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Kennedy James - Ishi

Arnaud Cohen - Mickeynocchio



he modern Little Red Riding Hood, reared on singing commercials, has no objection to being eaten by the wolf. Marshall McLuhan


< Vincent Petitpierre - Cagoule



Jason DeMarte - Fingers


Jason DeMarte - Fried Doe

No Fracking Toxic circles, undrinkable water issuing forth from blackened vessels, do not approach or touch. X marks the spot for contamination, X for forever gone, X for what we have allowed to happen. No Fracking is a visual statement warning of the potential and irrevocable contamination of our water supply by the toxic effects of the horizontal fracturing of the United States’ shale formations. Over 750 toxic chemicals are used to extract natural gas from the shale. This industry is highly unregulated.

Hydraulic fracturing is a means of tapping shale deposits containing natural gas that were previously inaccessible by conventional drilling. A well is drilled under high pressure to create fractures in the gas-bearing rocks. The pressure fractures the shale, and the propping materials - primarily sand - holds the fractures open enabling much more natural gas is able to flow freely into the well then would naturally happen. The gas comes up wet in this toxic wastewater and then has to be separated from it on the surface.


If fracking is defined as only a single fracture of deep shale that action may be benign. However, when multiple fracts are done in multiple adjacent wells, the risk for contaminating drinking water may rise. If fracking is defined as the entire industrial operation, including drilling and the storage of waste water, contamination has already been found.

Each frack in a well requires more than one million gallons of water. Although gas companies report that fracking fluid is 99% water, the remaining 1% drilled into each well equates to a mixture of 300 tons of approximately 750 chemicals. Many of these chemicals are trade secret “proprietary” chemicals such as benzene, methanol, ethyl benzene and xylene, and include metals such as barium, strontium and lead. According to experts 93 % of these chemicals have adverse health effects, 60% are known carcinogens. Only 30-50 percent of this wastewater is typically recovered from a well, it remains in the ground and is not biodegradable.

To date the oil/gas industry has been secretive about what chemicals are used and have lobbied Congress for a variety of protections. In 2005 the Bush/Cheney Energy Bill exempted natural gas drilling from the Safe Water Drinking Act. It also exempted companies from disclosing the chemicals used during hydraulic fracturing. The FRAC Act (Fracturing Responsibility and Awareness to Chemical Act is a House Bill intended to repeal this so-called “Halliburton Loophole” and to require the natural gas industry to disclose the chemicals they use. Advanced tests such as putting tracer chemicals down a well to see if they reappear in drinking water could ultimately prove whether fracking is safe or not. Some regulators are not waiting for better science, they are moving forward allowing fracking on an even wider scale. 20,000 gas wells are planned to be drilled into the Delaware River Basin to tap the gas resources of the Marcellus Shale, a black shale formation extending deep underground from Ohio and West Virginia northeast into Pennsylvania and southern New York. Elizabeth Miller McCue


Fred Rougerune Loison - Blackgold: cancer of this planet

Olivier De Sagazan - Transfiguration



Cédric De Smedt - Ce qu’il faut savoir

Lauren McCleary - Roaming the Oil Fields of North America >



Stephanie Craig - Assembly


Mehdi Benkler - Far Oued


Stephanie Craig - Assembly line


Mehdi Benkler - Far Oued


Stephanie Craig - The belt


Mehdi Benkler - Far Oued

Holly Parker - Tank


Edward Burtynsky - Oil Fields #10

Edward Burtynsky - Oil Fields #13


Edward Burtynsky - Oil Fields #22


Katie Loesel - Subterranean


Sofia Karlstrรถm - Kallsup V



e primarily buy commodities neither on account of their utility nor as status symbols; we buy them to get the experience provided by them, we consume them in order to render our lives pleasurable and meaningful. Slavoj ŽiŞek First As Tragedy, Then As Farce Verso editions 2009


Jane Fulton Alt - Marrisa

The miserable thing The piece is composed with layers, which sometimes contrasts and/or strengthens the body/physicality of the performance. At one important layer, the sound of the piece dialogues with physicality of the bodies creating suggestions and exposing materiality for the audience to enter in the universe created by the piece. The way it relates to the audience, proposing a breakthrough a logic of senses and not it intentions to simply entertain or reproducing conventional relation for the body/mind, is what gives the political side of this piece. A critical collage is being used with songs as material in the piece. The song from the grandiloquent opera Carmina Burana «O fortune», meditation instructions for achieving richness or even becoming a millionaire, a disco song «What a wonderful world» asking for hope and togetherness, pop and mass multicultural songs made for the radio. The collage relates and refers with the physicality of the piece. The two bodies does not touch. When the encounter happens it is dry, mechanical, full of tension and force.

The physicality breaks with the naturalist action. Movement is taken in extremes. Or its very minimal or strongly big and intense. Middle tones are out and transitions are not necessary. In this mode, paradox and contractions can bring the complexity for the piece.


The movement is explored giving artificiality and plays with time where the imagination towards these bodies can be accessed. The waving movement used in the choreography brings the machinic notion to the body, and opens up space and possibilities for the audience.The movement plays with paranoid alertness, alienation, violence and power.


The dance considers the social body, how our body is explored and fetishised by society. And yet considers and want to celebrate, the avoided and non-explored, sexual energy as strength to bring awareness and knowledge of otherness.

Investigating, the notion of hallucination the piece brings many elements, which intends to encounter different access to the mind. For example, the piece counts with light, which gives colored shadows to the performer.

Emphasizing the suggestion and invitation to another logic of perception to exposed manipulation of reality. Ritualistic, this colors will lately materialize in liquids coming out of the body. The black shadow comes in the end. It is a huge amount of, not by chance, black oil.

The miserable thing got a award as best direction at ACT Festival in Spain in 2012, it was selected to ITS Festival Choreography Awards and to NEU/NOW Festival in Tallinn in the frame of European Capital of Culture. Antonio Onio & Fernando Belfiore



Jane Fulton Alt - Holly, Martin and Isabella

Jane Fulton Alt - Ben


Jane Fulton Alt - Jordan and Jean

Jane Fulton Alt - Dawn and Everett



Jane Fulton Alt - Keith, Laura and Olivia

Jane Fulton Alt - Life Guards



ull me closer if you think you can hang. Don’t go screaming if I blow you with a bang. There’s steam on the window screen. Live fast, die young. Bad girls do it well. M.I.A. Bad Girls Maya Arulpragasam records, 2012


< Hélène Baril - SBK Birth


Paul White - Sunset to stardust


Paul White - Lost dreaming of dinosaurs under fossil fueled rainbows

Hélène Baril - Baby SBK

Ruée vers l’or >



Paul White - Echo park falcon

Hélène Baril - Danse macabre


Hélène Baril - Spoon gang mask


Hélène Baril - South by southwest

The story behind SBK...

SBK was born in Finland, March 2012, after some dinners and events happened between artists. SBK is an experimental roaming organization, which uses its car as meetings, creations, working tool. It aims at realizing events where the interaction between an artist or an organization and SBK gives rise to visual art pieces of all kind. Besides, SBK is an allegorical and poetic initiative, whose sphere of operation relies on various images and representations: literature (SBK as a contemporary Don Quixote, Beckett aesthetics, pataphysics, Borges, Pessoa…), geography (Finland as a no man’s land, a world’s end), economy and environment (Shell multinational company, rise of transportation/oil trade/market) popular psychology (a gas station seen as a shared social site). SBK’s identity grows through the process of the closed relationship that it keeps up by generating images on one side and by inviting artists/ non-artists on the other.

SBK arises by the trauma symbolized in car crashes. Thus SBK is never protected from sabotaging itself. SBK would like to be real and make its actions grow, but its economic isolation, as it is unable to adapt to the world/society, don’t allow it to be sure of anything. There shall be a time for solitude, and a time for sharing. SBK cannot survive by itself.



needs solitude. drives away. settles down. hides itself. exhibits itself. is fearless. is scared to death.

This difficulty of adjusting to the contemporary context is also what allows SBK to fit into the economic world by creating its own personal market economy. SBK’s economy shall therefore face «The Man» through playful means and deconstruction. SBK’s title and logo unequivocally refer to Shell multinational company. It is at first a fortuitous occurrence, since the wish was to take into account and symbolically appropriate the real Shell Bar located in Hämeenkyrö, Kyröskoski, South West Finland – as a linguistic ready-made. However, the allusion to Shell remains meaningful and SBK’s political content is obvious. SBK doesn’t get involved in any explicit activism, however it doesn’t happen outside of society. That is why its poetic, metaphorical and artistic ambitions are the medium of its commitment. SBK’s car trips use black gold within total freedom settings. Donation to high-yield, showy and hyperactive society is almost non-existent. This way, SBK attempts to transform the consumed oil into an empty shell. That is of course a pointless undertaking. Therein lies its strength and potential. Hélène Baril SBK scientist director December 8th 2012.


Hélène Baril - Such beautiful kaos

HÊlène Baril - Moose shell molotov



Hélène Baril - Spoon gang

Carlos Vergara - Untitled


lya facilement dans l’objet, à la fois une perfection et une absence d’origine, une clôture et une brillance, et pour tout dire un silence qui appartient à l’ordre du merveilleux. Roland Barthes La nouvelle Citroën, Mythologies Éditions du Seuil (1957)


Carlos Vergara - Untitled


David Herbold - Self Portrait as a Business Tycoon


Vincent Petitpierre - Cagoule


Mary Rothlisberger - George Eastman & Louis Pasteur


Mehdi-Georges Lahlou - CrĂŠature pour Chaman I & II


Mehdi-Georges Lahlou - CrĂŠature pour Chaman III


Mary Rothlisberger - Johannes Kepler & Albert Einstein


Sarah Pickering - Napalm


Mary Rothlisberger - Johann Gutenberg & Guglielmo Marconi


Amir Hossein Keihani - Black Birds


Mary Rothlisberger - Ivan Petrovich Pavlov & Alexander Graham Bell




Amir Hossein Keihani - Black Birds


Wolfgang Stiller - Matchstickmen


CĂŠdric De Smedt - 10e croisade


Wolfgang Stiller - Matchstickmen


< Ryan Hopkinson & Christopher Raeburn - Scorch Series


Sarah Pickering - Fuel Air Explosion

Christophe Wlaeminck - Pommes d’amour


Olivier Garraud - Have a nice death


Leni Riefenstahl, personnage éminemment controversé, a connu la gloire dans les année 1930 alors qu’elle réalisait un certain nombre de films de propagande pour le IIIe Reich.

Actrice et danseuse devenue photographe et réalisatrice, tombée en disgrâce après la guerre et plusieurs fois jugée sans jamais avoir été condamnée, elle poursuivit ses activités malgré l’infamie et le rejet dont elle fût l’objet, se tournant alors complètement vers la photographie. Elle réapparut ainsi sur le devant de la scène et rencontra une reconnaissance mondiale avec ses séries sur les Noubas réalisées au Soudan et publiées dans les années 1970 alors que son travail cinématographique se voyait peu à peu réévalué au sein de la sphère artistique. 133

Cette véritable renaissance portée par une détermination sans faille lui valut pourtant de sévères critiques, dont celles de Susan Sontag qui condamna avec virulence cette réhabilitation, décelant dans ses oeuvres récentes une constante idéologique avec le régime nazi, celle de la pureté de la race mise en scène à travers l’exaltation des corps. Cet affrontement prit des airs quasi manichéens et Riefenstahl ne cessa de justifier son apolitisme, arguant de son ingénuité et affirmant que la quête du Beau avait toujours été son unique motivation. L’ambiguïté de ce personnage à la fois populaire et controversé m’a poussé à m’y intéresser de près et à le faire apparaître, sous forme de simple citation, dans ma recherche photographique sur le portrait. La série «Leni Riefenstahl, my Ethiopia», a été réalisée dans la vallée de l’Omo, à quelques centaines de kilomètres des territoires Nouba où la réalisatrice du «Triomphe de la volonté» photographia les ethnies tribales quarante ans plus tôt. Ici, comme dans l’ensemble de ma démarche artistique, l’autoportrait est utilisé afin de convoquer dans l’image les différents éléments qui l’ont construite et faire jaillir de cette confrontation l’altérité de leurs identités et la complexité de leurs rapports.

Le touriste contemporain, incarnant une figure d’ «explorateur» similaire à celle de Leni Riefenstahl et porté par le même mythe d’une culture originelle à découvrir, participe pourtant à un processus de folklorisation de ces cultures singulières. Entre consommation de l’«Autre» et quête d’identité personnelle, le trouble est bien là; au partage culturel, ne se substitue finalement que l’écrasement. Diego Sanchez Leni Riefenstahl, my Ethiopia (2009-2010) 135






CĂŠdric De Smedt - Sourire force


Sofia Karlstrรถm - Walkabout I & II


rtists install 16.5 metre wind turbine blade in Tate Modern Turbine Hall. A growing call for gallery to end links with oil company BP. Liberate Tate artwork The Gift London (July, 7th 2012)


Paul White - Detail Aloha Mojave


Liberate Tate - The Gift


Paul White - Aloha Mojave




Liberate Tate - The Gift


Paul White - South tucson daybreak

Edward Burtynsky - Jet Engines


Paul White - Detail South tucson daybreak

Jean-Jacques Tachdjian - Oil Of Olove


Harem Pool

In 1991 I made a performance / installation work entitled Harem Pool. It was constructed of hundreds of sand piles, poured individually into a four-meter diameter (approximately) circle. The sand was not fixed in any way, resulting in an intentionally fragile and ephemeral work. A sheet metal pan measuring one meter square by four centimeters high (approximately) occupied the center of the sand circle, and was filled to its brim with discarded motor oil, which imparted a toxic smell and a reflective black surface. During the one-month run of the exhibition, a performer wearing a black nylon garment and a handmade fish skin mask, stood vigil at the exhibition’s opening and for two-hour intervals each week. She held a glass bowl containing water and a square of white silk that had been drenched in the oil, causing it to float on the water’s surface. The work was created in response to the Persian Gulf War (a.k.a. Desert Storm), and in consideration of the tangled inter-relationships between the control and exploitation of land and its resources, particularly oil, and human lives and bodies, particularly those of women. 169

The performer intended an observational position. Her mask indicated her silence, as its material suggested her abject otherness. Yet, in her watchfulness she maintained an awareness of the conditions that affect the land, its resources, and its inhabitants.

At the time of the work’s conception, I believed I was offering an empathetic reading of these complexities. In retrospect, several questions have arisen. This is especially so regarding my reference to the harem. Perhaps the work ought to be re-titled? Recent and ongoing changes within Arab societies weigh in. Perhaps the referencing of any custom beyond the realm of one’s own experience it is always assumptive and therefore, flawed?

And yet, like the performer, I have a determined point of view. The harem by any name, that is, any case wherein a person may be denied the freedom of self-determination based upon the perpetuation of culturally and / or politically specific hierarchies is untenable. Equally, the persistent over-development and inequitable distribution of land and natural resources are unsustainable. The suggestion for a title change is not necessarily literal; the work as it was, is open to renaming and / or revisions as the case may be.

More to the point, I re-present it here as point of departure for a discussion regarding the convoluted relationships between war, resources, colonialism, global economies and issues of race, class and gender. These questions persist in their relevancy, as have wars in the Middle East and elsewhere, as has violence against women throughout the world.


Valerie Constantino


Edouard Duvernay - BlackO誰l

Julie Badin - Black Virgin



Arnaud Cohen - Silver Kiss



Arnaud Cohen - Black Coke Down


Michelle Marie Murphy - Viscosity


Michael Massaia - Borrowed Time


Wilson Roscoe - It’s Getting Hot Out Here


lack is modest and arrogant at the same time. Black is lazy and easy - but mysterious. But above all black says this: «I don’t bother you don’t bother me». Yohji Yamamoto


Michelle Marie Murphy - Magnetic


Kristen Baumlier - Crude Oil / Carboniferous Forest Prints





ell I’ll be damned if you can come in here any time you want and use me like some stud-service! Larry Hagman as J.R. Ewing Dallas, David Jacobs CBS (1978-1991)

199 < Arya Sukapura Putra - Think Less Feel More

Adam Dumont - Frances Bavier at Old Quaker gas station


Adam Dumont - Dan Dailey at Bay gas station


Adam Dumont - Junior Samples at Signal gas station


Adam Dumont - Nancy Kulp at Seaway gas station

Mehdi-Georges Lahlou - 72 Vierges


Adam Dumont - Jim Nabors at DX gas station



Mehdi-Georges Lahlou - 72 Vierges


Jennifer Axner - Hotrods


217 < Jennifer Axner - Gas Station

Wilson Roscoe - It’s Getting Hot Out Here

Sorin Oncu - One Day in Oil


Harris Johnson - Car Tire with Motor Oil


Harris Johnson - Car with Moth


Julie Badin - Car

Julie Badin - Flag


Mihai Grecu - We’ll become oil

Florent Konne - Littoral

Olivier De Sagazan - Transfiguration (54’15’’)

Franck Hoursiangou - Smile


Evan Roth - Propulsion Painting: USA

Kruno Jost - Deconstructing

Florent Konne - Motorbikes

Franck Hoursiangou - Set (54’15’’)

Antonio Onio & Fernando Belfiore - The miserable thing


Holly Parker - Explosion (9’35’’)

Marc Neys Swoon - Arbitrariness



Rafael Bonilla Jr - Extraterrestrial intelligence I & II

Henry Hargreaves - Deep Fried Gadget



A#Z Jennifer Axner (US OH) Hotrods, Gas Station p214-216 Julie Badin (F) Black Virgin, Car, Flag p174-175, p224-227 Hélène Baril (F)

SBK Birth, Baby SBK, Ruée vers l’or, Danse macabre, Spoon gang mask, South by southwest, Such beautiful kaos, Moose shell molotov, Spoon gang, p68, p74-75, p78-89 Kristen Baumlier (US OH)

Crude Oil / Carboniferous Forest Prints p192-197 Mehdi Benkler (CH) Far Oued p30-31, p34-35, p38-39 Edward Burtynsky (CA) Oil Fields #10, #13, #22, Jet Engines p41-45, p164-165

Arnaud Cohen (F)

Mickeynocchio, The Nokia Dwarves, connected people, Silver Kiss, Black Coke Down, Cheat p8, p177, p180-181, p246, p250-251 Valerie Constantino (US CA) Harem Pool photos © Y. Kobylecky p168-171 Stephanie Craig (US OH) Assembly, Assembly line, The belt p28-29, p32-33, p36-37 Olivier De Sagazan (F) Transfiguration

Images courtesy of the artist. p22-25, p228, Video Cédric De Smedt (B) Ce qu’il faut savoir, 10e croisade, Sourire forcé p26, p120-121, p148 Jason DeMarte (US MI) Fingers, Fried Doe p14-15, p17

A#Z Adam Dumont (US OH)

Frances Bavier at Old Quaker gas station, Dan Dailey at Bay gas station, Junior Samples at Signal gas station, Nancy Kulp at Seaway gas station, Jim Nabors at DX gas station p200-205, p208-209 Edouard Duvernay (D) BlackOïl p172-173, p176 Jane Fulton Alt (US IL)

Marrisa, Holly, Martin and Isabella, Ben, Jordan and Jean, Dawn and Everett, Keith, Laura and Olivia, Life Guards p51, p58-67 Olivier Garraud (F) Have a nice death p130-131 Mihai Grecu (RO) We’ll become oil p228, Video

Ryan Hopkinson (UK) & Christopher Raeburn (UK)

Scorch Series p124-126 Rebecca Horne (US CA) Milkbowlink p248-249 Franck Hoursiangou (CH) Smile, Set

p229-230, Videos Kennedy James (US PA) Ishi p6-7 Harris Johnson (US OH) Car Tire with Motor Oil, Car with Moth p220-223 Kruno Jost (HR) Deconstruction p230, Video Sofia Karlström (SE)

Deep Fried Gadget

Kallsup V, Walkabout I & II Cover, p234-239 p48-49, p149

David Herbold (US ID)

Amir Hossein Keihani (IR) p94 p110-111, p114-117

Henry Hargreaves (US NY)

Self Portrait as a Business Tycoon

Black Birds

A#Z Florent Konné (F)

Michelle Marie Murphy (US OH)

Littoral, Motorbikes

Viscosity, Magnetic

Mehdi-Georges Lahlou (B)

Sorin Oncu (RO)

Images courtesy of Dix9 Gallery, Hélène Lacharmoise (F) & Transit Gallery (B) p218-219 p228, p230, Videos Créature pour Chaman I, II & III

72 Vierges

Images courtesy of the artist and MAAC Brussels production. p206-207, p210-213 Liberate Tate (UK) The Gift p152-153, p156-161 Katie Loesel (US OH) Subterranean p46-47 Michael Massaia (US NY) Borrowed Time p184-185, p190-191 One Day in Oil

Antonio Onio (D) & Fernando Belfiore (BR) The miserable thing photos © M. Robak, N. De Boer p52-57, p231, Video Holly Parker (US CO) Tank, Explosion p40, p232 Vincent Petitpierre (CH) ECAL2012 Cagoule p9-10, p12-13, p16, p95-97 p178-179, p182-183, p186-187

Sarah Pickering (UK)

Lauren McCleary (US ID) p106-107, p127

Roaming the Oil Fields of North America p27

Elizabeth McCue (US PA) No Fracking p18-20

Napalm, Fuel Air Explosion

Wilson Roscoe (US OH) It’s Getting Hot Out Here p188 Evan Roth (US NY)

Propulsion Painting: USA p229, Video

A#Z Mary Rothlisberger (US IL) George Eastman, Louis Pasteur, Johannes Kepler, Albert Einstein, Johann Gutenberg, Guglielmo Marconi, Ivan Petrovich Pavlov, Alexander Graham Bell p90, p92-93 Paul White (AU)

Blackgold: cancer of this planet

Sunset to stardust, Lost dreaming of dinosaurs under fossil fueled rainbows, Echo park falcon, Detail Aloha Mojave, Aloha Mojave, South tucson daybreak

Diego Sanchez (CH)

Christophe Wlaeminck (F) p98-99, p104-105, p108-109, p112-113 Fred Rougerune Loison (F) p21

Leni Riefenstahl - My Ethiopia


Wolfgang Stiller (D) Matchstickmen photos Š A. Kukulies & W. Stiller p118-119, p122-123 Arya Sukapura Putra (ID) Think Less Feel More p198

Marc Neys Swoon (B) Arbitrariness p233, Sound Jean-Jacques Tachdjian (B) Oil Of Olove p167


Carlos Vergara (CO)

Untitled, Untitled p150-151, p154-155, p162-163, p166 Pommes d’amour, Laissez-mes-doutes... p128-129, p247

MAKE8ELIEVE is an online magazine, born of a collaboration between two artists, Michelle Marie Murphy (Ohio) and Baptiste Lefebvre (a.k.a. Cetusss) (Switzerland). With MAKE8ELIEVE, we’d like to build international connections by publishing creative interpretations of one topic per issue. We believe we can organize an intelligent, challenging, and well designed magazine with contemporary and unusual topics. MAKE8ELIEVE est un magazine en ligne, résultat d’une collaboration artistique entre deux artistes, Michelle Marie Murphy vivant dans l’Ohio et Baptiste Lefebvre (a.k.a. Cetusss) vivant en Suisse. Avec MAKE8ELIEVE, nous désirons construire et étendre des connections internationales à partir d’interprétations créatives d’un sujet différent et atypique à chaque numéro. Nous pouvons organiser ce bel objet virtuel, un magazine intelligent et stimulant aux sujets contemporains et inhabituels. SWITZERLAND # OHIO # 02.2013 Special thanks to Dasein Editions


Arnaud Cohen - The Nokia Dwarves, connected people


Rebecca Horne - Milkbowlink


Arnaud Cohen - Cheat