Open Office Landscape

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ECIFFO N EPO


OPEN OFFICE In the framework of the artist-in-residence program ars bioarctica, the project open office landscape explored strategies to measure the light of the Arctic summer. The nature reserve around the biological science station at Kilpisjärvi is part of a long-term climate change research. It also accommodates the Kilpisjärvi Atmospheric Imaging Receiver Array, which is used for atmospheric, near-Earth space and astronomical research. The residency enables invited artists to work in and with the nature reserve. It offers laboratory space as well as equipment to use for artistic purposes. With open office landscape the landscape around Kilpisjärvi transformed into an open workspace to study light on different locations and during different times of day and night. To do so, the process of the cyanotype and simple Do-It-Yourself spectrometers were in use. The English scientist Sir John Herschel (1792-1871) first published the light-sensitive process of the cyanotype in 1842. He is known for his contributions in astronomy and chemistry. Although his chemical research had great impact on early photography, he had little to no interest in making pictures. Instead he was interested in the light-sensitive process itself and used it to study properties of light and chemicals (1). The cyanotype, also known as blue or sun print, develops through light different intensities of the pigment Prussian blue. Unlike other early photographic processes, the cyanotype consists of two natural, non-toxic components and with proper han-

dling suitable for applications in a natural landscape 2. In Herschel’s time, the cyanotype process found only little application in the field of art and photography. Only a few scientific instruments picked up the cyanotype as a print medium, like the Jordan sunshine meter  3. In the 1880s however architecture offices discovered the process to produce the first‚ blue prints’of ground and elevation plans. Open office landscape revisited Herschel’s approach to study light through strategies of the online DIY culture. At a place like the Arctic Circle, one becomes aware of every man-made object one brings along. Therefore the DIY spectrometers were formed with material gathered at the station: an old CD, tape and a parcel cardboard box. Daily notes on the colours of the sky accompanied spectrographs captured by a self-made filter lens. Cyanotypes created by the Arctic light were also shaped by the location itself and its spatial, temporal and ecological properties. Open office landscape pictures Kilpisjärvi as a site where terms like ‘space’and ‘time’have different dimensions. Employing scientific methods for artistic purposes reflects on strategies how to make complex phenomena visible. These strategies are located between the attempt to let nature picture its own condition 4. and the act of measuring, a deliberate interference, which aligns the picture with the experience made. C. Lange. June/July 2016 Biological Science Station Kilpisjärvi


E LANDSCAPE COLOPHON Open Office Landscape, Carolin Lange, 2018 ISBN: 978-94-92308-19-1 Images: Carolin Lange, NAK Neuer Aachener Kunstverein Text: Carolin Lange Editor: Maurice Funken, Julian B. Schneider Graphic design: Yin Yin Wong Printed and bound by: Publication Studio Rotterdam Printed in edition of 100 copies. Special Thanks: Leena Valkeapää, Piritta Puhto, Mike Ware, Angela Easterling, Ben Kaufman, Maurice Funken, Verena Bodenstein, Dico Kruijsse, Ariane Trümper, Claudia Curio

FOOTNOTES 1 Buttmann, G. 1965. Grosse Naturforscher. Band 30. Wissenschaftliche Verlagsgesellschaft. Stuttgart. P.150 –177 2 Ware, M. 2014. Cyanomicon. Buxton. P.20 3 Ian Strangeways, I. 2003. Measuring the Natural Environment. 2 Edition. Cambridge University Press. P.17 4 Daston, L.J. and Galison, P. 2010. Objectivity. 2nd edn. New York: Zone Books. P.150-177

The project was kindly supported by: Finnish Society for Bioart University of Helsinki NAK Neuer Aachener Kunstverein STAWAG Stadtwerke Aachen AG Goethe-Institut Rotterdam

11 September — 16 October 2016 NAK Neuer Aachener Kunstverein


OPEN OFFICE lost scale of distances.


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OPEN OFFICE


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OPEN OFFICE


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OPEN OFFICE nature embarrasses me


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OPEN OFFICE light (25-06-2016, 16:02 —16:35) on cyanotype on cotton. 150cm x 210cm


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OPEN OFFICE


E LANDSCAPE *a thought start with a stone. *here


OPEN OFFICE


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OPEN OFFICE


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OPEN OFFICE


E LANDSCAPE *time doesn’t schedule. here*


OPEN OFFICE


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OPEN OFFICE light (26-07-2016 13: 05 –13:35 / 30-07-2016 20:02 – 02:04) on cyanotype on cotton. 150cm x 200cm


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OPEN OFFICE


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OPEN OFFICE


E LANDSCAPE destinations imply expectations.


OPEN OFFICE light (27-06-2016, 14:46 –15:15) wind, water(glacier), border fence (FI /NO), on cyanotype on cotton, 150cm x 200cm


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OPEN OFFICE


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OPEN OFFICE


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OPEN OFFICE


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conversations absorbs transmittance rate.


OPEN OFFICE


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OPEN OFFICE indigo, a value of concentration


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OPEN OFFICE


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OPEN OFFICE light (01-07-201 6, 17:57 – 18.11) wind, water (Kilpisjärvi) on cyanotype on cotton, 150cm x 200cm


E LANDSCAPE


OPEN OFFICE In the framework of the artist-in-residence program ars bioarctica, the project open office landscape explored strategies to measure the light of the Arctic summer. The nature reserve around the biological science station at Kilpisjärvi is part of a long-term climate change research. It also accommodates the Kilpisjärvi Atmospheric Imaging Receiver Array, which is used for atmospheric, near-Earth space and astronomical research. The residency enables invited artists to work in and with the nature reserve. It offers laboratory space as well as equipment to use for artistic purposes. With open office landscape the landscape around Kilpisjärvi transformed into an open workspace to study light on different locations and during different times of day and night. To do so, the process of the cyanotype and simple Do-It-Yourself spectrometers were in use. The English scientist Sir John Herschel (1792-1871) first published the light-sensitive process of the cyanotype in 1842. He is known for his contributions in astronomy and chemistry. Although his chemical research had great impact on early photography, he had little to no interest in making pictures. Instead he was interested in the light-sensitive process itself and used it to study properties of light and chemicals (1). The cyanotype, also known as blue or sun print, develops through light different intensities of the pigment Prussian blue. Unlike other early photographic processes, the cyanotype consists of two natural, non-toxic components and with proper han-

dling suitable for applications in a natural landscape 2. In Herschel’s time, the cyanotype process found only little application in the field of art and photography. Only a few scientific instruments picked up the cyanotype as a print medium, like the Jordan sunshine meter  3. In the 1880s however architecture offices discovered the process to produce the first‚ blue prints’of ground and elevation plans. Open office landscape revisited Herschel’s approach to study light through strategies of the online DIY culture. At a place like the Arctic Circle, one becomes aware of every man-made object one brings along. Therefore the DIY spectrometers were formed with material gathered at the station: an old CD, tape and a parcel cardboard box. Daily notes on the colours of the sky accompanied spectrographs captured by a self-made filter lens. Cyanotypes created by the Arctic light were also shaped by the location itself and its spatial, temporal and ecological properties. Open office landscape pictures Kilpisjärvi as a site where terms like ‘space’and ‘time’have different dimensions. Employing scientific methods for artistic purposes reflects on strategies how to make complex phenomena visible. These strategies are located between the attempt to let nature picture its own condition 4. and the act of measuring, a deliberate interference, which aligns the picture with the experience made. C. Lange. June/July 2016 Biological Science Station Kilpisjärvi


E LANDSCAPE COLOPHON Open Office Landscape, Carolin Lange, 2018 ISBN: 978-94-92308-19-1 Images: Carolin Lange, NAK Neuer Aachener Kunstverein Text: Carolin Lange Editor: Maurice Funken, Julian B. Schneider Graphic design: Yin Yin Wong Printed and bound by: Publication Studio Rotterdam Printed in edition of 100 copies. Special Thanks: Leena Valkeapää, Piritta Puhto, Mike Ware, Angela Easterling, Ben Kaufman, Maurice Funken, Verena Bodenstein, Dico Kruijsse, Ariane Trümper, Claudia Curio

FOOTNOTES 1 Buttmann, G. 1965. Grosse Naturforscher. Band 30. Wissenschaftliche Verlagsgesellschaft. Stuttgart. P.150 –177 2 Ware, M. 2014. Cyanomicon. Buxton. P.20 3 Ian Strangeways, I. 2003. Measuring the Natural Environment. 2 Edition. Cambridge University Press. P.17 4 Daston, L.J. and Galison, P. 2010. Objectivity. 2nd edn. New York: Zone Books. P.150-177

The project was kindly supported by: Finnish Society for Bioart University of Helsinki NAK Neuer Aachener Kunstverein STAWAG Stadtwerke Aachen AG Goethe-Institut Rotterdam


EPACSD NAL


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