stores - US - General retailers

Rank 20: IBM - US - Software & computer services


HFT The Gardener / Diagrams Archival giclee prints on Hahnemuhle Bamboo paper 16 parts, 6 at 21 x 29.7 cm; 10 at 29.7 x 42 cm

Key Diagram 69 Banks 66 Technology Hardware, Equipment, Telecommunications, Software and Computer Services Companies 49 Oil and Gas Companies 28 Pharmaceutical and Biotechnology Companies

Trading Algorithm using Molecular Formulae of 10 Alkaloids to return feedback on Holographic Dimensions of Consciousness (Tree of Life) 168 Alkaloids 20 Stock Exchanges R. Gordon Wasson, J. P. Morgan Banker and discoverer of Magic Mushrooms

Trading Algorithm using Molecular Formulae of 10 Alkaloids to return feedback on Holographic Dimensions of Consciousness

The Holographic Dimensions of Consciousness

Hillel Fischer Traumberg-High Frequency Trading

Native use of Major Hallucinogens World Map

Global Financial Fiberoptic Networks (Spread and Hibernian)

Psychoactive Plants/Geography, Traditional users and Effects

Holographic Universe


HFT The Gardener / Outsider Artworks Archival giclée prints 92 parts, 21 x 29.7 cm each

Acacia maidenii (Maidens Acacia) Acorus calamus (Sweet Flag) Amanita muscaria (Fly Agaric) Anadenanthera colubrina (Cebil) Argyreia nervosa (Woodrose) Ariocarpus fissuratus (Hikuli Sunamé) Atropa belladonna (Deadly Nightshade) Banisteriopsis caapi (Ayahuasca) Boletus kumeus (Nonda) Brugmansia arborea (Angel’s Trumpets) Brunfelsia chiricaspi (Chiricaspi) Cacalia cordifolia (Matwœ) Caesalpinia sepiaria (Yun-Shihi) Calea zacatechichi (Zakatechichi) Cannabis sativa (Marajuana) Carnegiea gigantea (Saguaro) Cestrum laevigatum (Dama da Noite) Claviceps purpurea (Ergot) Coleus blumei (El Nene) Conocybe siligineoides (Teonanacatl) Coriaria thymifolia (Shansi) Coryphantha compacta (Bakana) Cymbopogon densiflorus (Esakuna) Cytisus canariensis (Genista) Datura innoxia (Toloache) Datura metel (Datura) Datura stramonium (Thorn Apple) Desfontainia spinosa (Taique) Duboisia hopwoodii (Pituri) Echinocereus salmdyckianus (Pitallito) Epithelantha micromeris (Hikuli Mulato)

Erythrina americana (Colorines) Galbulimima belgraveana (Agara) Heimia salicifolia (Sinicuichi) Helichrysum foetidum (Straw Flower) Helicostylis pedunculata (Takini) Homalomena (Ereriba) Hyoscyamus niger (Henbane) Iochroma fuchsioides (Paguando) Ipomoea violacea (Badoh Negro) Justicia pectoralis (Mashihiri) Kaempferia galanga (Galanga) Lagochilus inebrians (Turkestan Mint) Latua pubiflora (Latué) Leonitis leonurus (Lion’s Tail) eonurus sibiricus (Siberian Lion’s Tail) Lobelia tupa (Tupa) Lophophora diffusa (Peyote) Lycoperdon marginatum (Gi’-i-Wa) Mammillaria craigii (Wichuriki) Mandragora officinarum (Mandrake) Maquira sclerophylla (Rape dos Indios) Mesembryanthemum expansum (Kanna) Mimosa hostilis (Jurema) Mitragyna speciosa (Kratom) Mucuna pruriens (Cowhage) Myristica fragrens (Nutmeg) Nicotiana rustica (Nicotine) Nymphaea ampla (White Water Lily) Nymphea cerulea (Blue water lily) Oncidium cebolleta (Cebolleta) Pachycereus pecten-aboriginum (Cawe)

Panaeolus cyanescens (Copelandia) Pancratium trianthum (Kwashi) Pandanus (Screw Pine) Papaver somniferum (Poppy) Peganum harmala (Syrian Rue) Pelecyphora asselliformis (Peyotillo) Pernettya furens (Taglii) Petunia violacea (Shanin) Peucedanum japonicum (Fang-K’uei) Phalaris arundinacea (Reed Grass) Phragmites australis (Common Reed) Phytolacca acinosa (Shang-La) Psilocybe semilanceata (Liberty Cap) Psychotria viridis (Chacruna) Rhynchosia longeracemosa (Piule) Salvia divinorum (Hierba de la Pastora) Scirpus (Bakana Sc) Scopolia carniolica (Nightshade) Sida acuta (Malva Colorada) Solandra brevicalyx (Kieli or Kieri) Sophora secundiflora (Mescal Bean) Tabernaemontana coffeoides (Sanango) Tabernanthe iboga (Iboga) Tagetes lucida (Yauhtli) Tanaecium nocturnum (Koribo) Tetrapteris methystica (Caapi-Pinima) Trichocereus pachanoi (San Pedro) Turbina corymbosa (Ololiuqui) Virola calophylla (Epená) Voacanga africana (Voacanga)


HFT The Gardener / Shaman Visions Archival giclĂŠe prints 16 parts, 21 x 29.7 cm each

Zapotec shaman in San Bartolo Yautepec, Mexico, preparing an infusion of Ipomoea violacea Ayahuasca vision Henry Crow Dog at peyote ceremony, Rose Bud Reservation

Colombian shaman performing Brugmansia divination ceremony Russian Yukaghir shaman, Eastern Siberia A shamanic healing ceremony in Alaska

Indian Yogis smoking marijuana at Shiva Temple of Pashupatinath near Kathmandu, Nepal, India

A north Peruvian curandero setting up his mesa for San Pedro ritual on banks of Shimbe Lake

Maria Sabina, Mazatec shaman, performing Velada

Tungus shaman, Siberia

Magician + Kuma women ritual dance N E Africa Maria Sabina and her daughter, Oaxaca, Mexico Kamchatka shaman in far eastern Russia with Fly agaric travelling to other realms

A Mahekototen shaman struggling against death Huichol shaman Peyote ceremony Huichol shaman Peyote ceremony (2)


HFT The Gardener / Psychoactive Glitch Graphs Archival giclĂŠe prints 6 parts, 21 x 29.7 cm each

Brugmansia arborea (Angels Trumpets)

Voacanga Africana (Voacanga)

Atropa belladonna (Deadly Nightshade)

Lophophora williamsii (Peyote)

Mitragyna speciosa (Kratom)

Ipomoea violacea (Morning Glory)


HFT The Gardener / Video stills and photo works Archival giclée prints 18 parts, 12 at 29.7 x 42 cm; 6 at 21 x 29.7 cm each video: http://www.suzannetreister.net/HFT_TheGardener/HFT_Video.html

High Frequency Trading Floor London Stock Exchange, UK

Vision of Mazatec shaman María Sabina at Embassy Gardens, London

Embassy Gardens Apartments, Nine Elms, London, UK

HFT Laser devices linking the New York Stock Exchange’s data center in Mahwah, N.J., with the Nasdaq Stock Market’s data center in Carteret, New Jersey

New Covent Garden Flower Market, London, UK

NASDAQ Trading vision 1

New Covent Garden Flower Market, London, UK (2)

NASDAQ Trading vision 2

New York Stock Exchange, USA

US Embassy, Nine Elms, London, UK

NASDAQ Trading vision 3

HFT trader + Holographic Universe

NASDAQ Trading vision 4

Nine Elms, London

NASDAQ Trading vision 5

Sky-Lights vision

NASDAQ Trading vision 6


SELECTED BIOGRAPHY 1958 1977-78 1978-81 1981-82

Born in London Brighton Polytechnic St Martins School of Art, BA Hons Chelsea School of Art, MA

2004

Works and lives in London SELECTED SOLO SHOWS & EVENTS 2016 2015

2014 2013

2012

2009 2008

2007 2006

HFT The Gardener, Annely Juda Fine Art, London HFT The Gardener, P.P.O.W., New York HEXEN 2.0, Fig-2, ICA, London Post-Surveillance Art, Primary, Nottingham Rosalind Brodsky’s Electronic Time Traveling Costumes, Schaufenster am Hofgarten, Kunstverein München, Munich HEXEN 2.0, Aksioma Project Space, Ljubljana Post-Surveillance Art, Maggs Bookshop, London In The Name of Art and Other Works, Annely Juda Fine Art, London HEXEN 2.0, Cleveland Institute of Art (CIA), Cleveland HEXEN 2.0, P.P.O.W, New York Grimoir du Futur, Espace Multimédia Gantner, Bourogne THE REAL TRUTH A WORLD’S FAIR, Raven Row, London HEXEN 2.0, D21 Kunstraum, Leipzig HEXEN 2.0, Hartware MedienKunstverein, Dortmund HEXEN 2.0, Science Museum, London MTB [Military Training Base], Alma Enterprises, London NATO Black Dog Publishing, London 3 Projects, Annely Juda Fine Art, London HEXEN 2039 and Alchemy, Galerie Lorenz, Frankfurt Alchemy, P.P.O.W New York HEXEN 2039, Kunstverein Langenhagen HEXEN 2039, Skolska 28, Prague HEXEN 2039, New Art Gallery Walsall HEXEN 2039: CHELSEA space;

2000 1999

1997 1996

1995 1994

1993

1992

1990

1988 1985

Screening: Warburg Institute; Interverventions: Ognisko Polskie, Science Museum, British Museum Operation Swanlake, Annely Juda Fine Art, London Operation Swanlake, Kunstlerhaus Bethanien, Berlin Archives from the Institute of Militronics and Advanced Time Interventionality, Grey Matter, Sydney No Other Symptoms - Time Travelling with Rosalind Brodsky, Artspace, Sydney No Other Symptoms - Time Travelling with Rosalind Brodsky, Freud Museum, London Dying for your sins, Australian Centre for Contemporary Art, Melbourne Time Travelling with Rosalind Brodsky, The Tannery, London Dying for your sins, Institute of Modern Art, Brisbane Q.Would you recognise a Virtual Paradise?, Mizuma Art Gallery, Tokyo Q.Would you recognise a Virtual Para dise?, Contemporary Art Centre of South Australia Q.Would you recognise a Virtual Paradise?, Australian Centre for Contemporary Art, Melbourne Recorded Evidence: Prosthetic Speech, [RE] Gallery, Adelaide Software, Union Gallery, University of Adelaide Fictional Videogames, Edward Totah Gallery, London Between the Clues lies the Evidence, Post West, Adelaide Edward Totah Gallery, London Kerlin Gallery, Dublin Ikon Gallery, Birmingham: Arts Council touring exhibition, to: Spacex, Exeter; Oldham Art Gallery; The Minories, Colchester; Darlington Arts Centre; Nottingham Castle Art Gallery Edward Totah Gallery, London Edward Totah Gallery, London


SELECTED GROUP SHOWS 2016

2015

2014

2013

2012

2011

Liverpool Biennale 2016 Hailweed, Auto Italia, London The Hellstrom Chronicle, Galerie Barbara Weiss, Berlin You Say You Want a Revolution, Victoria and Albert Museum, London Third Nature, CCS Bard Hessel Museum, New York WE transFORM, Neues Museum, Nuremberg Perpetual Uncertainty, Bildmuseet Umea Digitale Demenz (Artificial Intelligence), EIGEN + ART Lab, Berlin I See, So I See So. Messages from Harry Smith, Temporary Gallery, Cologne Infosphere, ZKM Center for Art and Media, Karlsruhe Control Mode Feedback, HALLE 14, Leipzig Island - Adaptation II, g39 Cardiff Algorithmic Rubbish: Daring to Defy Misfortune, Stedelijk Museum Bureau Amsterdam Air de Jeu, Centre Pompidou, Paris Anonymity no longer an option, Pierogi The Boiler, New York Anarchronism, iMAL, Center for digital cultures, Brussels Test Exposure, 16th WRO Media Art Biennale, Wroclaw RARE EARTH, Thyssen-Bornemisza Art Contemporary, Vienna Social Factory: 10th Shanghai Biennale 8th Biennale de Montréal, Canada Média Médiums, Gallery YGREC, Paris A Politics of Drawing, Barbara Walters Gallery, Bronxville Systemics #2 - As we may think (or the next world library), Kunsthal Aarhus The Whole Earth. California and the Disappearance of the Outside, Haus der Kulturen der Welt, Berlin A World of Wild Doubt, Hamburger Kunstverein, Hamburg Intersections, Weizmann Institute of Science, Rehovot Plus ou moins sorcières,La Maison Populaire, Paris Mutatis Mutandis, Secession, Vienna Secret Societies, Schirn Kunsthalle, Frankfurt; CAPC, Musée d’art Contemporain de Bordeaux

2010

Art/Systeme/Poésie, In Situ / Fabienne Leclerc, Paris The Big Society, Galerie GP&N Vallois, Paris Reinventing Ritual, Contemporary Jewish Museum, San Francisco Magic Show, Hayward Touring Exhibition Cross-fades. Reconstructing the Future, Shedhalle, Zurich Documentalist, Collective Gallery, Edinburgh

PUBLIC COLLECTIONS Arts Council of England Art Gallery of South Australia Australian Centre for the Moving Image AXA Collection British Council Center for Contemporary Art Znaki Czasu (CoCA), Torun EMI Paris FRAC Lorraine, Metz Griffith University, Queensland Muzeum Sztuki, Łódź New Hall Cambridge Centre Pompidou, Musée National d’Art Moderne Science Museum London Tate Britain Thyssen-Bornemisza Art Contemporary, Vienna Wolverhampton Art Gallery SELECTED PUBLICATIONS ‘HFT The Gardener’ Black Dog Publishing, London, 2016 ‘HEXEN 2.0’ Black Dog Publishing, London, 2012 ‘HEXEN 2.0 Tarot’ Black Dog Publishing, London, 2012 ‘NATO The Military Codification System for the Ordering of Everything in the World’, Black Dog Publishing, London, 2008. ‘Hexen 2039 - new military-occult technologies for psychological warfare’, Black Dog Publishing, London 2006. ‘No Other Symptoms - Time Travelling with Rosalind Brodsky’ CD ROM with 124 page colour hardback book. Black Dog Publishing, London 1999. Website: http://www.suzannetreister.net


ISBN 978-1-904621-73-7

works © Suzanne Treister catalogue © Annely Juda Fine Art / Suzanne Treister 2016

Printed by Albe de Coker, Belgium

Profile for Annely Juda  Fine Art

Suzanne Treister  

Suzanne Treister  

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